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maeow :neocat_hug_dlr: @[email protected] · 2024-04-01 · 13:31 UTC

CW: helpful tips for using mastodon in AI art advocacy!, long

🚀 Unlocking the Power of Mastodon for AI Art Advocacy! 🎨
🌟 Hey fellow art enthusiasts and tech aficionados! 🌟
Are you passionate about AI-generated art? Do you believe in the magic of algorithms and pixels coming together to create mesmerizing masterpieces? 🎨✨ If so, let’s dive into the world of Mastodon, the decentralized microblogging platform that’s buzzing with creativity and community spirit! 🌐🤝
What Is Mastodon? 🐘
Mastodon isn’t just another social network—it’s a movement! Founded in 2016 by the visionary John Mastodon, it’s an open-source, decentralized alternative to the mainstream platforms. 🌐🔓
Open Source: Think of it as the WordPress of social media. Mastodon doesn’t belong to any corporate overlords; it’s built by passionate volunteers who believe in democratizing communication. 🙌
Decentralized: Unlike monolithic giants, Mastodon is a constellation of interconnected servers (called instances). Each instance has its own rules and vibe, making it a vibrant mosaic of communities. 🌟
Why Should AI Artists Care? 🤖🎨
Freedom of Expression: Mastodon doesn’t censor your creativity. Post your AI-generated art without fear of algorithmic gatekeepers! 🎨🔥
Find Your Tribe: Use tools like Debirdify to locate where your existing Twitter audience hangs out on Mastodon. Connect with like-minded souls who appreciate your digital brushstrokes. 🎨🌟
Boost Your Reach: Hashtags and boosts (like retweets) are your secret weapons. Tag your AI art with #DigitalCanvas, #CodeArt, or #PixelMagic to reach wider audiences. 🚀🌈
Engage Authentically: Forget the echo chambers. Engage in real conversations with fellow artists, curators, and enthusiasts. Share your process, inspirations, and those quirky AI glitches! 🗣️🤖
Crafting Your AI Art Manifesto 📜
🔍 Explore Instances: Check out active instances like mastodon.art, artalley.social, or creative.ai. Find your creative haven and set up camp! 🏕️
🎨 Showcase Your Portfolio: Create a stunning profile. Share your AI art, experiments, and behind-the-scenes glimpses. Let your digital palette shine! 🌟
🤝 Collaborate: Collaborate across instances. Team up with other artists, organize virtual exhibitions, and celebrate the fusion of code and canvas. 🤝🎉
🌐 Hashtag Magic: Sprinkle your posts with relevant hashtags. #AIArt, #GenerativeArt, #TechCreativity—let the algorithms work their magic! ✨
🔗 Link Up: Verify your profile by adding a link to your art portfolio or website. Authenticity matters, and it’s a breeze on Mastodon! 🌐🔐
Let’s Paint the Mastodon Timeline! 🎨🌟
Remember, Mastodon isn’t just a platform—it’s a movement. Let’s amplify AI art, challenge norms, and create a digital Renaissance! 🚀🎨
🔗 Join me on Mastodon: Discover the Canvas 🐘✨
#AI #ArtTech #MastodonMagic #DigitalExpression #CodeAndCanvas #TechCreativesUnite

#techcreativesunite #codeandcanvas #digitalexpression #mastodonmagic #arttech #ai
neuronerd @[email protected] · 2025-04-29 · 12:28 UTC
Building a virtual neuron – part 2
Image credit: Ionut Stefan
It’s been a tad longer than I intended since our intro on differential equations came out, but hopefully that means you had some extra time for memory consolidation. Otherwise, you can refresh your memory here. Today it’s finally time to tackle the long-awaited virtual neuron. But before we jump in, we need to have a quick housekeeping chat. As you can already glimpse from the list below, we mean business this time, so I strongly recommend that you read this article in chunks. Then again, I’m just a disembodied voice on the Internet and I can’t tell you what to do.
Defining the goal
First, we need to understand what we want to do. “Building a virtual neuron” sounds cool (well, about as cool as math can ever sound), but it tells us surprisingly little about the task. We need to define the level at which we build this neuron. Do we want to simulate every protein and ion, and all their interactions? I mean, maybe. I admit that does sound pretty cool, but would we be able to interpret the results? My computational neuroscience professor used to say: “If you build a simulation as complex as the system you’re studying, you now have two systems you don’t understand.” And leaving that aside, could we even construct such a simulation right now? Well, no, not really. So instead we need to define three things:
1. what we want to do;
2. what we can and want to get out of it;
3. what we can realistically accomplish.
For today, we want to build a model capable of producing action potentials, just like real neurons (1). We want to use this model to understand how neurons produce these potentials and how they are affected by both external stimuli and ion channel properties (2). And we can realistically accomplish this with a run-of-the-mill laptop and our own brains (3).
The plurality of virtual neurons
There isn’t just one single way to simulate a neuron. In fact, there are a lot of options. If you don’t believe me, have a look here. Choosing a computational model is an act of balance between complexity and efficiency. On the one hand, we want something complex enough to capture what we’re interested in: for example, if we want to know what happens to a neuron when we mess with its calcium channels, we need a model that includes them. On the other hand, this model needs to run on the available hardware and we should be able to make some sense of its results. So if we only care about calcium channels, it’s not such a good idea to include 300 other types of ion channels.
The foundation model
For today, I’ve chosen the Hodgkin-Huxley (HH) model. As some of you might already know, this is kind of the bedrock of modern computational modeling, and often the first boss you will encounter if you ever attend such a course.
While arguably not the first computational model, the HH was pioneering as a quantitative, dynamic, biologically grounded one, and it remains remarkably elegant to this day. Of course, now it’s quite easy to look at it and think “well, big whoop, we already know how action potentials work”. But given the limited amount of information Hodgkin and Huxley had available at the time, it’s nothing short of fascinating how well the model reproduced empirical data and what predictions they were able to derive from it.
At the same time, coming from the biology side, I always had a bunch of questions about action potentials that remained largely unanswered until I made my way through the math jungle. For example, why do sodium (Na+) channels open slowly at first, then all at once? Why does the threshold for spike generation have that value and not another one? Why do potassium (K+) channels take so long to open? And why is it that we don’t always get one spike after another?
As we work our way through the model, we will be answering these questions and more. But similar to the previous article, we’ll start with a series of small, made-up examples (the code to follow along is here) and work our way up to the main beast. I hope that these examples bring clarity, but if they have the opposite effect, please let me know in the comments. That way, I can improve this guide (and future ones).
Throughout, I’ll try to highlight the underlying biology, as well as what Hodgkin and Huxley actually knew at the time. If you’d like a refresher on neuron structure and function, we do have this older post covering the basics, but I’ll try to weave those concepts in as we go.
From cats to neurons
Abstracting the movements of a cat to math is somewhat straightforward. If we get stuck in the equation, we have something tangible to go back to. So before we start with the math, let’s try to build the same kind of concreteness for neurons and action potentials.
We can begin from the same information Hodgkin and Huxley had available at the time. Neurons are enclosed by membranes, which usually block the movement of ions. Since the membrane is typically sealed, we can have different concentrations of ions on both sides: more Na+ outside, more K+ inside. While they didn’t yet know how these concentration gradients were maintained, HH recognized their importance.
They also observed that, if one were to place an electrode outside of the neuron and stick another one inside, a potential difference in voltage of about -65 mV could be measured (by the way, these days it’s also known the exact voltage difference varies by neuron type). In other words, the inside of the cell is more negative compared to the outside. Importantly, the value and its sign don’t matter that much, at least not for understanding the general principles. What matters is that there is a measurable difference and that sometimes there is a change in this difference.
If the membrane were forever sealed to the passage of any and all ions, then that would be the end of the story. We’d have no action potential to talk about (and we couldn’t anyway, because no intelligence, language, movement, nothing). But sometimes, the membrane allows ions to flow through it. You can imagine the ion concentrations we mentioned above as water stored in a tank. There’s much more Na+ outside the neuron than inside, so when the Na+ “tap” (i.e., ion channels) opens, Na+ rushes into the neuron, like water gushing into an empty chamber. This happens very fast and leads to a temporary reversal of the voltage difference sign: the inside becomes more positive than the outside. Then the Na⁺ tap closes and the K+ tap opens, allowing K+ to flow out and bring things back to normal.
This information is pretty much all we need for the HH model, although I’m sure you still have some questions.
Small detour # 1: hypothesized, but not modeled
We mentioned above that Hodgkin and Huxley didn’t know how the Na+ and K+ gradients were maintained. However, they hypothesized there must be some active mechanism that pushes Na+ out and brings K+ into the neuron, thus working to maintain the concentration gradients. Otherwise, each neuron would only have a few action potentials to fire before the ion concentration on both sides of the membrane equalizes.
And they were right. Years later, we found out that there are proteins embedded in the membrane, called ion pumps, that are open only on one side of the neuron at a time. They act kind of like a shuttle bus that only allows Na+ to board from the inside going out and K+ from the outside going in.
Small detour # 2: positive, yet negative?
I’m sure it’s not lost on any of you that: 1) both Na+ and K+ are positive ions, and 2) cells, including neurons, aren’t electrically charged. So how can we talk about a voltage difference?
There are a few key points here:
1. overall, the amount of positive and negative charges is equal both inside and outside the membrane, but it’s the distribution of these charges close to the membrane that makes a difference;
2. inside the neuron, there are also large negatively charged proteins which can’t leave the cell and tend to cluster close to the membrane;
3. even though both Na+ and K+ each carry a +1 charge, the concentration of Na+ outside the cell is larger than that of K+ inside the cell (around 150 mM for Na+ vs 100 mM for K+, depending on neuron type). Additionally, the pump we mentioned earlier throws out 3 Na+ ions for every 2 K+ brought in, thus maintaining the imbalance;
4. there are also some K+ channels that remain open at rest. Due to the K+ concentration gradient, some of it flows out of the neuron, which means that some positive charge trickles outward, leaving the inside slightly more negative relative to the outside.
The combination of these factors generates the voltage difference measured by Hodgkin and Huxley.
From neurons to circuits
Coming back to our neuron model, now that we have the biology basics, we can begin to abstract. But instead of inventing an entirely new mathematical framework to describe how neurons behave, Hodgkin and Huxley realized that it was easier to repurpose what was already in the physics of electric circuits.
All the elements we described above have an equivalent in a circuit:
- since the membrane stores charge, it behaves like something called a capacitor, i.e. a device which stores charge by accumulating it on two closely spaced surfaces insulated from each other;
- the only way for ions to passively go through the membrane is through ion channels, which are typically closed. In other words, the channels provide resistance to the flow of ions, so we can represent them through resistors;
- we also explained that there are differences in the concentration of ions between the inside and the outside of the neuron and that these differences drive the ion flow, so the ion concentration differences are our voltage sources or batteries;
- and finally, although not explicitly included in the HH model, the ion pumps which restore the concentration gradients represent the current sources in our circuit, pushing ions in a specific direction to keep the system going.
As I said, even at the time, there was already a lot of math for how to work with electrical circuits. And that’s the key for cracking our simulations.
From measurements to interventions
In the circuit above, we could measure the voltage difference of the inside compared to the outside of the membrane. In fact, that’s what Hodgkin and Huxley did at first. They used giant axons from squids and silver electrodes to measure the so-called membrane or resting potential, which we said sits at around -65 mV.
But measurements alone aren’t enough. And by itself, the neuron and its membrane potential at rest aren’t that exciting. We want action…potentials. Those happen when neurons receive stimuli or input. One could try to do these measurements in vivo, that is when the one neuron we measure receives input naturally, either from other neurons or from the environment. But in this particular situation, Hodgkin and Huxley wanted to have precise control over the neuron’s input and they wanted to use the circuit framework from above. So instead, they used another set of electrodes to directly inject current into the axon of an isolated neuron.
Now, looking at the circuit diagram, physics tells us that if we inject some external current (we’ll call it ) into this system before the point where the individual elements (capacitor and resistors) are branching out, this current will split to flow through each available path. So we’ll have a capacitive current and, for each type of channel, ionic currents, which for now we’ll lump under a generic . As nothing is lost in this idealized circuit, our original will be the sum of the currents flowing through the individual elements, so: .
Cool, but we actually care about voltage, right? That’s what the action potential is, a change in voltage difference between the inside and the outside of the neuron over time. Yes, and here’s how physics helps us again: it tells us that – our capacitive or membrane current, can be expressed in terms of the rate of change of the voltage, i.e. our old friend . Since we’re talking about membrane voltage, we’ll just rename x to . And the full formula is , where represents something called the membrane capacitance, and it’s just a constant, a number that we normally determine experimentally or read from a paper that already measured it. In this case, Hodgkin and Huxley measured and found it equal to 1 (, but don’t stress about the units yet; by the way, what you’ve just heard is the collective shudder of all the world’s physicists at the idea of not stressing about units).
With that, we can rewrite , and shifting the terms, we get . Since is a constant, you will often see it written on the same side as (basically, constant = we don’t care much about it), but to make it clearer, we can also isolate . This will be our stepping stone for the full model. The lefthand side of the equation won’t change anymore. That’s the potential we’ve been wanting to simulate for a while now. The righthand side will gradually expand in complexity until it allows us to get something looking like the image below:
Virtual neuron 1 – linear, boring, and instructive
In the equation , we already know that is a constant equal to 1 . is what we pump into the system and we have full control over it. For now, we will try out three values: 0, 1, and 2 mA/. tells us about how ions, like Na+ and K+, behave, but for now, we will completely ignore it by setting it to zero. So our equation reduces to or 0, 1 or 2 (mV), depending on which we pick. This is very similar to the first cat example from last time, except that our starting point, , is -65 mV.
But just because this example is so simple, it doesn’t mean we can’t extract any information from it. We observe that the higher the input current is, the faster our membrane voltage increases. And of course, if there is no input whatsoever, nothing happens.
We can also check what happens if we start from different values at (in this case, -100 mV, -65 mV, and 10 mV). And we’ll look at just one external input value, = 1 mA/. As you see below, not much. The line looks exactly the same, except that it starts from different values of . We’ll check this again in the more complex model and see if it holds.
Virtual neuron 2 – to the moon and beyond
Now it’s time to tackle . Instead of zero, we could give it another random value, like 3. But no matter what fixed value we give it, the only thing that would change in our equation would be how fast the membrane voltage increases. More importantly, we know this is unrealistic in neurons because when Na+ and K+ channels open and the ions travel from one side of the membrane to the other, the ionic currents also change.
That means needs to be not a constant, but a function. More specifically, a function which changes over time (and later, over voltage too). One such example would be – at every time step, our ionic current would be equal to the negative value of that time step. Our base equation would then transform into . For mA/, we would get the following:
We see that the membrane voltage now rises much faster, up to very unrealistic values (in practice, if we actually injected the current necessary for reaching such voltages, we’d fry the neuron long before getting there). And if we were to slightly vary either or as we did above, there would be barely any noticeable difference in the result.
But remember how we represented our ion channels through resistors? Similar to capacitors, there is also a formula that relates current and voltage for these elements: . is our membrane voltage, the one we’ve been plotting so far. So our base equation now expands into (I’ve moved to the lefthand side to avoid using too many brackets). is the conductance for that ion. Conductance is a measure of how easily electric current flows through a material. In our case, this means how easily the ions pass through their respective channels. For now, we will pretend that is a constant, like 0.1 (mS/).
And is our battery from the circuit above. It represents the equilibrium potential of each ion, what they aspire to, and the voltage at which the membrane would settle if there were no other ions around and if the membrane were permeable all the time. In this case, we don’t need to pretend: is always constant for a given ion type. For example, for Na+, is about +45 mV. If the membrane potential, , were equal to +45 mV, we would say that Na+ is at equilibrium and there would be no movement of Na+ ions across the membrane. In real neurons, this is never reached, since other ions have different equilibrium potentials (for example, K+ sits at around -82 mV), but we’ll learn more about that later.
Small detour # 3: that Nernst guy
But hold up: what does ion concentration have to do with voltage? And where do ion equilibrium potentials actually come from? Well, in practice, from neat little tables.
But conceptually, we need to make something clear, using Na+ as an example: we said that there are more Na+ ions outside than inside the neuron, so there is a higher concentration of Na+ on the outside of the membrane. If we open the tap, this concentration difference will push Na+ inside. But when does the pushing stop? Is it when the Na+ concentration is exactly equal on both sides of the membrane? It would be, if only Na+ were the only one around and there were no voltage difference between the two sides of the membrane.
But let’s imagine that we also have those negatively charged proteins from earlier. This changes the game, because even though the concentration of Na+ ions might equalize at some point, there would be another force pulling it in: the negative charge of the proteins, or the electrical gradient. Because these two forces compete, the actual voltage at which no Na+ moves around anymore is the one given above.
We can calculate this number from yet another equation that some guy named Nernst came up with: . R, T, z, and F are constants, so we again ignore them. What matters is that this formula allows us to relate the ion concentrations (outside) and (inside) the neuron to voltage, thus giving us the equilibrium potential of each ion.
Bonus: this nifty formula tells us why sudden influxes of K+ can kill you. When the concentration of K+ outside the neuron increases a lot, the equilibrium potential of K+ ends up being much higher than -82 mV. In turn, this messes with the generation of action potentials, thus impairing communication between neurons. Once we have the full HH model, we’ll be able to check exactly how this happens.
Back to virtual neuron 2
For now, we see that if we were to model just Na+ currents and assume a constant conductance (in this example, mS/), the membrane potential would eventually settle to the equilibrium potential of Na+.
This time, if we change our starting point , we observe a different behavior compared to the first virtual neuron: here, the membrane potential always settles at the Na+ equilibrium, regardless of whether we start from a value above or below that.
But what happens if we keep the resting state voltage the same and change the conductance ? A higher conductance means that Na+ ions barrel through channels quicker (because more channels are open, not because the ions move any faster). That translates into the equilibrium potential being reached sooner.
I want to stress here that conductance isn’t just an abstract thing that makes the graph sharper. In real life, alterations in Na+ channel conductance can have devastating effects. For example, tetrodotoxin, a powerful toxin derived from pufferfish, effectively decreases Na+ conductance to zero by blocking Na+ channels and preventing its influx into the cell. This is deadly. And in different types of epilepsy, Na+ conductance is again affected: either too high or too low, depending on the type of epilepsy. As we’ll see later, changes in conductance affect the properties of action potentials, such as shape and timing. At the level of the whole brain, this results in abnormal communication between neurons and can lead to the symptoms observed in epilepsy.
Moving on to varying the external input current , we see that the membrane potential no longer settles at the ion’s equilibrium potential, but at another value that changes with the strength of the external input . Looking again at our equation , we see that when is zero, the membrane voltage is only governed by . But once we inject a steady flow of current into this system, the balance point shifts higher or lower, depending on the sign of . This will be important for action potential generation later on.
Virtual neuron 3 – other ions have joined the party
Alright, but we know Na+ doesn’t act alone. There is at least a K+ current. There are other ions as well, but Hodgkin and Huxley lumped everything else that might act in a neuron under a so-called “leak” current that is modeled as an additional resistor.
Once we add the K+ and leak currents in our model ( and ), we now have a slightly longer differential equation for the membrane voltage:
.
Simulating this allows us to see that, like before, the membrane voltage settles at an equilibrium point. But this point is no longer equal to the equilibrium voltage of any single ion. Instead, it sits somewhere in-between. This in-between value is nothing more than the weighted average of the contributions of all ions to the membrane potential. The contribution of an ion is given by the product between its equilibrium potential and its conductance, so the full equation reads like this: .
We saw above that changing the Na+ conductance when only Na+ is present allows us to manipulate how fast we reach the equilibrium potential. But the equilibrium potential itself remains unchanged. But now we have more than one ion, each with their own conductance, and we see in the equation above that the membrane equilibrium potential takes into account conductances as well. So what happens if we change each ionic conductance individually?
We should be able to deduce this from the equation, but we’ll check it against the simulation results below. The blue line represents our original case from above. Since the K+ equilibrium potential is more negative than our original resting state potential , increasing the K+ conductance while keeping the Na+ conductance the same means that the membrane will settle at a new, more negative potential (orange line). In contrast, since the Na+ equilibrium potential is positive, increasing the ionic conductance while keeping the same means that our neuron’s equilibrium potential goes up and we also reach it faster (green line). Now, if we increase while maintaining this higher , our membrane resting potential comes down, closer to that of K+. But we still get there fast, since the Na+ conductance is so high (red line).
In principle, we could also play around with the leak conductance . However, as we will see later, in the HH model, the leak conductance is always assumed to be static, whereas and do change under certain conditions.
The full model – everybody gets a function
We’ve already added quite a few details to our model, but there’s still a bit to go on. So far, we have a simulation of the membrane potential which includes multiple ion channels. This model is capable of settling at an equilibrium point, the resting state potential, but it still doesn’t produce spikes yet. So let’s fix that. Fair warning, this next part is the trickiest (I know! As if the novel before was soooo easy!), so go slowly, pause often, and don’t worry if things take a few reads to click.
Key takeaway # 1: conductances are voltage-dependent
Let’s bridge biology and math now: we said that when the Na+ conductance increases (i.e. Na+ channels open), the membrane voltage also increases. But we also know from experiments that when the membrane voltage increases, K+ channels open. In other words, the K+ conductance increases. In math terms, that suggests conductance (for both Na+ and K+) is voltage-dependent.
Key takeaway # 2: there is a maximum conductance
Imagine all Na+ channels are open. Even then, there is still a limit to how much Na+ can pass through the membrane at every time step, because the ions need to wait for their turn to go through the channels, just like cars have to wait to pass through a crowded tunnel. That means conductance has a maximum value, which we can call . When all channels are open, for Na+ and similarly, for K+.
Key takeaway # 3: we can work directly with proportions of open channels
But what if only 50% of the channels were open? Well, the limit would be half of the maximum: . Why is it this relevant? Because instead of directly relating conductance to voltage, we can relate proportion of open (or closed) channels to voltage. The math is easier and it’s a bit more intuitive.
Putting it all together
First of all, since conductances are voltage-dependent and the membrane voltage changes over time, we actually have voltage- and time-dependent conductances. Important to note, only for Na+ and K+; we assume the leak conductance to be fixed.
Secondly, we work with the proportion of open channels, not with conductances directly. Let’s pause for a moment and think about what we want to model. We basically want a sort of push-pull mechanism, such that when the voltage goes up, the proportion of open Na+ channels goes up, and when the voltage decreases, the proportion of closed channels increases. And the same way for K+.
Let’s start with K+. We can denote the proportion of open K+ channels with n. The proportion of closed channels will be simply 1 – n (total minus how many are open). Since we’re interested in how this evolves over time, we need to bring back our differential equation friend, in this case . The push-pull mechanism we want can be written in the following form: or following the Hodgkin-Huxley convention: . There are two parts that matter here:
1. the two functions A and B act like weights for the proportion of closed, respectively open, channels. A controls how fast closed channels open and B controls how fast open channels close;
2. the above is not enough. A and B are voltage-dependent functions themselves and they need to be chosen in such a way that, when the voltage goes up, A goes up and B goes down, and vice-versa when the voltage goes down.
But how to choose them? Well, the equation above is called a first-order differential equation and has a known solution. Without going further into mathematical detail, Hodgkin and Huxley used that solution together with experimental measurements of K+ currents to derive specific formulas for and . I am including them here for completeness and because you will see them in the code, but there is no reason to stress over them. In practice, unless you use them on a daily basis, you’re just going to look them up when needed (and by the way, depending on the neuron type, the actual numerical values in these formulas will change): and .
(Side note: the sign convention. One thing to notice above is that we use both and V. That’s not a typo. Normally, we define the membrane voltage , so the membrane voltage is negative at rest. In the HH model, however, V is defined as . That means the voltage is shifted such that at rest, mV. And because all s and s were fitted to these shifted values, we need to take that into account when working with the original HH model.)
For Na+, they modeled the Na+ channel activation in a similar manner, except they called the proportion of activated channels m. Again, for completeness, the respective equations were and .
Now we almost have the full functioning HH model, but there are just a couple of minor tweaks left. Because Hodgkin and Huxley fitted their model to experimental data, they observed two interesting tidbits:
1. the model fit better when the variable n was raised to the power of 4 and when m was raised to the power of 3. At the time, they didn’t know why that was the case, but in the meantime, we’ve found out that the K+ ion channel is made up of 4 subunits, each of which needs to be activated for the channel to allow the passage of K+. In that case, you can think of n as the proportion of channels where subunit 1 is activated (or the probability for this subunit to be activated). The proportion of channels where 2 subunits are activated is , and so on. Similarly, Na+ channels have 3 activation domains that need to be opened for Na+ to pass through the channel;
2. when the membrane voltage was held constant at a high value, K+ kept flowing out of the cell until the voltage was allowed to return to normal. But for Na+, Hodgkin and Huxley observed a different behavior: Na+ flowed into the cell at first, then it stopped. The Na+ current sharply decreased and regardless of how long the voltage was kept high, the Na+ current didn’t increase anymore. To model this behavior, they introduced a second variable for Na+, called h, which they used to model the proportion of inactivated Na+ channels. This needed the same and functions, with and . Again, nowadays, we know that Na+ has an inactivation domain that rapidly blocks Na+ channels at high voltages and only unlocks them when the voltage goes down again. That’s also why action potentials cannot spread backwards from where they came from.
And that’s it, we now have a full HH model. Put all together, it looks like this:
,
,
,
.
Importantly, by itself, the model doesn’t really do anything. If the external input is zero and we start the model from an initial membrane voltage below a certain threshold (in this case, -60 mV), it quickly decays back to the resting state potential (which you can calculate yourself using the formula given above and the maximum conductances and ionic equilibrium potentials given in the code here.)
If we start the model above a certain threshold (for example, -50 mV), it will fire a single spike before going silent forever.
To get more than one spike, we need to drive it with external input current. So far, we’ve used constant current, and we’ll stick with that for today (in the next part, we’ll also try out time-varying currents). For a high enough current, we see that the model fires one action potential after the next. You can try it out for yourself to see what happens for different values of , and next time we’ll try a more systematic analysis as well.
Finally, we can inspect our gating variables m, h, and n, to see how they evolve over time. In the plot below, you see that the Na+ channel activation variable m (in blue), goes up really quickly – Na+ channels open fast; but it goes down just as quickly – they also close fast. The Na+ inactivation variable, h, quickly decreases during the spike – Na+ channels are blocked and cannot open again for some time. In the meantime, the K+ activation variable n goes up, lagging a bit behind m – K+ channels open more slowly and the membrane voltage goes back down.
Still alive?
I don’t know about you, but I’m tired. The good news is that now we have a functional HH model. Also good news is that we can do a lot of things with it, but unfortunately, that requires additional explanations, and I think we could all use a break. So I’ll see you for the next part. Until then, feel free to toy with the model parameters.
P.S.: If someone knows a better solution for displaying LaTeX equations in WordPress, do let me know. The current method is hurting my soul.
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References
Goaillard, J.-M., & Marder, E. (2021). Ion Channel Degeneracy, Variability, and Covariation in Neuron and Circuit Resilience. Annual Review of Neuroscience, 44(1), 335–357. https://doi.org/10.1146/annurev-neuro-092920-121538
Hodgkin, A. L., Huxley, A. F., & Katz, B. (1952). Measurement of current‐voltage relations in the membrane of the giant axon of Loligo. The Journal of Physiology, 116(4), 424–448. Portico. https://doi.org/10.1113/jphysiol.1952.sp004716
Hodgkin, A. L., & Huxley, A. F. (1952). A quantitative description of membrane current and its application to conduction and excitation in nerve. The Journal of Physiology, 117(4), 500–544. Portico. https://doi.org/10.1113/jphysiol.1952.sp004764
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cmrosens @[email protected] · 2026-04-29 · 09:30 UTC

Author Spotlight: Black Sapphic Vampire Romance author Liza Wemakor

Liza Wemakor (she/they) is a writer and a Ph.D. candidate in UC Riverside’s English Department. Her fiction has been published in Strange Horizons, Anathema Magazine, Baffling Magazine, and elsewhere. Her debut novella, Loving Safoa, was published by Neon Hemlock Press in February 2024.

AUTHOR LINKS:
Website: www.lizawemakor.com
Instagram: @lizawemakor
Bluesky: @lizawemakor.bsky.social
Book Link: Loving Safoa (Neon Hemlock)
Book Elevator Pitch for readers/book clubs
If you enjoy paranormal romance with literary stylings, you will enjoy Loving Safoa!
Get a copy from Neon Hemlock.
Your novella, Loving Safoa, is out now with Neon Hemlock. What were your main inspirations behind this sapphic vampire novella?
I wanted to write a vampire story that reflected underrepresented elements of my worldview. It seemed sensible to lean into Safoa’s experience of being an undocumented immigrant in the Western world across a long expanse of time, and to demonstrate how this extended period of uncertainty and precarity forces Safoa into survival mode. Meanwhile, she is also recovering from the trauma of being held captive by a sadistic colonizer for a number of years, as well as experiencing new kinds of freedom in New York, and eventually Maryland.
Cynthia, on the other hand, feels orphaned — she is navigating adulthood without her mother or any other parent, yet becoming a maternal figure to her students. She also feels a level of insecurity about her connection to her motherland, as a Ghanaian-American woman, and faces this head-on in her relationship with Safoa, who she imagines as a pure embodiment of African identity. Safoa and Cynthia’s lives are quite complex, and together they tell a story of diasporic reunification.
The novella features woven stories from different places and time periods, from 18th-19thC Ghana to a near-future Maryland. How did you decide what segments of these characters’ lives to include, and were there scenes and times that you played with but ultimately decided to cut?
I wanted to maintain a focus on Cynthia and Safoa’s romance, so I omitted some portions of their lives before they met; I may have explored more of those past moments in a longer project, like a novel, but a novella length felt right for this story. I wanted the passage of time to be a bit surreal, because it is surreal to have lives as long as Cynthia and Safoa’s. Time itself and the details of their lives are a blur.
I was seriously toying with showing glimpses of Safoa’s life in London — her lovers, and her brief skirmishes with other European predators. I would’ve emphasized how she was simultaneously powerful and vulnerable to exploitative people, which motivated her departure to the U.S. after a few decades. I didn’t include these scenes because Cynthia may have been lost in the larger narrative — there wouldn’t have been as much of a balanced representation of their lives, and Safoa would have taken over the story.
How does vampirism and the donor concept work in your novella, and is this based on any folklore?
I was very inspired by Jewelle Gomez’s approach to vampire networks in The Gilda Stories — vampire communities that are explicitly political, and whose politics have been informed by their previous experiences of being hurt, exploited, and truly loved.
I was also inspired by Octavia Butler’s approaches to both community and feeding in Fledgling. Shori depends upon a host of human companions and vampires while navigating a white supremacist vampire hierarchy. Shori’s companions also gain a lot from her presence, in a symbiotic fashion.
Tamara Jerée wrote beautifully about these dynamics in her Strange Horizons essay, “How to Make a Family: Queer Blood Bonds in Black Feminist Vampire Novels“.
There was a hint of Ghanaian folklore in the novella, though I took creative liberties. Safoa and a character named Yaba occasionally refer to the first vampire they met as ‘ɔbonsam’ — or a demonic entity. In some Ghanaian folklore, there are vampiric, humanoid creatures called ɔbonsam or sasabonsam that have very long hair, like Safoa does at some point, and live / feed on people in the forest. I didn’t opt to include other details like sharp teeth and bat-like features in my depiction of vampires. Tongue feeding was more fun for a smutty sapphic story.
At some point in my life I encountered myths related to the obayifo (another West African vampire) as well, and I took liberties with the factoid that they are phosphorescent, i.e. when Cynthia noticed a blue aura around Safoa’s body.
Can you tell us more about Cynthia – where did she come from, and what made you set her as a schoolteacher in the early 1990s at the start of this novella? How did you develop her character, her voice, and her desires (e.g. to be an “everlasting elder”)?
I am one of those people who insists on a vaguely-defined, somewhat secretive spirituality that undergirds my writing practices. In the spring of 2021, Cynthia and Safoa appeared to me almost effortlessly, and I was compelled to write about them. Not long before that, I’d gotten into the Ph.D. program I am at the end of now, and I started writing feverishly before my time and energy became more limited. Cynthia and Safoa were fascinating to me, and their chemistry was palpable; at times I blushed when writing and editing their sex scenes, because it felt like an intrusion upon their privacy.
Cynthia’s life resembles my life in some ways, but not all. I haven’t lost my mother, and she (Cynthia) has spent more of her life in New York City and Maryland than I have, but her anxieties about her authenticity as a Ghanaian diasporan and her interest in teaching certainly resonate with me. I am sure that some of my own subjectivity informed how I wrote Cynthia, though a lot of it was subconscious.
I had a moodboard for both Cynthia and Safoa, and Cynthia’s moodboard included images of the actresses Nicole Beharie and Moses Ingram, and the model Dede Mansro. I was interested in channeling not only the softness of their appearances, but the moodiness and subdued seductiveness they are able to convey.
Regarding the choice to begin in the 1990s: it was a perfect fit both aesthetically and politically. The 90s was a period of intense political maturation for educators, artists, and the general public. There was, especially for queer black people, queer people of color, a mingling of death and renewal — an increasing awareness of identity (and its constructedness) mingling with the optimism of entering a new millenium. The perfect setting for politically conscious vampires to come into themselves.
Can you tell us more about Safoa, the vampire, her Ghanaian roots, her relationship with tattoos and her place in her communities across time as a body artist, and how she came to be shaped on the page? What was the character development process like for her, and was there research involved to craft her journey from 1799 onwards – if so, what research did you do?
A pattern that is emerging in my answers to these questions is that I placed Cynthia and Safoa in historical moments that were hotbeds for social resistance. I wanted Safoa to live through multiple eras of Black and African resistance, and I wanted readers to see her putting in the work to pursue what she saw as her purpose in life, which was being a body artist from the beginning, and then evolved, through meeting Cynthia, to include more social pursuits.
In writing Safoa, I revisited a few books from a class I took in college about pre-colonial African history, and I read a few books and articles about West African empires and West African mythology. I also made an effort to research some of the geography (landscapes and flora) of West Africa, and brushed up my knowledge of some Twi terms and phrases, which I grew up hearing from my maternal family. Ultimately, only some of these details made it onto the page, because making the world feel lived in required me to look at these landscapes through Safoa’s eyes.
What research did you do for the different settings in the novella, and what sociopolitical/ideological projections were you going with for the development of your near-future Maryland setting to avoid it being a utopia/dystopia?
I wanted each of the major settings of the novella, 19th century West Africa, 1990s New York City, and 1990s / 21st century Maryland, to reflect major political movements of their time. Safoa’s time in the part of West Africa we now know as Ghana was inflected with rising anticolonial sentiments. New York City is and was sensational for the community organizing within its boroughs, though it was not without the risk of violence (see: the 2003 murder of Sakia Gunn in the nearby Newark, New Jersey). Like New York City, the DMV is and was a major locus of queer arts organizing (especially literary arts) and queer political organizing, which I aimed to reflect in Cynthia and Safoa’s commune involvements.
I wouldn’t say I was consciously avoiding the story being classified as a utopia or dystopia, and this defiance of categories came about because I had naturalistic inclinations in the writing of this novella. I wanted my writing to reflect how deeply traumatic and how stunningly gorgeous people can be. For the Maryland commune in particular, I wanted to hint at the fact that there were conflicts commune members had already worked through before Cynthia and Safoa arrived, and working through these conflicts laid the groundwork for Cynthia and Safoa to soar, as cooperative leaders in their new community.
Would you ever consider expanding upon the story of Cynthia and Safoa, perhaps in a connected story, and/or are you moving on to other projects (if so, what’s next?!)
I would love to write a short story or novelette focused on Safoa’s time in London / Europe, when the time seems right to do so. I’ve written several short stories that I’m proud of since Loving Safoa came out in 2024, and it’s just been a matter of finding the right magazine at the right time for the stories that haven’t been published yet. I also have a few short stories that are in partial states, that I am slowly finishing as my dissertation takes priority.
I also have a novel project that is half-drafted! The novel project follows a polarizing, and potentially revolutionary, celebrity musician.
Beyond my own fiction, I am a nonfiction editor and finance manager for Anathema Magazine, a venue dedicated to speculation fiction by and for queer people of color that is relaunching after a 3-year hiatus — yay!
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by cmrosensJuly 31, 2024January 7, 2026 Subscribe to my newsletter to stay updated! I send newsletters around once a month. You can also subscribe to my site so you don't miss a post, but I also do a post round-up in my monthly newsletters, along with what I've been working on, what I've been reading, and what I've been watching. I will often update newsletter subscribers first with news, so stay ahead of the game with my announcements and discount codes, etc!
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Andy Arthur - Threadinburgh @[email protected] · 2023-03-04 · 16:43 UTC

The First Inuit in Scotland: the thread about John Sakeouse; Hunter, Explorer, Artist, Interpreter, Kayaker, Friend of Leith and

The registers of the Canongate Kirk in Edinburgh record that on 17th Feb 1819 a man was interred there, having died 3 days previously from fever. They say he was 22 years old, although nobody was exactly sure. What they do not say is that he was far from the land of his birth and that he was a truly remarkable man. He was John Sakeouse and this is his story.
John Sakeouse, a portrait by Amelia Anderson, engraved by W. & D. Lizars. CC-by-NC National Galleries Scotland
John was well known in Edinburgh and Leith, infact it was fair to say he was something of a celebrity, for he was a unique character in the city; he was a Kalaaleq , an Inuk from West Greenland, and was the first of his people to travel to Scotland. He was born around 1797 in Disko Bay on the west coast of Greenland at a latitude of 69° North. We do not know his name in his native language, but he grew up in an area where Danish missionaries were active and from them he took the biblical names Johannes Zakaeus; John Zacchaeus (also Anglicised to Sackhouse, Saccheuse, but he signed himself Sakeouse so we shall go with that.) From the missionaries he learned about the bible and had a knowledge of and interest in Christianity. He also learned of the world beyond his horizon and picked up a little English.
Icebergs Disko Bay. Cc-by-SA 3.0 Algkalv
John had wanted to satisfy a curiosity as to what was over the horizon and beyond the land of his birth, and he wanted to learn about art. He may have been further motivated by being unlucky in love and rejected by the mother of a potential bride. But his reasons were his own and using his own initiative and ingenuity in May or June of 1816 he took to his kayak and paddled out to a whaling ship that was getting ready to depart the Davis Strait. Using his basic English, he managed to convince the crew to help him stow away and the seamen took pity and smuggled not just John but also his kayak aboard. Once he was safely over the horizon he announced his presence to the master of the ship; who either offered or threatened to turn around and put him ashore, but John was obviously a persuasive communicator and the master, John Newton, was convinced to take him home with him. That ship was the Thomas and Ann, it was owned by Peter Wood and Company of Leith, and that port was its destination. That is how on the 15th August 1816, John Sakeouse came to Scotland “with 11 fish“, as a very special passenger.
The Leith Greenland whaler “Raith”, also owned by the Woods and a contemporary of the “Thomas and Ann”. A model in the collection of Trinity House, Leith.
On the long journey back to Leith, he earned his passage by assisting the seamen in their duties and occupied himself in improving his English.Standing between 5 foot 6 and 8 inches tall, with a head of thick black hair, he was of stocky build and impressed his hosts with his great physical strength, his dexterity and also his gentle nature and eagerness to learn. When the Thomas and Ann finally arrived back in Leith, news of his presence seemed to spread like wildfire and large crowds assembled wanting to catch a glimpse of this unusual visitor. The crowds prevented Master Newton from unloading his precious cargo of whale, so he had Sakeouse taken ashore and lodged in his house in the Timber Bush area. The crowds simply followed and gathered outside Newton’s house instead.
But although John had never seen this many people in his life, he hadn’t come to Scotland to hide himself away. So he took himself and his kayak down to the new Wet Docks, lowered himself into them and with great showmanship put on an hour long display of his proficiency and dexterity in it. He thrilled the crowds by being able to roll his boat over at will, paddle it while inverted and roll it back upright again “in the twinkling of an eye… and scuds off as if nothing had happened“. A ship’s biscuit was floated on the water and from 30 yards he would hit it – and split it – with his harpoon.
John Sakeouse in his kayak, from an illustration by Amelia Anderson, engraved by W. & D. Lizars, CC-by-NC National Galleries Scotland
His show was an instant hit, and it was put on each day for the crowds. Handbills were printed and money was collected. On Thursday 5th September, a grand race was organised; John against the best whaling boat and six of the best crew that Leith had to offer. “A vast assemblage of persons of all ranks were collected at Leith. The piers, windows and roofs of houses and the decks and rigging of the vessels, were crowded with spectators; and the water from the harbour to near the Martello Tower was covered with boats, filled with Ladies and Gentlemen.” They set off from the end of the pier, the course being around the Martello Tower and back again; John was the clear winner, taking just 16 minutes.
An exhibition of some of his artefacts was put on in a dockside warehouse, described as “two sea unicorn’s horns, the skulls of a sea horse and bear, the ear of a whale and the preserved skin of a black eagle“. The money these ventures raised helped support him financially; to provide him with the food and clothes that he needed to get through the winter in Scotland until he could return home the following season when the whalers went north again. By the end of August news of him had spread the length of the country; with newspapers not just in Scotland and London, but all across England, in Belfast and in Dublin relating the story of “the Esquimaux* now at Leith“.
* = the French term which was in written use at the time in the press for Inuit. The Scottish whalers used the term “Yackie”, in some contemporary accounts he refers to himself as “Yakee”, a term he undoubtedly picked up from the whalers.
Lodging with Newton and his family, when John was not putting on his displays he attended to studying English in “which he made considerable progress“; he learned to play the flute a little and to dance. He told his hosts that he had received some schooling in his childhood, had some basic knowledge of the wider world and historical facts and had heard of an elephant – but never having seen one was “much delighted” when shown a picture. He had not, however, seen or heard of a cow and on first encountering one fetched his harpoon with which to defend himself from this strange beast. He sat for portraits, was taken to the theatre, and was the toast of the evening soirées of Leith and Edinburgh, comfortably ingratiating himself with all who met him.
John Sakeouse’s handwriting, from an engraving by W. & D. Lizars, CC-by-NC National Galleries Scotland
In the spring of 1817, the Leith whalers set out again for the Davis Straits and John was with them, once more on board the Thomas and Ann. Newton was under strict orders from his employer, Peter Wood, that John was to be “treated with the greatest kindness” and returned to where he had been picked up, and not to return with him unless John explicitly desired to. On reaching his home however, John was distressed to find that his only living relative, his sister, had died over the winter. On learning that she had believed him dead and had died of a broken heart, he returned to Newton and made it known that he wished to stay with them and “revisit his country no more.” And so it was in September 1817 once again the newspapers in Edinburgh reported that the Thomas and Ann had returned to Leith and once more it had a special passenger aboard. And once again, this exciting news was reprinted from Inverness to London and from Cambridge to Belfast.
That winter, John exhibited the selfless kindness to others for which he was knows. Enjoying he snows that had fallen, and walking far beyond Leith, he came across two young children whom he observed “to be suffering from the cold“. He took off his sealskin jacket, wrapped the pair of them in in it and carried them safely home to Leith. He refused all attempts at a reward, not thinking himself having done anything remarkable. It was on another winter walk that John’s adventures took an interesting new direction, for who should he by chance bump in to but one Alexander Nasmyth; pupil of Alan Ramsay and one of Scotland’s foremost landscape and portrait painters at that time. Nasmyth recognised John by his dress, and having once drawn a set of native clothing that had been brought to Scotland he was keen to ingratiate himself. He invited John up to Edinburgh and had him sit for a portrait in return for providing him with drawing lessons. Nasmyth got his painting, now part of the collection of the National Galleries of Scotland, and John got his lessons, proving to have a natural talent and be a quick learner. He was the first Inuit to recieve formal art training, although he came from a rich artistic culture.
John Sakaeus (Sakeouse) by Alexander Nasmyth, c. 1817, CC-by-NC National Galleries Scotland
It was through the well connected Nasmyth that John’s life took its next turn; he was introduced to the naval explorer Captain Basil Hall and his father, Sir James, the President of the Royal Society of Edinburgh. The Halls were aware that the Admiralty was preparing an expedition to search for a Northwestern Passage, under fellow Scot Capain John Ross (later Sir John), and were quick to realise that having a native guide who could also act as a translator could prove invaluable to the mission. The Halls wrote to Sir John Barrow, Second Secretary to the Admiralty, who agreed with them and asked for John to be sent to London if he was willing. John seems to have turned down offers of payment for his services, and was keen to join the expedition so long as it was not a ruse to send him back to the land of his birth.
In London, John ingratiated himself with his usual ease, and – having taken it with him – as usual thrilled the crowds with kayaking and harpooning displays in Deptford Docks. A trick that went down very well was to throw his harpoon, which he could do with great accuracy over 50 yards, and then follow it up with smaller “darts” with which he could hit the handle of the floating harpoon, time after time. Captain Ross and the Admiralty wasted no time in engaging John’s services, however it nearly wasn’t to be; in late March a stranger, who may have been an agent for the Aquatic Theatre, attempted to lure him away from the expedition and onto the stage, with offers of money and a considerable quantity of alcohol. The usually sober John almost succumbed to temptation, but on recovering his faculties and suffering his hangover thought better of it, apologised to Ross for his change of heart and stayed firmly on board and away from the dockside taverns thereafter. The Admiralty quietly ordered that he was to be kept on board and away from strangers thereafter.
Ross’s expedition departed London on board a small fleet of hired Hull whaling ships on 18th April 1818. Ross led on his flagship Isabella, with Captain Buchan on the Dortothea, Lieutenant Parry on the Alexander and the ill-fated Lieutenant Franklin on the Trent. Their search was for the Northwest Passage and the Bering Strait beyond, and part of the expedition intended to strike out for the North Pole. Their journey would find none of those destinations, but would take them further north than any British navigator had yet been.
“Portraits of the Vessels of the Polar Expedition of 1818”, an illustration by John Ross © Royal Museums Greenwich.
The convoy arrived off Greenland in mid-June. By the end of the month, they reached 70° North. This was Disko Bay, the land where John – or Jack as the sailors had taken to calling him – had been born 19 or 20 years before. John took take to his kayak, returning with specimens of birds for the expedition’s scientists, and also with a party of local Inuit he had contacted. Acting as a translator, he negotiated for a larger party of them to return with the gift of a dog sled for Ross. They were invited aboard for coffee and biscuits and shown around, had their portraits taken and further gifts were exchanged. An impromptu cèilidh was then held on the deck, with the Inuit dancing Scottish Reels with the seamen to the music of their fiddler. Ross describes John as acting as the “master of ceremonies”, calling out the dances. Catching the attention of a young woman in the Inuit party, “by far the best looking of the group“, John was given a lady’s shawl by one of the officers to present to her. She returned his affections with the gift of a ring, and Ross was in “no possible doubt [he] had made an impression on her heart“.
After the ball concluded with more coffee, the guests departed and John was permitted to escort them home and perhaps return with more specimens for the expedition. It was at this point however that he suffered an unfortunate accident; demonstrating a gun to some of the Inuit, he over-filled it with gunpowder under a mistaken assumption that he described himself as “plenty powder, plenty kill. Letting the weapon off, he could not handle the recoil and broke his collar bone. A search party had to be sent out to retrieve him when he did not return to the ship.
Ross’s ships (one ship is in the distance, on the right of the image) in the land of John’s birth at Disko Bay, an illustration by Andrew Skene, an officer and artist on the expedition
They did not linger here and continued north into Baffin Bay, intending on making an anti-clockwise navigation in search of the North West Passage. Ross made an illustration of his little flotilla as it moved carefully through the ice at 70°44′ North. They pressed on and at 75°25′ North they reached a bay that the Greenlanders call Qimusseriarsuaq. Although whalers had been here before, they hadn’t troubled to give it an English name, so Ross Christened it Melville Bay, after Robert Dundas, 2nd Viscount Melville, the First Lord of the Admiralty, the man who had given Ross his first commission and a son of Edinburgh (for whom Melville Street is named).
“Through the Ice, June 16 1818, Lat. 70° 44′ N.”, an illustration by Captain Ross
The were able to sail as far north as 75°55′, before becoming trapped in the ice at the start of August and could go no further. It was with a great deal of skill, hard work and luck that they were able to extricate the Isabella and the Alexander, and now headed west around the top of Baffin Bay. An illustration made by Captain Ross shows this desperate scene.
“Perilous Situation of the Isabella and the Alexander”, illustration by Captain Ross
Soon they were heading south again and on August 9th 1818, the Isabella and the Alexander came to what Ross called Prince Regent Inlet. Here, at 75°55′ North, 65°32′ West, and with the unique help of John Sakeouse, they made first contact with what Ross called the Arctic Highlanders: the native Inughuit.
It was the Inughuit who spotted them first. By the time Ross’s lookouts spotted them in return, they took these men far out on the ice to be stranded whalers, and made for them. As they approached, they realised that they were natives travelling on dog sledges. When they came within shouting distance, John attempted to call to them in his language, but the men took to their sleds and fled. Boats were sent out and some gifts left on the ice for them. Ross also had the men make up a large flag showing the image of the sun and the moon, with an outstretched hand holding a spring of a native shrub in the manner of an olive branch (this western metaphor would of course have been completely lost on them.) This was run up a pole in a prominent position on the ice, to which was also affixed a bag of gifts and a large outline of a hand pointing to the ships.
The next morning a larger party of men returned with 8 sleds, stopping on the ice a mile short of the ships. The flagpole enticed the men and their sleds closer, but they remained cautiously 300 yards distant, apparently in conversation. It was at this point that John stepped in. Taking a bag of gifts, and a white flag (another hopeless symbol for communicating with people who had never encountered white men before), John strode out on the ice. Dressed in the garb of a western sailor, they had no idea who he was, or what his act of removing his hat meant, and as he approached they pulled a knife on him, implored him to be on his way and made it clear that they could kill him if needs be. In return, the ever placid John offered them a British-made knife in his possession, tossing it to them. On examining it, the men were impressed and pulled their noses, a sign of friendship. John pulled his nose too, and a rapport was formed. John now presented them with a string of beads and showed them a chequered shirt. This was not just the first time the Inughuit had met white men, it was their first exposure to a Kalaaleq, a western Greenlander. After some initial difficulty, John recognised their dialect as one an old woman who once nursed him had spoken, and was slowly able to communicate. Using his natural talents and the tuition in Western art acquired from Alexander Nasmyth, John would paint a picture to capture this scene, presenting it to Captain Ross.
First Communication with the Natives of Prince Regent Bay, as John by John Sackheouse and Presented to Captain Ross, August10th 1818
John, wearing the blue jacket, with his arm held in a sling and wearing a beaver cap, is seen holding the chequered shirt while two Inughuit inspect the other gifts he has presented them with, one of whom may be holding up one of the mirrors with which they were presented and which caused them wonder and delight. In the foreground, Captain Ross and Lieutenant Parry offer other gifts, receiving narwhal tusks in return. Another man is arriving on his dog sled, and two others are in the distance admiring the ships and a boat which had been hauled onto the ice for repairs. The Inughuit had never before seen a ship; indeed they were not seafaring people, had never seen a kayak and had no word for it, living entirely on the land and using dog sleds for travel and hunting. So it was with some difficulty that they were eventually enticed aboard onto these winged “Islands of Wood” (they had never before seen a shrub with a trunk wider than your finger, so the ships timbers were an incredible sight for them). The men were given a tour of the ship, before being convinced to sit in chairs (something they had never seen and whose purpose they did not understand) to have their portraits taken. They were offered ships biscuit, salt beef, plum pudding and Aquavit, all of which they thoroughly disliked.
Ervick, one of the Inughuit who met the Ross Expedition in 1818, an illustration by Captain Ross
With John acting as interpreter, they were able to learn that the Inughuit did not count beyond ten, that their knives were fashioned from iron extracted from a rock in the mountains, that they lived in family units by a form of mutual agreement between the husband and wife, but had sent their women and children into the mountains to safety; the menfolk had come forth only to ask the interlopers to leave. They had a chief – Tulloowah – to whom other families gave a tribute. They had no organised religion, but each family had a “sorcerer” who could be called upon to commune with the weather or supplies of animals for food. They had no concepts of weapons or war, or of lands and people beyond their own. They assumed that the white-faced Europeans must be some sort of ghost whose ships had flown down from the air. Before leaving, the Inughuit were presented with planks of wood that they had expressed a desire in possessing.
The Inughuit returned a few days later on the 13th of August and again on the 14th. This was a different party than those they had met before, and had come forth after seeing the gifts that the first had returned with and having received assurances that the “Islands of Wood” and their ghostly residents were not an immediate threat. More gifts were exchanged, and the leader of the party helped himself to Ross’s telescope, shaving razor and a pair of scissors, which Ross was pleased to overlook. Before their final departure, Ross gave them a portrait of the Prince Regent as a present for “their king”.
They now pressed further south and west, coming to Lancaster Sound at 74°19½’ North 78°33′ west at the end of August where he took a fateful decision. Imagining that he could see distant mountains (they were actually a mirage), he was convinced that there was no way further through by sea and turned around against the wishes of his subordinate Parry. So convinved was Ross, that he named this distant range – the Croker Mountains – and made a detailed landscape illustration of them.
Lancaster Sound, as seen from HMS Isabella, 3PM, August 31st 1818. The distant range of the Croker Mountains was a mere mirage. By Captain Ross
Ross now headed south along the western edge of Baffin Bay, taking detailed meteorological and astronomical observations, collecting geological and animal specimens and otherwise occupying the expedition now with science rather than their stated goal of seeking the North West Passage. By the end of September they were at Resolution Island at 61°30′ North and well out of the Arctic Circle, and Ross decided to end operations for the season and head for home. A month later, on October 29th, they sighted Foula, the westernmost island of the Shetland Archipelago. On November 14th they dropped anchor for the last time, in Grimsby Roads, and Ross set off at once for London and their Lordships of the Admiralty with his logs, journals, charts and letters.
Ross, unfortunately, did not find the hero’s welcome that he might have imagined. Instead, his subordinate officers challenged his decision to turn around in Lancaster Sound, and Parry was vehemently and publicly sceptical of the grounds on which Ross made that decision. The Admiralty were convinced by Parry and his conspirators that Ross’s findings were not to be trusted, and they organised an expediction for the following year, led by Parry, and on which Ross was not invited. The press lampooned him, a particularly scathing satirical cartoon showing him pompously leading his crew, all mutilated by frosbite, carrying back nothing but specimens of animals and rocks. The implication was clear; Ross’s expedition had been a failure and the scientific results and objects he returned with were worthless.
Landing of the Treasures or Results of the Polar Expedition!!! By George Cruikshank © The Trustees of the British Museum
Ross publicly praised John Sakeouse as “very intelligent and willing to learn as well as being grateful to those who instruct him. A man on whom the utmost dependence may be placed“. The satirist – George Cruikshank – unfortunately did not treat him with the same respect and credit that he merited. Instead he showed him as a deeply racist stereotype, a savage called “Jack Frost”, carrying a narwhal tusk, wearing a fur skirt, and clutching an album of his drawings. The sailors to his right, on wondering “what will they do with Jack Frost“, suggest he should have his throat cut and be stuffed. This was a sad end to the important expedition, and a cruel way to dismiss the contributions of John Sakeouse, which no other man could have made.
John Sakeouse, shown as the savage “Jack Frost”.
John did not stay long in London, and asked to be returned to his friends in Leith. Parry – although contemptuous of Ross – recognised the importance of John and arranged that he should be included again in the 1819 expedition. Unfortunately this was never to be.
John took ill at the start of the year with “a violent inflammation in the chest“. John Newton, the whaling master who had first been convinced to bring John to Leith, and his family nursed John through his illness. At first he seemed to improve, and despite doctor’s orders to the contrary – soon felt well enough to venture out in the search of fish, which he brought back to his lodgings to cook for himself.
A few days later however, he had relapsed into fever. He told his companions that his late sister had come to him in a fever dream and called to him, and that he knew now that he was dying. Calling for his Catechism – in the Danish language that he had been tutored in by missionaries – he grasped it “till his strength and sight failed him, when the book dropped from his grasp, and he shortly afterwards expired“. All of Leith mourned his loss, and a respectful funeral was arranged in the Canongate Kirkyard and paid for by his friends. “He was followed to the grave by a numerous company, among whom were not only his old friends and patrons from Leith, but many gentlemen of high respectability in this city“. His final resting place is not marked, but was given as “in the area 8 feet south of Fraser’s ground and 4 feet from the north walk“.
Approximate location of the last resting place of John Sakeouse. © Self
His possessions, including his sealskin clothing, were left to Captain Ross, who donated them to the Museum of the University of Edinburgh.
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Angry Metal Guy @[email protected] · 2025-12-04 · 12:00 UTC

Skogskult – Skogskult Review
By Grin Reaper
Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.
Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.
Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.
Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.
Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025
#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

#acidking #blacksabbath #bonebagrecords #cultofluna #dec25 #doommetal
Angry Metal Guy @[email protected] · 2025-12-04 · 12:00 UTC

Skogskult – Skogskult Review
By Grin Reaper
Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.
Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.
Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.
Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.
Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025
#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

#acidking #blacksabbath #bonebagrecords #cultofluna #dec25 #doommetal
Bryan King @[email protected] · 2026-02-19 · 12:30 UTC
I’ve Spent My Whole Life Refusing to Break, and It’s Slowly Breaking Everything I Love

8,993 words, 48 minutes read time.
They call me “the rock” at work.
At first, I thought it was a joke. Some intern started it during a brutal deadline last year. Half our team was losing it, one guy had a full-on meltdown in the stairwell, and I just… didn’t. I stayed late, knocked out my part, kept my voice even, answered questions, didn’t yell. Next day in standup, the intern goes, “Ask the rock, he never cracks,” and everyone laughed.
But it stuck.
Now my manager calls me that. “Put it on Matt’s plate, he’s a rock.” People say it like a compliment. Like it’s this badge of honor, being the guy who doesn’t flinch, doesn’t cry, doesn’t panic.
I pretended I didn’t like it. “C’mon, I’m just doing my job.” But I liked it. A lot. It felt like proof I’d finally escaped where I came from.
Growing up, the only thing worse than being poor in our neighborhood was being soft. I remember one time, I was probably eight or nine, playing basketball in the driveway, and I tripped. Scraped my knee so bad the skin just peeled back. I started crying, like loud ugly kid-crying—snot, hiccups, the works.
My dad walked out, looked at me, then at my knee, then back at me.
“You done?” he said.
“It hurts,” I blubbered.
He shook his head. “It’s a scrape, not a bullet. Stop crying, be a man.”
He went back inside. That phrase seared itself into my brain: Stop crying, be a man. I stopped crying. Not just that day. In general.
Whole life since then has been me trying to prove I listened.
So yeah, “the rock” fits.
What nobody at the office knows is I had to lock myself in a stall in the men’s room last week because my heart was racing so hard I thought I might pass out. I sat on the toilet lid, head in my hands, breathing like a woman in labor, trying not to make a sound because God forbid someone hears me having a panic attack.
Rocks don’t hyperventilate in bathroom stalls.
But that’s kind of my thing: feel something, shove it down, slap a lid on it, move on. I’m a professional at it now.
Church people call it “being strong.” Clinical people call it “emotional repression.” I just call it survival.
My wife, Emily, calls it “shutting down.” She says it calmly, like she’s reading a weather report, but her eyes get that glossy look that tells me I’m supposed to say something deep right there. I never do. I go for safe. Joke. Change the subject. Or pull the nuclear option: “I’m just tired, can we not do this right now?”
Which is basically our marriage in twelve words.
We’ve been married nine years. We have a seven-year-old daughter, Lily, who looks exactly like Emily except with my eyebrows, which feels unfair to her, but whatever. We met in college at some Christian campus thing I only went to because there were free burritos. She saw through most of my crap from day one, which I think is why I married her and also why I can’t stand her sometimes.
She’s a feeler. Like, professionally. She does counseling with teens at a nonprofit. She comes home wrecked from some kid’s story and wants to sit on the couch and process it for an hour. She cries at TV commercials. She said “I feel” more in the first month I knew her than my dad probably has in his entire life.
First time she cried in front of me, I freaked out internally. Panic, sirens, red lights. Externally, I was smooth. I put my arm around her, said all the right words. I didn’t know what I was doing, but she looked at me like I’d just parted the Red Sea. “I feel safe with you,” she said.
I should’ve told her then: “I don’t do feelings. I just do rescue.” But I liked being the safe guy. The rock.
Now, nine years in, that “safe” guy has turned into something else. A wall. A locked door. A black hole.
She sits at our kitchen table some Tuesday night, wine glass in hand, staring at me over a half-eaten plate of chicken and rice.
“You’re not here,” she says. “I mean, you’re physically here, but you’re not here.”
“I’m literally sitting right in front of you,” I say, stabbing a piece of chicken. “What do you want, a hologram?”
She doesn’t laugh. “Matt, I’m serious. I don’t know what you’re feeling. Ever. I don’t know when you’re scared. Or angry. Or sad. I can’t read you anymore. It’s like there’s this glass wall. I can see you, but I can’t reach you.”
I chew slowly to give myself time. Classic tactic. Delay, defuse, divert.
“I’m just tired,” I say. “Work’s a lot. Dad’s situation’s a lot. This is just… a season.”
Her jaw tightens at the word “season.” She hates Christian clichés, and I use them like shields.
“You said that last year,” she says. “And the year before. ‘It’s just a season.’ When does this season end, Matt? When you burn out? When we’re divorced? When Lily’s grown and doesn’t even bother to call you?”
“Wow,” I say, forcing a laugh. “Okay, that escalated.”
That’s another move: if I make her feel dramatic, I get to feel sane.
She takes a breath, looks down at the table. “I’m asking you to let me in,” she says, softer. “Talk to me. Tell me when you’re drowning instead of pretending you’re fine. You don’t have to be the rock, Matt. Not with me.”
There’s this moment where I actually feel it—the opening, the offer. Like a crack in the armor. I could tell her about the bathroom stall. About how sometimes at two in the morning my heart’s pounding like I’m on mile ten of a run and I can’t sleep, so I scroll my phone until my eyes burn. About the weird chest tightness that makes me think of my dad in the hospital, tubes and machines and beeping, and how I’m still that kid in the driveway trying not to cry.
I even start to say it. “Sometimes at work I—”
The words get stuck in my throat. There’s this primal shame that hits like a wave. If I say it out loud, it’s real. If she hears it, she’ll see I’m not a rock. I’m a scared dude in a grown man’s clothes with a half-charged iPhone and a Bible app he barely opens.
I clear my throat. “Sometimes at work I just need to, like, zone out, you know? Nothing crazy. I just power through.”
She watches me. She knows I pulled up right before the truth. I can see it in her eyes, that flash of disappointment before she buries it. She nods like she’s trying to accept the crumbs.
“Maybe we should go to counseling,” she says.
And there it is. The one word I refuse to let into my story.
“We’re not that bad,” I say, way too fast. “Counseling’s for people who are… like… actually falling apart. We’re just in a stressful patch. Money’s tight, work’s nuts, your job is heavy, my dad almost died. We don’t need to pay someone a hundred and fifty bucks an hour to tell us what we already know.”
“That’s not what counseling is,” she says.
I shrug. “You’re a counselor, obviously you’re pro-counseling. But I—what would I even say? ‘Hi, I’m Matt, things are fine, my wife just wants me to cry more’?”
She closes her eyes like my words physically hurt. “This isn’t about crying,” she says. “This is about you. Letting. Me. See. You.”
“I married you, didn’t I?” I say. “You see me. This is me.”
That’s the line I always throw out when I want to shut the conversation down—“This is just who I am.” It sounds like honesty, like self-awareness, but really it’s defense. A way of saying, “I’m not changing.”
She stares at me for a long time. Then she gets up, takes her plate to the sink without another word.
I tell myself she’s being emotional. That she’ll calm down. That it’s not that bad. That I’m not that bad.
That night, after she goes to bed, I sit on the couch with my laptop. I tell myself I’m going to do a little work, get ahead of tomorrow. Ten minutes in, I’m already opening a second browser window.
It’s funny how my brain knows the path without thinking. A couple keystrokes, a few clicks, and there it is: curated, pixel-perfect nakedness. I scroll, numb. That’s really what it is. Not lust so much as anesthesia. My own private pharmacy.
I justify it. I’m not sleeping with anyone else. I’m not on Tinder. I’m not at a bar hitting on girls who call me “sir.” This is safe. It’s victimless. It’s just… stress relief. And if I ever tried to talk to Emily about how I actually feel, I’d probably scare her. This way, I take care of it myself.
Self-sufficiency, right? That’s what being a man is. Handle your own crap.
I close the laptop an hour later feeling gross, but the guilt is dull. Familiar. Easy to ignore. I tiptoe into the bedroom. She’s already turned away from my side, curled in a C-shape near the edge. I slide into bed, careful not to touch her too much, in case she wants space. Or in case she doesn’t, because if she turns toward me, I might have to be present.
In the dark, my phone buzzes on the nightstand. I check it. It’s Marcus.
You good, man?
Marcus is my one semi-real friend from church. Taller than me, quieter. Used to be a cop, now does security at a hospital. He’s the kind of guy who actually listens when you talk. Like, fully. It’s unnerving.
He’s the only one who’s ever looked me in the eye and asked, “How’s your heart?” without smirking. I laughed when he said it the first time. “Bro, what are we, in a Nicholas Sparks movie?” He smiled, but he didn’t take it back.
I stare at his text for a second. My thumb hovers over the keyboard.
I’m fine, just tired, I type.
I delete “just tired.” It sounds weak. I send: I’m good. Busy with work. You?
The truth would be: I’m not sleeping, my wife wants to send me to counseling like I’m broken, I spent an hour watching porn to avoid feeling anything, and my chest hurts more days than not. Also sometimes I want to just drive until I run out of gas and start over somewhere no one knows I’m supposed to be “the rock.”
He replies: Same. Let’s grab lunch this week. Been thinking about you.
Cool, I send. Let me know when.
I set my phone down and roll onto my back, staring at the ceiling in the dark. Some random verse I half-remember from a sermon floats through my brain: “The Lord is close to the brokenhearted.”
I snort quietly. I’m not brokenhearted. I’m just busy.
Work does not care about your feelings. My manager, Jeff, cares about deliverables and client satisfaction scores and how many hours the team can bill without triggering HR. There’s a massive software deployment next month. If we nail it, it’s big for the company. If we blow it, we lose a multi-million-dollar client. No pressure.
We shuffle into the conference room for yet another war room meeting. Screens everywhere, coffee cups, people with that glazed “I’ve been on Zoom for 12 hours” look in their eyes.
Jeff slaps my back. “How’s my rock?” he says, grinning.
“Ready to roll,” I say.
“Good, because if this thing slips again, I’m gonna have to start sacrificing junior devs to the client gods.”
Everyone laughs. I do too, even as that familiar tightness creeps into my chest. I tell myself it’s just caffeine. I’ve had three coffees and a Red Bull. Anyone’s heart would pound.
Halfway through the meeting, someone mentions layoffs. Not directly, but hints. “If this doesn’t go well, upper management’s gonna be asking hard questions.” Translation: people will get cut. People like me. People like the guy who had a meltdown in the stairwell last year and mysteriously “transitioned to new opportunities” two months later.
Rocks don’t get laid off. Weak links do. If I crack, I’m a liability.
My phone buzzes. It’s a text from my mom: Dad had another episode. Doctors want to run more tests. Can you come by tonight?
I swallow, staring at the message.
You okay? Jeff says, noticing my face.
“Yeah,” I say quickly. “Family stuff. I’m good.”
I tuck it away. Mental note: hospital. Later. After being the rock at work, I get to be the rock for my mom. Then maybe, if I have any energy left, I’ll toss Emily a pebble and call it connection.
During a break, I slip into the men’s room. I splash water on my face. As I look up, my reflection stares back at me. Thirty-six, a little more gray at the temples than I’d like, dark circles under my eyes. But my expression is neutral. Controlled. Rock-solid. You’d never know that inside, there’s this constant hum of static.
My chest tightens again. The room tilts for a second. I grab the edge of the sink.
Not now. Not here.
I duck into a stall before anyone walks in, sit on the lid, elbows on my knees, hands over my face. Breathe. In. Out. In. Out. I count my breaths. I feel ridiculous, a grown man hiding in a toilet cubicle trying not to pass out.
Somewhere behind the stall door I hear my dad’s voice: Stop crying, be a man.
“I’m not crying,” I mutter. “I’m breathing.”
Same thing, really. Trying to keep the dam from breaking.
I think, briefly, of all the verses I’ve heard about not being afraid. “Do not be anxious about anything.” “Fear not.” “The Lord is my rock.” It’s funny how I’ve basically replaced God with my own chest. My own calm face. Like, I’m my own Lord and rock. That’s not how I’d say it out loud, but that’s how I live.
After work, I swing by the hospital. Dad’s sitting up in bed, watching some game show with the sound off, wires stuck to his chest. Mom’s in the chair by the window, hands folded, Bible open but unread on her lap.
“Hey,” I say, stepping in. “How’s the party?”
Dad grunts. “Food sucks.”
“That’s how you know it’s a real hospital,” I say. “If they start serving steak, you should worry.”
He smirks. Mom gives me a tired smile. I do the thing I always do in hard rooms: crack jokes, keep it light, distract from the elephant.
“How you feeling?” I ask, even though I can read the chart as well as he can.
“Old,” he says. “Doctors say it’s not as bad as last time. Just gotta ‘take it easy.’ Whatever that means.”
“You gonna listen?” I ask.
He snorts. We both know he won’t. Men in my family don’t “take it easy.” We work until something breaks, then we duct tape it and keep going.
Mom looks at me like she wants to say something spiritual. She’s the only one in our family who does feelings out loud, but years married to my dad trained her to make them small.
“Been praying Psalm 34,” she says softly. “You know that one, honey? ‘The Lord is close to the brokenhearted and saves those who are crushed in spirit.’”
She says it like it’s comfort, a warm blanket. I hear it like an accusation. Brokenhearted? Crushed? That’s not allowed. Not for men like us. We’re not brokenhearted, we’re just… busy. Tired. Overworked. Slightly malfunctioning machines.
“I like the one about ‘those who don’t work don’t eat,’” Dad says. “Keeps you honest.”
I laugh, grateful for the deflection.
Mom sighs. “Your father,” she says, half-affection, half-frustration.
On the drive home, the verse keeps replaying in my head. “The Lord is close to the brokenhearted.” If that’s true, then what does that mean for me? Because most days, God feels about as close as the moon. Beautiful, in theory. Useless, in practice.
Maybe the problem is I’m not brokenhearted enough. Or maybe that’s just another way to blame myself for something I don’t understand.
Thursday night is men’s group. I go mostly because it looks good. A married Christian dad who skips men’s group raises eyebrows. A married Christian dad who shows up, brings chips, cracks jokes, and nods thoughtfully during prayer requests gets approved.
We meet in the church basement, twelve guys in folding chairs in a sad circle under fluorescent lights that make everyone look tired and slightly dead. There’s the usual spread: chips, store-brand cookies, a veggie tray no one touches, and a big pot of coffee because apparently we’re all eighty.
Our leader, Dan, is a big guy with a beard that makes him look like a gentle lumberjack. He opens in prayer, then reads a short passage.
“Tonight,” he says, “I thought we’d just… be honest. No study guide. No video. Just us, talking about what’s real.”
That sentence alone makes my skin itch.
He reads Psalm 34:18. Of course. The Lord is close to the brokenhearted and saves those who are crushed in spirit.
I feel it in my chest, right where the anxiety sits. The words are like a hand hovering over a bruise.
Dan looks around. “Who here would say they feel brokenhearted right now?” he asks. “Crushed in spirit? Not in theory. Right now.”
One guy laughs nervously. A couple shift in their chairs. I take a sip of coffee to buy time. No way I’m raising my hand. Brokenhearted is for widowers and addicts and cancer patients. Not white-collar project managers with upgraded iPhones and a leased SUV.
To my left, Jason clears his throat. He’s usually one of the louder guys, all stories about sports and his glory days playing college ball. Tonight, he looks smaller.
“I, uh…” He stares at the floor. His voice cracks. “My wife left last month. Took the kids. I haven’t told anyone ’cause… I’m embarrassed, I guess. I feel like I failed. I’ve been using porn for years. Said I’d stop a hundred times. Didn’t. She found stuff on my phone and just… had enough.”
The room goes quiet. My stomach twists. I keep my face still.
He keeps talking, words spilling now. “I always thought I had it under control, you know? Like, it was my thing. My stress relief. Better than cheating. That’s what I told myself. But she said it was cheating. She said I was choosing pixels over her. I don’t even… I don’t know how to live in my own skin right now. I feel… crushed. I don’t know how else to say it.”
Tears slide down his face. Full-grown man, shoulders shaking, crying in a church basement under bad lighting. Every alarm in my body goes off. Run. Joke. Change the subject.
Instead, something weird happens. Dan gets up, walks over, puts a hand on his shoulder. Another guy kneels and starts praying softly, nothing fancy, just, “God, be close. Help him.” No one mocks. No one rolls their eyes. A couple other guys are wiping their faces too.
I feel this pressure rising in my throat. It scares me more than any panic attack.
This could be you, a voice in my head whispers. You could talk. You could tell them about the stall, the late nights, the way your wife looks at you like a stranger. You could say you’re not okay. You could stop playing the rock.
I picture it for a second. Me, opening my mouth, saying, “Guys, I’m not fine. I’m addicted to being okay. And to porn. And to people thinking I have it together. My wife wants to leave and it’s mostly my fault.” I imagine their faces, their hands on my shoulder, the prayers. I imagine God feeling near instead of abstract.
My heart starts hammering. My palms sweat. My knee bounces.
Dan looks around. “Anybody else?” he says gently. “You don’t have to share. But if you want to, this is a safe place.”
Everyone’s eyes are suddenly the most interesting thing in the room. Shoelaces. Coffee cups. The scuffed tile. No one wants to be next.
I clear my throat.
“I mean…” I say, forcing a smirk. “My biggest sin is I eat too many carbs. So, uh, pray for me, guys.”
A few chuckle. The tension breaks a little. Dan gives me a half-smile that doesn’t quite reach his eyes.
Inside, I want to punch myself. That was my out. My shot. I could have been honest. Instead, I threw a joke at the most honest moment I’ve seen in years like a grenade.
The rest of the night passes in a blur of surface-level shares. Work stress. Kids. “I should read my Bible more.” I mumble something about being busy. When we close in prayer, I mumble a safe Christian phrase: “God, thank you that you’re strong when we’re weak.” It sounds holy. It’s a lie coming from my mouth.
After group, as we’re heading to our cars, Marcus falls into step beside me.
“You okay?” he asks.
“I’m good,” I say automatically. “That was… heavy, huh?”
He studies me. “Yeah. But good heavy.” He pauses. “You sure you’re okay? You were twitchy during prayer.”
“Twitchy?” I scoff. “Bro, I had too much coffee. That’s all.”
He doesn’t push. “If you ever want to talk,” he says, “for real… I’m here. No judgment. None of us are as put-together as we look. You know that, right?”
I shrug, unlock my car. “I’m fine, man. Seriously. Just tired.”
That night, Emily’s on the couch when I get home, laptop closed, TV off. That’s never a good sign.
“How was group?” she asks.
“Good,” I say, dropping my keys in the bowl. “You know. Guys. Bibles. Bad coffee.”
“Did you share anything?” she asks.
I bristle. “What is this, a report card?”
She folds her hands. “I just… you’ve been off. For a while. I was hoping you’d talk to someone.”
“Talked to God,” I say. “That counts, right?”
She does that slow blink that means she’s trying not to explode. “You know what I mean.”
I do. I ignore it. I sit in the chair across from her instead of next to her on the couch. It’s a distance of three feet that feels like thirty miles.
She takes a breath. “I called a counselor,” she says.
Something in me snaps. “You what?”
“I called a counselor,” she repeats, voice shaking slightly but steady. “For us. For our marriage. Her name is—”
“We don’t need—”
“—Sarah Stevens,” she says, talking over me, which she almost never does. “She’s highly recommended. She has experience with couples where one partner is emotionally unavailable.”
“Emotionally unavailable,” I repeat, like it’s a slur.
“That’s what you are, Matt,” she says, and now the tears are in her eyes. “You’re unavailable. I’m married to a ghost. You show up physically, you pay bills, you fix things when they break, but you don’t let me see you. I feel like I’m begging you to be my husband.”
My defenses go up so fast I’m dizzy. “That’s not fair,” I say. “I go to work every day. I come home. I spend time with Lily. I go to church. I go to your family stuff even when I don’t want to. I provide. I don’t cheat. I don’t hit you. I don’t drink myself stupid. I’m doing everything I’m supposed to do and somehow it’s not enough because I don’t sit around talking about my feelings?”
“You don’t talk about anything real,” she says. “Do you know how alone I feel? I would almost rather you scream at me than stay like this. At least then I’d know there’s something in there.”
“That’s insane,” I say, standing up. “You’d rather I scream at you?”
“I’d rather you be honest,” she fires back.
I pace. “Fine. Here’s honest: I don’t want to sit in a room with some stranger and have you list all the ways I suck while she nods and takes notes.”
“That’s not—”
“I’m not doing it,” I say. “I’m not broken. We’re not broken. We’re just stressed.”
“And I’m telling you we are broken,” she says, standing now too, voice rising. “We are so broken, Matt. I’m drowning over here. I lie awake next to you at night and I feel like a widow before I’m even forty.”
The widow line hits harder than I want to admit. My mom in that hospital chair, Bible open, eyes tired. Is that Emily’s future?
I can’t go there. Too much. Shut it down.
“This is drama,” I say, dismissive. “You’re making it worse than it is.”
Her mouth falls open. “Drama,” she repeats. “Okay.”
She walks past me, into the bedroom. I hear drawers opening, the squeak of the closet door. A minute later she comes out with a duffel bag. She starts throwing clothes in it. T-shirts, jeans, underwear, random stuff. No method, just motion.
“What are you doing?” I ask, stomach dropping.
“Going to my sister’s,” she says. “For a while.”
“You’re leaving,” I say, like I can’t process the words.
“I’m not filing for divorce,” she says. “Yet. I’m giving you space. And I’m giving myself a chance to remember what it’s like to breathe.”
“Emily, come on,” I say, moving toward her. “You’re overreacting.”
She stops packing, looks up at me, and laughs. It’s a bitter sound I’ve never heard from her before.
“You keep saying that,” she says. “Anytime I tell you I’m hurting, I’m ‘overreacting.’ Anytime I say we need help, you say I’m ‘making it worse than it is.’ I’m done gaslighting myself into thinking I’m crazy. This is real, Matt. I’m leaving because you already have. You left a long time ago. You’re just… physically present.”
“That’s not fair,” I repeat, because I don’t have any other words.
She zips the bag. “I’m giving you one more chance,” she says, voice trembling. “You call that counselor. You set up an appointment. You show me with actions, not words, that you’re willing to be vulnerable. To let me in. To let anyone in. If you don’t… I don’t know if there’s anything left to save.”
She walks past me, bag over her shoulder. She stops at Lily’s door, pushes it open. Our daughter’s asleep, sprawled sideways, stuffed unicorn under one arm. Emily kisses her forehead, whispers something I can’t hear.
“I’ll bring her back Sunday night,” she says quietly when she returns. “You can have the weekend to… think.”
“What am I supposed to do?” I ask, hating how small my voice sounds.
She meets my eyes. “Stop pretending you’re okay,” she says. “That’d be a start.”
The front door closes behind her. The house is dead quiet.
I stand in the middle of the living room, staring at the door like it might swing back open and she’ll say, “Kidding!” But it doesn’t. She doesn’t.
Instead of collapsing, I do what I always do: I make a list. Dishes. Laundry. Trash. Budget. I straighten the cushions on the couch, because God forbid a pillow be crooked while my marriage implodes.
Later that night, I get a text from Marcus.
Heard Emily and Lily are staying with her sister. You want company?
My heart stutters. News travels fast in church circles.
I stare at the screen. I picture Marcus on my couch, looking at me with those annoyingly kind eyes, asking questions I don’t want to answer. What are you afraid of? How are you really? When did you start disappearing?
I type: Nah man, we’re fine. Just needed some space. Couples fight, you know.
I delete “we’re fine” because even I can’t make my thumbs lie that hard. I send: Just needed some space. All good.
He replies immediately. You sure? I can be there in 15.
I put the phone face down on the coffee table. I pace. I pick it up again.
Come, I type. I delete it.
I’m not sure what I’m more afraid of: him seeing the stack of dirty dishes and empty wrappers that prove I’m not as together as I act, or him seeing through whatever story I spin and calling me on it.
I finally send: I’m good bro. Exhausted. Rain check?
Three dots appear, disappear. Finally: Okay. I’m here if you need me. For real.
I toss the phone onto the couch like it burned me. I grab my laptop instead.
By 1 a.m., the house is dark, the only light the blue glow of my screen. Pop-up after pop-up, tab after tab. My brain is buzzing, my body’s numb. I tell myself it’s better than thinking. Better than feeling. Better than sitting in the silence and hearing my own excuses bounce off the walls.
When I finally crash into bed, the sheets on her side are still warm from when she packed.
The next morning, Lily’s empty room hits me harder than I want to admit. Her bed is made (Emily’s doing), stuffed animals lined up, tiny socks in the hamper. I stand in the doorway, an intruder in my own house.
I go to work like nothing happened. Because that’s what you do. You compartmentalize. You put on the rock mask. You get stuff done.
My performance drops, though. It’s subtle at first. I miss a detail here, forget an email there. Nothing huge. But in this job, death comes by a thousand paper cuts.
A junior dev, Sarah, points out a flaw in my plan in front of the team. Normally, I’d thank her, adjust. Today, raw and sleep-deprived, I snap.
“Maybe if you’d read the full spec before chiming in, you’d understand why we did it this way,” I say, harsher than I mean to.
The room goes quiet. She shrinks back, face flushing. Jeff raises an eyebrow at me.
“Let’s take this offline,” he says.
After the meeting, he pulls me into his office.
“You good?” he asks.
“I’m fine,” I say automatically.
He leans back, folds his arms. “Look, I don’t need to know your personal business. But you bit Sarah’s head off in there. That’s not like you.”
“Sorry,” I say. “Just… a lot going on at home.”
“Take a day,” he says. “Or a few. Whatever you need. This project’s important, but not as important as you not burning out.”
The irony of my boss telling me not to burn out while I’m actively burning out isn’t lost on me.
“I’m good,” I repeat. “I just need to focus.”
He studies me for a second. “You know,” he says slowly, “you don’t always have to be the rock.”
I actually laugh. “You started that, remember?”
He smiles. “Yeah. Turns out sometimes rocks crack. Just… don’t wait until you blow up to tell someone you’re drowning, okay?”
Everyone keeps using the same metaphors. Drowning. Burning out. Breaking. I keep dodging them like bullets in a video game. If I just keep moving, they can’t hit me.
Days blur. Emily and I text logistics about Lily. Pickup times, homework, dentist appointments. Nothing real. It’s like running a small business together instead of a marriage.
One Friday, I’m supposed to pick up Lily at four for her school’s little talent show thing. She’s been practicing a silly dance for weeks, making me watch it every night I had the energy to pretend I was watching. “You’re coming, right, Daddy?” she asked. “You promise?” I promised.
Friday afternoon, I’m sitting at my desk, headphones in, trying to yank my brain through a spreadsheet, when a familiar tightness clamps my chest. I take a breath. Another. It doesn’t let up. My vision goes a little fuzzy at the edges.
I check the clock. 3:50. If I leave now, I can make it.
I tell myself: Just one more email. Just fix this one thing. Then go.
I look up again and it’s 4:27.
“Crap,” I say aloud, ripping my headphones off. I grab my bag, half-run to the elevator, curse at the slow doors, sprint to my car.
On the drive, my phone buzzes with texts. I don’t check them. I don’t want to see.
I pull into the school lot at 4:58, heart pounding. I jog toward the auditorium. It’s emptying. Parents filing out, kids with glitter on their faces and handmade certificates.
Emily stands near the doors with Lily. Lily’s in a sparkly shirt, hair in two lopsided pigtails, holding a crumpled ribbon. Her eyes are red. When she sees me, her face does this thing—lights up, then falters, like she’s trying to decide whether to be happy or mad.
“Hey!” I say, forcing cheer. “I’m so sorry, traffic was—”
“Traffic?” Emily says, voice flat. “Show started at four.”
“I know, I just—work ran late and—”
“You promised,” Lily says quietly. That hurts way worse than Emily’s tone.
“I know, bug,” I say, kneeling. “I’m sorry. How’d it go?”
“Fine,” she says, shrugging, looking at her shoes. The word is a knife. It’s my own word coming back to kill me. I’m fine. We’re fine. Everything’s fine.
“Mom filmed it,” she adds. “You can watch it later.”
It’s an offer. A consolation prize. I hate myself for being the kind of dad who has to watch his daughter’s life on a screen because he can’t show up when it counts.
“Yeah,” I say. “I’d love to.”
Emily just looks at me. No lecture. Somehow, that’s worse.
On the drive back to my place, Lily hums a bit of her song in the backseat. I grip the steering wheel so hard my knuckles go white. I want to cry. The feeling is so foreign it scares me. I swallow it. It goes down like a rock.
That night, after I drop Lily back at her aunt’s, I sit in my dark living room alone. The quiet isn’t peaceful. It’s accusatory.
On the coffee table, my Bible sits under a pile of mail. I don’t remember the last time I opened it for me, not for a group or to find a verse to toss at someone else.
I push the mail aside, flip it open randomly. It lands in Psalms. My eyes fall on familiar words like they’re highlighted just for me:
“The Lord is close to the brokenhearted and saves those who are crushed in spirit.”
No escape this time. No sermon. No small group. Just me and a sentence that won’t shut up.
I stare at the page until the letters blur. Something in my chest finally gives. Not a big cinematic break, just a tiny hairline crack.
“Okay,” I whisper. “Fine. I’m… not okay.”
The words feel like ripping duct tape off my soul. My throat burns. My eyes sting. My body, not used to this, fights it. But my arms suddenly feel too heavy to hold up. I slide off the couch onto my knees without meaning to, Bible still open on the cushion.
“I don’t know how to do this,” I mutter. “I don’t know how to be… brokenhearted. Or whatever. I don’t know how to…” I wave a hand vaguely, like God needs me to pantomime emotions.
Tears spill over. Real ones. First time in… I honestly can’t remember. Maybe when Lily was born. Maybe before that.
It feels… ridiculous. A grown man, kneeling by his IKEA couch, crying into old carpet. I half-expect lightning to strike or a worship band to appear in my hallway. Instead, it’s just me and my ragged breathing and an almost-tangible sense that something—Someone—is near.
For a second, I actually feel it. Like a warm weight on my shoulders. An invisible Presence sitting in the mess with me. Not fixing it. Just… close. The verse slams into my chest again: The Lord is close to the brokenhearted.
Maybe this is what they mean. Maybe all the sermons and testimonies and emotional people with their arms raised weren’t just making it up. Maybe God actually shows up in the raw places. Not the polished, rehearsed testimonies, but the ugly middle.
“Okay,” I whisper again. “I’m scared. Is that what you want me to say? I’m scared my dad’s gonna die and I won’t know how to grieve. I’m scared my wife’s never coming back. I’m scared I’ve already ruined my daughter’s life. I’m scared if people see how weak I am they’ll lose respect for me. I’m scared you’re not actually here and I’m just talking to my furniture.”
It all comes out in a rush. Confession, sort of. Not the respectable kind you share in group. The embarrassing kind.
For about thirty seconds, it feels like the safest place in the world.
Then, just as quickly, another voice kicks in. Not literal, not demonic, just… me. The old script.
Stop crying, be a man.
Crying won’t fix your marriage. Emotions won’t get you a raise. Vulnerability won’t put food on the table. You’re kneeling on a stained carpet, talking to someone you can’t see, while your actual life is on fire. Get up. Be practical. Make a plan. God helps those who help themselves. (Which, by the way, isn’t in the Bible, but I quote it like it is.)
I scrub my face with my hands, annoyed at the dampness. The Presence I felt a moment ago suddenly feels distant again. Or maybe I just pushed it away.
“Yeah, okay,” I say out loud, like I’m closing a meeting. “That was… something.”
I stand up, legs stiff. The room looks the same. Couch. TV. Empty picture hooks where our family photo used to hang before Emily took it. No angels. No burning bush. Just my stupid, beating heart and the hum of the fridge.
My phone buzzes on the table. It’s a notification from some Bible app I downloaded months ago and never use: “He heals the brokenhearted and binds up their wounds. – Psalm 147:3”
The timing is creepy. Or perfect. Or both.
I hover over the notification, feel the temptation to sink back down, to lean in, to actually let myself be wounded in front of God. To admit that I’m not just “off” or “tired” but actually… broken.
Instead, I swipe the notification away.
“I don’t have time to fall apart,” I mutter.
I open a browser and type the same old sites into the search bar. The algorithm knows me well. It feeds me what I want: distraction. Control. A world where nakedness is scripted and no one expects anything from me.
Later, in bed, I stare at the ceiling and tell myself I’ll call the counselor tomorrow. Or the day after. Or after this project. Or after Dad’s next appointment. Or after Emily gives me another ultimatum. There will always be a better time to be honest than now.
Months pass.
The project at work launches. It’s not a disaster, but it’s not the triumph it could’ve been. My performance review is “meets expectations” with a few pointed notes about “needing to delegate better” and “watching interpersonal tone under stress.” Translation: You’re slipping, man.
I don’t get fired. I also don’t get the promotion I’d been quietly gunning for. Jeff gives the lead on the next big project to Sarah—the junior dev I snapped at.
“She’s showed a lot of initiative,” he tells me in his office. “And you, honestly… you seem like you’ve got a lot on your plate. Thought this might be a good time for you to take a step back, catch your breath.”
Step back. Catch my breath. It’s like there’s this conspiracy in the universe to get me to stop pretending I’m okay.
I nod, say the right things. “Totally understand. Happy for her.” Inside, I feel humiliated. Replaced. Useless.
I don’t tell Emily. We barely talk beyond logistics anyway. The counselor’s number is still on a sticky note on my fridge. I move it occasionally when I wipe the counters. I’ve memorized the digits without ever dialing.
Lily spends every other weekend with me. We do what I think dads are supposed to do. We go to the park. We get ice cream. We watch movies. I make sure she’s buckled in right and that she brushes her teeth. I tell myself that’s enough. That love is mostly showing up and making sure they don’t die.
But sometimes, when she’s coloring at the table or building something with Legos on the floor, she’ll look up and just… watch me. Like she’s trying to figure out something she doesn’t have the words for yet.
One Sunday, as I’m dropping her back at her aunt’s place, she hugs me tighter than usual.
“Daddy?” she says into my shirt.
“Yeah, bug?”
“Are you sad?”
The question catches me off guard. I pull back, look at her small face. Her eyes are big, searching.
“Why do you ask?” I say.
“You look sad,” she says simply. “And Mommy looks sad. And Aunt Claire says it’s okay to be sad. But you always say you’re fine.”
The word stings again. Fine. My mask.
“I’m okay,” I say automatically.
She tilts her head. “It’s okay if you’re sad,” she says. “I won’t be scared.”
I should say it. Right there. To my seven-year-old. “Yeah, I’m sad. I miss you when you’re not here. I miss Mommy. I’m scared I messed up.” That would be vulnerability. Not oversharing, just honesty.
Instead, I pat her shoulder. “Don’t worry about me, kiddo,” I say. “That’s my job. To worry about you. You just be a kid, okay?”
She nods slowly, like she’s filing away data for later. “Okay,” she says. “I love you.”
“I love you too,” I say, and it’s the one thing I’m absolutely sure of.
After she runs inside, I sit in my car and grip the steering wheel. I feel like I’m standing on the edge of a cliff, staring down at a body of water that might save me or drown me. The jump is admitting weakness. The cliff is made of all the years I spent being told that men don’t cry, don’t talk, don’t crack.
I don’t jump.
Instead, I drive to church.
It’s easier to go when I don’t have Emily giving me side-eye during worship because I’m scrolling my phone under the seat. I can just show up, say hi to people, drink bad coffee, sing words I barely think about, nod through another sermon about some aspect of the Christian life I’m supposedly living.
Today, though, the pastor does something different. He doesn’t preach. He brings a guy up to share his story.
The guy is in his forties, shaved head, tattoos, looks like he could bench-press me. He takes the mic, clears his throat.
“I used to think being a man meant never showing weakness,” he says. My spine goes rigid. “My dad was old-school. ‘Quit crying, tough it out,’ that kind of thing. I brought that into my marriage, my friendships, even my faith. I believed in Jesus, but I didn’t actually trust Him with anything that made me look bad. Or weak.”
People chuckle. I don’t.
He talks about an affair. About losing his job. About almost losing his kids. Then he talks about the night he finally broke down on his kitchen floor, sobbing, telling God he was done pretending. How Psalm 34:18 popped into his head—“The Lord is close to the brokenhearted”—and how, for the first time, he actually felt it.
“I thought vulnerability would make me lose respect,” he says. “But hiding was what was killing me. My secrets hardened my heart. I was a shell. It wasn’t until I got honest—with God, with my wife, with some guys from this church—that anything changed.”
The sanctuary is dead quiet. People are leaning in. A couple of visibly tough dudes are wiping their eyes. I sit there, arms crossed, jaw clenched.
He keeps going. “I still struggle with pride. I still want to put on the strong face. But I’ve tasted what it’s like to let people see the cracks. And I’ve tasted what it’s like to have God meet me there, not when I’ve got it together but when I’m a mess. And I’ll tell you this: there’s more life in that than in all the years I spent playing the rock.”
Somewhere deep inside, something in me is nodding. Yes. That. Do that. Say something. Move.
I don’t.
After service, people swarm him. Thank you for sharing. That was powerful. I walk past, give a noncommittal nod. Inside, I’m seething. Not at him. At myself. At the distance between what I know is true and what I’m willing to live.
In the parking lot, my phone buzzes. Marcus again.
How are you really?
There’s that word. Really.
I stand in the cold air, thumb hovering.
I’m falling apart but pretending I’m not, I type. I delete it.
I’m tired, I type. Delete.
I settle on: I’m good. God’s got me.
Even my lies are wrapped in Christianese.
I don’t hit send yet. I stare at the blinking cursor. Beside me, a guy straps his toddler into a car seat, kisses his wife, laughs at something she says. Normal. Messy. Human.
The phrase from the testimony loops in my head: Hiding was what was killing me. My secrets hardened my heart.
I feel my own heart. Not metaphorically. Literally. My chest. It feels… hard. Numb. Like it should hurt more than it does.
Do I want God that close? Close to the brokenhearted sounds nice until you realize it means you have to admit you’re brokenhearted. Not over business, not over some abstract injustice. Over your own life. Your own choices. Your own refusal to be weak.
I could tell Marcus. Right now. I could say, “I’m not okay. Can we talk?” He’d answer. He’d show up. I know he would.
Instead, I backspace my half-typed message.
I send him a thumbs-up emoji.
That’s my spiritual state in one tiny yellow hand.
I get in my car, close the door, and the world goes quiet again. Just me, the dashboard, the buzz of the engine.
I think about Psalm 34:18. I think about my mom in that hospital chair, whispering it over my dad. I think about Emily at the kitchen table, begging me to let her in. I think about Lily asking if I’m sad and promising she wouldn’t be scared.
I think about the night on my knees by the couch, the fleeting sense that God was actually, tangibly near when I finally let something crack.
And I think about how fast I slammed that door shut.
That’s the thing no one tells you about vulnerability. You can get a glimpse of it, taste it for thirty seconds, and still decide you’d rather be alone in a locked room than risk anyone seeing you naked in your soul.
So that’s where I am.
In the car. In the locked room. Playing the part I’ve played my whole life.
The rock.
From the outside, I still look solid. Steady job. Decent clothes. Church attendance. A few Bible verses I can quote if needed. A daughter who still hugs me. A wife who hasn’t technically divorced me… yet.
Inside, I know the truth.
I’m not a rock. I’m a man-shaped shell built around a frightened kid who learned early that tears equal weakness and weakness equals rejection. I never unlearned it. I baptized it, gave it Bible verses, dressed it up in productivity and moral respectability.
Maybe one day I’ll break for real. Call the counselor. Call Marcus. Call out to God and not shut Him down when He shows up. Maybe I’ll finally let someone see how much I’m not okay and discover that maybe—just maybe—weakness isn’t the end of my story but the door to something like real strength.
But today?
Today I turn the key in the ignition, watch my reflection in the rearview mirror as I back out. My face is calm. Controlled. Unreadable.
Ask anyone who sees me drive away how I’m doing, and they’ll say the same thing.
He’s good. He’s strong. He’s the rock.
They’d be half right.
The other half?
The rock is crumbling. And I’m the only one who can hear it.
Author’s Note
I wrote this story because “I’m fine” has become one of the most dangerous lies men tell.
Not because everything has to turn into a group-therapy overshare, but because a lot of us have learned that being a man means one thing above all: don’t crack. Don’t cry. Don’t need. Don’t ask for help. Just keep performing—at work, at home, at church—and hope nobody notices how much of it is duct tape and denial.
Matt is fictional, but the patterns are not. The late-night anxiety. The quiet porn habit as a pressure valve. The marriage that looks stable from the outside but is running on fumes. The way “being strong” becomes a way to avoid being known. I didn’t want to write a neat testimony with a bow at the end. I wanted to sit in that awful in-between space where a man knows he’s not okay and still chooses to keep hiding.
If you picked up on the tension around Psalm 34:18—“The Lord is close to the brokenhearted and saves those who are crushed in spirit”—that was intentional. The verse is there like a constant background noise in Matt’s life. He hears it from his mom, at church, in group, on his Bible app. The problem isn’t that God is silent; it’s that Matt refuses to be the kind of man that verse is written for: brokenhearted, crushed, honest.
Underneath all the details, this story is about fear of vulnerability:
- Fear of losing respect if you admit weakness
- Fear of not knowing what to do with your own emotions if you stop stuffing them
- Fear that if you open up to God or other men, you’ll be met with judgment or awkward silence instead of real presence
The tragedy for Matt isn’t a dramatic car crash or public scandal. It’s the slow erosion of his soul and relationships because he clings to the image of “the rock” more than he clings to God or the people who actually love him. He gets glimpses of another way—a raw confession at men’s group, a quiet moment on the carpet where he finally lets himself cry, a daughter asking if he’s sad—and he still pulls back. That’s the haunting part. Nothing changes… and yet everything is slowly falling apart.
If this story resonated with you at all, even uncomfortably, that’s kind of the point. Not to shame you, not to diagnose you, and definitely not to tell you what you “have to” do. Just to hold up a mirror of what it actually looks like when hiding becomes a lifestyle.
Some men crash hard and obvious. Others, like Matt, just slowly harden. Their job title still works. Their faith still has all the right words. Their family still posts decent photos. But the inside is hollow. And the thing about hollowness is that it echoes. It haunts.
The core idea behind this whole series is simple and costly: Vulnerability is not an optional add-on to the Christian life or to healthy masculinity. It’s the doorway. To real brotherhood. To actual intimacy in marriage. To a faith that’s more than performance. To experiencing the God who is “close to the brokenhearted,” not to the perfectly put-together.
What you do with that is up to you. This story doesn’t end with Matt calling the counselor or breaking down in front of Marcus or sprinting back to Emily with a grand apology. It stops where a lot of men actually are: still in the car, still saying “I’m good,” still sending a thumbs-up emoji instead of telling the truth.
If anything in you recognized yourself in that final scene, don’t rush past it. Sit with the discomfort. Ask yourself, honestly, where you’re playing “the rock” and what it’s costing you. And if you decide to talk to God, or to a friend, or to a counselor about it—that’s your story. Not Matt’s. And it doesn’t have to end the way his does.
Call to Action
If this story struck a chord, don’t just scroll on. Join the brotherhood—men learning to build, not borrow, their strength. Subscribe for more stories like this, drop a comment about where you’re growing, or reach out and tell me what you’re working toward. Let’s grow together.

D. Bryan King

Sources
Disclaimer:
The views and opinions expressed in this post are solely those of the author. The information provided is based on personal research, experience, and understanding of the subject matter at the time of writing. Readers should consult relevant experts or authorities for specific guidance related to their unique situations.

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#anxietyinchristianmen #authenticchristianman #avoidingcounselinginmarriage #brokenheartedchristianmen #christianauthenticity #christianblogformen
Angry Metal Guy @[email protected] · 2026-03-18 · 17:37 UTC

Stuck in the Filter: January 2026’s Angry Misses By Kenstrosity
Finally, the new year is upon us! A fresh start for some, same shit different year for others; mainly, my minions who toil in the mines ducts of the Filter. Since they don’t get any holidays, they probably don’t even fucking know it’s 2026 yet, but that’s okay. As long as they come back to HQ with a substantial haul, their ability to know when it is is immaterial.
These are the sacrifices we (not me, though), make to ensure you get the goods relatively on time-ish. So say thank you!

Kenstrosity’s Freaky Foursome
Upiór // Forefathers’ Eve (Redemption) [January 2nd, 2026 – Self Released]
Featuring members of Gorod (Benoit Claus) and Xaoc (Kévin Paradis), Upiór pinged my radar after a certain cosmic Discordian pinged me. A blistering combination of Fleshgod Apocalypse opulence and Wachenfeldt aggression, sophomore release Forefathers’ Eve (Redemption) impressed me immediately as “The Black Paintings ripped my face right off. “A Blessing or a Curse” doubled down on speed, blasting rhythms, and eerie melodies to propel itself straight into my Song o’ the Year long-list. Even with three instrumental interludes, all of which are quite fluffy, Forefathers’ Eve (Redemption) crams pummeling riffs, exuberant percussion, and dramatic lushness into its 51-minute runtime. “Forefathers’ Eve (Part I),” a fantastic companion to Fleshgod Apocalypse’s “Cold As Perfection” without aping its features, conjures a similarly affecting character that draws me in completely. Forefathers’ Eve (Redemption)’s middle section continues to build personality and develop greater dynamics from that point, represented most clearly in melodic riffs and expressive leads/soloing (“The Woman that Weeps”). Leading into its conclusion, a tonal shift towards the dire at this junction foreshadows the imminent release of Upiór’s second act, Forefathers’ Eve (Damnation) (due in early April), charring songs like “Forefather’s Eve (Part II)” and “Between the Living and Dead” with blackened rabidity and dissonant flourishes. All of this to say, Upiór launched this latest arc with a striking blow, and I can only imagine what’s in store for Damnation.
Forefathers’ Eve (Redemption) by Upiór
KadavriK // Erde666 [January 9th, 2026 – Self Released]
Germany’s melodic death metal quintet KadavriK have been cranking out records since 2007, but I only heard about them this year, once again, thanks to Discord. Erde666, their fifth outing, takes an unorthodox and progressive approach to melodic death metal, which makes comparisons difficult to draw. Stripped down and raw in some moments, mystical and lush in others, Erde666 is all about textures. Its opening title track explores that spectrum of sounds and philosophies to its fullest, even drawing heavy influence from blues, psychedelia, and sludge at times (“Getrümmerfreund”), but it all coalesces seamlessly. Following up an opener as strong as that would be a tall order for anyone, but KadavriK are clever songwriters, and the long form served them well even compared to the more straightforward tracklists of previous installments (“Nihilist,” “Das Ende Des Anthropozäns”). Off-kilter guitar melodies countered against twinkling Kalmah synths and sweeping strings do a lot of work to elevate and liven the crushing chords of their high-impact riffs as well, which adds a ton of interest into an already unconventional melodic death record (“Widerhall”). All of this makes for a record that might not be as immediate or fast-paced as most aim for in this space, but, counterintuitively, significantly more memorable. Don’t sleep on this one, folks!
Erde 666 by KadavriK
Luminesce // Like Crushed Violets and Linen [November 20th, 2026 – Self Released]
Prolific at a scale I haven’t witnessed since Déhà, Luminesce mastermind Alice Simard, based in Québec, piqued my curiosity for the first time with Like Crushed Violets and Linen, her sophomore effort under the Luminesce moniker. Boasting machine-gun rapidity (“Exploited Monochromaticism”), off-kilter rhythms (“Silver”), and a downright romantic sense of melody (“Like Crushed Violets and Linen,” “Lamp of Fulguration”)—countered by lyrical themes ranging from guilt complexes to gender identity (“To Restore”)—Like Crushed Violets and Linen is a deeply personal record forged in a melodic technical death metal mold. And as such a record, it recalls the vicarious guitar pyrotechnics of Inferi and Obscura while securing a melodic sensibility more in line with neoclassical composition (“The Covenant of Counterfeit Stars”). Unlike many of her contemporaries, however, Alice is a master of editing. Filled with killer ideas and instrumental wizardry without involving a drop of bloat, each of these seven songs coalesce into a buttery-smooth 30-minute excursion that punches far above its feathery mass. The addition of delightful chiptune dalliances helps distinguish Luminesce further from the pack (“To Restore”), though I’m torn about how far forward they are in the mix. In fact, the mix is my main gripe, as Like Crushed Violets and Linen is muffled and a bit flat, despite boasting a much-appreciated meaty bass presence. Nonetheless, if you’re looking for an unlikely tech-death contender, Luminesce might be just what you need.
Like Crushed Violets and Linen by Luminesce
Bone Storm // Daemon Breed [January 30th, 2026 – Self Released]
As the CEO of this Filter company, I withhold the right to break the rules and include a very cool bonus fourth option, Bone Storm’s cavebrained Daemon Breed. Do you like Bolt Thrower? Yes, you do. Do you like Bear Mace? Yes, you do. By proxy, then, you already like Connecticut’s Bone Storm as they draw from the same chunky, groove-laden school of death metal. At a somewhat overachieving 50 minutes, Daemon Breed pummels the listener beneath a veritable smorgasbord of neck-breaking riffs built upon a framework of triplet grooves, swaggering syncopations, and galloping double bass assaults. Their approach is simple and unburdened by blistering speed, fiddly technicality, or atmospheric deviation, and in that way recalls the undeniable immediacy and brutal effectiveness of records like Black Royal’s Firebride. With highlights “Heaven’s End (Burn Them All),” “Plaguerider,” “Sanctimonious Morality,” and above all “Ritual Supremacy,” Bone Storm use that approach with aplomb, proving that the spirit of classic, no-frills death metal is vital and vicarious. Delightfully cogent roars and gutturals allow the most difficult deliveries (see “Daemon Breed”) to feel vicious and purposeful, while a subtle thread of melody (see “Cursed Born”) affords the record a small measure of songwriting variety to break things up just when Daemon Breed needs it most. Heavy reliance on triplets and perhaps a zealous desire to put down every idea that seems good even if it’s placed immediately adjacent to much better one (“Halo of Disease” and “Hammer of Judas” bookending “Ritual Supremacy” are tough positions to defend, as is “Wrist Slitter” next to the fun Frozen Soul-esque “Blood Priest”), hold it back from higher praise only mildly. Moral of the story? Enter the bone zone, with haste!
Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder
Lord Elephant // Ultra Soul [January 30th, 2026 – Heavy Psych Sounds]
Sometimes, you don’t need dynamic songwriting, harmonic density, or even a vocalist. Sometimes, all you need are riffs. Okay, and maybe some psychedelic leads to go over those riffs. Ultra Soul, the sophomore album from Italian instrumental trio Lord Elephant, delivers 48 minutes of pure, mostly unadulterated stoner-doom. In the feudal jungle of heavy riff rock, Lord Elephant pays scutage to King Buffalo, similarly forming longish compositions where simple, bluesy figures reign supreme, stretching their limbs in grassy patches. Occasionally, guitarist Leandro Gaccione, bassist Edoardo De Nardi, and drummer Tommaso Urzino lock into some lively, head-bobbing grooves (“Gigantia”). But mostly, Lord Elephant keeps things meditative, hypnotizing listeners with Earthless drones and lurches (“Smoke Tower,” “Black River Blues”). De Nardi’s bass often leads the way (“Electric Dunes”), the underwater tone of which reminds me of falling for Isis.1 Lord Elephant aren’t reinventing any wheels here; the familiarity of their bluesy riffing simply won’t interest those for whom such bluesiness is a staid marker of old-man rock. The absence of vocals, however, makes Ultra Soul work as pseudo-ambient music that can set the mood, or accompany tasks, or gateway a normie. Closer listening will reveal, though, a tight trio reveling in the rudiments of rock music—a drummer, bassist, and guitarist vibing on a riff.
Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall
Juodvarnis // Tékmés [January 23rd, 2026 – Self Released]
Lithuania’s Juodvarnis cooked for a long six years between albums for their fourth record Tékmés. With the confidence and sharpness displayed on all levels by Juodvarnis here, that was clearly time well spent in the kitchen. Sporting a brand of progressive black metal that blends the Enslaved framework of prog-black with the epic heft and melody of Iotunn and the crushing rhythms and harsh vocals of Gojira, Tékmés is tight, lively and achieves a remarkable level of melancholic thoughtfulness without neglecting the average listener’s chronic need for riffs. Translated to “flow” from Hungarian,2 Tékmés navigates inter-song and album-wide progressions of pummeling rhythms (“Dvasios Ligos”) and slow marches (“Tamsiausias Nušvitimas”), impassioned clean vocals (“Platybės”) and razor-throated screams (“Juodos Akys”) to achieve a gradual, natural sense of advancement across its 42-minute journey. If progressive black metal that knows how to riff and can turn the reverb off 11 sounds like a good time to you, give Juodvarnis’ Tékmés a shot sometime.
Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings
Ectovoid // In Unreality’s Coffin [January 9th, 2026 – Everlasting Spew Records]
Normally, it takes copious amounts of reverb, wonkiness, melody, or turbo-dissonance for death metal to be palatable to me. Every once in a while, however, an album like Ectovoid’s In Unreality’s Coffin comes along and shows me that there is another way. The music’s stickiness has a lot to do with its boundary-straddling take on OSDM. Ostensibly, the battering, percussion, sawblade riffing, and gruff gurgling growls mark it as your everyday modern no-nonsense death metal, somewhere between Cryptopsy and Immolation. But In Unreality’s Coffin is more like tech-death, disso-death, and brutal-death in a trench coat than it is any one of them, or another subgenre.3 Its arpeggios can be rhythmically snappy, sometimes combined with equally sharp vocal delivery (“Intrusive Illusions (Echoes from a Distant Plane)”), but more often than not channel a churning chaos that resists punchiness for a darker unease I find addictive (“Collapsing Spiritual Nebula,” “Erroneous Birth”). The music is constantly speeding up or slowing down, churning guitars collapsing with slides (“Dissonance Corporeum”) or pitching upwards in squeals (“In Anguished Levitation”), or evolving into mania as screams and growls fragment and layer (“Formless Seeking Form”). Rather than being exhausting, it’s exhilarating, with expertly-timed releases of diabolically echoing melody (“Collapsing Spiritual Nebula”) or a new groove to latch onto (“In Unreality’s Coffin”) coming to keep you afloat. Ectovoid keep you guessing without actually really pushing the boundaries, making In Unreality’s Coffin both a lot of fun and straightforwardly br00tal enough to sustain a savage workout; or just a really intense 45 minutes.
In Unreality’s Coffin by Ectovoid
Exxûl // Sealed into None [January 15th, 2026 – Productions TSO]
Phil Tougas has had an impressive start to the year. Before Worm’s Necropalace this February, came Sealed into None, the debut by Exxûl—a genre-blending, kinda blackened epic-power-doom-heavy-metal group also comprising several of Phil’s Atramentus band-mates. Several people brought up this album in the comments on my Worm review, often to the tune of “Exxûl better,” and while I respectfully disagree on the quality ranking of the two, I can’t deny how fabulous Sealed into None is. Here again are genres of music I’m usually unable to connect with—in this instance, power and classical heavy metal—but shaped in a way that opens my eyes and ears. Yes, the high-pitched wail style of singing first took me a little off-guard when they first arose on “Blighted Deity,” and they offend my usual tastes. But they are impressive, and work in a way I thought only harsh vocals could when following the trajectory of distorted keys and guitar (“Walls of Endless Darkness”), or shouting into an atmospheric abyss (“The Screaming Tower”). Oh, and of course, the overall vibe of magnificent, melodramatic blackened doom that sets the scene, capped off with—predictably—phenomenal guitarwork, is just magic and enough for me to get past my knee-jerk vocal ick and love it not in spite of that, but because of what it can bring to the whole. I love the slow builds to dazzling solos (“Bells of the Exxûl through to “Blighted Deity,” “The Screaming Tower”) and the way the camper, heavy-metal sides blur into something darker (“Labyrinthine Fate”). I just love this album, to be honest.
Sealed Into None by Exxûl

ClarkKent’s Canadian Catch
Turpitude // Mordoré [January 1, 2026 – Self Released]
Since 2019, Alice Simard has been a prolific presence in Quebec’s underground metal scene. She consistently releases albums for several different projects, from the ambient atmoblack of Coffret de Bijoux to the tech death of Luminesce (also uncovered in this month’s Filter by our Sponge Fren). Mordoré, the fourth full-length for Turpitude, thrives on its riffs and carries a cheerful energy reminiscent of the carefree raw black metal of Grime Stone Records stalwarts Wizard Keep and Old Nick. Yet Simard opts for traditional instruments, no synths, though production choices make the drumsticks sound as if they’re banging against blocks of wood, give the guitars a lofi reverb, and cause Simard’s voice to fade into the background in a cavernous growl. The riffs are the real star, with some terrifically catchy melodic leads and trems throughout (“La Traverse Mordorée,” “Aller de L’avant”). This combination of riffs, a raw sound, and often upbeat tunes draws comparison to Trhä and To Escape. While Mordoré keeps a mostly cheery tone, Turpitude’s no one-trick pony. There’s a tinge of the melancholic on the moody, atmospheric “Peintra,” as well as a successful stab at covering a non-metal song a lá Spider God on “Washing Machine Heart.”4 This is a worthwhile endeavor for those who like their black metal raw and energetic.
Mordoré by Turpitude

Grin Reaper’s Heavy Haul
Valiant Sentinel // Neverealm [January 16th, 2026 – Theogonia Records]
Greek heavy metal heroes Valiant Sentinel dropped their sophomore platter Neverealm back in mid-January, unleashing forty-six minutes that reek of high fantasy. Galloping riffs, driving drums, and vocal harmonies aplenty supply a cinematic adventure that basks in fun. While the pacing of Neverealm mainly operates in high-energy bombast, Valiant Sentinel smartly weaves in mid-paced might, evidenced by how the controlled assault of “Mirkwood Forest” provides a breather after opening chest-thumpers “War in Heaven” and “Neverealm.” Acoustic pieces “To Mend the Ring” and “Come What May” further diversify Neverealm’s heavy metal holdings, and while I’m usually keener on more aggressive numbers, these two tracks comprise some of my favorite moments on the album.5 Mostly, Valiant Sentinel summons comparisons to Germany’s heavy/power scene—chief among them Blind Guardian—going so far as to bring in BG drummer extraordinaire Frederik Ehmke. I also catch fleeting glimpses of Brainstorm and Mystic Prophecy in Valiant Sentinel’s DNA, though guitarist and composer Dimitris Skodras does a commendable job carving out a distinct identity for the band. Featuring skilled performances across the board and guest spots from Burning Witches’ Laura Guldemond (“Neverealm”) and Savatage’s Zak Stevens (“Arch Nemesis”), Valiant Sentinel packs loads of drama into a streamlined package. So what are you waiting for? Go grab your polyhedrals and a Spelljammer, and set sail for Neverealm.
Neverealm by Valiant Sentinel
Fili Bibiano’s Fortress // Death Is Your Master [January 30th, 2026 – High Roller Records]
Does Shredphobia keep you away from metal? Does the sultry siren call of licks, riffs, and chugs make you break into a cold sweat? If so, I strongly urge you to stay away from Fortress’ sophomore album, Death Is Your Master. Channeling Tony Martin-era Black Sabbath and 80s Judas Priest, Fortress drops six-string shenanigans that’ll get your booty shaking and the floor quaking, offering a romping retro slab that goes down slow ‘n’ easy. The overt classic 80s heavy metal worship on tracks “Flesh and Dagger” and “Night City” delivers riff after riff recalling the glory days, giving Fortress an authenticity that expands what could have otherwise been a one-dimensional LP. Guitarist Fili Bibiano sizzles with axe-slinging abandon, occasionally conjuring the neoclassical debauchery of Yngwie (“Savage Sword,” “Maze”). Still, it’s not all about the guitar, and drummer Joey Mancaruso and vocalist Juan Aguila nail their contributions as Fortress wends their way through a trim thirty-four minutes. On a guitar-forward album featuring slick songwriting and singalong jams, Death Is Your Master bumps, dives, and wails in a slow-burn frenzy of classic heavy goodness. Dig in!
Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary
Skulld // Abyss Calls to Abyss [January 23rd, 2026 – Time to Kill Records]
While last year was alright for death metal and notably starred Dormant Ordeal, I felt it was lacking in quantity of impressive releases for said cornerstone of the metal underground. Fortunately, Italian group Skulld is here to start off the year with a bang! Abyss Calls to Abyss takes Bolt Thrower’s tank-rolling grooves (“Mother Death”) and Dismember’s melodic buzzsaw action (“Wear the Night as a Velvet Cloak”) and adds in some crust punk influence as extra seasoning (“Le Diable and the Snake”). It feels like they’ve taken some influence from both Finnish and Swedish varieties of death metal as well, and I’m here for it! The band is fluent in switching things up at the drop of a hat without sacrificing energy or cohesion. “Mother Death” and “Drops of Sorrow” go from heavy, dissonant chords to big lead guitar melodies, which in turn lead to a chunky and punky death metal groove that’s bound to get your head moving. Teo’s drumming controls the mood in excellent fashion, adding fast blast beats or slow-pummelling stomps when called for. The vicious, varied growls of Pam further cement the violence contained within and add to the album’s attitude. At a brief 34 minutes spread over eight songs, it wastes no time going for your throat in a multitude of ways. Get this album into your skull or get Skulld!
Abyss Call To Abyss by Skulld
Total Annihilation // Mountains of Madness [January 16th, 2026 – Testimony Records]
What would happen if you took Vader, Slayer and Sodom and threw them in a big ol’ manic death/thrash blender? The answer is Mountains of Madness! While Swiss Total Annihilation’s earliest works were more in line with classic ’80s thrash metal, they have increasingly moved towards more aggressive and relentless pastures, and their songwriting is all the better for it. Fourth album Mountains of Madness channels records like Vader’s Litany and Sodom’s Tapping the Vein in particular (“The Art of Torture,” “Age of Mental Suicide”), taking advantage of a relentless, drum-forward groove and a furious vocal performance. The album’s dual guitar attack weaves together thrashier tunes with parts that reach straight up Swedeath territory, be it melodic or not. In addition, tracks like “Mountains of Madness” and “Choose the Day” throw some melodic thrash akin to Sodom’s self-titled album into the mix for that extra bit of variety and replay value. Mountains of Madness isn’t afraid to slow things down with a satisfying lead riff, but most of Mountains of Madness is at a respectful lightning-fast pace, as thrash should. Another brief but powerful addition to the January pile ov skulls!
Mountains Of Madness by Total Annihilation
Polaris Experience // Drifting Through Voids [January 2nd, 2026 – Distant Comet Entertainment]
On the earliest days of the year, Japan delivered an awesome surprise drop of death metal-influenced progressive thrash! Polaris Experience features various Cynical riffs (“Interplanetary Funambulist,” “Bathyscapes”) while sporting a similarly old-school guitar tone throughout. Being progressive thrash, the main focus is naturally on the oh-so-sweet instrumentation that balances melody and groove seamlessly. The instrumental “Parvati” alone highlights how tight everything is, from the snappy drumming to the bouncy bass work. Most importantly, the music is catchy and memorable despite its relative complexity and lack of brevity. Additionally, Drifting Through Voids uses vocals sparingly but in all the right ways, complementing its technicalities with a traditional thrashy, harsh bark. The fact that it’s a two-man project and a debut makes it all the more impressive. Fans of similar recent progressive and technical shenanigans like Species should take notes post-haste. Considering we’ve already had this and Cryptic Shift this early in the year, and how prog/tech thrash is usually only allowed one or two notable albums per year, we could be in for a banner year for the subgenre. It also marks the first time in ages that a Japanese album has genuinely good production. Welcome to the new millennium!
Drifting Through Voids by Polaris Experience
#2026 #AbyssCallsToAbyss #AmericanMetal #Atramentus #BearMace #BlackMetal #BlackRoyal #BlackSabbath #BlackenedDeathMetal #BlindGuardian #BoltThrower #BoneStorm #Brainstorm #BurningWitches #CalliopeCarnage #CanadianMetal #CoffretDeBijoux #CrypticShift #Cryptopsy #Cynic #DaemonBreed #DeathMetal #Dismember #DistantCometEntertainment #Doom #DoomMetal #DormantOrdeal #DriftingThroughVoids #Earthless #Ectovoid #Enslaved #EpicMetal #Erde666 #EverlastingSpewRecords #Exxûl #FiliBibianoSFortress #FleshgodApocalypse #ForefatherSEveRedemption #Fortress #GallowglassGalas #GermanMetal #Gojira #Gorod #GreekMetal #Hardcore #HeavyMetal #HeavyPsychSounds #HighRollerRecords #Immolation #InUnrealitySCoffin #Inferi #InternationalMetal #Iotunn #ItalianMetal #Jan26 #JapaneseMetal #JudasPriest #Judovarnis #KadavriK #Kalmah #KingBuffalo #LikeCrushedVioletsAndLinen #LithuanianMetal #LordElephant #Luminesce #MelodicDeathMetal #Mitski #Mordoré #MountainsOfMadness #Neverealm #Obscura #OldNick #PolarisExperience #PowerMetal #ProductionsTSO #ProgressiuveMetal #ProgressiveBlackMetal #ProgressiveDeathMetal #Punk #Review #Reviews #Savatage #SealedIntoNone #SelfRelase #SelfReleased #Skulld #Slayer #Sodom #Species #SpiderGod #StonerDoom #StonerMetal #StuckInTheFilter #StuckInTheFilter2026 #SwissMetal #SymphonicDeathMetal #TechnicalDeathMetal #Tékmés #TestimonyRecords #TheogoniaRecords #Therion #ThrashMetal #TimeToKillRecords #ToEscape #TotalAnnihilation #Trhä #Turpitude #UltraSoul #Upiór #Vader #ValiantSentinel #Wachenfeldt #WizardKeep #Worm #Xaoc

#abysscallstoabyss #americanmetal #atramentus #bearmace #blackmetal #blackroyal
Andy Arthur - Threadinburgh @[email protected] · 2023-05-18 · 09:23 UTC

The thread about the humble Scotch Pie; what makes it Scotch, what it is not, its history and a surprising aficionado

This thread was originally written and published in May 2023.

The humble Scotch Pie. Affordable. Digestible. Lukewarm. Greasy. Crunchy. Legendary.
A Scotch Pie, photo by Xabier Cid, PD on Wikimedia
So what is a Scotch Pie? You might know what one looks and tastes like, but what defines it and how did it come to be? Why does it need to be called Scotch to differentiate it from other species of pie?
If one flicks to their Statutory Instruments of UK Law, to The Meat Pie and Sausage Roll Regulations (1967), they will find a legal definition in Part I (Preliminary), under section 2 (Interpretation).
‘Scottish pie’ means a meat pie composed of a shallow cylindrical pastry case not exceeding 5 inches in diameter containing minced beef or minced mutton, (or a mixture), cereal, water, salt and seasonings, and not containing any jelly.
Scotch Pie definition per the Meat Pie and Sausage Roll Regulations (1967).
These regulations elaborate that the expression “Scottish Pie” refers to a “Scotch Pie”. The regulations account for a different pie tradition in Scotland vs. England or Wales. Scotch Pies are allowed different meat (lower) and fat (higher) ratio than non-Scottish pies. For a pre-cooked Scotch Pie, it has to be no less than 20% meat overall, and there is a specific Scotch Pie formula used to calculate it.
Formula for a Scotch pie. FM = weight of fat in meat, FP = weight of fat in pastry, CP = weight of carbohydrate (flour) in pastry. FM expressed as a percentage of overall pie weight, must be over 20% for a cooked Scotch pie, or 17% for uncooked.
Regulations don’t define the pastry, but it’s nearly always a thin, hot-water crust pastry made with lard. Seasonings are not specified, but is always heavy on white pepper and each baker or butcher will have their own specific mix, with nutmeg usually in there too.
Some pictures of so-called “Scotch Pies” that you will find in online recipes feature a very chunky minced meat filling, the sort supermarkets sell. These aren’t Scotch Pies – where the mince should be very finely chopped and mixed with a bit of rusk or flour so that it forms a sort of tasty, homogeneous meat blob when cooked – these other pies have the filling of what is called a “Mince Round”, a much wider, shallow pie, served in slices.
A small mince round, not a Scotch pie. The sides should also be parallel, not widening towards the top.
The regulations so say a Scotch pie must be cylindrical and how wide it is, but a few centuries of tradition says it is a very shallow pie and that the pastry should be *very* thin, and self supporting. This tall BBC / Paul Hollywood effort has been made with a thick pastry suitable for a pork pie, and raised tall in the same manner on a dolly, which as a result has to be cooked with a supporting wall of greaseproof paper tied with string and is absolutely not a Scotch Pie. Frankly both Paul and the BBC should know better and should pull the recipe as a national slander.
Paul Hollywood’s Not-a-Scotch-Pie Pie
The Scotch Pie pastry lid should be sunk lower than the edges, crimping of fluting is not traditional in many places, but some bakers will do it. That’s the thing about pies, much like morning rolls, they vary and are one of the few places were a Scottish baking tradition is still expressed with infinite regional variety. A hole in the lid is not obligatory, but again is done some places or it isn’t done in others. Some say it’s to pour gravy or sauce in. Dundee lore is that a 2 hole “Peh” also has onions in the mix (but legally – with onions in there – it ain’t a Scotch Peh!).
Scotch Pies with holes, sold by Tailford Meats, Broxburn
The Dundonian penchant for onions in their pies (or their Bridies, a totally different, hand-held, meat-filled baked good), gives rise to the shibboleth “Twa pehs, a plen ane an an ingin ane an a“, where the last 6 words are rolled into a single, rapid, tongue-twisting sound that goes “aningininanaw”.
Scotch Pies have usually avoided politics. However in 1991, Baroness Trumpington, then Agriculture Minister, pledged to “defend [this] British delicacy from Brussels bureaucrats“, in an argument with the EC over regulations around definition of uncooked mince content.
While always a popular staple of those attending football matches or with hangovers, it took a determined, post-BSE crisis effort in the late 90s to begin to rehabilitate the pie. The Langholm Pie Club formed in 1996, to “search for the perfect Scotch pie”. In 1999, Alan Stuart, a traditional butcher and baker in Buckhaven, formed the Scotch Pie Club, to raise the profile of the pie. The club was “modelled on the Sausage Appreciation Society” (Matron!). Stuart and the Club have been credited with successfully rehabilitating the Scotch Pie as not just a lowest common denominator product, but something that exemplifies the craft of traditional and regional Scottish butchery and bakery. The club’s slogan is Say Aye Tae a Pie and you can buy it on a pin badge from ebay. Their main event is the annual Scotch Pie World Championship, which was first run in 1999 when it was won by John Davies of Bo’ness, whose family bakery had been making and selling Scotch Pies for 20 years. Stuarts of Buckhaven themselves won it in 2007.
Norrie and Keith Stuart proudly hold the World Scotch Pie Championship Trophy backed up by Derek McMahon, Alan and Jan Stuart. Picture from Scottish Craft Butchers.
In 2000, Maurice Irvine from Ayrshire penned “Tae a Pie” in the best spirit of the other Ayrshire bard, to toast its immortal memory:
Whether yer naked or filled wi beans
The price is aye within a bodie’s means
Your crust is firm but not too hard
It’s just the right balance of flour, salt and lard
The meat in the middle is spicy and braw
There’s naithing tae beat it, naithin at ah!
You’re as Scottish as Bruce but you’ll never die
Lads and Lassies, I gie ye
The Pie
A Toast tae the Pie, by Maurice Irvine, from Ayrshire
You’ll note that I’ve been using the term “Scotch Pie” consistently – as that’s how it’s defined, but of course in Scotland it’s usually just “a” Pie (or a Peh if you’re Dundonian). Calling it “Scotch” stems from the post-war legal definitions and food labelling requirements and the introduction of many other sorts of pies into the Scottish marketplace. But if you go into a traditional baker or butcher and order yourself “a Pie”, you’ll get served a Scotch Pie.
Scotch Pie cross-section from Dalbeattie Fine Foods. By Delta-NC, PD on Wikimedia
The fact Scotch Pies are not referred to as such in any older sources makes it relatively hard to research – if you just search for “pie” it’s not specific enough. But with some perseverance it’s possible to trace our modern Scotch Pie as evolving from the traditional “Penny Mutton Pie” of the late 18th and early 19th century. These were small, individual pies sold warm by bakers or butchers, particularly on market days or holidays, at an affordable price. Note that at this time, such pies in Scotland were always mutton, the predominant day-to-day meat eaten by most people. Beef was always more of a luxury and didn’t begin creeping into the Scotch Pie mix until the middle of the 20th century, and didn’t really displace mutton until the 1950s and 60s as the former became cheaper and the latter’s staple position on the Scottish dinner plate waned.
The grand doyenne of Scottish culinary writing – F. Marian Mcneill – wrote of ” our most distinctive Scottish pie, the small mutton pie” in 1937 in a piece for the Scotsman. She describes a pie from the memoirs of James Stuart MP, who had schooled at Madras College in St. Andrews and gone to university there too, in the 1850s and 60s. It was of “mutton minced to the smallest consistency, and was made up in a standing crust, strong enough to contain the gravy… there were no lumps of fat or grease in them. They always arrived piping hot“. These pies, Stuart fondly recalled, were made and sold by “Mrs Gillespie, the pie-wife of St. Andrews” and still made his mouth water decades later just thinking about them.
“Hoxton Division”, James Stuart MP as caricatured by “Stuff” in Vanity Fair, October 1899
McNeill gives us a definitive recipe I can find – writing for the Scotsman in 1937 – stating that small mutton pies were “as popular in 18th century Edinburgh as [they are] today” and that she did not know whether Glasgow’s claim to be “it’s true home” was correct. I don’t think any one place could ever claim to be the birthplace of the Scotch Pie – they were clearly a common and widespread product across the centre and east of the country in the late 18th century.
Recipe for a Scots Mutton Pie, Scotsman, Dec 1937 – F. Marian Mcneill, author of the Scots Kitchen
A story in the Brechin Advertiser in 1890 implies the existence of a Penny Mutton Pie shop run by baker Willie Smith, in the 1820s, to which local boys flocked as hawkers, being paid in pies; 1 pie given per dozen sold. The John O’ Groats Journal in 1840 mentions Penny Mutton Pies. On New Year’s Day 1850, the Barony Workhouse in Glasgow announced in the papers that inmates “old and young, sane and insane” would be “made happy with a hot mutton pie each“. In 1853 the occasion of the coming of age of William Kerr, 9th Marquess of Lothian, was celebrated in Newbattle by a parade of miners and mining bands, with children “regaled with mutton pies, the boys engaged in the collieries being provided with pies of larger size“. In 1865, I find what is the earliest overt advert for a Penny Mutton Pie that I have come across, with A. Reid at the “Top of the Murraygate and Seagate” in Dundee offering them at 1d or 2d each under the slogan “If you want a good Mutton Pie, try A. Reid’s“. In October 1892, Mr A. Gordon of Gordon St., Huntly, announced the start of the “Hot mutton pie supply for the season”, clearly suggesting that in some places they may have been a seasonal product.
Pie Season! Huntly Express – 01 October 1892
Such mutton pies – be they called Small, Scots or Penny – would be recognisable to us today but probably offered much more variety of style and content than we are now used to. The first actual glimpse we get of one is in a Dundee Courier cartoon of 1889 for a column entitled “Impressions of Dundee“, which tells a humorous story of a homesick Dundonian coming across a man eating a Dundee mutton pie in the British Library in London.
The earliest picture of a Scotch Pie? Dundee Courier – 14 June 1889
Pie Advertising is common in Scottish newspapers in the first half of the 20th century, but usually just a few lines of text in the classified pages. However in 1924, Hay’s of Murraygate, Dundee (legendary for its association with the genesis of the Macaroni Pie) took out a particularly fancy advert for “The Big Pie” at 1/6d as a “Sure Favourite for the Weekend“. From the image it appears to be a giant Scotch pie (which of course, modern definition wouldn’t allow to be called a Scotch Pie!)
The Big Pie, 1/6 advert. Dundee Evening Telegraph – 22 February 1924
It was around this time that a Mr Stoddart, a baker in the Ayrshire town of Cumnock, came up with the sweet-filled version of the Scotch pie – the appropriately named “Cumnock Tart” – which is a regular Scotch Pie case but with a stewed apple or rhubarb filling, and a glaze of the same fruit. Cumnock Tarts sold in actual Cumnock appear to have evolved into a more oval-shape, with a crimped edge, but the “fruit Scotch pie” form is the more common.
Rhubarb Cumnock Tart, Clark’s Bakery of Dundee
Back to mutton pies though. Victor MacClure, writing in “Scotland’s Inner Man“, a 1935 food and cookery history, recorded that in Glasgow they were known as “Tupenny Struggles” and that hot gravy was poured in the hole in the pie lid when sold and served. Catherine Brown, writing in “Scottish Regional Recipes” in 1983, records an establishment of yore run by a character called Grannie Black in Glasgow’s Candleriggs that was renowned for its “Tupenny Mutton Pies“. A bar of that name existed from the 1820s until it was demolished relatively recently.
Aside from the sweetened version, the basic Scotch Pie case is infinitely flexible as a filling containment and delivery system. Clarks of Dundee for instance offer: Scotch, Scotch with Beans, Scotch with Onion, Steak & Gravy, Bean & Tattie (a Scotch Pie, but with the top lid replaced by a layer of mashed potato and baked beans, to give a whole meal in a pie), Bolognese, Chicken Curry, Korma, Tikka, Balti and Chicken and Ham. The lasagne pies of Argo’s in Kirkwall are legendary, and I’ve been advised that a Bovril pie is too. And of course, take off the lid and fill the pie with macaroni cheese, and you get the Macaroni pie, which as far as I can trace was first sold by Hays of Dundee in 1920 (click the link for the thread about that particular pie, and pasta in general in traditional Scottish cuisine).
Scotch Pies have travelled the world, put down roots and evolved into national pies of their own (or, at least some of it) and have a reasonable claim to explain why similar small, hand-held meat pies have a cult status in Australian and New Zealand cuisine. You see in the late 1850s, an “energetic young Scotchman with only a few pounds in the way of capital“, by the name of James Seves Hosie, opened a pie shop on Bourke Street in Melbourne, where he sold “thrupenny mutton pies”. James, a bootmaker to trade, was born in Fife in 1831 but grew up in Leith. He arrived in Melbourne in 1853 from the ship Koh-I-Noor.
A New Zealand “Macgregor’s Mutton Pie”, by Bernie’s Bakery HQ of Timaru
Hosie’s father started a bakery in Melbourne on Bourke Street, and after working as a bootmaker in the Australian gold fields, the young James settled down in an establishment of his own nearby and made a fortune from his pies. And what was the name of Hosie’s establishment? Why it was The Scotch Pie Shop! And it’s recorded in metal in the penny tokens he issued due to a shortage of small coinage in circulation. In later life,his financial success on the back of Scotch Pies allowed him to build “a pretty bijou theatre… a luxurious Turkish bathing establishment… a couple of gigantic hotels and attained the dignity of Mayor“. He died in 1889, leaving £10,000 to a Melbourne Hospital.
J. Hosie “Scotch Pie Shop” penny token of 1862. Businesses issued such tokens when there was a lack of circulating small coinage in a community, and carried the name of a prominent and respected businessman who could exchange the tokens for real money. See the thread on Scottish Conder Tokens for a similar practice in the 18th and early 19th century © Museums Victoria / CC-BY 4.0
While this is not the earliest use of the term “Scotch Pie” it is the first definitive use of it I can find to describe a small, penny, mutton pie of Scottish heritage: even if it was thousands of miles from Scotland.

There is a second type of pie referred to as “Scotch”. There was no common definition of what sort of pie this was, but its characteristic was it was some sort of “make do” pie to spin out what you had and it’s important to note that it was not specifically a Scottish thing. Rather, in this case “Scotch” was a reference to the perceived meanness and/or thriftiness of Scots.
A 1908 recipe by Olive Green in “How to Cook Fish” has a Scotch Pie being a mackerel pie with layers of sliced potato instead of pastry. In 1909 by Eleanor L. Jenkinson in “The Ocklye Cookery Book” it’s a pie of boiled calf’s head and eggs. In 1914 in the Huntly Express, it’s a fruit-less fruit pie made using a thin layer of jam. In the Sheffield Daily Telegraph in 1928 it’s a pie of grouse, mushroom and boiled eggs. In 1931’s Leicester Chronicle, it’s sheep’s heart, bacon and boiled eggs with mashed potato on top. In 1940’s “Cookery Corner” in the Daily Mirror, a Scotch Pie was a wartime economy recipe made of a tin of tomato soup, chopped onion and minced beef in pastry. In 1949, during the grim times of post-war austerity, the Sunday Mail in Glasgow gives a frugal and rather desperate recipe for “Scotch Pie” to serve 4 that is lentils, onions and carrots in a thin “gravy” made of dripping and the water in which the lentils were cooked, covered in a layer of mashed potato and swede and baked. Woolton pie, but worse! As late as 1954, a recipe in the “Kitchen Encyclopaedia” by the Anglo-American cookery writer Countess Morphy (her pen name, she wasn’t a countess or called Morphy!) gives an odd-sounding recipe of mutton suet, calf’s feet, apples, currants and various sweet flavourings!
Countess Morphy’s terrible sounding 1954 apple and currant pie with suet and calf’s feet
But by the 1950s, the tide was turning in terms of the naming of a Scotch Pie, as an increasingly less localised and more mechanised baking industry found itself needing more specific definitions and machinery. In 1949 Waddell of Wishaw, bakers engineers, were advertising an electric pie machine for forming “Scotch Pie shells”. In 1969, Clyde-Enco Ltd advertised the “Clyde-Enco Clean Depositor” for “depositing Scotch Pie meat” in the case. Both of these were Scottish companies, serving the Scottish pie-baking industry, referring to them as Scotch Pies. A somewhat surprising fan of the Scotch Pie, and an early use (outwith Australia) calling a Scotch Pie a Scotch Pie is revealed in a September 1963 gossip column by Rex North in the Daily Mirror. None other than Alfred Hitchcock, who had told Rex he had “finally got a recipe” for such pies that was “to his satisfaction”, thus solving a “personal mystery”. One can only imagine Hitchcock picked up his pie habit filming The 39 Steps in Scotland in the 1930s and again in the 1950s.

There is a third broad grouping of “Scotch Pies” beyond the Penny Mutton and the Austerity Pies covered above. This type of Scotch Pie is a much older form with its own history and is an interesting tangent to our story. And these Scotch Pies were huge pies, defined both by their size and that they could be filled with anything and everything! Mention of such pies is made by Samuel Johnson, writing of his encounters with Scottish fayre in the 18th c. on his travels. He describes a “Scotch Pie” as a seasonal, celebratory pie:
Which contains a heterogeneous mass of fish, flesh and fowl, and almost every other species of edible substance, and so ample are its dimensions that more than one whole goose is frequently encrusted within its walls
Samuel Johnson, on the subject of “Scotch” Pies
This “everything pie” results in “Scotch Pie” being a derisory metaphor used in 1835 to describe the cabinet of the new Prime Minister, Viscount Melbourne, as a “Scotch Pie Cabinet” on account of its varied contents and (from the point of view of the author), distasteful contents. However the “Scotch Pie” that Johnson saw is more than likely what was called a Bride’s Pie or Bride Pie and was a vestige of an an ancient European wedding tradition going back to medieval times, but which had largely died out by the later Elizabethan era. These Bride Pies – also called Subtleties or Extraordinary Pies – were huge, multi-tiered pies, the origin of the multi-tiered wedding cake. Intricate moulds were used to bake the structural (and inedible) pie cases
A Bride Pie mould (right), from “The Accomplish’t Cook” of 1660 by Robert May.
The pies were “flamboyantly inedible” and were filled with anything and everything – alive and dead. Edible parts included cockscombs, sweetbreads, testicles, kidneys, prawns, oysters, cockles, bats, frogs and blackbirds. Yes, these pies are where you get the nursery rhyme of “four and twenty blackbirds baked in a pie”. However such birds were often alive, placed inside a hollow pie shell, so that when they were cut open they would fly or jump out in a stunning (or disastrous) display.
“Four and twenty black-birds, baked in a pie”, from a 19th c. book of nursery rhymes illustrated by Walter Crane. Collection of New York Public Library, ID 1699266
Samuel Pepys, writing in the mid-late 17th century, refers to a bride pie at the wedding of Sir William Batten, 3 pies, nested one within the other, but they were falling out of fashion with the upper classes by this time. They persisted in rural Scotland into the early 19th century, particularly the lowlands, forming their own tradition of wedding pies related to the “Penny Wedding” or “Penny Bridal” custom, which is recorded in Scotland back into the 16th century. In the Scottish romantic revival of the 18th and early 19th century, the Penny Wedding was a frequent subject. Sir David Wilkie’s 1818 painting gives you an idea of what they were like.
“The Penny Wedding”, David Wilkie, 1818. Royal Collection Trust / © His Majesty King Charles III 2022
Guests paid a penny to attend, which covered any costs for the married couple and also provided a financial gift to help set the married couple up. A suitable barn or hall was the venue. Musicians and entertainment provided itself from amongst the community and it was the responsibility of the bridal family to provide the food: a Bride Pie. And what do we see in the background of Wilkie’s painting? Why, it’s a great, big bride pie!
Close up. “The Penny Wedding”, David Wilkie, 1818. Royal Collection Trust / © His Majesty King Charles III 2022
And in David Allan’s “Scottish Penny Wedding” of 1795? Why if it isn’t a great big bride pie again…
“The Penny Wedding”. David Allan, 1795. CC-by-NC National Galleries Scotland
It was the custom that the whole community, were able, would provide what content for the pie that they could, which is why it came to contain everything and anything, from farm meat to game to fish to eggs to dairy. The laird or tacksman would (if they were on good terms) provide joints for it too. All guests expected to – and were obliged to – be served some of this giant pie. By the 1860s, “penny weddings” and pies were being written of in the past tense, but are recorded both in Borders and Aberdeenshire publications. By the 1890s they are described as being “vanished“.
We should note that the phrase “penny wedding” must be post-Union, as it refers to an amount equivalent to the English/British penny, historically the tradition was to pay a Scots shilling – which was of equivalent value. So while although these Bride’s Pies were not Scotch Pies, almost certainly they are what Johnson was referring to as his Scotch Pie. And what does the word Bride’s Pie give us? It gives us Bridie, the other Scottish baked good that’s filled with minced meat. The semi-circular shape of the Bridie is reputed to resemble a horse shoe, and there are certainly references to it originally being something prepared and served for holidays and separations. But Bridies will have to wait for another day for their own thread.
Bridies by Bell’s of Edzell and Montrose
There was no fixed recipe for a Bride’s Pie on account of its very “pot luck” nature, but one is given by Margaret Dods (pen name of Chirstian Johnston) in the 1826 Scottish cook book “The Cook and Housewife’s Manual”. It’s the very same recipe as the Countess Morphy gives us in 1954 that we saw earlier in this post! Johnston, who was sponsored by Walter Scott, gives us something much more important than a recipe here though, she provides us a definitive proof that at this time a Bride’s Pie and a Scotch Pie are one and the same. With it’s unashamed mixture of sweet, savoury, alcohol and spice, the Bride’s Pie Scotch Pie is undeniably of a much older cooking tradition, one that was rapidly dying out as the Victorian era approached.
A Bride’s or Scotch Pie recipe. 1826. The cook and housewife’s manual, containing the most approved modern receipts for making soups, gravies, sauces, ragouts, and all made-dishes, by Margaret Dods
Here ends the thread on Scotch Pies. I hope you’ve enjoyed it and learned something along the way: I absolutely did – it’s a subject about which I’ve been gathering factual titbits on for a long time and I promise you it’s the most in-depth read on Scotch Pies you’ll find on the internet. If you enjoyed this be sure to check out my other long-form threads on staple Scottish fayre such as Plain Breid, Morning Rolls and Creamola Foam.
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Adri's Blog 💋🎧🥵📖🔞 @[email protected] · 2026-04-19 · 14:00 UTC

Culinary Adventures: When Food Abroad Bites Back!

📌Disclaimer: Please note that if you click on any of the links in this blog, I will be receiving a small commission at NO extra cost to you!📌
Prepare your taste buds and buckle up for a gastronomic rollercoaster ride as we explore the wild world of culinary adventures abroad. From mouth-watering delicacies to unexpected surprises, join me as we delve into the delightful and sometimes downright daring realm of international cuisine.
https://benable.com/abnolte/81c35f813073af56266c
1. The Spicy Spectacle
You pride yourself on your tolerance for heat, so when the friendly street vendor in Bangkok offers you a taste of their “mild” curry, you confidently accept with a smile. But as the first fiery bite hits your tongue like a flamethrower in a chili factory, you quickly realize that you may have underestimated the true meaning of “Thai spicy.” Cue the frantic gulps of water and the impromptu fire-breathing performance that leaves your fellow diners both impressed and slightly concerned for your well-being.
https://www.bing.com/ck/a?!u0026amp;u0026amp;p=1af6e7abb1f6d9dcJmltdHM9MTcxMTkyOTYwMCZpZ3VpZD0wODliYmU2Yi02OWRkLTY4MGQtMzdhYy1hY2MwNjhhZjY5MjMmaW5zaWQ9NTE5NAu0026amp;ptn=3u0026amp;ver=2u0026amp;hsh=3u0026amp;fclid=089bbe6b-69dd-680d-37ac-acc068af6923u0026amp;psq=funny+articals+of+the+most+spicey+food+from+around+the+worldu0026amp;u=a1aHR0cHM6Ly9hbWF6aW5nZm9vZGFuZGRyaW5rLmNvbS9zcGljeS1mb29kLWRpYXJ5LWRhcmluZy1zcGljeS1kaXNoZXMvu0026amp;ntb=1
2. The Mystery Meat Mishap
You’re feeling adventurous, so when the menu at that quaint little bistro in Paris lists “escargot” as the house specialty, you decide to throw caution to the wind and give it a try. But as you take your first tentative bite of the slimy delicacy, you can’t shake the sinking feeling that you may have just eaten something that was alive mere moments ago. Cue the existential crisis and the fervent vow to stick to more familiar fare for the remainder of your culinary adventures.
https://benable.com/abnolte/81c35f813073af56266c/details?detail_id=5416811
3. The Cultural Conundrum
You’re determined to immerse yourself in the local culture, so when your gracious host in Tokyo presents you with a steaming bowl of what can only be described as “mystery soup,” you graciously accept with a smile and a bow. But as you tentatively take a sip and try to identify the various unidentifiable floating objects, you realize that sometimes, cultural immersion comes with a side of gastrointestinal distress. Cue the polite nods and the silent prayers for a speedy recovery as you struggle to maintain your composure in the face of culinary adversity.
https://www.facebook.com/reel/1104783950741628
4. The Street Food Fiasco
You’ve heard rave reviews about the street food scene in Marrakech, so when you stumble upon a bustling market teeming with tantalizing smells and exotic flavors, you can’t resist the siren call of the street vendors. But as you dig into your first bite of falafel, you quickly realize that street food adventures come with their own set of risks – namely, the inevitable battle with food poisoning that leaves you regretting every culinary decision you’ve ever made.
https://fb.watch/raaTplsMbg
5. The Sweet Surprise
Amidst the chaos and confusion of culinary mishaps abroad, sometimes you stumble upon a hidden gem that restores your faith in the power of international cuisine. Whether it’s a piping hot plate of pad thai in Bangkok or a decadent slice of tiramisu in Rome, these unexpected delights serve as a delicious reminder that sometimes, the best culinary adventures are the ones that catch you by surprise.
https://benable.com/abnolte/81c35f813073af56266c
So there you have it, fellow foodies – a humorous glimpse into the world of culinary adventures abroad, where every bite is an adventure and every meal is a memory. Remember, no matter how many culinary mishaps you encounter along the way, it’s all part of the delicious journey. Until next time, happy eating and may your taste buds be forever adventurous!
This is the second last post about Travelling…..keep your eyes peeled for the next blogs all about????
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Adri's Blog 💋🎧🥵📖🔞 @[email protected] · 2026-04-19 · 14:00 UTC

Culinary Adventures: When Food Abroad Bites Back!

📌Disclaimer: Please note that if you click on any of the links in this blog, I will be receiving a small commission at NO extra cost to you!📌
Prepare your taste buds and buckle up for a gastronomic rollercoaster ride as we explore the wild world of culinary adventures abroad. From mouth-watering delicacies to unexpected surprises, join me as we delve into the delightful and sometimes downright daring realm of international cuisine.
https://benable.com/abnolte/81c35f813073af56266c
1. The Spicy Spectacle
You pride yourself on your tolerance for heat, so when the friendly street vendor in Bangkok offers you a taste of their “mild” curry, you confidently accept with a smile. But as the first fiery bite hits your tongue like a flamethrower in a chili factory, you quickly realize that you may have underestimated the true meaning of “Thai spicy.” Cue the frantic gulps of water and the impromptu fire-breathing performance that leaves your fellow diners both impressed and slightly concerned for your well-being.
https://www.bing.com/ck/a?!u0026amp;u0026amp;p=1af6e7abb1f6d9dcJmltdHM9MTcxMTkyOTYwMCZpZ3VpZD0wODliYmU2Yi02OWRkLTY4MGQtMzdhYy1hY2MwNjhhZjY5MjMmaW5zaWQ9NTE5NAu0026amp;ptn=3u0026amp;ver=2u0026amp;hsh=3u0026amp;fclid=089bbe6b-69dd-680d-37ac-acc068af6923u0026amp;psq=funny+articals+of+the+most+spicey+food+from+around+the+worldu0026amp;u=a1aHR0cHM6Ly9hbWF6aW5nZm9vZGFuZGRyaW5rLmNvbS9zcGljeS1mb29kLWRpYXJ5LWRhcmluZy1zcGljeS1kaXNoZXMvu0026amp;ntb=1
2. The Mystery Meat Mishap
You’re feeling adventurous, so when the menu at that quaint little bistro in Paris lists “escargot” as the house specialty, you decide to throw caution to the wind and give it a try. But as you take your first tentative bite of the slimy delicacy, you can’t shake the sinking feeling that you may have just eaten something that was alive mere moments ago. Cue the existential crisis and the fervent vow to stick to more familiar fare for the remainder of your culinary adventures.
https://benable.com/abnolte/81c35f813073af56266c/details?detail_id=5416811
3. The Cultural Conundrum
You’re determined to immerse yourself in the local culture, so when your gracious host in Tokyo presents you with a steaming bowl of what can only be described as “mystery soup,” you graciously accept with a smile and a bow. But as you tentatively take a sip and try to identify the various unidentifiable floating objects, you realize that sometimes, cultural immersion comes with a side of gastrointestinal distress. Cue the polite nods and the silent prayers for a speedy recovery as you struggle to maintain your composure in the face of culinary adversity.
https://www.facebook.com/reel/1104783950741628
4. The Street Food Fiasco
You’ve heard rave reviews about the street food scene in Marrakech, so when you stumble upon a bustling market teeming with tantalizing smells and exotic flavors, you can’t resist the siren call of the street vendors. But as you dig into your first bite of falafel, you quickly realize that street food adventures come with their own set of risks – namely, the inevitable battle with food poisoning that leaves you regretting every culinary decision you’ve ever made.
https://fb.watch/raaTplsMbg
5. The Sweet Surprise
Amidst the chaos and confusion of culinary mishaps abroad, sometimes you stumble upon a hidden gem that restores your faith in the power of international cuisine. Whether it’s a piping hot plate of pad thai in Bangkok or a decadent slice of tiramisu in Rome, these unexpected delights serve as a delicious reminder that sometimes, the best culinary adventures are the ones that catch you by surprise.
https://benable.com/abnolte/81c35f813073af56266c
So there you have it, fellow foodies – a humorous glimpse into the world of culinary adventures abroad, where every bite is an adventure and every meal is a memory. Remember, no matter how many culinary mishaps you encounter along the way, it’s all part of the delicious journey. Until next time, happy eating and may your taste buds be forever adventurous!
This is the second last post about Travelling…..keep your eyes peeled for the next blogs all about????
Linktree #adailyprompt #adventure #dailyprompt #dailyprompt1879 #dailyprompt1880 #dailyprompt1881 #dailyprompt1883 #dailyprompt1884 #dailyprompt1888 #dailyprompt1889 #dailyprompt1891 #dailyprompt1901 #dailyprompt1905 #dailyprompt1906 #dailyprompt1908 #dailyprompt1910 #dailyprompt1911 #dailyprompt1912 #dailyprompt1913 #dailyprompt1914 #dailyprompt1915 #dailyprompt1916 #dailyprompt1917 #dailyprompt1918 #dailyprompt1923 #dailyprompt1924 #dailyprompt1925 #dailyprompt1929 #dailyprompt1932 #dailyprompt1935 #dailyprompt1938 #dailyprompt1939 #dailyprompt1941 #dailyprompt1947 #dailyprompt1949 #dailyprompt1950 #dailyprompt1951 #dailyprompt1954 #dailyprompt1957 #dailyprompt1975 #dailyprompt1981 #dailyprompt1988 #dailyprompt1989 #discovery #Food #instagram #life #lifestyle #love #luxury #personality #reading #relax #selfCare #TimeToTravel #travel #unwind #wisdom

#adailyprompt #adventure #dailyprompt #dailyprompt1879 #dailyprompt1880 #dailyprompt1881
Adri's Blog 💋🎧🥵📖🔞 @[email protected] · 2026-04-19 · 14:00 UTC

Culinary Adventures: When Food Abroad Bites Back!

📌Disclaimer: Please note that if you click on any of the links in this blog, I will be receiving a small commission at NO extra cost to you!📌
Prepare your taste buds and buckle up for a gastronomic rollercoaster ride as we explore the wild world of culinary adventures abroad. From mouth-watering delicacies to unexpected surprises, join me as we delve into the delightful and sometimes downright daring realm of international cuisine.
https://benable.com/abnolte/81c35f813073af56266c
1. The Spicy Spectacle
You pride yourself on your tolerance for heat, so when the friendly street vendor in Bangkok offers you a taste of their “mild” curry, you confidently accept with a smile. But as the first fiery bite hits your tongue like a flamethrower in a chili factory, you quickly realize that you may have underestimated the true meaning of “Thai spicy.” Cue the frantic gulps of water and the impromptu fire-breathing performance that leaves your fellow diners both impressed and slightly concerned for your well-being.
https://www.bing.com/ck/a?!u0026amp;u0026amp;p=1af6e7abb1f6d9dcJmltdHM9MTcxMTkyOTYwMCZpZ3VpZD0wODliYmU2Yi02OWRkLTY4MGQtMzdhYy1hY2MwNjhhZjY5MjMmaW5zaWQ9NTE5NAu0026amp;ptn=3u0026amp;ver=2u0026amp;hsh=3u0026amp;fclid=089bbe6b-69dd-680d-37ac-acc068af6923u0026amp;psq=funny+articals+of+the+most+spicey+food+from+around+the+worldu0026amp;u=a1aHR0cHM6Ly9hbWF6aW5nZm9vZGFuZGRyaW5rLmNvbS9zcGljeS1mb29kLWRpYXJ5LWRhcmluZy1zcGljeS1kaXNoZXMvu0026amp;ntb=1
2. The Mystery Meat Mishap
You’re feeling adventurous, so when the menu at that quaint little bistro in Paris lists “escargot” as the house specialty, you decide to throw caution to the wind and give it a try. But as you take your first tentative bite of the slimy delicacy, you can’t shake the sinking feeling that you may have just eaten something that was alive mere moments ago. Cue the existential crisis and the fervent vow to stick to more familiar fare for the remainder of your culinary adventures.
https://benable.com/abnolte/81c35f813073af56266c/details?detail_id=5416811
3. The Cultural Conundrum
You’re determined to immerse yourself in the local culture, so when your gracious host in Tokyo presents you with a steaming bowl of what can only be described as “mystery soup,” you graciously accept with a smile and a bow. But as you tentatively take a sip and try to identify the various unidentifiable floating objects, you realize that sometimes, cultural immersion comes with a side of gastrointestinal distress. Cue the polite nods and the silent prayers for a speedy recovery as you struggle to maintain your composure in the face of culinary adversity.
https://www.facebook.com/reel/1104783950741628
4. The Street Food Fiasco
You’ve heard rave reviews about the street food scene in Marrakech, so when you stumble upon a bustling market teeming with tantalizing smells and exotic flavors, you can’t resist the siren call of the street vendors. But as you dig into your first bite of falafel, you quickly realize that street food adventures come with their own set of risks – namely, the inevitable battle with food poisoning that leaves you regretting every culinary decision you’ve ever made.
https://fb.watch/raaTplsMbg
5. The Sweet Surprise
Amidst the chaos and confusion of culinary mishaps abroad, sometimes you stumble upon a hidden gem that restores your faith in the power of international cuisine. Whether it’s a piping hot plate of pad thai in Bangkok or a decadent slice of tiramisu in Rome, these unexpected delights serve as a delicious reminder that sometimes, the best culinary adventures are the ones that catch you by surprise.
https://benable.com/abnolte/81c35f813073af56266c
So there you have it, fellow foodies – a humorous glimpse into the world of culinary adventures abroad, where every bite is an adventure and every meal is a memory. Remember, no matter how many culinary mishaps you encounter along the way, it’s all part of the delicious journey. Until next time, happy eating and may your taste buds be forever adventurous!
This is the second last post about Travelling…..keep your eyes peeled for the next blogs all about????
Linktree #adailyprompt #adventure #dailyprompt #dailyprompt1879 #dailyprompt1880 #dailyprompt1881 #dailyprompt1883 #dailyprompt1884 #dailyprompt1888 #dailyprompt1889 #dailyprompt1891 #dailyprompt1901 #dailyprompt1905 #dailyprompt1906 #dailyprompt1908 #dailyprompt1910 #dailyprompt1911 #dailyprompt1912 #dailyprompt1913 #dailyprompt1914 #dailyprompt1915 #dailyprompt1916 #dailyprompt1917 #dailyprompt1918 #dailyprompt1923 #dailyprompt1924 #dailyprompt1925 #dailyprompt1929 #dailyprompt1932 #dailyprompt1935 #dailyprompt1938 #dailyprompt1939 #dailyprompt1941 #dailyprompt1947 #dailyprompt1949 #dailyprompt1950 #dailyprompt1951 #dailyprompt1954 #dailyprompt1957 #dailyprompt1975 #dailyprompt1981 #dailyprompt1988 #dailyprompt1989 #discovery #Food #instagram #life #lifestyle #love #luxury #personality #reading #relax #selfCare #TimeToTravel #travel #unwind #wisdom

#adailyprompt #adventure #dailyprompt #dailyprompt1879 #dailyprompt1880 #dailyprompt1881
Adri's Blog 💋🎧🥵📖🔞 @[email protected] · 2026-04-19 · 14:00 UTC

Culinary Adventures: When Food Abroad Bites Back!

📌Disclaimer: Please note that if you click on any of the links in this blog, I will be receiving a small commission at NO extra cost to you!📌
Prepare your taste buds and buckle up for a gastronomic rollercoaster ride as we explore the wild world of culinary adventures abroad. From mouth-watering delicacies to unexpected surprises, join me as we delve into the delightful and sometimes downright daring realm of international cuisine.
https://benable.com/abnolte/81c35f813073af56266c
1. The Spicy Spectacle
You pride yourself on your tolerance for heat, so when the friendly street vendor in Bangkok offers you a taste of their “mild” curry, you confidently accept with a smile. But as the first fiery bite hits your tongue like a flamethrower in a chili factory, you quickly realize that you may have underestimated the true meaning of “Thai spicy.” Cue the frantic gulps of water and the impromptu fire-breathing performance that leaves your fellow diners both impressed and slightly concerned for your well-being.
https://www.bing.com/ck/a?!u0026amp;u0026amp;p=1af6e7abb1f6d9dcJmltdHM9MTcxMTkyOTYwMCZpZ3VpZD0wODliYmU2Yi02OWRkLTY4MGQtMzdhYy1hY2MwNjhhZjY5MjMmaW5zaWQ9NTE5NAu0026amp;ptn=3u0026amp;ver=2u0026amp;hsh=3u0026amp;fclid=089bbe6b-69dd-680d-37ac-acc068af6923u0026amp;psq=funny+articals+of+the+most+spicey+food+from+around+the+worldu0026amp;u=a1aHR0cHM6Ly9hbWF6aW5nZm9vZGFuZGRyaW5rLmNvbS9zcGljeS1mb29kLWRpYXJ5LWRhcmluZy1zcGljeS1kaXNoZXMvu0026amp;ntb=1
2. The Mystery Meat Mishap
You’re feeling adventurous, so when the menu at that quaint little bistro in Paris lists “escargot” as the house specialty, you decide to throw caution to the wind and give it a try. But as you take your first tentative bite of the slimy delicacy, you can’t shake the sinking feeling that you may have just eaten something that was alive mere moments ago. Cue the existential crisis and the fervent vow to stick to more familiar fare for the remainder of your culinary adventures.
https://benable.com/abnolte/81c35f813073af56266c/details?detail_id=5416811
3. The Cultural Conundrum
You’re determined to immerse yourself in the local culture, so when your gracious host in Tokyo presents you with a steaming bowl of what can only be described as “mystery soup,” you graciously accept with a smile and a bow. But as you tentatively take a sip and try to identify the various unidentifiable floating objects, you realize that sometimes, cultural immersion comes with a side of gastrointestinal distress. Cue the polite nods and the silent prayers for a speedy recovery as you struggle to maintain your composure in the face of culinary adversity.
https://www.facebook.com/reel/1104783950741628
4. The Street Food Fiasco
You’ve heard rave reviews about the street food scene in Marrakech, so when you stumble upon a bustling market teeming with tantalizing smells and exotic flavors, you can’t resist the siren call of the street vendors. But as you dig into your first bite of falafel, you quickly realize that street food adventures come with their own set of risks – namely, the inevitable battle with food poisoning that leaves you regretting every culinary decision you’ve ever made.
https://fb.watch/raaTplsMbg
5. The Sweet Surprise
Amidst the chaos and confusion of culinary mishaps abroad, sometimes you stumble upon a hidden gem that restores your faith in the power of international cuisine. Whether it’s a piping hot plate of pad thai in Bangkok or a decadent slice of tiramisu in Rome, these unexpected delights serve as a delicious reminder that sometimes, the best culinary adventures are the ones that catch you by surprise.
https://benable.com/abnolte/81c35f813073af56266c
So there you have it, fellow foodies – a humorous glimpse into the world of culinary adventures abroad, where every bite is an adventure and every meal is a memory. Remember, no matter how many culinary mishaps you encounter along the way, it’s all part of the delicious journey. Until next time, happy eating and may your taste buds be forever adventurous!
This is the second last post about Travelling…..keep your eyes peeled for the next blogs all about????
Linktree #adailyprompt #adventure #dailyprompt #dailyprompt1879 #dailyprompt1880 #dailyprompt1881 #dailyprompt1883 #dailyprompt1884 #dailyprompt1888 #dailyprompt1889 #dailyprompt1891 #dailyprompt1901 #dailyprompt1905 #dailyprompt1906 #dailyprompt1908 #dailyprompt1910 #dailyprompt1911 #dailyprompt1912 #dailyprompt1913 #dailyprompt1914 #dailyprompt1915 #dailyprompt1916 #dailyprompt1917 #dailyprompt1918 #dailyprompt1923 #dailyprompt1924 #dailyprompt1925 #dailyprompt1929 #dailyprompt1932 #dailyprompt1935 #dailyprompt1938 #dailyprompt1939 #dailyprompt1941 #dailyprompt1947 #dailyprompt1949 #dailyprompt1950 #dailyprompt1951 #dailyprompt1954 #dailyprompt1957 #dailyprompt1975 #dailyprompt1981 #dailyprompt1988 #dailyprompt1989 #discovery #Food #instagram #life #lifestyle #love #luxury #personality #reading #relax #selfCare #TimeToTravel #travel #unwind #wisdom

#wisdom #unwind #travel #timetotravel #selfcare #relax
Adri's Blog 💋🎧🥵📖🔞 @[email protected] · 2026-04-19 · 14:00 UTC

Culinary Adventures: When Food Abroad Bites Back!

📌Disclaimer: Please note that if you click on any of the links in this blog, I will be receiving a small commission at NO extra cost to you!📌
Prepare your taste buds and buckle up for a gastronomic rollercoaster ride as we explore the wild world of culinary adventures abroad. From mouth-watering delicacies to unexpected surprises, join me as we delve into the delightful and sometimes downright daring realm of international cuisine.
https://benable.com/abnolte/81c35f813073af56266c
1. The Spicy Spectacle
You pride yourself on your tolerance for heat, so when the friendly street vendor in Bangkok offers you a taste of their “mild” curry, you confidently accept with a smile. But as the first fiery bite hits your tongue like a flamethrower in a chili factory, you quickly realize that you may have underestimated the true meaning of “Thai spicy.” Cue the frantic gulps of water and the impromptu fire-breathing performance that leaves your fellow diners both impressed and slightly concerned for your well-being.
https://www.bing.com/ck/a?!u0026amp;u0026amp;p=1af6e7abb1f6d9dcJmltdHM9MTcxMTkyOTYwMCZpZ3VpZD0wODliYmU2Yi02OWRkLTY4MGQtMzdhYy1hY2MwNjhhZjY5MjMmaW5zaWQ9NTE5NAu0026amp;ptn=3u0026amp;ver=2u0026amp;hsh=3u0026amp;fclid=089bbe6b-69dd-680d-37ac-acc068af6923u0026amp;psq=funny+articals+of+the+most+spicey+food+from+around+the+worldu0026amp;u=a1aHR0cHM6Ly9hbWF6aW5nZm9vZGFuZGRyaW5rLmNvbS9zcGljeS1mb29kLWRpYXJ5LWRhcmluZy1zcGljeS1kaXNoZXMvu0026amp;ntb=1
2. The Mystery Meat Mishap
You’re feeling adventurous, so when the menu at that quaint little bistro in Paris lists “escargot” as the house specialty, you decide to throw caution to the wind and give it a try. But as you take your first tentative bite of the slimy delicacy, you can’t shake the sinking feeling that you may have just eaten something that was alive mere moments ago. Cue the existential crisis and the fervent vow to stick to more familiar fare for the remainder of your culinary adventures.
https://benable.com/abnolte/81c35f813073af56266c/details?detail_id=5416811
3. The Cultural Conundrum
You’re determined to immerse yourself in the local culture, so when your gracious host in Tokyo presents you with a steaming bowl of what can only be described as “mystery soup,” you graciously accept with a smile and a bow. But as you tentatively take a sip and try to identify the various unidentifiable floating objects, you realize that sometimes, cultural immersion comes with a side of gastrointestinal distress. Cue the polite nods and the silent prayers for a speedy recovery as you struggle to maintain your composure in the face of culinary adversity.
https://www.facebook.com/reel/1104783950741628
4. The Street Food Fiasco
You’ve heard rave reviews about the street food scene in Marrakech, so when you stumble upon a bustling market teeming with tantalizing smells and exotic flavors, you can’t resist the siren call of the street vendors. But as you dig into your first bite of falafel, you quickly realize that street food adventures come with their own set of risks – namely, the inevitable battle with food poisoning that leaves you regretting every culinary decision you’ve ever made.
https://fb.watch/raaTplsMbg
5. The Sweet Surprise
Amidst the chaos and confusion of culinary mishaps abroad, sometimes you stumble upon a hidden gem that restores your faith in the power of international cuisine. Whether it’s a piping hot plate of pad thai in Bangkok or a decadent slice of tiramisu in Rome, these unexpected delights serve as a delicious reminder that sometimes, the best culinary adventures are the ones that catch you by surprise.
https://benable.com/abnolte/81c35f813073af56266c
So there you have it, fellow foodies – a humorous glimpse into the world of culinary adventures abroad, where every bite is an adventure and every meal is a memory. Remember, no matter how many culinary mishaps you encounter along the way, it’s all part of the delicious journey. Until next time, happy eating and may your taste buds be forever adventurous!
This is the second last post about Travelling…..keep your eyes peeled for the next blogs all about????
Linktree #adailyprompt #adventure #dailyprompt #dailyprompt1879 #dailyprompt1880 #dailyprompt1881 #dailyprompt1883 #dailyprompt1884 #dailyprompt1888 #dailyprompt1889 #dailyprompt1891 #dailyprompt1901 #dailyprompt1905 #dailyprompt1906 #dailyprompt1908 #dailyprompt1910 #dailyprompt1911 #dailyprompt1912 #dailyprompt1913 #dailyprompt1914 #dailyprompt1915 #dailyprompt1916 #dailyprompt1917 #dailyprompt1918 #dailyprompt1923 #dailyprompt1924 #dailyprompt1925 #dailyprompt1929 #dailyprompt1932 #dailyprompt1935 #dailyprompt1938 #dailyprompt1939 #dailyprompt1941 #dailyprompt1947 #dailyprompt1949 #dailyprompt1950 #dailyprompt1951 #dailyprompt1954 #dailyprompt1957 #dailyprompt1975 #dailyprompt1981 #dailyprompt1988 #dailyprompt1989 #discovery #Food #instagram #life #lifestyle #love #luxury #personality #reading #relax #selfCare #TimeToTravel #travel #unwind #wisdom

#adailyprompt #adventure #dailyprompt #dailyprompt1879 #dailyprompt1880 #dailyprompt1881
Hugh's Views & News @[email protected] · 2026-01-05 · 14:27 UTC
Celebrating 2025: 12 Most Inspiring Posts That Defined the Year!
If you happen to be reading this in January, then it’s officially ‘Happy New Year!’ If it’s any other month, well, ‘Happy New Year’ anyway—because let’s face it, every day is just a chance to start fresh, much like your New Year’s resolution to stop binge-watching shows… which you’ve probably already forgotten by now!
I’m diving headfirst into 2026 with a parade of my 12 most beloved posts from 2025, all crafted by yours truly. Maybe they slipped under your radar, or perhaps you’re just itching to relive them—feel free to leave a fresh comment, even if you’ve already showered them with praise before. Because, let’s be honest, who doesn’t love a little comment déjà vu?
Click the links to view the posts.
January
Navigating the Social Media Landscape: My Journey with Five Platforms
I kicked the year off talking ‘Social Media,’ a subject that became a hot topic during 2025, sometimes for the wrong reasons.
Not only can social media be a ravenous beast in eating up a lot of your time, but it’s also a fantastic way to promote your blog posts, the posts of other bloggers (a great way to support other bloggers), and, best of all, it’s free to use unless you decide to pay for a subscription.
I not only shouted out the three social media platforms I’m still romancing, but I also gave a little eulogy for the ones I’ve ghosted. After all, as someone hilariously pointed out, ‘spreading yourself too thinly on social media is like trying to butter a piece of toast with a frozen brick of butter—good luck with that!’
February
Why Every Blogger Needs an Engaging ‘About’ Page: Key Elements and Tips
Do you know who you are? I hope most of you chimed in with a confident ‘Yes!’ But how well do you know the owners of the blogs you follow? I mean, do you really know them, or are they just mysterious internet wizards pulling strings from their lairs?
I’m still somewhat bemused by the number of bloggers who have an ‘About’ page that says, ‘This is the template for telling your audience a little about yourself and what you blog about,’ – well, something along those lines.
It’s truly wonderful to share a bit about yourself on your blog! You don’t need to provide a lot of information—a first name and a little insight into your location can go a long way. Plus, letting visitors know what your blog is about will help create a friendly connection and encourage them to explore your unique perspective!
As you’ll see in the comments section of the post, many bloggers won’t engage, let alone follow a blog that has no information about its host(s).
March
The Ultimate Guide to Engaging on Bluesky: Tips, Features, and Strategies for Success
Although published 10 months ago, this post from March 2025 is still attracting attention, making it my top pick of the month! If you’re a BlueSky user, this post is an absolute gem, offering you the fantastic opportunity to not just get your blog posts read but also to inspire meaningful engagement from your readers.
Bluesky can boost traffic and visitors to your blog.
Even if you don’t have a Bluesky account yet, it’s worth a read, as the information contained within the post can apply to other social media platforms.
April
Astonishing! Some Bloggers Kill Off Comments On Their Blogs. Why?
Talking of engagement, imagine my shock when, in April, there was a lot of talk amongst bloggers about killing off commenting on their blogs.
Most of the talk was on social media, but I also noticed that some bloggers had decided to disable commenting on their posts, citing the amount of time it took to respond.
But isn’t that what blogging is all about? Being able to engage, discuss and ask questions? Check the comments for the answers.
May
The Best Ultimate Guide To Why Alt-Text Is Important
It’s a sad fact that not everyone who visits your blog can see images or photos. Fortunately, WordPress allows users to add Alt-Text to all images in blog posts. This helps visitors who use screen readers and other software that describe images to know what’s in them. Sadly, many bloggers don’t help these visitors by not adding Alt-Text to their pictures.
Don’t know what Alt-Text is? Check out the post for details. And once you read it, make it a mission to welcome everyone to your blog.
June
This Is The One Thing You Can Do To Help Bloggers
What’s the one thing you could do to help other bloggers?
I’m sure there are many different answers to that question, but the answer I give in my post is one that I’m positive the majority of bloggers want! Yes, there will be exceptions, and I’m sure one or two will tell me, but if you’re somebody who gives excuse after excuse as to why you can’t do this, then you’ve allowed the problem to beat you.
July
Flash Fiction – Crossroads Of Desire
I didn’t write as much flash fiction during 2025 as I had intended, but this piece of flash fiction was my favourite of the year. It involves two people you’d probably pass in the street most days. Meet Bill and his wife, both in the autumn years of their lives. Are they a normal couple who you wouldn’t give a second look at, or are they two people who come with a twist? Only you can decide, but only if you read the piece of flash fiction that gives you a glimpse into their lives.
This 4-minute read packs a punch.
I’ll be making amends and writing more flash fiction during 2026, so you better watch out!
August
5 Reasons Why Every Blogger Should Have a Contact Page and How to Build One
August was the flattest month for me, blogging-wise, in 2025. It felt like I was on a plateau with no way up or down. There was little to choose from in terms of blog posts because I didn’t publish much, but thankfully, this post got a lot of engagement, proving it wasn’t as quiet out there as I thought.
Ask yourself these questions. Why would anybody want to contact you? But more importantly, how easy is it to contact you via your blog other than by leaving you a comment? Remember that leaving a comment isn’t always the right way to contact someone. After all, anyone visiting your blog can read comments. Are you missing out on any golden opportunities? Check the post for full details. You may be surprised.
September
This New WordPress Feature Helps Promote The Blogs You Love
I had to take an unexpected blogging break in September, but thankfully, this post had already been published before I departed. And I wasn’t disappointed with the reaction in the comments section to something the majority of WordPress users had no idea existed.
Short but sweet, this blog post from September 20-25 packed as much of a punch as Bill and his wife did in July.
October
Where To Legally Source Amazing Images For Your Blog Posts
The latter quarter of 2025 saw me focusing very much on copyright issues, with many bloggers believing that their blogs are so small and private, nobody will care if they use images, photographs, or any material, including song lyrics, that are copyrighted. How wrong they are.
If you can not guarantee that the material or images you are using in your blog posts is free to use, then are you breaking the law? And, even worse, could you be fined?
November
The Latest Blogging and Publishing Scams You Need to Be Aware Of Now
How many of you believe that you’d never get scammed online?
With the advent of AI, the perpetration of scams has become significantly more sophisticated, leading to an alarming increase in the number of individuals who are susceptible to such deceit.
Different scams are emerging continuously, yet it appears increasingly challenging to identify them. Are you equipped to recognize a scam?
December
5 ‘Questionable’ Photos That Give You The Chance To Say Who You Are
In November, I shared my exciting decision to dive back into my passion for photography blogging, but this time with a fresh perspective. Although I had paused my photography posts in the past due to engagement challenges, I’m now thrilled to explore new ways to connect and inspire my audience.
This post not only showcased more of my own photography but also offered readers a wonderful opportunity to share a bit about themselves. Success! Engagement flourished, and I ended the year just as I hoped, fostering genuine connections rather than mere visits masked by guilt.
Finally, a glimpse into the inside of 2025 for my blog.
How well did your blog perform in 2025?
- 43 posts published
- 32,600 words written
- 2,700 clicked the ‘like’ button on my posts
- 2,100 comments left
A busy blogging year full of creativity and engagement.

What was your favourite blog post of 2025 on your blog? Why did it resonate with you? What’s the most significant lesson you learned about blogging and engaging with your audience in 2025?
You can follow me at the following sites.
The featured image on this blog post is sourced from Pixabay. AI reviewed spelling and grammar errors.
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Sky Dancing @[email protected] · 2024-12-11 · 18:34 UTC

Wednesday Reads
Good Afternoon!!
There’s not a lot of exciting politics news today; and that is probably a good thing, considering how bad things are looking for the country in the long run. We only have a little more than a month until Trump moves into the White House and tries to become president for life.
Have you heard the latest gossip? Donald Trump, Jr., who is still engaged to Kimberly Guilfoyle, has a new girlfriend.
Olivia Craighead at The Cut: Don Jr. Keeps Stepping Out With a Woman Who’s Not Kimberly Guilfoyle.
Is there trouble in paradise for one of America’s most unsettling couples? Sure seems like it. Donald Trump Jr. and Kimberly Guilfoyle may be on the rocks, if the Daily Mail is to be believed. While the fiancés were spotted together about a week after the election, the tabloid has been all over what looks like Don Jr.’s new relationship with Bettina Anderson, a Republican socialite who lives in Florida. So what’s going on here?
Let’s back up a few months. In September, the Daily Mail reported that Don Jr. and Anderson had been “spotted canoodling” during a brunch date the month prior. According to their sources, this new fling was “the talk of Palm Beach.” One source said that Anderson reached over “to plant a sexy kiss” on Don Jr. three times during their meal at the Honor Bar.
“She seemed totally smitten with Don — and he with her,” the source told the Daily Mail.

Bettina Anderson

Guilfoyle was probably shocked to learn this information, right? Well, not so fast. The day after the first Daily Mail reports, friends of the former Fox News host told the tabloid that she might have had an idea of what was going on.
“Kimberly either didn’t know about Bettina — or didn’t want to know. Did she hear whispers that Don Jr. was fooling around with someone else? Probably,” one of Guilfoyle’s so-called friends said. “She’s no fool but it’s easy to deceive yourself when you’re so committed to someone and believe he’s committed to you.”
Guilfoyle and Trump have been together since 2018, and got engaged on New Year’s Eve 2020 (his birthday). During their time together, she became a mainstay in the MAGA world, often seen at Trump events, delivering speeches at Republican National Conventions, and sharing almost nothing but pro-Trump content on Instagram. By Election Night this year, it seemed like she and Trump Jr. had worked things out, as she stood by his side at his father’s victory speech.
But all was reportedly not well. The Daily Mail is back on the Trumpfoyle beat, and on Tuesday, they reported that the purportedly engaged couple has not been spotted together since November 12. Meanwhile, on Monday, Don Jr. and Bettina were photographed holding hands while out to dinner to celebrate her 38th birthday. The tabloid also reported that he has been living with his new girlfriend at her West Palm Beach townhouse instead of in the $15.5 million mansion he and Guilfoyle bought in 2021.
Gross. Who would want to hang around with Don Jr., much less live with him? I guess it takes all kinds.
According to US Magazine, via Yahoo News, Anderson is “a model and an influencer” with “more than 38,000 followers on” Instagram.
Anyway, Trump Sr. is giving Guilfoyle a consolation prize–He plans to appoint her Ambassador to Greece.
The Daily Beast, via Yahoo News: Trump Sends Don Jr.’s Fiancée Kimberly Guilfoyle Abroad After Split Rumors.
Donald Trump has appointed former Fox News host Kimberly Guilfoyle as his ambassador to Greece—just hours after pictures published by the Daily Mail showed her fiancé, Donald Trump Jr., hand-in-hand with another woman.
“For many years, Kimberly has been a close friend and ally,” the president-elect said in his announcement, which he posted to Truth Social.

Kimberly Guilfoyle and Don Jr

“Her extensive experience and leadership in law, media, and politics along with her sharp intellect make her supremely qualified to represent the United States, and safeguard its interests abroad. Kimberly is perfectly suited to foster strong bilateral relations with Greece, advancing our interests on issues ranging from defense cooperation to trade and economic innovation.”
Guilfoyle’s nomination requires Senate confirmation and would see her handling foreign affairs.
The announcement hit conspicuously soon after Trump Jr., 46, was pictured cozying up with Palm Beach socialite Bettina Anderson, 38.
Trump Jr. made no comment on the rumors on social media when he congratulated Guilfoyle in a brief statement to X Tuesday night: “I am so proud of Kimberly. She loves America and she always has wanted to serve the country as an Ambassador. She will be an amazing leader for America First.”
There’s more information coming out on Luigi Mangione, the man who has been arrested and charged with murdering of United Health Care CEO Brian Thompson in NYC. Here’s the latest:
The mainstream media has refused to publish Mangione’s “manifesto,” but Ken Klippenstein has posted it on his website:
I’ve obtained a copy of suspected killer Luigi Mangione’s manifesto — the real one, not the forgery circulating online. Major media outlets are also in possession of the document but have refused to publish it and not even articulated a reason why. My queries to The New York Times, The Washington Post, CNN and NBC to explain their rationale for withholding the manifesto, while gladly quoting from it selectively, have not been answered.
I’ll have more to say on this later — on how unhealthy the media’s drift away from public disclosure is — but for now, here’s the manifesto:
“To the Feds, I’ll keep this short, because I do respect what you do for our country. To save you a lengthy investigation, I state plainly that I wasn’t working with anyone. This was fairly trivial: some elementary social engineering, basic CAD, a lot of patience. The spiral notebook, if present, has some straggling notes and To Do lists that illuminate the gist of it. My tech is pretty locked down because I work in engineering so probably not much info there. I do apologize for any strife of traumas but it had to be done. Frankly, these parasites simply had it coming. A reminder: the US has the #1 most expensive healthcare system in the world, yet we rank roughly #42 in life expectancy. United is the [indecipherable] largest company in the US by market cap, behind only Apple, Google, Walmart. It has grown and grown, but as our life expectancy? No the reality is, these [indecipherable] have simply gotten too powerful, and they continue to abuse our country for immense profit because the American public has allwed them to get away with it. Obviously the problem is more complex, but I do not have space, and frankly I do not pretend to be the most qualified person to lay out the full argument. But many have illuminated the corruption and greed (e.g.: Rosenthal, Moore), decades ago and the problems simply remain. It is not an issue of awareness at this point, but clearly power games at play. Evidently I am the first to face it with such brutal honesty.”
John Herrmann at New York Magazine: Luigi Mangione’s Full Story Isn’t Online.
When the identity of Luigi Mangione, the alleged UnitedHealthcare CEO shooter, was revealed on Monday, the online search — a reporting process that’s become a collective online ritual — began. It turns out he left a lot of information online: an active account on X, an Instagram, a Facebook, a Goodreads, a Reddit account, and maybe even a Tinder profile. The dossier came together fast.

Luigi Mangione

Reporters and social-media users noted possible red flags, strange and eerie fragments of information, and small ironies. On Goodreads, he had posted a contrarian riff on Ted Kaczynski’s manifesto. Was it evidence of violent tendencies? He also reviewed a couple of books about back pain. On X, he posted about AI superintelligence and followed some anti-woke pundits. Had he tumbled down a slippery slope? Was he blackpilled? Some sort of accelerationist? On Reddit, he posted about backpacks and spinal injuries. Had he been hiding in plain sight all along?
In isolation, with the hindsight that they were posted by someone who went on to allegedly assassinate a health-care CEO, these accounts, and some of these posts, assumed new meaning, which is reasonable and understandable: It’s a crazy story that people want to understand, and the way social media has been processing it more broadly is unprecedented in about six different ways. But what’s most striking about Mangione’s extensive online dossier is that, had it been studied before the shooting took place, it wouldn’t have raised much alarm. You can spend hours reading these posts, sifting through his follows, and looking for clues about what Type of Guy he is, but the supportable theories are pretty thin: Mangione had an online profile consonant with his identity and context. He shared and posted and followed like a 20-something striver with a foot in the tech industry, listened to Rogan, and considered himself a rationalist or at least unusually rational….
His media consumption — wellness podcasts, a dash of “heterodox” punditry, tech personalities on X — might have placed him near some worrying ideological tendencies, but no more so than millions of other young men in his social milieu; on digital paper, he’s a bit like one of those young male swing voters that dominated post-election recriminations, albeit with an Ivy on his LinkedIn. If a dating profile led you to these accounts, you might wonder if he was going to talk at you about AI or if he might be sort of socially awkward. You might wonder if he’s a bit of a pod bro, or an RFK guy, but you’d also see a lot of stuff that looks — again, without future context — if not normal, then demographically typical. You wouldn’t have wondered if he was planning an assassination. You’d probably have assumed he was friendly! Now, everyone’s looking for the online trail that leads directly the sidewalk in front of the Midtown Hilton, but they haven’t quite found it. Nor, in 2024, should they expect to.
Herrmann argues that a criminal’s “on-line footprint” doesn’t really reveal who a person is anymore, if it ever did.
Faith in the existence of meaning in the “online trail” started waning when social media achieved full ubiquity. By the mid-2010s, the sorts of evidence you’d find in the aftermath of a shocking news event tended to be either hidden in places like 4chan — intentionally inscrutable communities within a fully mainstream internet — or left behind intentionally to be found and shared in the form of a manifesto, an archived Discord channel, or a recording of the act itself. These revelations could still be illuminating or at least shocking — the Pittsburgh synagogue shooter left a trail of posts on the right-wing social-media site Gab, for example — but in recent years, the post-news deep-dive, which has become a messy and fraught spectacle unto itself, wasn’t producing much in the way of understanding. Mostly, if you were planning a dramatic crime, you knew better than to post about it. If you wanted nobody to see you, or suspect you of anything, you simply didn’t post about it.
Mangione’s stubbornly normal online footprint, and the way the media and public have feasted upon it, marks the closing of this circle. Online, he was a guy with unremarkable niche interests and a serious appetite for boring productivity books. The reflexive assumption that his digital trail must contain essential, decodable truths about his motives has produced less in the way of insight than of fandom, which is constructed online through a similar process of breathless driven data aggregation.
Ashley Southall and Maria Cramer at The New York Times: Police Say Suspect’s Notebook Described Rationale for C.E.O. Killing.
Luigi Mangione, who has been charged with killing the chief executive of UnitedHealthcare at a company investors’ day, was arrested with a notebook that detailed plans for the shooting, according to two law enforcement officials.
The notebook described going to a conference and killing an executive, the officials said.

Luigi Mangione

“What do you do? You wack the C.E.O. at the annual parasitic bean-counter convention. It’s targeted, precise, and doesn’t risk innocents,” was one passage written in the notebook, the officials said….
When Mr. Mangione was arrested, the authorities also found a 262-word handwritten note with him, which begins by appearing to take responsibility for the murder. The note, which officials described as a manifesto, also mentioned the existence of a notebook. The recovery of the notebook was first reported by CNN.
The suspect saw the killing as a “symbolic takedown,” according to a New York Police Department internal report that detailed parts of a three-page manifesto found with him at the time of his arrest. The report added that the suspect “likely views himself as a hero of sorts who has finally decided to act upon such injustices” and expressed concern that others might see him as a “martyr and an example to follow.” [….]
On his way into court on Tuesday afternoon, Mr. Mangione shouted about “an insult to the intelligence of the American people and their lived experience.”
It was not exactly clear what he was referring to as deputies worked to push him into the courthouse. On Wednesday, the sheriff of Blair County, James E. Ott, said that otherwise Mr. Mangione had not given deputies any problems.
Read more at the NYT.
The NYT has another article about Mangione’s wealthy Baltimore family: The Prominent Maryland Family of the Suspect in the C.E.O. Killing.
Daniel Gilbert at The Washington Post: Severe pain shaped UnitedHealth CEO murder suspect’s view of health system.
Even when Luigi Mangione was surrounded with people who cared about him, he was isolated by a spinal defect that dealt the athletic young man crippling pain and contributed to a jaundiced view of the American health-care system.

Authorities charged Mangione, 26, with murder in the shooting of UnitedHealthcare CEO Brian Thompson in New York, but have said little about a motive for the killing. They found a three-page, handwritten document on Mangione that expressed disdain for the American health-care system, they’ve said.
On Reddit in April, Mangione foreshadowed that skepticism about the health-care industry as he offered advice for getting a doctor to perform spinal surgery.
“Tell them you are ‘unable to work’ / do your job,” he wrote. “We live in a capitalist society. I’ve found that the medical industry responds to these key words far more urgently than you describing unbearable pain and how it’s impacting your quality of life.”

Nothing in his Reddit posts reviewed by The Postindicate violent intentions. Authorities have not laid out their case for what drove Mangione to escalate his frustration with the health system, which is common in the United States, into an allegedly premeditated murder of a prominent health-care executive….

Mangione’s arrest has stunned his friends and family, most of whom appear to have lost touch with him in the last six months.

“We all condemn violence of any kind,” said Josiah Ryan, a spokesman for Surfbreak HNL, a co-living community in Honolulu where Mangione lived for six months in 2022. He added, “There’s sadness, because he was a person who was well-loved and no one saw this coming.”

Mangione’s back X-ray

Ryan said that Mangione’s back pain was well known within the Surfbreak community. “It was a real problem for him, and he had to think about that in a way that most 24-year-old young men living in Hawaii would not have to worry about their health,” he said.
Mangione’s struggles with his back pain offer a glimpse into the interior life of a young man who outwardly lived a charmed existence — the scion of a wealthy family in Maryland who was valedictorian of his prestigious private school in Baltimore and earned degrees in computer science from the University of Pennsylvania….

In archived Reddit comments, Mangione doesn’t express anger toward UnitedHealthcare or other health insurers. But the posts chronicle his struggle over years to deal with back pain that became increasingly debilitating.

“From childhood until age 23, my back would always ache if I stood too long, but it wasn’t too bad,” he wrote in February. But as he entered his mid-20s, the pain began to disrupt his life, and he also struggled with cognitive issues.
In a Reddit group focused on brain fog, he wrote, “The people around you probably won’t understand your symptoms — they certainly don’t for me.”

Lots of people live with chronic pain (including me), but we don’t kill people over it.
A bit of Trump crime news: Manhattan DA Alvin Bragg is trying to keep his case against Trump alive. Laura Italiano at Business Insider: Bragg says Trump’s crimes and ‘history of malicious conduct’ are too serious for his hush-money case to be dismissed.
In an 82-page court filing made public Tuesday, Manhattan prosecutors say Donald Trump’s “history of malicious conduct” is too serious for his hush-money case to be dismissed.
The filing, signed by DA Alvin Bragg, also fights Trump’s claim that he enjoys something called presidential-elect immunity — above and beyond the presidential immunity bestowed on him by the US Supreme Court in June.
“There are no grounds for such relief now, prior to inauguration,” Bragg wrote in opposing Trump’s 11th-hour motion to dismiss, “because President-elect immunity does not exist.”
With just six weeks left before his January 20 inauguration — and six months after a Manhattan jury convicted him — Trump is again demanding that New York Supreme Court Justice Juan Merchan immediately dismiss his hush-money case.
It’s his third time trying to void his indictment or his conviction. If successful, Trump would escape altogether his already thrice-delayed sentencing.

Manhattan District Attorney Alvin Bragg

The president elect faces as little as no jail time and a potential maximum of four years prison for falsifying 34 business records throughout his first year of office to retroactively hide a hush-money payment to adult actress Stormy Daniels. (Legal experts have said that it’s unlikely Trump would be sentenced to jail time as a 78-year-old first-time offender convicted of low-level felonies, and any jail sentence would be stayed as he appeals.)
Trump paid for Daniels’ silence just eleven days before 2016 election, and jurors unanimously found that he thereby conspired to promote his own election by unlawful means, Bragg wrote.
The evidence presented against Trump was “overwhelming,” reads the filing, which is also signed by a lead prosecutor on the case, Christopher Conroy.
“The crimes that the jury convicted defendant of committing are serious offenses that caused extensive harm to the sanctity of the electoral process and to the integrity of New York’s financial marketplace,” which relies on honest record-keeping, Bragg wrote.
Finally, at Public Notice, Liz Dye writes: Trump plots to steal Congress’s budget authority.
One of the strangest aspects in living in a declining democracy is that everyone is forced to learn about arcane areas of the law … if only to see them trampled by the despot.
The first Trump administration taught us about the Logan Act, the Federal Vacancies Reform Act, and the Presidential Records Act. Those were all about the limits of the president’s authority. Could Trump dispatch Mike Flynn to secretly negotiate with the Russian ambassador before taking office? Could he simply stack federal agencies with his cronies serving in an acting capacity and avoid Senate confirmation? Could he steal or destroy government records?
The answer was an enthusiastic “yes,” thanks to the Supreme Court, with an assist from Judge Aileen Cannon. In the name of ensuring that he can act “boldly” and “without hesitation,” six conservative justices gave the president unlimited authority to commit crimes without fear of prosecution. The imperial presidency is upon us.
But even that blank check isn’t enough for Trump and his enablers. To reshape society, they need the legislative and judicial branches to be more than supine. They need to steal Congress’s power, too. And so, while we’re learning about Trump’s plans to use recess appointments to sidestep the senate’s constitutionally mandated “advice and consent” role, we now have to learn about the Impoundment Control Act of 1974.
I can’t do this important post justice with excerpts, but there’s no paywall, so please go read it at Public Notice. Here’s a bit more.
It all goes back to Nixon
The Constitution vests “the power of the purse” in Congress.
Article I, Section 8, Clause 1, AKA the Spending Clause, specifies that “Congress shall have Power To lay and collect Taxes, Duties, Imposts and Excises, to pay the Debts and provide for the common Defence and general Welfare of the United States.” And Section 9 says that “No Money shall be drawn from the Treasury, but in Consequence of Appropriations made by Law.”
Congress passes the budget and allocates government revenues as it sees fit — that’s just black-letter law. And so in 1972, Congress passed the Federal Water Pollution Control Act, allocating $5 billion for 1973, $6 billion for 1974, and $7 billion for 1975 for municipal sewer updates. President Richard Nixon tried and failed to veto the law, and, after it was passed, he instructed EPA Administrator William Ruckelshaus to allot “[n]o more than $2 billion of the amount authorized for the fiscal year 1973, and no more than $3 billion of the amount authorized for the fiscal year 1974.”
The City of New York sued, and in a 1975 case called Train v. City of New York, the Supreme Court held that Nixon had no discretion to refuse to spend money allocated by Congress. Ruckelshaus was obligated to dispense the $18 billion over three years, despite Nixon’s strong belief that cities should simply live with rotting pipes.
And while that case was percolating through, Congress went one further and passed the Impoundment Control Act, to make it clear to Nixon that he should quit encroaching on their turf and monkeying with the budget….
Under the ICA, the president must either spend the funds obligated by the legislature, or come to Congress with a “special message” and explain why not. Congress then has 45 days to vote for rescission, rescinding the original allocation. If Congress doesn’t agree, or simply ignores the message, the funds must be spent as originally ordained. (Here’s a handy ICA fact sheet from the Dems on the House Budget Committee.)
Elon Musk and Vivek Ramaswamy, who clearly don’t know or care about the separation of powers, are currently promising to slash $2 trillion from the federal budget and delete entire federal agencies through their fake DOGE committee. But even in his first administration, Trump violated the ICA by withholding the defense allocation for Ukraine in 2019.

Read the rest at the link.
That’s all I have for today. We’re having a stormy day here, so I’m going to try to distract myself with a good book. Have a nice day, everyone.
#AlvinBragg #BettinaAnderson #BrianThompson #chronicBackPaint #DonaldTrumpJr_ #gossip #healthInsurance #KimberlyGuilfoyle #LuigiMangione #separationOfPowers #UnitedHealthCare

#alvinbragg #bettinaanderson #brianthompson #chronicbackpaint #gossip #healthinsurance
Angry Metal Guy @[email protected] · 2025-12-04 · 12:00 UTC

Skogskult – Skogskult Review
By Grin Reaper
Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.
Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.
Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.
Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.
Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025
#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

#acidking #blacksabbath #bonebagrecords #cultofluna #dec25 #doommetal
Angry Metal Guy @[email protected] · 2025-12-04 · 12:00 UTC

Skogskult – Skogskult Review
By Grin Reaper
Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.
Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.
Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.
Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.
Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025
#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

#swedishmetal #stonermetal #stonerdoommetal #stonerdoom #sleep #skogskult
Angry Metal Guy @[email protected] · 2025-12-04 · 12:00 UTC

Skogskult – Skogskult Review
By Grin Reaper
Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.
Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.
Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.
Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.
Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025
#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

#acidking #blacksabbath #bonebagrecords #cultofluna #dec25 #doommetal
Stephen @[email protected] · 2026-05-08 · 17:11 UTC
The Day the Micro-Rotor Was Introduced: Buren Super Slender and Universal Microtor

On February 18, 1958, representatives from Buren Watch Company and Universal Genève announced “the greatest technical advance in 30 years,” the micro-rotor automatic watch movement. This joint announcement, and the actions of the inventors and companies before and after it, contradict the oft-repeated story of conflict between them. In fact, the invention and introduction was friendly, thanks to the cordial Hans Kocher, who invented the micro-rotor yet allowed others to share the limelight and the credit.
Buren and Universal collaborated in the simultaneous introduction of the micro-rotor automatic movement in 1958
Debunking the Legend
Like so many areas of watchmaking history, the story of the micro-rotor automatic watch is rich with folklore. And like too many other topics, most of those stories are flat-out wrong. I have been hearing this particular story for years, and was shocked to find that it is entirely contradicted by the plain facts published at the time.
Here’s the gist of what I was told about the launch of the Buren and Universal micro-rotor movements:
- Buren was first to market, introducing their micro-rotor movement in 1957 or maybe even 1954
- Universal infringed on Buren’s patent, didn’t have the technical expertise to design a new movement, and maybe never even had a patent of their own
- Buren sued Universal or tried to block them from marketing the Microtor
- And inexplicably that Universal actually produced the Buren movement because they couldn’t get it to work
None of this is remotely true.
- Technician-watchmaker Hans Kocher of Buren Watch Company invented the micro-rotor movement, filing a patent in 1954
- Jean-Michel Froidevaux and Fred Bandi, skilled technician-watchmakers at Universal, independently invented their own micro-rotor technology, filing a patent just 11 months later
- Kocher and Bandi collaborated on the launch, co-authoring an article on the technology and writing about each other’s work in supportive terms
- Buren and Universal announced their work at a joint press conference on February 18, 1958 and released their micro-rotor watches at the Basel Fair that year
- The companies targeted different markets and there is no sign of a lawsuit or any acrimony
- Both companies, along with Piaget, continued actively to develop micro-rotor movement technology for over a decade
- The technology was abandoned after both were purchased by American companies more interested in quartz electronic watches
So let’s sit back and enjoy the true story of the development of the micro-rotor watch movement!
Coverage of the joint 1958 launch of the Buren Super Slender and Universal Microtor
Image: Europa Star Eastern Jeweler 46, 1958
The Rise of Self-Winding Watches
Le Locle watchmaker Abraham-Louis Perrelet is usually credited for building the first self-winding watch in the 1770s. Many1 have questioned the primacy of Perrelet’s “montre à secousses” (“shaking watch”), but many subsequent watchmakers, including Abraham-Louis Breguet, Louis Recordin, and the Jaquet-Droz family, claimed to have been inspired by his design. Perrelet’s watch used a weight mounted to the side of the movement, causing it to shake when moved. The concept of automatic winding (and even the name “perpetual”) were widely known through the 19th century but such a complex mechanism was deemed unnecessary to bring to market.
Harwood saw a market for a sealed self-winding watch
After World War I, Englishman John Harwood saw a need for self-winding watch. Soldiers were increasingly wearing wristwatches, and these were often damaged by moisture and dust. Inspired by a playground see-saw, Harwood independently2 invented a rocking weight segment that could wind the watch without a hole in the case. He patented the concept in 1923, built a prototype using a Blancpain movement, and brought the Harwood Perpetual to market with the help of A. Schild and Fortis of Grenchen. The watch only went into production late in the decade, and just a few thousand were produced before the Great Depression soon spelled the end.
You might also enjoy reading about “The Backward Evolution of the Rotating Bezel“
Harwood showed that the advent of the wristwatch had created customer demand for a self-winding movement, and the race was on to deliver a more practical one. I previously wrote about Eugène Meylan’s automatic winding mechanism, which was sold by Glycine starting in 1931. Another early player in automatic watches was Blancpain, which built a patented sliding watch called the Rolls for the French firm, Léon Hatot. Another modestly-successful automatic watch in this period was the Wig-Wag, which used the motion of the movement relative to the strap to wind the watch. But these oddball automatics soon fell by the wayside3.
It was the Rolex Oyster Perpetual that brought together all of the elements of the modern automatic wristwatch. Introduced about 19344, Rolex used a centrally-mounted rotor and winding mechanism stacked on top of their excellent movement. This technique was impractical in a pocket watch (which tended to sit vertically in a pocket) but made much more sense when strapped to a wrist. But the Rolex Oyster Perpetual movement was so thick it had to be mounted in a so-called “bubble-back” expanded case.
The Rolex Oyster Perpetual really was ahead of its time!
Image: Journal Suisse d’Horlogerie, January 1936
Seeing their success, especially though World War II, every Swiss company was racing to compete with Rolex with their own waterproof automatic watch. Felsa’s 1947 Bidynator brought bi-directional winding to the table5, ETA’s 1948 Eternamatic showed the potential of a rotor supported by ball bearings6, and Patek Philippe developed a “circumferential” rotor that extended down and around the movement. But all of these mechanisms added thickness, even as stylish consumers of the 1950s demanded ever-thinner watches. But making a thin automatic watch was inconceivable until the late 1950s, and the slimmest offerings (Zenith’s Cal. 133 and Movado’s Cal. 331) were bumper automatic movements, thin by accident rather than intentional design.
Hans Kocher and the Micro-Rotor
Hans Kocher grew up in the shadow of the H. Williamson watch factory in Büren an der Aare, Switzerland. He ran errands for the company as a young boy, and his work ethic so impressed the company’s chairman that he was sent to London to learn the business. But Kocher’s life took a turn when he met Austrian-born Josefine Rinner, a confectionary entrepreneur living in Zürich. The couple moved to Spain after the war, and their son (also named Hans) was born there in 1919. Kocher only settled down in 1923, marrying Josefine and returning to Bienne to work for the Williamson company. But the factory was bankrupt by 1931, with a group of local businessmen purchasing it. They invited Hans Kocher to return to Büren to take over management of the factory in 1932, and he spent the rest of his career there.
This rotor-in-a-rotor concept shows Kocher’s progress of invention
But this is the story of the younger Hans Kocher, who apprenticed in Büren before studying at the Technical school in Bienne. Following World War II, young Hans Kocher moved to Saint-Imier and worked in the technical department of the nearby Cortébert Watch Company. He was a wunderkind, filing patents, developing a central-seconds movement, and reorganizing the company’s manufacturing process. In 1951, after he proved himself, Kocher returned home to become technical director of the Buren Watch Company7.
Kocher believed that technology could elevate Buren in the competitive Swiss watch market and decided to build the best-possible automatic watch movement. Although many aspects of automatic winding were already patented by others, he saw an opportunity to address some of the shortcomings of contemporary automatic watches. For example, Kocher invented a mechanism to allow an automatic watch to be wound by hand, addressing widespread anxiety about power reserve. He also invented a few different bi-directional winding mechanisms and a more effective jewel pivot.
Another Kocher invention seemed to go nowhere: He embedded a tiny rotor inside the main winding rotor, creating a “Tilt-A-Whirl” effect to accelerate startup. Although this didn’t make it into production, this was the first glimpse of a micro-rotor winding system. A month later, Kocher filed a patent that he would later call his greatest work.
Hans Kocher’s design for Buren had a symmetry lacking in the production movement
On June 21, 1954, Buren Watch Company filed a patent for a fully-realized micro-rotor automatic watch movement. Rather than adding a rotor on top of an existing movement, Hans Kocher redesigned the entire ebauche, reorganizing the wheel train to sink a tiny rotor inside. This was much more than a re-packaging effort, with nearly every component re-designed.
It would take nearly four years of development to bring the micro-rotor movement to market. The Swiss government had largely restricted companies from producing their own ebauches, but this was allowed for in-house and complicated movements. And the micro-rotor was indeed a very complicated movement, requiring entirely new design and tooling to be installed at the factory in Büren!
Kocher’s original micro-rotor movement design was elegant and symmetrical, already quite well-developed even in 1954. He called it a “planetary rotor” because he thought it resembled the planetary gearsets in automatic transmissions. But he spent years working on the construction and mechanics of the rotor and the exact arrangement of the wheels and bridges. And he soon had an unexpected collaborator.
Universal, Froidevaux, and Bandi
On May 27, 1955, Manufacture des Montres Universal of Geneva filed a remarkably similar patent for a micro-rotor movement. This was 11 months after Buren’s filing, yet three years before either patent would be published. Although the Swiss patent is un-signed, the American patent specifies that the inventors were Jean-Michel Froidevaux and Fred Bandi, two technician-watchmakers even younger than Hans Kocher. Both were incredibly talented and had made numerous inventions related to automatic watch winding and other areas of horology.
Patek Philippe filed for a patent their own micro-rotor movement in 1975, bringing their Cal. 240 to market a few years later. It has been continually updated and is one of the most-loved movements by enthusiasts like me. Chopard Manufacture leaned into the micro-rotor concept with the launch of the L.U.C movements in 1997, and it remains a highlight of the company’s offerings. A new Universal Genève launched in 2005, bringing a new Microtor (Cal. UG-100) to market in 2006. Schwarz Etienne and Parmigiani Fleurier both introduced new micro-rotor movements in 2010, and both supply these to other fine watch makers to this day. Armin Strom, Hermès, Girard-Perregaux, Bulgari, and many others have also released high-end micro-rotor movements. And Piaget never stopped developing their micro-rotor movements.
The original Universal design is similar to Büren’s at a glance but obviously not derivative
At a glance, the Universal patent looks very similar to Buren’s, but a closer examination shows that nearly every aspect of the design is different. The American patent authorities examined it closely, rejecting only the most broad claim made by Universal. Given these differences, and the evident skills and imagination of Froidevaux and Bandi, I believe that it was independently invented.
Froidevaux left Universal by 1956, just as the company was developing the micro-rotor watch movement for production. This was the same year that Universal opened its own new factory near Geneva, severing ties with the chronograph factory in Ponts-de-Martel that had been the source of complicated in-house movements for Universal since 1941. The new Carouge-Genève factory was likely outfitted with new machinery to produce the micro-rotor, along with other in-house movements developed by Fred Bandi.
It is very likely that the amiable Hans Kocher knew of the work underway in Geneva by this time, and he may have offered Fred Bandi some technical advice. Indeed, we know that the two collaborated on a paper outlining the benefits of the micro-rotor movement, which was published in the September/October 1957 edition of Journal Suisse d’Horlogerie. They cite the improvements gained by this design in reducing movement height, stress on the rotor bearings, and ease of servicing.
Hans Kocher of Buren and Fred Bandi of Universal jointly announced the micro-rotor movement in this 1957 article in the Journal Suisse d’Horlogerie
Up this point the thinnest automatic watch movements (Zénith’s Cal. 133 and Movado’s Cal. 331) had “bumper” movements rather than a free rotor. This is no surprise – the “sandwich stack” required to have a free rotor was inherently thicker than a winding mass that sat on the same plane as the wheel train and balance. But no bumper movement could match a micro-rotor embedded completely into the ebauche. Although not much thinner than hand-winding movements, the Büren and Universal movements were 20% thinner than most automatics at 4.1 to 4.2 mm8.
The Joint Release of the Buren Super Slender and Universal Microtor
On February 18, 1958, Raoul Perret of Universal Genève and Hans Kocher of the Buren Watch Company held a joint press conference in Geneva to announce “the greatest technical advance in 30 years.” Journalists from the major Swiss papers and industry journals learned about the revolutionary new micro-rotor technology, that would enable the companies to deliver the thinnest self-winding watches in the world. The companies promised that new watches using these movements would be released at the Basel Fair in April.
Ten days before the fair, on April 2, 1958, the Swiss paper Neue Zürcher Zeitung published an article with more detail on the technology of these new movements. Noting that “the fundamental concept behind this novel winding mechanism is identical in both designs,” the article praises both companies’ products, noting that “the specific technical solutions employed differ significantly.” This article was written by Fred Bandi, Technical Director for Universal Genève. Hans Kocher also wrote articles about the two companies’ launches, both independently and jointly with Bandi.
This 1958 advertisement, coinciding with the Basel Fair, shows both the Universal and Buren logos. The example preserved in The Watch Library even features a hand-written formula for the moment of inertia of a solid rotor, likely penned by a curious watchmaker!
Finally, on April 12, 1958, the Basel Fair opened, with both companies showcasing watches housing their new micro-rotor movements. They even placed a joint advertisement in the Journal Suisse d’Horlogerie, featuring the logos of both companies.
The Büren showcase focused on the theme of “universality”
The Buren Watch Company showed off their new Super Slender watch line at the fair, featuring Cal. 1000. This was a new ultra-thin watch line with a case meant to make the most of their “thinnest-ever” automatic watch movement. Confusingly, the company’s Basel Fair booth was a generic paean to post-war globalization, dedicated to the theme “l’universalité.” The new Super Slender movement was depicted on a small card at the corner, with the ultra-thin watches arranged among other more mundane products.
The Universal Genève display was dedicated to the Microtor Universal used the Microtor movement in the famous Polerouter
Universal Genève presented a strong contrast, dedicating their entire display to the new Microtor movement. They even built a large model in a transparent plexiglass case, demonstrating the internal relationship between the micro-rotor and wheel train. The new Cal. 215 was used in an existing product line, the Polerouter (which had been introduced as “Polarouter” in 1954). Although Universal offered new dial designs for 1958, the Microtor’s slimmer profile was not leveraged for a watch that was notably thin.
Buren proudly proclaimed that their Super Slender was the thinnest automatic watch in the world
Both watches were brought to market in the following months with no hint of production delays. They are widely seen and advertised over the next few years in press coverage, company advertising, and retail promotion. For example, an April 1958 ad for international retailer Turler lists the Universal Polerouter Microtor for 270 francs in steel or 820 francs in gold. Meanwhile, the Buren Super Slender was advertised in 1959 for 170 francs in steel or 185 francs for the model with a calendar complication, called Cal. 1001.
What Happened Next
Buren and Universal leaned heavily into their micro-rotor watch movements for the next few years, developing and updating them continually. And two more ultra-thin automatic movements appeared at Basel in 1959 and 1960: The Sandoz 333, which used a peripheral rotor movement designed by FHF, and Piaget’s knock-out 2.3 mm thin micro-rotor Cal. 12 P. But the introduction of the Bulova Accutron on October 25, 1960 upended the entire industry.
Buren modified the wheel train bridge in 1959
Buren actually introduced two micro-rotor movements at Basel in 1958: The base Cal. 1000 was truly “super slender” at 4.2 mm, but they also showed Cal. 1001, which added a date complication and 0.6 mm thickness. Although not as revolutionary as the micro-rotor, Paul Marmier’s patented date mechanism was quite innovative. It used an eccentric cam to keep the advance finger safely back from the date wheel teeth to avoid the risk of damage. The date advanced in just 12 minutes at midnight, and the mechanism also allowed quicker setting of the date by moving the time back to 11:30.
By 1959 Buren added Cal. 1002 and 1003, which featured a thinner balance cock to make way for an elongated wheel train bridge screwed to the base plate for greater stability. The original Cal. 1000 and 1001 remained in production, however, into the 1960s.
The Universal Polerouter collection expanded in 1959 with the Jet and Date models
Universal added a date complication as well, though theirs added over 1 mm to the thickness of the base Cal. 215. This did not pose an issue because the Microtor was used in watches of more ordinary thickness like the Polerouter Date. But the Geneva company did finally lean into the thin profile of the basic Microtor movement with the new 1959 Polerouter Jet, boasting that it was as thin as a hand-winding watch and the thinnest waterproof automatic watch in the world. Universal put the Microtor-Calendrier movement on a diet over the next few years, beveling the edges and slimming it to 4.7 mm (once again 0.1 mm thinner than the competing Buren movement). And Universal proved the robustness of their movement by equipping members of the Swiss Greenland Expedition with Microtor-powered Polerouters during the International Geophysical Year.
Other watches had previously been advertised for their ultra-thin profile, including Omega’s Centenaire and Cyma’s Navystar, but Movado, Sandoz, and Piaget were the strongest contenders. Movado had claimed the crown for the thinnest watch in 1935 with the Novoplan and delivered the automatic Cal. 331 in 1952, which was just 4.3 mm thick thanks to a beveled bumper rotor.
The Sandoz 333 was supposed to be the thinnest automatic watch but was launched a year too late
Sandoz announced the “thinnest waterproof watch” in 1954 with their hand-winding Cal. 55, allowing them to produce a 6.9 mm watch. And they saw an opportunity in a peripheral rotor concept under development at the Fabrique d’Horlogerie de Fontainemelon. Unaware of the micro-rotor8, Sandoz and FHF targeted the 1959 Basel Fair to launch this new ultra-thin automatic watch. Despite being upstaged, the Sandoz 333 remains the first peripheral-winding automatic watch to market.
Piaget claimed outright victory for the thinnest watch in 1957 with the 4 mm Ref. 904, housing the 2.0 mm Cal. 9 P. Valentin Piaget of their specialist movement maker Complications SA saw unrealized potential in the micro-rotor concept. His Cal. 12 P, patented in 1958 and announced at the Basel Fair in 1960, dispensed with the center wheel and radically sliced away the ebauche. Measuring just 2.3 mm thick, this movement allowed Piaget’s Ref. 12 watches to stay at just 4 mm thick overall. Piaget has remained committed to this design, producing Cal. 1200 to this day!
The 1965 Buren Intra Matic was a modern interpretation of the ultra-thin dress watch
Image: Europa Star 35, 1965
Buren embraced Piaget’s ideas, and their Cal. 1280 was similarly stripped-down, coming in at just 2.85 mm thick. This was used in their modern Intra Matic9 line, launched at the Basel Fair in 1965. Variations with date and central seconds ranged up to 3.60 mm, still over half a millimeter thinner than their original Super Slender.
The Intramatic movement made history on March 3, 1969 when Hans Kocher10 and Gerald Dubois announced the Chronomatic movement, built on Buren’s micro-rotor ebauche. This would be the first Swiss automatic chronograph in customer hands, used by Breitling, Heuer, and Hamilton, which had purchased Buren in February of 1966. Hamilton-Buren was taken over by the SIHH group in 1971 and the once-great Büren factory was closed the following year, with all assets sold. This came just as the Chronomatic was gaining market traction and sadly just before the launch of Buren’s great Calbre 8211.
The Universal Golden Shadow was just 4 mm thick
Image: Eastern Jeweler 93, 1966
Universal also collaborated with Piaget, filing a joint patent in March of 1959 for a slim ratcheting winding system for micro-rotor movements. They continually updated their Microtor movement line, culminating in the 1966 introduction of the re-designed Cal. 66. Unlike the hand-made Piaget Cal. 12 P, the new Universal and Buren movements were designed for mass production and daily wear. And Universal once again beat Buren’s mark, with their ebauche measuring just 2.50 mm thick. This time Universal leaned into the thinness of the movement, matching Piaget with a new Golden Shadow watch line just 4 mm thick.
Everything changed for Universal in August of 1966, as the Bulova Watch Company of New York purchased the company. Flush with cash from the Accutron, a global phenomenon never before seen in watchmaking, Bulova sought to solidify its control over the luxury watch industry by bringing the Geneva firm under its control. Universal continued production of the Microtor family into the 1970s and even developed the world’s thinnest quartz movement in 197512. But Bulova was slow to embrace quartz as the market for the Accutron evaporated. The Universal factory in Geneva was bankrupt by the late 1970s and was sold in 1983 to new investors.
The Micro-Rotor Lives On
The micro-rotor is not dead. Far from it: There are more micro-rotor movements on the market today than ever before!
Universal was re-launched as an upscale sister brand to Breitling on April 8, 2026 and two new Microtor movements form the core of the new offerings. The new double-barrel Polerouter Microtor is a lovely tribute to Hans Kocher, who was deeply involved in both innovations. And the new Compax Microtor movement recalls the pioneering Chronomatic movement.
Research Notes
1. The question of whether Perrelet was the first to create a self-winding watch was a matter of great interest through the 20th century. Historian Alfred Chapuis uncovered many prior and subsequent designs, yet he concluded in his seminal book “La Montre Automatique Ancienne” that Perrelet absolutely deserved the credit. That being said, the self-winding watch “discovered” by Léon Leroy of Paris in 1949 may not have been created by Perrelet, according to a 1996 Europa Star article by Jean-Claude Nicolet with rebuttal by Jean-Claude Sabrier.
2. Not being a watch industry insider, Harwood may have been completely unaware that dozens of watchmakers had developed self-winding watches for over a century prior to his invention. And L. Leroy of Paris had already produced a self-winding wristwatch a year before Harwood’s patent. But he was the first to recognize the market for a wristwatch with a sealed case and self-winding movement.
3. The sliding weight concept was actually successfully revived by Pierce just after World War II. This “dissident” Moutier firm was unwilling to abide by the Swiss cartel’s production quotas, so they were blocked from working with nearly every other company. So they developed their own slim sliding-weight automatic, an amazing in-house chronograph movement, and more! In modern times we have seen another sliding-weight automatic, the Corum Golden Bridge Automatic.
4. I’m not a Rolex expert, but I am confounded by the lack of definitive history for this most-important watchmaker. The earliest mention I could find of the Oyster Perpetual comes from Journal Suisse d’Horlogerie in September of 1934, and it was fully illustrated in January of 1936. Given that Rolex trademarked the name in 1932, I guess that places the introduction of the Rolex Perpetual movement in 1933 or 1934. It definitely wasn’t 1931, despite countless blog posts and Rolex’s own advertising.
5. Incredibly, some of the earliest known self-winding pocket watch movements also have clever bi-directional winding solutions: The four controversial maybe-Perrelet movements have a pawl winding system similar to the much-later Pellaton and Magic Lever, and many of the “shaker” movements had bi-directional winding too. But Felsa’s elegant Bidynator inspired the whole industry to adopt this concept. Surprisingly, modern movements are dropping bi-directional winding, finding that it’s not actually all that useful.
6. Ball bearing support for a winding rotor was patented in 1929. But these typically placed the bearings at the periphery, supporting the rotor itself. ETA’s original Eternamatic was a tiny movement for ladies watches so the engineers brought the ball bearings to the center. Seeing how well it worked, the “five balls” became the logo of Eterna!
7. I should clarify that the name of the town is “Büren an der Aare” and it is commonly called “Büren”. But the brand name of the watch company, officially adopted by H. Williamson in 1916, was “Buren Watch Company” without the umlaut. This was generally used by the company through the 1960s, though they sometimes did include the umlaut in advertising and public communication. Confusingly, most patents list it using the Anglicized form of the name of the town, “Bueren Watch Company.” I try to be consistent (or perhaps confusing) and use “Büren” to refer to the town and “Buren” to refer to the company.
8. Oops! The Fabrique d’Horlogerie de Fontainemelon was working on another thin automatic winding system at the same time, filing patents on their peripheral rotor on September 11, 1956. This was before the announcement or publication of the micro-rotor, and they no-doubt thought that their “Fontomatic” Cal. 65 would be the thinnest automatic movement at just 4.5 mm. This came to market in 1959 as the Sandoz 333, and advertisements for this latecomer specifically neglect to mention that number, which was surpassed a year earlier by both Buren and Universal.
9. Buren trademarked “Intra Matic” in 1964 and used this name in the 1965 launch. But they also used “Intramatic” in this period, variously using both names. They had a sub-model called the “Intramatic Polestar” or “Intra Matic Pole-Star” in the 1960s as well, and I can’t imagine Universal loved this name.
10. This would be Hans Kocher-Aeschbacher, the son, rather than his father Hans Kocher-Rinner, who retired that same year. The younger Hans Kocher was a truly remarkable man, deserving of a Prix Gaïa award in all three categories: Watchmaker, businessman, and historian. He was also incredibly magnanimous, not giving undue attention in his industry history writing and speaking to the Buren “planetary rotor” despite considering it his life’s greatest work.
11. I’m wearing my Buren Calibre 82 watch as I write this!
12. The 1975 Golden Shadow and White Shadow Quartz movement measured 3.45 mm thick. It was rapidly surpassed by Citizen, just under 1 mm in 1978, Seiko, 0.90 mm that same year, and the incredible Swiss Delirium movements.
#AbrahamLouisPerrelet #Bulova #Buren #Chronomatic #Felsa #FredBandi #Glycine #HansKocher #Harwood #microRotor #Movado #Piaget #Rolex #Sandoz #UniversalGenève
#abrahamlouisperrelet #bulova #buren #chronomatic #felsa #fredbandi
Stephen @[email protected] · 2026-05-08 · 17:11 UTC
The Day the Micro-Rotor Was Introduced: Buren Super Slender and Universal Microtor

On February 18, 1958, representatives from Buren Watch Company and Universal Genève announced “the greatest technical advance in 30 years,” the micro-rotor automatic watch movement. This joint announcement, and the actions of the inventors and companies before and after it, contradict the oft-repeated story of conflict between them. In fact, the invention and introduction was friendly, thanks to the cordial Hans Kocher, who invented the micro-rotor yet allowed others to share the limelight and the credit.
Buren and Universal collaborated in the simultaneous introduction of the micro-rotor automatic movement in 1958
Debunking the Legend
Like so many areas of watchmaking history, the story of the micro-rotor automatic watch is rich with folklore. And like too many other topics, most of those stories are flat-out wrong. I have been hearing this particular story for years, and was shocked to find that it is entirely contradicted by the plain facts published at the time.
Here’s the gist of what I was told about the launch of the Buren and Universal micro-rotor movements:
- Buren was first to market, introducing their micro-rotor movement in 1957 or maybe even 1954
- Universal infringed on Buren’s patent, didn’t have the technical expertise to design a new movement, and maybe never even had a patent of their own
- Buren sued Universal or tried to block them from marketing the Microtor
- And inexplicably that Universal actually produced the Buren movement because they couldn’t get it to work
None of this is remotely true.
- Technician-watchmaker Hans Kocher of Buren Watch Company invented the micro-rotor movement, filing a patent in 1954
- Jean-Michel Froidevaux and Fred Bandi, skilled technician-watchmakers at Universal, independently invented their own micro-rotor technology, filing a patent just 11 months later
- Kocher and Bandi collaborated on the launch, co-authoring an article on the technology and writing about each other’s work in supportive terms
- Buren and Universal announced their work at a joint press conference on February 18, 1958 and released their micro-rotor watches at the Basel Fair that year
- The companies targeted different markets and there is no sign of a lawsuit or any acrimony
- Both companies, along with Piaget, continued actively to develop micro-rotor movement technology for over a decade
- The technology was abandoned after both were purchased by American companies more interested in quartz electronic watches
So let’s sit back and enjoy the true story of the development of the micro-rotor watch movement!
Coverage of the joint 1958 launch of the Buren Super Slender and Universal Microtor
Image: Europa Star Eastern Jeweler 46, 1958
The Rise of Self-Winding Watches
Le Locle watchmaker Abraham-Louis Perrelet is usually credited for building the first self-winding watch in the 1770s. Many1 have questioned the primacy of Perrelet’s “montre à secousses” (“shaking watch”), but many subsequent watchmakers, including Abraham-Louis Breguet, Louis Recordin, and the Jaquet-Droz family, claimed to have been inspired by his design. Perrelet’s watch used a weight mounted to the side of the movement, causing it to shake when moved. The concept of automatic winding (and even the name “perpetual”) were widely known through the 19th century but such a complex mechanism was deemed unnecessary to bring to market.
Harwood saw a market for a sealed self-winding watch
After World War I, Englishman John Harwood saw a need for self-winding watch. Soldiers were increasingly wearing wristwatches, and these were often damaged by moisture and dust. Inspired by a playground see-saw, Harwood independently2 invented a rocking weight segment that could wind the watch without a hole in the case. He patented the concept in 1923, built a prototype using a Blancpain movement, and brought the Harwood Perpetual to market with the help of A. Schild and Fortis of Grenchen. The watch only went into production late in the decade, and just a few thousand were produced before the Great Depression soon spelled the end.
You might also enjoy reading about “The Backward Evolution of the Rotating Bezel“
Harwood showed that the advent of the wristwatch had created customer demand for a self-winding movement, and the race was on to deliver a more practical one. I previously wrote about Eugène Meylan’s automatic winding mechanism, which was sold by Glycine starting in 1931. Another early player in automatic watches was Blancpain, which built a patented sliding watch called the Rolls for the French firm, Léon Hatot. Another modestly-successful automatic watch in this period was the Wig-Wag, which used the motion of the movement relative to the strap to wind the watch. But these oddball automatics soon fell by the wayside3.
It was the Rolex Oyster Perpetual that brought together all of the elements of the modern automatic wristwatch. Introduced about 19344, Rolex used a centrally-mounted rotor and winding mechanism stacked on top of their excellent movement. This technique was impractical in a pocket watch (which tended to sit vertically in a pocket) but made much more sense when strapped to a wrist. But the Rolex Oyster Perpetual movement was so thick it had to be mounted in a so-called “bubble-back” expanded case.
The Rolex Oyster Perpetual really was ahead of its time!
Image: Journal Suisse d’Horlogerie, January 1936
Seeing their success, especially though World War II, every Swiss company was racing to compete with Rolex with their own waterproof automatic watch. Felsa’s 1947 Bidynator brought bi-directional winding to the table5, ETA’s 1948 Eternamatic showed the potential of a rotor supported by ball bearings6, and Patek Philippe developed a “circumferential” rotor that extended down and around the movement. But all of these mechanisms added thickness, even as stylish consumers of the 1950s demanded ever-thinner watches. But making a thin automatic watch was inconceivable until the late 1950s, and the slimmest offerings (Zenith’s Cal. 133 and Movado’s Cal. 331) were bumper automatic movements, thin by accident rather than intentional design.
Hans Kocher and the Micro-Rotor
Hans Kocher grew up in the shadow of the H. Williamson watch factory in Büren an der Aare, Switzerland. He ran errands for the company as a young boy, and his work ethic so impressed the company’s chairman that he was sent to London to learn the business. But Kocher’s life took a turn when he met Austrian-born Josefine Rinner, a confectionary entrepreneur living in Zürich. The couple moved to Spain after the war, and their son (also named Hans) was born there in 1919. Kocher only settled down in 1923, marrying Josefine and returning to Bienne to work for the Williamson company. But the factory was bankrupt by 1931, with a group of local businessmen purchasing it. They invited Hans Kocher to return to Büren to take over management of the factory in 1932, and he spent the rest of his career there.
This rotor-in-a-rotor concept shows Kocher’s progress of invention
But this is the story of the younger Hans Kocher, who apprenticed in Büren before studying at the Technical school in Bienne. Following World War II, young Hans Kocher moved to Saint-Imier and worked in the technical department of the nearby Cortébert Watch Company. He was a wunderkind, filing patents, developing a central-seconds movement, and reorganizing the company’s manufacturing process. In 1951, after he proved himself, Kocher returned home to become technical director of the Buren Watch Company7.
Kocher believed that technology could elevate Buren in the competitive Swiss watch market and decided to build the best-possible automatic watch movement. Although many aspects of automatic winding were already patented by others, he saw an opportunity to address some of the shortcomings of contemporary automatic watches. For example, Kocher invented a mechanism to allow an automatic watch to be wound by hand, addressing widespread anxiety about power reserve. He also invented a few different bi-directional winding mechanisms and a more effective jewel pivot.
Another Kocher invention seemed to go nowhere: He embedded a tiny rotor inside the main winding rotor, creating a “Tilt-A-Whirl” effect to accelerate startup. Although this didn’t make it into production, this was the first glimpse of a micro-rotor winding system. A month later, Kocher filed a patent that he would later call his greatest work.
Hans Kocher’s design for Buren had a symmetry lacking in the production movement
On June 21, 1954, Buren Watch Company filed a patent for a fully-realized micro-rotor automatic watch movement. Rather than adding a rotor on top of an existing movement, Hans Kocher redesigned the entire ebauche, reorganizing the wheel train to sink a tiny rotor inside. This was much more than a re-packaging effort, with nearly every component re-designed.
It would take nearly four years of development to bring the micro-rotor movement to market. The Swiss government had largely restricted companies from producing their own ebauches, but this was allowed for in-house and complicated movements. And the micro-rotor was indeed a very complicated movement, requiring entirely new design and tooling to be installed at the factory in Büren!
Kocher’s original micro-rotor movement design was elegant and symmetrical, already quite well-developed even in 1954. He called it a “planetary rotor” because he thought it resembled the planetary gearsets in automatic transmissions. But he spent years working on the construction and mechanics of the rotor and the exact arrangement of the wheels and bridges. And he soon had an unexpected collaborator.
Universal, Froidevaux, and Bandi
On May 27, 1955, Manufacture des Montres Universal of Geneva filed a remarkably similar patent for a micro-rotor movement. This was 11 months after Buren’s filing, yet three years before either patent would be published. Although the Swiss patent is un-signed, the American patent specifies that the inventors were Jean-Michel Froidevaux and Fred Bandi, two technician-watchmakers even younger than Hans Kocher. Both were incredibly talented and had made numerous inventions related to automatic watch winding and other areas of horology.
The original Universal design is similar to Büren’s at a glance but obviously not derivative
At a glance, the Universal patent looks very similar to Buren’s, but a closer examination shows that nearly every aspect of the design is different. The American patent authorities examined it closely, rejecting only the most broad claim made by Universal. Given these differences, and the evident skills and imagination of Froidevaux and Bandi, I believe that it was independently invented.
Froidevaux left Universal by 1956, just as the company was developing the micro-rotor watch movement for production. This was the same year that Universal opened its own new factory near Geneva, severing ties with the chronograph factory in Ponts-de-Martel that had been the source of complicated in-house movements for Universal since 1941. The new Carouge-Genève factory was likely outfitted with new machinery to produce the micro-rotor, along with other in-house movements developed by Fred Bandi.
It is very likely that the amiable Hans Kocher knew of the work underway in Geneva by this time, and he may have offered Fred Bandi some technical advice. Indeed, we know that the two collaborated on a paper outlining the benefits of the micro-rotor movement, which was published in the September/October 1957 edition of Journal Suisse d’Horlogerie. They cite the improvements gained by this design in reducing movement height, stress on the rotor bearings, and ease of servicing.
Hans Kocher of Buren and Fred Bandi of Universal jointly announced the micro-rotor movement in this 1957 article in the Journal Suisse d’Horlogerie
Up this point the thinnest automatic watch movements (Zénith’s Cal. 133 and Movado’s Cal. 331) had “bumper” movements rather than a free rotor. This is no surprise – the “sandwich stack” required to have a free rotor was inherently thicker than a winding mass that sat on the same plane as the wheel train and balance. But no bumper movement could match a micro-rotor embedded completely into the ebauche. Although not much thinner than hand-winding movements, the Büren and Universal movements were 20% thinner than most automatics at 4.1 to 4.2 mm8.
The Joint Release of the Buren Super Slender and Universal Microtor
On February 18, 1958, Raoul Perret of Universal Genève and Hans Kocher of the Buren Watch Company held a joint press conference in Geneva to announce “the greatest technical advance in 30 years.” Journalists from the major Swiss papers and industry journals learned about the revolutionary new micro-rotor technology, that would enable the companies to deliver the thinnest self-winding watches in the world. The companies promised that new watches using these movements would be released at the Basel Fair in April.
Ten days before the fair, on April 2, 1958, the Swiss paper Neue Zürcher Zeitung published an article with more detail on the technology of these new movements. Noting that “the fundamental concept behind this novel winding mechanism is identical in both designs,” the article praises both companies’ products, noting that “the specific technical solutions employed differ significantly.” This article was written by Fred Bandi, Technical Director for Universal Genève. Hans Kocher also wrote articles about the two companies’ launches, both independently and jointly with Bandi.
This 1958 advertisement, coinciding with the Basel Fair, shows both the Universal and Buren logos. The example preserved in The Watch Library even features a hand-written formula for the moment of inertia of a solid rotor, likely penned by a curious watchmaker!
Finally, on April 12, 1958, the Basel Fair opened, with both companies showcasing watches housing their new micro-rotor movements. They even placed a joint advertisement in the Journal Suisse d’Horlogerie, featuring the logos of both companies.
The Büren showcase focused on the theme of “universality”
The Buren Watch Company showed off their new Super Slender watch line at the fair, featuring Cal. 1000. This was a new ultra-thin watch line with a case meant to make the most of their “thinnest-ever” automatic watch movement. Confusingly, the company’s Basel Fair booth was a generic paean to post-war globalization, dedicated to the theme “l’universalité.” The new Super Slender movement was depicted on a small card at the corner, with the ultra-thin watches arranged among other more mundane products.
The Universal Genève display was dedicated to the Microtor Universal used the Microtor movement in the famous Polerouter
Universal Genève presented a strong contrast, dedicating their entire display to the new Microtor movement. They even built a large model in a transparent plexiglass case, demonstrating the internal relationship between the micro-rotor and wheel train. The new Cal. 215 was used in an existing product line, the Polerouter (which had been introduced as “Polarouter” in 1954). Although Universal offered new dial designs for 1958, the Microtor’s slimmer profile was not leveraged for a watch that was notably thin.
Buren proudly proclaimed that their Super Slender was the thinnest automatic watch in the world
Both watches were brought to market in the following months with no hint of production delays. They are widely seen and advertised over the next few years in press coverage, company advertising, and retail promotion. For example, an April 1958 ad for international retailer Turler lists the Universal Polerouter Microtor for 270 francs in steel or 820 francs in gold. Meanwhile, the Buren Super Slender was advertised in 1959 for 170 francs in steel or 185 francs for the model with a calendar complication, called Cal. 1001.
What Happened Next
Buren and Universal leaned heavily into their micro-rotor watch movements for the next few years, developing and updating them continually. And two more ultra-thin automatic movements appeared at Basel in 1959 and 1960: The Sandoz 333, which used a peripheral rotor movement designed by FHF, and Piaget’s knock-out 2.3 mm thin micro-rotor Cal. 12 P. But the introduction of the Bulova Accutron on October 25, 1960 upended the entire industry.
Buren modified the wheel train bridge in 1959
Buren actually introduced two micro-rotor movements at Basel in 1958: The base Cal. 1000 was truly “super slender” at 4.2 mm, but they also showed Cal. 1001, which added a date complication and 0.6 mm thickness. Although not as revolutionary as the micro-rotor, Paul Marmier’s patented date mechanism was quite innovative. It used an eccentric cam to keep the advance finger safely back from the date wheel teeth to avoid the risk of damage. The date advanced in just 12 minutes at midnight, and the mechanism also allowed quicker setting of the date by moving the time back to 11:30.
By 1959 Buren added Cal. 1002 and 1003, which featured a thinner balance cock to make way for an elongated wheel train bridge screwed to the base plate for greater stability. The original Cal. 1000 and 1001 remained in production, however, into the 1960s.
The Universal Polerouter collection expanded in 1959 with the Jet and Date models
Universal added a date complication as well, though theirs added over 1 mm to the thickness of the base Cal. 215. This did not pose an issue because the Microtor was used in watches of more ordinary thickness like the Polerouter Date. But the Geneva company did finally lean into the thin profile of the basic Microtor movement with the new 1959 Polerouter Jet, boasting that it was as thin as a hand-winding watch and the thinnest waterproof automatic watch in the world. Universal put the Microtor-Calendrier movement on a diet over the next few years, beveling the edges and slimming it to 4.7 mm (once again 0.1 mm thinner than the competing Buren movement). And Universal proved the robustness of their movement by equipping members of the Swiss Greenland Expedition with Microtor-powered Polerouters during the International Geophysical Year.
Other watches had previously been advertised for their ultra-thin profile, including Omega’s Centenaire and Cyma’s Navystar, but Movado, Sandoz, and Piaget were the strongest contenders. Movado had claimed the crown for the thinnest watch in 1935 with the Novoplan and delivered the automatic Cal. 331 in 1952, which was just 4.3 mm thick thanks to a beveled bumper rotor.
The Sandoz 333 was supposed to be the thinnest automatic watch but was launched a year too late
Sandoz announced the “thinnest waterproof watch” in 1954 with their hand-winding Cal. 55, allowing them to produce a 6.9 mm watch. And they saw an opportunity in a peripheral rotor concept under development at the Fabrique d’Horlogerie de Fontainemelon. Unaware of the micro-rotor8, Sandoz and FHF targeted the 1959 Basel Fair to launch this new ultra-thin automatic watch. Despite being upstaged, the Sandoz 333 remains the first peripheral-winding automatic watch to market.
Piaget claimed outright victory for the thinnest watch in 1957 with the 4 mm Ref. 904, housing the 2.0 mm Cal. 9 P. Valentin Piaget of their specialist movement maker Complications SA saw unrealized potential in the micro-rotor concept. His Cal. 12 P, patented in 1958 and announced at the Basel Fair in 1960, dispensed with the center wheel and radically sliced away the ebauche. Measuring just 2.3 mm thick, this movement allowed Piaget’s Ref. 12 watches to stay at just 4 mm thick overall. Piaget has remained committed to this design, producing Cal. 1200 to this day!
The 1965 Buren Intra Matic was a modern interpretation of the ultra-thin dress watch
Image: Europa Star 35, 1965
Buren embraced Piaget’s ideas, and their Cal. 1280 was similarly stripped-down, coming in at just 2.85 mm thick. This was used in their modern Intra Matic9 line, launched at the Basel Fair in 1965. Variations with date and central seconds ranged up to 3.60 mm, still over half a millimeter thinner than their original Super Slender.
The Intramatic movement made history on March 3, 1969 when Hans Kocher10 and Gerald Dubois announced the Chronomatic movement, built on Buren’s micro-rotor ebauche. This would be the first Swiss automatic chronograph in customer hands, used by Breitling, Heuer, and Hamilton, which had purchased Buren in February of 1966. Hamilton-Buren was taken over by the SIHH group in 1971 and the once-great Büren factory was closed the following year, with all assets sold. This came just as the Chronomatic was gaining market traction and sadly just before the launch of Buren’s great Calbre 8211.
The Universal Golden Shadow was just 4 mm thick
Image: Eastern Jeweler 93, 1966
Universal also collaborated with Piaget, filing a joint patent in March of 1959 for a slim ratcheting winding system for micro-rotor movements. They continually updated their Microtor movement line, culminating in the 1966 introduction of the re-designed Cal. 66. Unlike the hand-made Piaget Cal. 12 P, the new Universal and Buren movements were designed for mass production and daily wear. And Universal once again beat Buren’s mark, with their ebauche measuring just 2.50 mm thick. This time Universal leaned into the thinness of the movement, matching Piaget with a new Golden Shadow watch line just 4 mm thick.
Everything changed for Universal in August of 1966, as the Bulova Watch Company of New York purchased the company. Flush with cash from the Accutron, a global phenomenon never before seen in watchmaking, Bulova sought to solidify its control over the luxury watch industry by bringing the Geneva firm under its control. Universal continued production of the Microtor family into the 1970s and even developed the world’s thinnest quartz movement in 197512. But Bulova was slow to embrace quartz as the market for the Accutron evaporated. The Universal factory in Geneva was bankrupt by the late 1970s and was sold in 1983 to new investors.
The Micro-Rotor Lives On
The micro-rotor is not dead. Far from it: There are more micro-rotor movements on the market today than ever before!
Patek Philippe filed for a patent their own micro-rotor movement in 1975, bringing their Cal. 240 to market a few years later. It has been continually updated and is one of the most-loved movements by enthusiasts like me. Chopard Manufacture leaned into the micro-rotor concept with the launch of the L.U.C movements in 1997, and it remains a highlight of the company’s offerings. A new Universal Genève launched in 2005, bringing a new Microtor (Cal. UG-100) to market in 2006. Schwarz Etienne and Parmigiani Fleurier both introduced new micro-rotor movements in 2010, and both supply these to other fine watch makers to this day. Armin Strom, Hermès, Girard-Perregaux, Bulgari, and many others have also released high-end micro-rotor movements. And Piaget never stopped developing their micro-rotor movements.
Universal was re-launched as an upscale sister brand to Breitling on April 8, 2026 and two new Microtor movements form the core of the new offerings. The new Polerouter Microtor is the first double-barrel micro-rotor movement I know of, and is a lovely tribute to Hans Kocher, who was deeply involved in both innovations. And the new Compax Microtor movement recalls the pioneering Chronomatic movement.
Research Notes
1. The question of whether Perrelet was the first to create a self-winding watch was a matter of great interest through the 20th century. Historian Alfred Chapuis uncovered many prior and subsequent designs, yet he concluded in his seminal book “La Montre Automatique Ancienne” that Perrelet absolutely deserved the credit. That being said, the self-winding watch “discovered” by Léon Leroy of Paris in 1949 may not have been created by Perrelet, according to a 1996 Europa Star article by Jean-Claude Nicolet with rebuttal by Jean-Claude Sabrier.
2. Not being a watch industry insider, Harwood may have been completely unaware that dozens of watchmakers had developed self-winding watches for over a century prior to his invention. And L. Leroy of Paris had already produced a self-winding wristwatch a year before Harwood’s patent. But he was the first to recognize the market for a wristwatch with a sealed case and self-winding movement.
3. The sliding weight concept was actually successfully revived by Pierce just after World War II. This “dissident” Moutier firm was unwilling to abide by the Swiss cartel’s production quotas, so they were blocked from working with nearly every other company. So they developed their own slim sliding-weight automatic, an amazing in-house chronograph movement, and more! In modern times we have seen another sliding-weight automatic, the Corum Golden Bridge Automatic.
4. I’m not a Rolex expert, but I am confounded by the lack of definitive history for this most-important watchmaker. The earliest mention I could find of the Oyster Perpetual comes from Journal Suisse d’Horlogerie in September of 1934, and it was fully illustrated in January of 1936. Given that Rolex trademarked the name in 1932, I guess that places the introduction of the Rolex Perpetual movement in 1933 or 1934. It definitely wasn’t 1931, despite countless blog posts and Rolex’s own advertising.
5. Incredibly, some of the earliest known self-winding pocket watch movements also have clever bi-directional winding solutions: The four controversial maybe-Perrelet movements have a pawl winding system similar to the much-later Pellaton and Magic Lever, and many of the “shaker” movements had bi-directional winding too. But Felsa’s elegant Bidynator inspired the whole industry to adopt this concept. Surprisingly, modern movements are dropping bi-directional winding, finding that it’s not actually all that useful.
6. Ball bearing support for a winding rotor was patented in 1929. But these typically placed the bearings at the periphery, supporting the rotor itself. ETA’s original Eternamatic was a tiny movement for ladies watches so the engineers brought the ball bearings to the center. Seeing how well it worked, the “five balls” became the logo of Eterna!
7. I should clarify that the name of the town is “Büren an der Aare” and it is commonly called “Büren”. But the brand name of the watch company, officially adopted by H. Williamson in 1916, was “Buren Watch Company” without the umlaut. This was generally used by the company through the 1960s, though they sometimes did include the umlaut in advertising and public communication. Confusingly, most patents list it using the Anglicized form of the name of the town, “Bueren Watch Company.” I try to be consistent (or perhaps confusing) and use “Büren” to refer to the town and “Buren” to refer to the company.
8. Oops! The Fabrique d’Horlogerie de Fontainemelon was working on another thin automatic winding system at the same time, filing patents on their peripheral rotor on September 11, 1956. This was before the announcement or publication of the micro-rotor, and they no-doubt thought that their “Fontomatic” Cal. 65 would be the thinnest automatic movement at just 4.5 mm. This came to market in 1959 as the Sandoz 333, and advertisements for this latecomer specifically neglect to mention that number, which was surpassed a year earlier by both Buren and Universal.
9. Buren trademarked “Intra Matic” in 1964 and used this name in the 1965 launch. But they also used “Intramatic” in this period, variously using both names. They had a sub-model called the “Intramatic Polestar” or “Intra Matic Pole-Star” in the 1960s as well, and I can’t imagine Universal loved this name.
10. This would be Hans Kocher-Aeschbacher, the son, rather than his father Hans Kocher-Rinner, who retired that same year. The younger Hans Kocher was a truly remarkable man, deserving of a Prix Gaïa award in all three categories: Watchmaker, businessman, and historian. He was also incredibly magnanimous, not giving undue attention in his industry history writing and speaking to the Buren “planetary rotor” despite considering it his life’s greatest work.
11. I’m wearing my Buren Calibre 82 watch as I write this!
12. The 1975 Golden Shadow and White Shadow Quartz movement measured 3.45 mm thick. It was rapidly surpassed by Citizen, just under 1 mm in 1978, Seiko, 0.90 mm that same year, and the incredible Swiss Delirium movements.
#AbrahamLouisPerrelet #Bulova #Buren #Chronomatic #Felsa #FredBandi #Glycine #HansKocher #Harwood #microRotor #Movado #Piaget #Rolex #Sandoz #UniversalGenève
#abrahamlouisperrelet #bulova #buren #chronomatic #felsa #fredbandi
Stephen @[email protected] · 2026-05-08 · 17:11 UTC
The Day the Micro-Rotor Was Introduced: Buren Super Slender and Universal Microtor

On February 18, 1958, representatives from Buren Watch Company and Universal Genève announced “the greatest technical advance in 30 years,” the micro-rotor automatic watch movement. This joint announcement, and the actions of the inventors and companies before and after it, contradict the oft-repeated story of conflict between them. In fact, the invention and introduction was friendly, thanks to the cordial Hans Kocher, who invented the micro-rotor yet allowed others to share the limelight and the credit.
Buren and Universal collaborated in the simultaneous introduction of the micro-rotor automatic movement in 1958
Debunking the Legend
Like so many areas of watchmaking history, the story of the micro-rotor automatic watch is rich with folklore. And like too many other topics, most of those stories are flat-out wrong. I have been hearing this particular story for years, and was shocked to find that it is entirely contradicted by the plain facts published at the time.
Here’s the gist of what I was told about the launch of the Buren and Universal micro-rotor movements:
- Buren was first to market, introducing their micro-rotor movement in 1957 or maybe even 1954
- Universal infringed on Buren’s patent, didn’t have the technical expertise to design a new movement, and maybe never even had a patent of their own
- Buren sued Universal or tried to block them from marketing the Microtor
- And inexplicably that Universal actually produced the Buren movement because they couldn’t get it to work
None of this is remotely true.
- Technician-watchmaker Hans Kocher of Buren Watch Company invented the micro-rotor movement, filing a patent in 1954
- Jean-Michel Froidevaux and Fred Bandi, skilled technician-watchmakers at Universal, independently invented their own micro-rotor technology, filing a patent just 11 months later
- Kocher and Bandi collaborated on the launch, co-authoring an article on the technology and writing about each other’s work in supportive terms
- Buren and Universal announced their work at a joint press conference on February 18, 1958 and released their micro-rotor watches at the Basel Fair that year
- The companies targeted different markets and there is no sign of a lawsuit or any acrimony
- Both companies, along with Piaget, continued actively to develop micro-rotor movement technology for over a decade
- The technology was abandoned after both were purchased by American companies more interested in quartz electronic watches
So let’s sit back and enjoy the true story of the development of the micro-rotor watch movement!
Coverage of the joint 1958 launch of the Buren Super Slender and Universal Microtor
Image: Europa Star Eastern Jeweler 46, 1958
The Rise of Self-Winding Watches
Le Locle watchmaker Abraham-Louis Perrelet is usually credited for building the first self-winding watch in the 1770s. Many1 have questioned the primacy of Perrelet’s “montre à secousses” (“shaking watch”), but many subsequent watchmakers, including Abraham-Louis Breguet, Louis Recordin, and the Jaquet-Droz family, claimed to have been inspired by his design. Perrelet’s watch used a weight mounted to the side of the movement, causing it to shake when moved. The concept of automatic winding (and even the name “perpetual”) were widely known through the 19th century but such a complex mechanism was deemed unnecessary to bring to market.
Harwood saw a market for a sealed self-winding watch
After World War I, Englishman John Harwood saw a need for self-winding watch. Soldiers were increasingly wearing wristwatches, and these were often damaged by moisture and dust. Inspired by a playground see-saw, Harwood independently2 invented a rocking weight segment that could wind the watch without a hole in the case. He patented the concept in 1923, built a prototype using a Blancpain movement, and brought the Harwood Perpetual to market with the help of A. Schild and Fortis of Grenchen. The watch only went into production late in the decade, and just a few thousand were produced before the Great Depression soon spelled the end.
You might also enjoy reading about “The Backward Evolution of the Rotating Bezel“
Harwood showed that the advent of the wristwatch had created customer demand for a self-winding movement, and the race was on to deliver a more practical one. I previously wrote about Eugène Meylan’s automatic winding mechanism, which was sold by Glycine starting in 1931. Another early player in automatic watches was Blancpain, which built a patented sliding watch called the Rolls for the French firm, Léon Hatot. Another modestly-successful automatic watch in this period was the Wig-Wag, which used the motion of the movement relative to the strap to wind the watch. But these oddball automatics soon fell by the wayside3.
It was the Rolex Oyster Perpetual that brought together all of the elements of the modern automatic wristwatch. Introduced about 19344, Rolex used a centrally-mounted rotor and winding mechanism stacked on top of their excellent movement. This technique was impractical in a pocket watch (which tended to sit vertically in a pocket) but made much more sense when strapped to a wrist. But the Rolex Oyster Perpetual movement was so thick it had to be mounted in a so-called “bubble-back” expanded case.
The Rolex Oyster Perpetual really was ahead of its time!
Image: Journal Suisse d’Horlogerie, January 1936
Seeing their success, especially though World War II, every Swiss company was racing to compete with Rolex with their own waterproof automatic watch. Felsa’s 1947 Bidynator brought bi-directional winding to the table5, ETA’s 1948 Eternamatic showed the potential of a rotor supported by ball bearings6, and Patek Philippe developed a “circumferential” rotor that extended down and around the movement. But all of these mechanisms added thickness, even as stylish consumers of the 1950s demanded ever-thinner watches. But making a thin automatic watch was inconceivable until the late 1950s, and the slimmest offerings (Zenith’s Cal. 133 and Movado’s Cal. 331) were bumper automatic movements, thin by accident rather than intentional design.
Hans Kocher and the Micro-Rotor
Hans Kocher grew up in the shadow of the H. Williamson watch factory in Büren an der Aare, Switzerland. He ran errands for the company as a young boy, and his work ethic so impressed the company’s chairman that he was sent to London to learn the business. But Kocher’s life took a turn when he met Austrian-born Josefine Rinner, a confectionary entrepreneur living in Zürich. The couple moved to Spain after the war, and their son (also named Hans) was born there in 1919. Kocher only settled down in 1923, marrying Josefine and returning to Bienne to work for the Williamson company. But the factory was bankrupt by 1931, with a group of local businessmen purchasing it. They invited Hans Kocher to return to Büren to take over management of the factory in 1932, and he spent the rest of his career there.
This rotor-in-a-rotor concept shows Kocher’s progress of invention
But this is the story of the younger Hans Kocher, who apprenticed in Büren before studying at the Technical school in Bienne. Following World War II, young Hans Kocher moved to Saint-Imier and worked in the technical department of the nearby Cortébert Watch Company. He was a wunderkind, filing patents, developing a central-seconds movement, and reorganizing the company’s manufacturing process. In 1951, after he proved himself, Kocher returned home to become technical director of the Buren Watch Company7.
Kocher believed that technology could elevate Buren in the competitive Swiss watch market and decided to build the best-possible automatic watch movement. Although many aspects of automatic winding were already patented by others, he saw an opportunity to address some of the shortcomings of contemporary automatic watches. For example, Kocher invented a mechanism to allow an automatic watch to be wound by hand, addressing widespread anxiety about power reserve. He also invented a few different bi-directional winding mechanisms and a more effective jewel pivot.
Another Kocher invention seemed to go nowhere: He embedded a tiny rotor inside the main winding rotor, creating a “Tilt-A-Whirl” effect to accelerate startup. Although this didn’t make it into production, this was the first glimpse of a micro-rotor winding system. A month later, Kocher filed a patent that he would later call his greatest work.
Hans Kocher’s design for Buren had a symmetry lacking in the production movement
On June 21, 1954, Buren Watch Company filed a patent for a fully-realized micro-rotor automatic watch movement. Rather than adding a rotor on top of an existing movement, Hans Kocher redesigned the entire ebauche, reorganizing the wheel train to sink a tiny rotor inside. This was much more than a re-packaging effort, with nearly every component re-designed.
It would take nearly four years of development to bring the micro-rotor movement to market. The Swiss government had largely restricted companies from producing their own ebauches, but this was allowed for in-house and complicated movements. And the micro-rotor was indeed a very complicated movement, requiring entirely new design and tooling to be installed at the factory in Büren!
Kocher’s original micro-rotor movement design was elegant and symmetrical, already quite well-developed even in 1954. He called it a “planetary rotor” because he thought it resembled the planetary gearsets in automatic transmissions. But he spent years working on the construction and mechanics of the rotor and the exact arrangement of the wheels and bridges. And he soon had an unexpected collaborator.
Universal, Froidevaux, and Bandi
On May 27, 1955, Manufacture des Montres Universal of Geneva filed a remarkably similar patent for a micro-rotor movement. This was 11 months after Buren’s filing, yet three years before either patent would be published. Although the Swiss patent is un-signed, the American patent specifies that the inventors were Jean-Michel Froidevaux and Fred Bandi, two technician-watchmakers even younger than Hans Kocher. Both were incredibly talented and had made numerous inventions related to automatic watch winding and other areas of horology.
The original Universal design is similar to Büren’s at a glance but obviously not derivative
At a glance, the Universal patent looks very similar to Buren’s, but a closer examination shows that nearly every aspect of the design is different. The American patent authorities examined it closely, rejecting only the most broad claim made by Universal. Given these differences, and the evident skills and imagination of Froidevaux and Bandi, I believe that it was independently invented.
Froidevaux left Universal by 1956, just as the company was developing the micro-rotor watch movement for production. This was the same year that Universal opened its own new factory near Geneva, severing ties with the chronograph factory in Ponts-de-Martel that had been the source of complicated in-house movements for Universal since 1941. The new Carouge-Genève factory was likely outfitted with new machinery to produce the micro-rotor, along with other in-house movements developed by Fred Bandi.
It is very likely that the amiable Hans Kocher knew of the work underway in Geneva by this time, and he may have offered Fred Bandi some technical advice. Indeed, we know that the two collaborated on a paper outlining the benefits of the micro-rotor movement, which was published in the September/October 1957 edition of Journal Suisse d’Horlogerie. They cite the improvements gained by this design in reducing movement height, stress on the rotor bearings, and ease of servicing.
Hans Kocher of Buren and Fred Bandi of Universal jointly announced the micro-rotor movement in this 1957 article in the Journal Suisse d’Horlogerie
Up this point the thinnest automatic watch movements (Zénith’s Cal. 133 and Movado’s Cal. 331) had “bumper” movements rather than a free rotor. This is no surprise – the “sandwich stack” required to have a free rotor was inherently thicker than a winding mass that sat on the same plane as the wheel train and balance. But no bumper movement could match a micro-rotor embedded completely into the ebauche. Although not much thinner than hand-winding movements, the Büren and Universal movements were 20% thinner than most automatics at 4.1 to 4.2 mm8.
The Joint Release of the Buren Super Slender and Universal Microtor
On February 18, 1958, Raoul Perret of Universal Genève and Hans Kocher of the Buren Watch Company held a joint press conference in Geneva to announce “the greatest technical advance in 30 years.” Journalists from the major Swiss papers and industry journals learned about the revolutionary new micro-rotor technology, that would enable the companies to deliver the thinnest self-winding watches in the world. The companies promised that new watches using these movements would be released at the Basel Fair in April.
Ten days before the fair, on April 2, 1958, the Swiss paper Neue Zürcher Zeitung published an article with more detail on the technology of these new movements. Noting that “the fundamental concept behind this novel winding mechanism is identical in both designs,” the article praises both companies’ products, noting that “the specific technical solutions employed differ significantly.” This article was written by Fred Bandi, Technical Director for Universal Genève. Hans Kocher also wrote articles about the two companies’ launches, both independently and jointly with Bandi.
This 1958 advertisement, coinciding with the Basel Fair, shows both the Universal and Buren logos. The example preserved in The Watch Library even features a hand-written formula for the moment of inertia of a solid rotor, likely penned by a curious watchmaker!
Finally, on April 12, 1958, the Basel Fair opened, with both companies showcasing watches housing their new micro-rotor movements. They even placed a joint advertisement in the Journal Suisse d’Horlogerie, featuring the logos of both companies.
The Büren showcase focused on the theme of “universality”
The Buren Watch Company showed off their new Super Slender watch line at the fair, featuring Cal. 1000. This was a new ultra-thin watch line with a case meant to make the most of their “thinnest-ever” automatic watch movement. Confusingly, the company’s Basel Fair booth was a generic paean to post-war globalization, dedicated to the theme “l’universalité.” The new Super Slender movement was depicted on a small card at the corner, with the ultra-thin watches arranged among other more mundane products.
The Universal Genève display was dedicated to the Microtor Universal used the Microtor movement in the famous Polerouter
Universal Genève presented a strong contrast, dedicating their entire display to the new Microtor movement. They even built a large model in a transparent plexiglass case, demonstrating the internal relationship between the micro-rotor and wheel train. The new Cal. 215 was used in an existing product line, the Polerouter (which had been introduced as “Polarouter” in 1954). Although Universal offered new dial designs for 1958, the Microtor’s slimmer profile was not leveraged for a watch that was notably thin.
Buren proudly proclaimed that their Super Slender was the thinnest automatic watch in the world
Both watches were brought to market in the following months with no hint of production delays. They are widely seen and advertised over the next few years in press coverage, company advertising, and retail promotion. For example, an April 1958 ad for international retailer Turler lists the Universal Polerouter Microtor for 270 francs in steel or 820 francs in gold. Meanwhile, the Buren Super Slender was advertised in 1959 for 170 francs in steel or 185 francs for the model with a calendar complication, called Cal. 1001.
What Happened Next
Buren and Universal leaned heavily into their micro-rotor watch movements for the next few years, developing and updating them continually. And two more ultra-thin automatic movements appeared at Basel in 1959 and 1960: The Sandoz 333, which used a peripheral rotor movement designed by FHF, and Piaget’s knock-out 2.3 mm thin micro-rotor Cal. 12 P. But the introduction of the Bulova Accutron on October 25, 1960 upended the entire industry.
Buren modified the wheel train bridge in 1959
Buren actually introduced two micro-rotor movements at Basel in 1958: The base Cal. 1000 was truly “super slender” at 4.2 mm, but they also showed Cal. 1001, which added a date complication and 0.6 mm thickness. Although not as revolutionary as the micro-rotor, Paul Marmier’s patented date mechanism was quite innovative. It used an eccentric cam to keep the advance finger safely back from the date wheel teeth to avoid the risk of damage. The date advanced in just 12 minutes at midnight, and the mechanism also allowed quicker setting of the date by moving the time back to 11:30.
By 1959 Buren added Cal. 1002 and 1003, which featured a thinner balance cock to make way for an elongated wheel train bridge screwed to the base plate for greater stability. The original Cal. 1000 and 1001 remained in production, however, into the 1960s.
The Universal Polerouter collection expanded in 1959 with the Jet and Date models
Universal added a date complication as well, though theirs added over 1 mm to the thickness of the base Cal. 215. This did not pose an issue because the Microtor was used in watches of more ordinary thickness like the Polerouter Date. But the Geneva company did finally lean into the thin profile of the basic Microtor movement with the new 1959 Polerouter Jet, boasting that it was as thin as a hand-winding watch and the thinnest waterproof automatic watch in the world. Universal put the Microtor-Calendrier movement on a diet over the next few years, beveling the edges and slimming it to 4.7 mm (once again 0.1 mm thinner than the competing Buren movement). And Universal proved the robustness of their movement by equipping members of the Swiss Greenland Expedition with Microtor-powered Polerouters during the International Geophysical Year.
Other watches had previously been advertised for their ultra-thin profile, including Omega’s Centenaire and Cyma’s Navystar, but Movado, Sandoz, and Piaget were the strongest contenders. Movado had claimed the crown for the thinnest watch in 1935 with the Novoplan and delivered the automatic Cal. 331 in 1952, which was just 4.3 mm thick thanks to a beveled bumper rotor.
The Sandoz 333 was supposed to be the thinnest automatic watch but was launched a year too late
Sandoz announced the “thinnest waterproof watch” in 1954 with their hand-winding Cal. 55, allowing them to produce a 6.9 mm watch. And they saw an opportunity in a peripheral rotor concept under development at the Fabrique d’Horlogerie de Fontainemelon. Unaware of the micro-rotor8, Sandoz and FHF targeted the 1959 Basel Fair to launch this new ultra-thin automatic watch. Despite being upstaged, the Sandoz 333 remains the first peripheral-winding automatic watch to market.
Piaget claimed outright victory for the thinnest watch in 1957 with the 4 mm Ref. 904, housing the 2.0 mm Cal. 9 P. Valentin Piaget of their specialist movement maker Complications SA saw unrealized potential in the micro-rotor concept. His Cal. 12 P, patented in 1958 and announced at the Basel Fair in 1960, dispensed with the center wheel and radically sliced away the ebauche. Measuring just 2.3 mm thick, this movement allowed Piaget’s Ref. 12 watches to stay at just 4 mm thick overall. Piaget has remained committed to this design, producing Cal. 1200 to this day!
The 1965 Buren Intra Matic was a modern interpretation of the ultra-thin dress watch
Image: Europa Star 35, 1965
Buren embraced Piaget’s ideas, and their Cal. 1280 was similarly stripped-down, coming in at just 2.85 mm thick. This was used in their modern Intra Matic9 line, launched at the Basel Fair in 1965. Variations with date and central seconds ranged up to 3.60 mm, still over half a millimeter thinner than their original Super Slender.
The Intramatic movement made history on March 3, 1969 when Hans Kocher10 and Gerald Dubois announced the Chronomatic movement, built on Buren’s micro-rotor ebauche. This would be the first Swiss automatic chronograph in customer hands, used by Breitling, Heuer, and Hamilton, which had purchased Buren in February of 1966. Hamilton-Buren was taken over by the SIHH group in 1971 and the once-great Büren factory was closed the following year, with all assets sold. This came just as the Chronomatic was gaining market traction and sadly just before the launch of Buren’s great Calbre 8211.
The Universal Golden Shadow was just 4 mm thick
Image: Eastern Jeweler 93, 1966
Universal also collaborated with Piaget, filing a joint patent in March of 1959 for a slim ratcheting winding system for micro-rotor movements. They continually updated their Microtor movement line, culminating in the 1966 introduction of the re-designed Cal. 66. Unlike the hand-made Piaget Cal. 12 P, the new Universal and Buren movements were designed for mass production and daily wear. And Universal once again beat Buren’s mark, with their ebauche measuring just 2.50 mm thick. This time Universal leaned into the thinness of the movement, matching Piaget with a new Golden Shadow watch line just 4 mm thick.
Everything changed for Universal in August of 1966, as the Bulova Watch Company of New York purchased the company. Flush with cash from the Accutron, a global phenomenon never before seen in watchmaking, Bulova sought to solidify its control over the luxury watch industry by bringing the Geneva firm under its control. Universal continued production of the Microtor family into the 1970s and even developed the world’s thinnest quartz movement in 197512. But Bulova was slow to embrace quartz as the market for the Accutron evaporated. The Universal factory in Geneva was bankrupt by the late 1970s and was sold in 1983 to new investors.
The Micro-Rotor Lives On
The micro-rotor is not dead. Far from it: There are more micro-rotor movements on the market today than ever before!
Patek Philippe filed for a patent their own micro-rotor movement in 1975, bringing their Cal. 240 to market a few years later. It has been continually updated and is one of the most-loved movements by enthusiasts like me. Chopard Manufacture leaned into the micro-rotor concept with the launch of the L.U.C movements in 1997, and it remains a highlight of the company’s offerings. A new Universal Genève launched in 2005, bringing a new Microtor (Cal. UG-100) to market in 2006. Schwarz Etienne and Parmigiani Fleurier both introduced new micro-rotor movements in 2010, and both supply these to other fine watch makers to this day. Armin Strom, Hermès, Girard-Perregaux, Bulgari, and many others have also released high-end micro-rotor movements. And Piaget never stopped developing their micro-rotor movements.
Universal was re-launched as an upscale sister brand to Breitling on April 8, 2026 and two new Microtor movements form the core of the new offerings. The new Polerouter Microtor is the first double-barrel micro-rotor movement I know of, and is a lovely tribute to Hans Kocher, who was deeply involved in both innovations. And the new Compax Microtor movement recalls the pioneering Chronomatic movement.
Research Notes
1. The question of whether Perrelet was the first to create a self-winding watch was a matter of great interest through the 20th century. Historian Alfred Chapuis uncovered many prior and subsequent designs, yet he concluded in his seminal book “La Montre Automatique Ancienne” that Perrelet absolutely deserved the credit. That being said, the self-winding watch “discovered” by Léon Leroy of Paris in 1949 may not have been created by Perrelet, according to a 1996 Europa Star article by Jean-Claude Nicolet with rebuttal by Jean-Claude Sabrier.
2. Not being a watch industry insider, Harwood may have been completely unaware that dozens of watchmakers had developed self-winding watches for over a century prior to his invention. And L. Leroy of Paris had already produced a self-winding wristwatch a year before Harwood’s patent. But he was the first to recognize the market for a wristwatch with a sealed case and self-winding movement.
3. The sliding weight concept was actually successfully revived by Pierce just after World War II. This “dissident” Moutier firm was unwilling to abide by the Swiss cartel’s production quotas, so they were blocked from working with nearly every other company. So they developed their own slim sliding-weight automatic, an amazing in-house chronograph movement, and more! In modern times we have seen another sliding-weight automatic, the Corum Golden Bridge Automatic.
4. I’m not a Rolex expert, but I am confounded by the lack of definitive history for this most-important watchmaker. The earliest mention I could find of the Oyster Perpetual comes from Journal Suisse d’Horlogerie in September of 1934, and it was fully illustrated in January of 1936. Given that Rolex trademarked the name in 1932, I guess that places the introduction of the Rolex Perpetual movement in 1933 or 1934. It definitely wasn’t 1931, despite countless blog posts and Rolex’s own advertising.
5. Incredibly, some of the earliest known self-winding pocket watch movements also have clever bi-directional winding solutions: The four controversial maybe-Perrelet movements have a pawl winding system similar to the much-later Pellaton and Magic Lever, and many of the “shaker” movements had bi-directional winding too. But Felsa’s elegant Bidynator inspired the whole industry to adopt this concept. Surprisingly, modern movements are dropping bi-directional winding, finding that it’s not actually all that useful.
6. Ball bearing support for a winding rotor was patented in 1929. But these typically placed the bearings at the periphery, supporting the rotor itself. ETA’s original Eternamatic was a tiny movement for ladies watches so the engineers brought the ball bearings to the center. Seeing how well it worked, the “five balls” became the logo of Eterna!
7. I should clarify that the name of the town is “Büren an der Aare” and it is commonly called “Büren”. But the brand name of the watch company, officially adopted by H. Williamson in 1916, was “Buren Watch Company” without the umlaut. This was generally used by the company through the 1960s, though they sometimes did include the umlaut in advertising and public communication. Confusingly, most patents list it using the Anglicized form of the name of the town, “Bueren Watch Company.” I try to be consistent (or perhaps confusing) and use “Büren” to refer to the town and “Buren” to refer to the company.
8. Oops! The Fabrique d’Horlogerie de Fontainemelon was working on another thin automatic winding system at the same time, filing patents on their peripheral rotor on September 11, 1956. This was before the announcement or publication of the micro-rotor, and they no-doubt thought that their “Fontomatic” Cal. 65 would be the thinnest automatic movement at just 4.5 mm. This came to market in 1959 as the Sandoz 333, and advertisements for this latecomer specifically neglect to mention that number, which was surpassed a year earlier by both Buren and Universal.
9. Buren trademarked “Intra Matic” in 1964 and used this name in the 1965 launch. But they also used “Intramatic” in this period, variously using both names. They had a sub-model called the “Intramatic Polestar” or “Intra Matic Pole-Star” in the 1960s as well, and I can’t imagine Universal loved this name.
10. This would be Hans Kocher-Aeschbacher, the son, rather than his father Hans Kocher-Rinner, who retired that same year. The younger Hans Kocher was a truly remarkable man, deserving of a Prix Gaïa award in all three categories: Watchmaker, businessman, and historian. He was also incredibly magnanimous, not giving undue attention in his industry history writing and speaking to the Buren “planetary rotor” despite considering it his life’s greatest work.
11. I’m wearing my Buren Calibre 82 watch as I write this!
12. The 1975 Golden Shadow and White Shadow Quartz movement measured 3.45 mm thick. It was rapidly surpassed by Citizen, just under 1 mm in 1978, Seiko, 0.90 mm that same year, and the incredible Swiss Delirium movements.
#AbrahamLouisPerrelet #Bulova #Buren #Chronomatic #Felsa #FredBandi #Glycine #HansKocher #Harwood #microRotor #Movado #Piaget #Rolex #Sandoz #UniversalGenève
#abrahamlouisperrelet #bulova #buren #chronomatic #felsa #fredbandi
Stephen @[email protected] · 2026-05-08 · 17:11 UTC
The Day the Micro-Rotor Was Introduced: Buren Super Slender and Universal Microtor

On February 18, 1958, representatives from Buren Watch Company and Universal Genève announced “the greatest technical advance in 30 years,” the micro-rotor automatic watch movement. This joint announcement, and the actions of the inventors and companies before and after it, contradict the oft-repeated story of conflict between them. In fact, the invention and introduction was friendly, thanks to the cordial Hans Kocher, who invented the micro-rotor yet allowed others to share the limelight and the credit.
Buren and Universal collaborated in the simultaneous introduction of the micro-rotor automatic movement in 1958
Debunking the Legend
Like so many areas of watchmaking history, the story of the micro-rotor automatic watch is rich with folklore. And like too many other topics, most of those stories are flat-out wrong. I have been hearing this particular story for years, and was shocked to find that it is entirely contradicted by the plain facts published at the time.
Here’s the gist of what I was told about the launch of the Buren and Universal micro-rotor movements:
- Buren was first to market, introducing their micro-rotor movement in 1957 or maybe even 1954
- Universal infringed on Buren’s patent, didn’t have the technical expertise to design a new movement, and maybe never even had a patent of their own
- Buren sued Universal or tried to block them from marketing the Microtor
- And inexplicably that Universal actually produced the Buren movement because they couldn’t get it to work
None of this is remotely true.
- Technician-watchmaker Hans Kocher of Buren Watch Company invented the micro-rotor movement, filing a patent in 1954
- Jean-Michel Froidevaux and Fred Bandi, skilled technician-watchmakers at Universal, independently invented their own micro-rotor technology, filing a patent just 11 months later
- Kocher and Bandi collaborated on the launch, co-authoring an article on the technology and writing about each other’s work in supportive terms
- Buren and Universal announced their work at a joint press conference on February 18, 1958 and released their micro-rotor watches at the Basel Fair that year
- The companies targeted different markets and there is no sign of a lawsuit or any acrimony
- Both companies, along with Piaget, continued actively to develop micro-rotor movement technology for over a decade
- The technology was abandoned after both were purchased by American companies more interested in quartz electronic watches
So let’s sit back and enjoy the true story of the development of the micro-rotor watch movement!
Coverage of the joint 1958 launch of the Buren Super Slender and Universal Microtor
Image: Europa Star Eastern Jeweler 46, 1958
The Rise of Self-Winding Watches
Le Locle watchmaker Abraham-Louis Perrelet is usually credited for building the first self-winding watch in the 1770s. Many1 have questioned the primacy of Perrelet’s “montre à secousses” (“shaking watch”), but many subsequent watchmakers, including Abraham-Louis Breguet, Louis Recordin, and the Jaquet-Droz family, claimed to have been inspired by his design. Perrelet’s watch used a weight mounted to the side of the movement, causing it to shake when moved. The concept of automatic winding (and even the name “perpetual”) were widely known through the 19th century but such a complex mechanism was deemed unnecessary to bring to market.
Harwood saw a market for a sealed self-winding watch
After World War I, Englishman John Harwood saw a need for self-winding watch. Soldiers were increasingly wearing wristwatches, and these were often damaged by moisture and dust. Inspired by a playground see-saw, Harwood independently2 invented a rocking weight segment that could wind the watch without a hole in the case. He patented the concept in 1923, built a prototype using a Blancpain movement, and brought the Harwood Perpetual to market with the help of A. Schild and Fortis of Grenchen. The watch only went into production late in the decade, and just a few thousand were produced before the Great Depression soon spelled the end.
You might also enjoy reading about “The Backward Evolution of the Rotating Bezel“
Harwood showed that the advent of the wristwatch had created customer demand for a self-winding movement, and the race was on to deliver a more practical one. I previously wrote about Eugène Meylan’s automatic winding mechanism, which was sold by Glycine starting in 1931. Another early player in automatic watches was Blancpain, which built a patented sliding watch called the Rolls for the French firm, Léon Hatot. Another modestly-successful automatic watch in this period was the Wig-Wag, which used the motion of the movement relative to the strap to wind the watch. But these oddball automatics soon fell by the wayside3.
It was the Rolex Oyster Perpetual that brought together all of the elements of the modern automatic wristwatch. Introduced about 19344, Rolex used a centrally-mounted rotor and winding mechanism stacked on top of their excellent movement. This technique was impractical in a pocket watch (which tended to sit vertically in a pocket) but made much more sense when strapped to a wrist. But the Rolex Oyster Perpetual movement was so thick it had to be mounted in a so-called “bubble-back” expanded case.
The Rolex Oyster Perpetual really was ahead of its time!
Image: Journal Suisse d’Horlogerie, January 1936
Seeing their success, especially though World War II, every Swiss company was racing to compete with Rolex with their own waterproof automatic watch. Felsa’s 1947 Bidynator brought bi-directional winding to the table5, ETA’s 1948 Eternamatic showed the potential of a rotor supported by ball bearings6, and Patek Philippe developed a “circumferential” rotor that extended down and around the movement. But all of these mechanisms added thickness, even as stylish consumers of the 1950s demanded ever-thinner watches. But making a thin automatic watch was inconceivable until the late 1950s, and the slimmest offerings (Zenith’s Cal. 133 and Movado’s Cal. 331) were bumper automatic movements, thin by accident rather than intentional design.
Hans Kocher and the Micro-Rotor
Hans Kocher grew up in the shadow of the H. Williamson watch factory in Büren an der Aare, Switzerland. He ran errands for the company as a young boy, and his work ethic so impressed the company’s chairman that he was sent to London to learn the business. But Kocher’s life took a turn when he met Austrian-born Josefine Rinner, a confectionary entrepreneur living in Zürich. The couple moved to Spain after the war, and their son (also named Hans) was born there in 1919. Kocher only settled down in 1923, marrying Josefine and returning to Bienne to work for the Williamson company. But the factory was bankrupt by 1931, with a group of local businessmen purchasing it. They invited Hans Kocher to return to Büren to take over management of the factory in 1932, and he spent the rest of his career there.
This rotor-in-a-rotor concept shows Kocher’s progress of invention
But this is the story of the younger Hans Kocher, who apprenticed in Büren before studying at the Technical school in Bienne. Following World War II, young Hans Kocher moved to Saint-Imier and worked in the technical department of the nearby Cortébert Watch Company. He was a wunderkind, filing patents, developing a central-seconds movement, and reorganizing the company’s manufacturing process. In 1951, after he proved himself, Kocher returned home to become technical director of the Buren Watch Company7.
Kocher believed that technology could elevate Buren in the competitive Swiss watch market and decided to build the best-possible automatic watch movement. Although many aspects of automatic winding were already patented by others, he saw an opportunity to address some of the shortcomings of contemporary automatic watches. For example, Kocher invented a mechanism to allow an automatic watch to be wound by hand, addressing widespread anxiety about power reserve. He also invented a few different bi-directional winding mechanisms and a more effective jewel pivot.
Another Kocher invention seemed to go nowhere: He embedded a tiny rotor inside the main winding rotor, creating a “Tilt-A-Whirl” effect to accelerate startup. Although this didn’t make it into production, this was the first glimpse of a micro-rotor winding system. A month later, Kocher filed a patent that he would later call his greatest work.
Hans Kocher’s design for Buren had a symmetry lacking in the production movement
On June 21, 1954, Buren Watch Company filed a patent for a fully-realized micro-rotor automatic watch movement. Rather than adding a rotor on top of an existing movement, Hans Kocher redesigned the entire ebauche, reorganizing the wheel train to sink a tiny rotor inside. This was much more than a re-packaging effort, with nearly every component re-designed.
It would take nearly four years of development to bring the micro-rotor movement to market. The Swiss government had largely restricted companies from producing their own ebauches, but this was allowed for in-house and complicated movements. And the micro-rotor was indeed a very complicated movement, requiring entirely new design and tooling to be installed at the factory in Büren!
Kocher’s original micro-rotor movement design was elegant and symmetrical, already quite well-developed even in 1954. He called it a “planetary rotor” because he thought it resembled the planetary gearsets in automatic transmissions. But he spent years working on the construction and mechanics of the rotor and the exact arrangement of the wheels and bridges. And he soon had an unexpected collaborator.
Universal, Froidevaux, and Bandi
On May 27, 1955, Manufacture des Montres Universal of Geneva filed a remarkably similar patent for a micro-rotor movement. This was 11 months after Buren’s filing, yet three years before either patent would be published. Although the Swiss patent is un-signed, the American patent specifies that the inventors were Jean-Michel Froidevaux and Fred Bandi, two technician-watchmakers even younger than Hans Kocher. Both were incredibly talented and had made numerous inventions related to automatic watch winding and other areas of horology.
The original Universal design is similar to Büren’s at a glance but obviously not derivative
At a glance, the Universal patent looks very similar to Buren’s, but a closer examination shows that nearly every aspect of the design is different. The American patent authorities examined it closely, rejecting only the most broad claim made by Universal. Given these differences, and the evident skills and imagination of Froidevaux and Bandi, I believe that it was independently invented.
Froidevaux left Universal by 1956, just as the company was developing the micro-rotor watch movement for production. This was the same year that Universal opened its own new factory near Geneva, severing ties with the chronograph factory in Ponts-de-Martel that had been the source of complicated in-house movements for Universal since 1941. The new Carouge-Genève factory was likely outfitted with new machinery to produce the micro-rotor, along with other in-house movements developed by Fred Bandi.
It is very likely that the amiable Hans Kocher knew of the work underway in Geneva by this time, and he may have offered Fred Bandi some technical advice. Indeed, we know that the two collaborated on a paper outlining the benefits of the micro-rotor movement, which was published in the September/October 1957 edition of Journal Suisse d’Horlogerie. They cite the improvements gained by this design in reducing movement height, stress on the rotor bearings, and ease of servicing.
Hans Kocher of Buren and Fred Bandi of Universal jointly announced the micro-rotor movement in this 1957 article in the Journal Suisse d’Horlogerie
Up this point the thinnest automatic watch movements (Zénith’s Cal. 133 and Movado’s Cal. 331) had “bumper” movements rather than a free rotor. This is no surprise – the “sandwich stack” required to have a free rotor was inherently thicker than a winding mass that sat on the same plane as the wheel train and balance. But no bumper movement could match a micro-rotor embedded completely into the ebauche. Although not much thinner than hand-winding movements, the Büren and Universal movements were 20% thinner than most automatics at 4.1 to 4.2 mm8.
The Joint Release of the Buren Super Slender and Universal Microtor
On February 18, 1958, Raoul Perret of Universal Genève and Hans Kocher of the Buren Watch Company held a joint press conference in Geneva to announce “the greatest technical advance in 30 years.” Journalists from the major Swiss papers and industry journals learned about the revolutionary new micro-rotor technology, that would enable the companies to deliver the thinnest self-winding watches in the world. The companies promised that new watches using these movements would be released at the Basel Fair in April.
Ten days before the fair, on April 2, 1958, the Swiss paper Neue Zürcher Zeitung published an article with more detail on the technology of these new movements. Noting that “the fundamental concept behind this novel winding mechanism is identical in both designs,” the article praises both companies’ products, noting that “the specific technical solutions employed differ significantly.” This article was written by Fred Bandi, Technical Director for Universal Genève. Hans Kocher also wrote articles about the two companies’ launches, both independently and jointly with Bandi.
This 1958 advertisement, coinciding with the Basel Fair, shows both the Universal and Buren logos. The example preserved in The Watch Library even features a hand-written formula for the moment of inertia of a solid rotor, likely penned by a curious watchmaker!
Finally, on April 12, 1958, the Basel Fair opened, with both companies showcasing watches housing their new micro-rotor movements. They even placed a joint advertisement in the Journal Suisse d’Horlogerie, featuring the logos of both companies.
The Büren showcase focused on the theme of “universality”
The Buren Watch Company showed off their new Super Slender watch line at the fair, featuring Cal. 1000. This was a new ultra-thin watch line with a case meant to make the most of their “thinnest-ever” automatic watch movement. Confusingly, the company’s Basel Fair booth was a generic paean to post-war globalization, dedicated to the theme “l’universalité.” The new Super Slender movement was depicted on a small card at the corner, with the ultra-thin watches arranged among other more mundane products.
The Universal Genève display was dedicated to the Microtor Universal used the Microtor movement in the famous Polerouter
Universal Genève presented a strong contrast, dedicating their entire display to the new Microtor movement. They even built a large model in a transparent plexiglass case, demonstrating the internal relationship between the micro-rotor and wheel train. The new Cal. 215 was used in an existing product line, the Polerouter (which had been introduced as “Polarouter” in 1954). Although Universal offered new dial designs for 1958, the Microtor’s slimmer profile was not leveraged for a watch that was notably thin.
Buren proudly proclaimed that their Super Slender was the thinnest automatic watch in the world
Both watches were brought to market in the following months with no hint of production delays. They are widely seen and advertised over the next few years in press coverage, company advertising, and retail promotion. For example, an April 1958 ad for international retailer Turler lists the Universal Polerouter Microtor for 270 francs in steel or 820 francs in gold. Meanwhile, the Buren Super Slender was advertised in 1959 for 170 francs in steel or 185 francs for the model with a calendar complication, called Cal. 1001.
What Happened Next
Buren and Universal leaned heavily into their micro-rotor watch movements for the next few years, developing and updating them continually. And two more ultra-thin automatic movements appeared at Basel in 1959 and 1960: The Sandoz 333, which used a peripheral rotor movement designed by FHF, and Piaget’s knock-out 2.3 mm thin micro-rotor Cal. 12 P. But the introduction of the Bulova Accutron on October 25, 1960 upended the entire industry.
Buren modified the wheel train bridge in 1959
Buren actually introduced two micro-rotor movements at Basel in 1958: The base Cal. 1000 was truly “super slender” at 4.2 mm, but they also showed Cal. 1001, which added a date complication and 0.6 mm thickness. Although not as revolutionary as the micro-rotor, Paul Marmier’s patented date mechanism was quite innovative. It used an eccentric cam to keep the advance finger safely back from the date wheel teeth to avoid the risk of damage. The date advanced in just 12 minutes at midnight, and the mechanism also allowed quicker setting of the date by moving the time back to 11:30.
By 1959 Buren added Cal. 1002 and 1003, which featured a thinner balance cock to make way for an elongated wheel train bridge screwed to the base plate for greater stability. The original Cal. 1000 and 1001 remained in production, however, into the 1960s.
The Universal Polerouter collection expanded in 1959 with the Jet and Date models
Universal added a date complication as well, though theirs added over 1 mm to the thickness of the base Cal. 215. This did not pose an issue because the Microtor was used in watches of more ordinary thickness like the Polerouter Date. But the Geneva company did finally lean into the thin profile of the basic Microtor movement with the new 1959 Polerouter Jet, boasting that it was as thin as a hand-winding watch and the thinnest waterproof automatic watch in the world. Universal put the Microtor-Calendrier movement on a diet over the next few years, beveling the edges and slimming it to 4.7 mm (once again 0.1 mm thinner than the competing Buren movement). And Universal proved the robustness of their movement by equipping members of the Swiss Greenland Expedition with Microtor-powered Polerouters during the International Geophysical Year.
Other watches had previously been advertised for their ultra-thin profile, including Omega’s Centenaire and Cyma’s Navystar, but Movado, Sandoz, and Piaget were the strongest contenders. Movado had claimed the crown for the thinnest watch in 1935 with the Novoplan and delivered the automatic Cal. 331 in 1952, which was just 4.3 mm thick thanks to a beveled bumper rotor.
The Sandoz 333 was supposed to be the thinnest automatic watch but was launched a year too late
Sandoz announced the “thinnest waterproof watch” in 1954 with their hand-winding Cal. 55, allowing them to produce a 6.9 mm watch. And they saw an opportunity in a peripheral rotor concept under development at the Fabrique d’Horlogerie de Fontainemelon. Unaware of the micro-rotor8, Sandoz and FHF targeted the 1959 Basel Fair to launch this new ultra-thin automatic watch. Despite being upstaged, the Sandoz 333 remains the first peripheral-winding automatic watch to market.
Piaget claimed outright victory for the thinnest watch in 1957 with the 4 mm Ref. 904, housing the 2.0 mm Cal. 9 P. Valentin Piaget of their specialist movement maker Complications SA saw unrealized potential in the micro-rotor concept. His Cal. 12 P, patented in 1958 and announced at the Basel Fair in 1960, dispensed with the center wheel and radically sliced away the ebauche. Measuring just 2.3 mm thick, this movement allowed Piaget’s Ref. 12 watches to stay at just 4 mm thick overall. Piaget has remained committed to this design, producing Cal. 1200 to this day!
The 1965 Buren Intra Matic was a modern interpretation of the ultra-thin dress watch
Image: Europa Star 35, 1965
Buren embraced Piaget’s ideas, and their Cal. 1280 was similarly stripped-down, coming in at just 2.85 mm thick. This was used in their modern Intra Matic9 line, launched at the Basel Fair in 1965. Variations with date and central seconds ranged up to 3.60 mm, still over half a millimeter thinner than their original Super Slender.
The Intramatic movement made history on March 3, 1969 when Hans Kocher10 and Gerald Dubois announced the Chronomatic movement, built on Buren’s micro-rotor ebauche. This would be the first Swiss automatic chronograph in customer hands, used by Breitling, Heuer, and Hamilton, which had purchased Buren in February of 1966. Hamilton-Buren was taken over by the SIHH group in 1971 and the once-great Büren factory was closed the following year, with all assets sold. This came just as the Chronomatic was gaining market traction and sadly just before the launch of Buren’s great Calbre 8211.
The Universal Golden Shadow was just 4 mm thick
Image: Eastern Jeweler 93, 1966
Universal also collaborated with Piaget, filing a joint patent in March of 1959 for a slim ratcheting winding system for micro-rotor movements. They continually updated their Microtor movement line, culminating in the 1966 introduction of the re-designed Cal. 66. Unlike the hand-made Piaget Cal. 12 P, the new Universal and Buren movements were designed for mass production and daily wear. And Universal once again beat Buren’s mark, with their ebauche measuring just 2.50 mm thick. This time Universal leaned into the thinness of the movement, matching Piaget with a new Golden Shadow watch line just 4 mm thick.
Everything changed for Universal in August of 1966, as the Bulova Watch Company of New York purchased the company. Flush with cash from the Accutron, a global phenomenon never before seen in watchmaking, Bulova sought to solidify its control over the luxury watch industry by bringing the Geneva firm under its control. Universal continued production of the Microtor family into the 1970s and even developed the world’s thinnest quartz movement in 197512. But Bulova was slow to embrace quartz as the market for the Accutron evaporated. The Universal factory in Geneva was bankrupt by the late 1970s and was sold in 1983 to new investors.
The Micro-Rotor Lives On
The micro-rotor is not dead. Far from it: There are more micro-rotor movements on the market today than ever before!
Patek Philippe filed for a patent their own micro-rotor movement in 1975, bringing their Cal. 240 to market a few years later. It has been continually updated and is one of the most-loved movements by enthusiasts like me. Chopard Manufacture leaned into the micro-rotor concept with the launch of the L.U.C movements in 1997, and it remains a highlight of the company’s offerings. A new Universal Genève launched in 2005, bringing a new Microtor (Cal. UG-100) to market in 2006. Schwarz Etienne and Parmigiani Fleurier both introduced new micro-rotor movements in 2010, and both supply these to other fine watch makers to this day. Armin Strom, Hermès, Girard-Perregaux, Bulgari, and many others have also released high-end micro-rotor movements. And Piaget never stopped developing their micro-rotor movements.
Universal was re-launched as an upscale sister brand to Breitling on April 8, 2026 and two new Microtor movements form the core of the new offerings. The new Polerouter Microtor is the first double-barrel micro-rotor movement I know of, and is a lovely tribute to Hans Kocher, who was deeply involved in both innovations. And the new Compax Microtor movement recalls the pioneering Chronomatic movement.
Research Notes
1. The question of whether Perrelet was the first to create a self-winding watch was a matter of great interest through the 20th century. Historian Alfred Chapuis uncovered many prior and subsequent designs, yet he concluded in his seminal book “La Montre Automatique Ancienne” that Perrelet absolutely deserved the credit. That being said, the self-winding watch “discovered” by Léon Leroy of Paris in 1949 may not have been created by Perrelet, according to a 1996 Europa Star article by Jean-Claude Nicolet with rebuttal by Jean-Claude Sabrier.
2. Not being a watch industry insider, Harwood may have been completely unaware that dozens of watchmakers had developed self-winding watches for over a century prior to his invention. And L. Leroy of Paris had already produced a self-winding wristwatch a year before Harwood’s patent. But he was the first to recognize the market for a wristwatch with a sealed case and self-winding movement.
3. The sliding weight concept was actually successfully revived by Pierce just after World War II. This “dissident” Moutier firm was unwilling to abide by the Swiss cartel’s production quotas, so they were blocked from working with nearly every other company. So they developed their own slim sliding-weight automatic, an amazing in-house chronograph movement, and more! In modern times we have seen another sliding-weight automatic, the Corum Golden Bridge Automatic.
4. I’m not a Rolex expert, but I am confounded by the lack of definitive history for this most-important watchmaker. The earliest mention I could find of the Oyster Perpetual comes from Journal Suisse d’Horlogerie in September of 1934, and it was fully illustrated in January of 1936. Given that Rolex trademarked the name in 1932, I guess that places the introduction of the Rolex Perpetual movement in 1933 or 1934. It definitely wasn’t 1931, despite countless blog posts and Rolex’s own advertising.
5. Incredibly, some of the earliest known self-winding pocket watch movements also have clever bi-directional winding solutions: The four controversial maybe-Perrelet movements have a pawl winding system similar to the much-later Pellaton and Magic Lever, and many of the “shaker” movements had bi-directional winding too. But Felsa’s elegant Bidynator inspired the whole industry to adopt this concept. Surprisingly, modern movements are dropping bi-directional winding, finding that it’s not actually all that useful.
6. Ball bearing support for a winding rotor was patented in 1929. But these typically placed the bearings at the periphery, supporting the rotor itself. ETA’s original Eternamatic was a tiny movement for ladies watches so the engineers brought the ball bearings to the center. Seeing how well it worked, the “five balls” became the logo of Eterna!
7. I should clarify that the name of the town is “Büren an der Aare” and it is commonly called “Büren”. But the brand name of the watch company, officially adopted by H. Williamson in 1916, was “Buren Watch Company” without the umlaut. This was generally used by the company through the 1960s, though they sometimes did include the umlaut in advertising and public communication. Confusingly, most patents list it using the Anglicized form of the name of the town, “Bueren Watch Company.” I try to be consistent (or perhaps confusing) and use “Büren” to refer to the town and “Buren” to refer to the company.
8. Oops! The Fabrique d’Horlogerie de Fontainemelon was working on another thin automatic winding system at the same time, filing patents on their peripheral rotor on September 11, 1956. This was before the announcement or publication of the micro-rotor, and they no-doubt thought that their “Fontomatic” Cal. 65 would be the thinnest automatic movement at just 4.5 mm. This came to market in 1959 as the Sandoz 333, and advertisements for this latecomer specifically neglect to mention that number, which was surpassed a year earlier by both Buren and Universal.
9. Buren trademarked “Intra Matic” in 1964 and used this name in the 1965 launch. But they also used “Intramatic” in this period, variously using both names. They had a sub-model called the “Intramatic Polestar” or “Intra Matic Pole-Star” in the 1960s as well, and I can’t imagine Universal loved this name.
10. This would be Hans Kocher-Aeschbacher, the son, rather than his father Hans Kocher-Rinner, who retired that same year. The younger Hans Kocher was a truly remarkable man, deserving of a Prix Gaïa award in all three categories: Watchmaker, businessman, and historian. He was also incredibly magnanimous, not giving undue attention in his industry history writing and speaking to the Buren “planetary rotor” despite considering it his life’s greatest work.
11. I’m wearing my Buren Calibre 82 watch as I write this!
12. The 1975 Golden Shadow and White Shadow Quartz movement measured 3.45 mm thick. It was rapidly surpassed by Citizen, just under 1 mm in 1978, Seiko, 0.90 mm that same year, and the incredible Swiss Delirium movements.
#AbrahamLouisPerrelet #Bulova #Buren #Chronomatic #Felsa #FredBandi #Glycine #HansKocher #Harwood #microRotor #Movado #Piaget #Rolex #Sandoz #UniversalGenève
#universalgeneve #sandoz #rolex #piaget #movado #microrotor
Stephen @[email protected] · 2026-05-08 · 17:11 UTC
The Day the Micro-Rotor Was Introduced: Buren Super Slender and Universal Microtor

On February 18, 1958, representatives from Buren Watch Company and Universal Genève announced “the greatest technical advance in 30 years,” the micro-rotor automatic watch movement. This joint announcement, and the actions of the inventors and companies before and after it, contradict the oft-repeated story of conflict between them. In fact, the invention and introduction was friendly, thanks to the cordial Hans Kocher, who invented the micro-rotor yet allowed others to share the limelight and the credit.
Buren and Universal collaborated in the simultaneous introduction of the micro-rotor automatic movement in 1958
Debunking the Legend
Like so many areas of watchmaking history, the story of the micro-rotor automatic watch is rich with folklore. And like too many other topics, most of those stories are flat-out wrong. I have been hearing this particular story for years, and was shocked to find that it is entirely contradicted by the plain facts published at the time.
Here’s the gist of what I was told about the launch of the Buren and Universal micro-rotor movements:
- Buren was first to market, introducing their micro-rotor movement in 1957 or maybe even 1954
- Universal infringed on Buren’s patent, didn’t have the technical expertise to design a new movement, and maybe never even had a patent of their own
- Buren sued Universal or tried to block them from marketing the Microtor
- And inexplicably that Universal actually produced the Buren movement because they couldn’t get it to work
None of this is remotely true.
- Technician-watchmaker Hans Kocher of Buren Watch Company invented the micro-rotor movement, filing a patent in 1954
- Jean-Michel Froidevaux and Fred Bandi, skilled technician-watchmakers at Universal, independently invented their own micro-rotor technology, filing a patent just 11 months later
- Kocher and Bandi collaborated on the launch, co-authoring an article on the technology and writing about each other’s work in supportive terms
- Buren and Universal announced their work at a joint press conference on February 18, 1958 and released their micro-rotor watches at the Basel Fair that year
- The companies targeted different markets and there is no sign of a lawsuit or any acrimony
- Both companies, along with Piaget, continued actively to develop micro-rotor movement technology for over a decade
- The technology was abandoned after both were purchased by American companies more interested in quartz electronic watches
So let’s sit back and enjoy the true story of the development of the micro-rotor watch movement!
Coverage of the joint 1958 launch of the Buren Super Slender and Universal Microtor
Image: Europa Star Eastern Jeweler 46, 1958
The Rise of Self-Winding Watches
Le Locle watchmaker Abraham-Louis Perrelet is usually credited for building the first self-winding watch in the 1770s. Many1 have questioned the primacy of Perrelet’s “montre à secousses” (“shaking watch”), but many subsequent watchmakers, including Abraham-Louis Breguet, Louis Recordin, and the Jaquet-Droz family, claimed to have been inspired by his design. Perrelet’s watch used a weight mounted to the side of the movement, causing it to shake when moved. The concept of automatic winding (and even the name “perpetual”) were widely known through the 19th century but such a complex mechanism was deemed unnecessary to bring to market.
Harwood saw a market for a sealed self-winding watch
After World War I, Englishman John Harwood saw a need for self-winding watch. Soldiers were increasingly wearing wristwatches, and these were often damaged by moisture and dust. Inspired by a playground see-saw, Harwood independently2 invented a rocking weight segment that could wind the watch without a hole in the case. He patented the concept in 1923, built a prototype using a Blancpain movement, and brought the Harwood Perpetual to market with the help of A. Schild and Fortis of Grenchen. The watch only went into production late in the decade, and just a few thousand were produced before the Great Depression soon spelled the end.
You might also enjoy reading about “The Backward Evolution of the Rotating Bezel“
Harwood showed that the advent of the wristwatch had created customer demand for a self-winding movement, and the race was on to deliver a more practical one. I previously wrote about Eugène Meylan’s automatic winding mechanism, which was sold by Glycine starting in 1931. Another early player in automatic watches was Blancpain, which built a patented sliding watch called the Rolls for the French firm, Léon Hatot. Another modestly-successful automatic watch in this period was the Wig-Wag, which used the motion of the movement relative to the strap to wind the watch. But these oddball automatics soon fell by the wayside3.
It was the Rolex Oyster Perpetual that brought together all of the elements of the modern automatic wristwatch. Introduced about 19344, Rolex used a centrally-mounted rotor and winding mechanism stacked on top of their excellent movement. This technique was impractical in a pocket watch (which tended to sit vertically in a pocket) but made much more sense when strapped to a wrist. But the Rolex Oyster Perpetual movement was so thick it had to be mounted in a so-called “bubble-back” expanded case.
The Rolex Oyster Perpetual really was ahead of its time!
Image: Journal Suisse d’Horlogerie, January 1936
Seeing their success, especially though World War II, every Swiss company was racing to compete with Rolex with their own waterproof automatic watch. Felsa’s 1947 Bidynator brought bi-directional winding to the table5, ETA’s 1948 Eternamatic showed the potential of a rotor supported by ball bearings6, and Patek Philippe developed a “circumferential” rotor that extended down and around the movement. But all of these mechanisms added thickness, even as stylish consumers of the 1950s demanded ever-thinner watches. But making a thin automatic watch was inconceivable until the late 1950s, and the slimmest offerings (Zenith’s Cal. 133 and Movado’s Cal. 331) were bumper automatic movements, thin by accident rather than intentional design.
Hans Kocher and the Micro-Rotor
Hans Kocher grew up in the shadow of the H. Williamson watch factory in Büren an der Aare, Switzerland. He ran errands for the company as a young boy, and his work ethic so impressed the company’s chairman that he was sent to London to learn the business. But Kocher’s life took a turn when he met Austrian-born Josefine Rinner, a confectionary entrepreneur living in Zürich. The couple moved to Spain after the war, and their son (also named Hans) was born there in 1919. Kocher only settled down in 1923, marrying Josefine and returning to Bienne to work for the Williamson company. But the factory was bankrupt by 1931, with a group of local businessmen purchasing it. They invited Hans Kocher to return to Büren to take over management of the factory in 1932, and he spent the rest of his career there.
This rotor-in-a-rotor concept shows Kocher’s progress of invention
But this is the story of the younger Hans Kocher, who apprenticed in Büren before studying at the Technical school in Bienne. Following World War II, young Hans Kocher moved to Saint-Imier and worked in the technical department of the nearby Cortébert Watch Company. He was a wunderkind, filing patents, developing a central-seconds movement, and reorganizing the company’s manufacturing process. In 1951, after he proved himself, Kocher returned home to become technical director of the Buren Watch Company7.
Kocher believed that technology could elevate Buren in the competitive Swiss watch market and decided to build the best-possible automatic watch movement. Although many aspects of automatic winding were already patented by others, he saw an opportunity to address some of the shortcomings of contemporary automatic watches. For example, Kocher invented a mechanism to allow an automatic watch to be wound by hand, addressing widespread anxiety about power reserve. He also invented a few different bi-directional winding mechanisms and a more effective jewel pivot.
Another Kocher invention seemed to go nowhere: He embedded a tiny rotor inside the main winding rotor, creating a “Tilt-A-Whirl” effect to accelerate startup. Although this didn’t make it into production, this was the first glimpse of a micro-rotor winding system. A month later, Kocher filed a patent that he would later call his greatest work.
Hans Kocher’s design for Buren had a symmetry lacking in the production movement
On June 21, 1954, Buren Watch Company filed a patent for a fully-realized micro-rotor automatic watch movement. Rather than adding a rotor on top of an existing movement, Hans Kocher redesigned the entire ebauche, reorganizing the wheel train to sink a tiny rotor inside. This was much more than a re-packaging effort, with nearly every component re-designed.
It would take nearly four years of development to bring the micro-rotor movement to market. The Swiss government had largely restricted companies from producing their own ebauches, but this was allowed for in-house and complicated movements. And the micro-rotor was indeed a very complicated movement, requiring entirely new design and tooling to be installed at the factory in Büren!
Kocher’s original micro-rotor movement design was elegant and symmetrical, already quite well-developed even in 1954. He called it a “planetary rotor” because he thought it resembled the planetary gearsets in automatic transmissions. But he spent years working on the construction and mechanics of the rotor and the exact arrangement of the wheels and bridges. And he soon had an unexpected collaborator.
Universal, Froidevaux, and Bandi
On May 27, 1955, Manufacture des Montres Universal of Geneva filed a remarkably similar patent for a micro-rotor movement. This was 11 months after Buren’s filing, yet three years before either patent would be published. Although the Swiss patent is un-signed, the American patent specifies that the inventors were Jean-Michel Froidevaux and Fred Bandi, two technician-watchmakers even younger than Hans Kocher. Both were incredibly talented and had made numerous inventions related to automatic watch winding and other areas of horology.
The original Universal design is similar to Büren’s at a glance but obviously not derivative
At a glance, the Universal patent looks very similar to Buren’s, but a closer examination shows that nearly every aspect of the design is different. The American patent authorities examined it closely, rejecting only the most broad claim made by Universal. Given these differences, and the evident skills and imagination of Froidevaux and Bandi, I believe that it was independently invented.
Froidevaux left Universal by 1956, just as the company was developing the micro-rotor watch movement for production. This was the same year that Universal opened its own new factory near Geneva, severing ties with the chronograph factory in Ponts-de-Martel that had been the source of complicated in-house movements for Universal since 1941. The new Carouge-Genève factory was likely outfitted with new machinery to produce the micro-rotor, along with other in-house movements developed by Fred Bandi.
It is very likely that the amiable Hans Kocher knew of the work underway in Geneva by this time, and he may have offered Fred Bandi some technical advice. Indeed, we know that the two collaborated on a paper outlining the benefits of the micro-rotor movement, which was published in the September/October 1957 edition of Journal Suisse d’Horlogerie. They cite the improvements gained by this design in reducing movement height, stress on the rotor bearings, and ease of servicing.
Hans Kocher of Buren and Fred Bandi of Universal jointly announced the micro-rotor movement in this 1957 article in the Journal Suisse d’Horlogerie
Up this point the thinnest automatic watch movements (Zénith’s Cal. 133 and Movado’s Cal. 331) had “bumper” movements rather than a free rotor. This is no surprise – the “sandwich stack” required to have a free rotor was inherently thicker than a winding mass that sat on the same plane as the wheel train and balance. But no bumper movement could match a micro-rotor embedded completely into the ebauche. Although not much thinner than hand-winding movements, the Büren and Universal movements were 20% thinner than most automatics at 4.1 to 4.2 mm8.
The Joint Release of the Buren Super Slender and Universal Microtor
On February 18, 1958, Raoul Perret of Universal Genève and Hans Kocher of the Buren Watch Company held a joint press conference in Geneva to announce “the greatest technical advance in 30 years.” Journalists from the major Swiss papers and industry journals learned about the revolutionary new micro-rotor technology, that would enable the companies to deliver the thinnest self-winding watches in the world. The companies promised that new watches using these movements would be released at the Basel Fair in April.
Ten days before the fair, on April 2, 1958, the Swiss paper Neue Zürcher Zeitung published an article with more detail on the technology of these new movements. Noting that “the fundamental concept behind this novel winding mechanism is identical in both designs,” the article praises both companies’ products, noting that “the specific technical solutions employed differ significantly.” This article was written by Fred Bandi, Technical Director for Universal Genève. Hans Kocher also wrote articles about the two companies’ launches, both independently and jointly with Bandi.
This 1958 advertisement, coinciding with the Basel Fair, shows both the Universal and Buren logos. The example preserved in The Watch Library even features a hand-written formula for the moment of inertia of a solid rotor, likely penned by a curious watchmaker!
Finally, on April 12, 1958, the Basel Fair opened, with both companies showcasing watches housing their new micro-rotor movements. They even placed a joint advertisement in the Journal Suisse d’Horlogerie, featuring the logos of both companies.
The Büren showcase focused on the theme of “universality”
The Buren Watch Company showed off their new Super Slender watch line at the fair, featuring Cal. 1000. This was a new ultra-thin watch line with a case meant to make the most of their “thinnest-ever” automatic watch movement. Confusingly, the company’s Basel Fair booth was a generic paean to post-war globalization, dedicated to the theme “l’universalité.” The new Super Slender movement was depicted on a small card at the corner, with the ultra-thin watches arranged among other more mundane products.
The Universal Genève display was dedicated to the Microtor Universal used the Microtor movement in the famous Polerouter
Universal Genève presented a strong contrast, dedicating their entire display to the new Microtor movement. They even built a large model in a transparent plexiglass case, demonstrating the internal relationship between the micro-rotor and wheel train. The new Cal. 215 was used in an existing product line, the Polerouter (which had been introduced as “Polarouter” in 1954). Although Universal offered new dial designs for 1958, the Microtor’s slimmer profile was not leveraged for a watch that was notably thin.
Buren proudly proclaimed that their Super Slender was the thinnest automatic watch in the world
Both watches were brought to market in the following months with no hint of production delays. They are widely seen and advertised over the next few years in press coverage, company advertising, and retail promotion. For example, an April 1958 ad for international retailer Turler lists the Universal Polerouter Microtor for 270 francs in steel or 820 francs in gold. Meanwhile, the Buren Super Slender was advertised in 1959 for 170 francs in steel or 185 francs for the model with a calendar complication, called Cal. 1001.
What Happened Next
Buren and Universal leaned heavily into their micro-rotor watch movements for the next few years, developing and updating them continually. And two more ultra-thin automatic movements appeared at Basel in 1959 and 1960: The Sandoz 333, which used a peripheral rotor movement designed by FHF, and Piaget’s knock-out 2.3 mm thin micro-rotor Cal. 12 P. But the introduction of the Bulova Accutron on October 25, 1960 upended the entire industry.
Buren modified the wheel train bridge in 1959
Buren actually introduced two micro-rotor movements at Basel in 1958: The base Cal. 1000 was truly “super slender” at 4.2 mm, but they also showed Cal. 1001, which added a date complication and 0.6 mm thickness. Although not as revolutionary as the micro-rotor, Paul Marmier’s patented date mechanism was quite innovative. It used an eccentric cam to keep the advance finger safely back from the date wheel teeth to avoid the risk of damage. The date advanced in just 12 minutes at midnight, and the mechanism also allowed quicker setting of the date by moving the time back to 11:30.
By 1959 Buren added Cal. 1002 and 1003, which featured a thinner balance cock to make way for an elongated wheel train bridge screwed to the base plate for greater stability. The original Cal. 1000 and 1001 remained in production, however, into the 1960s.
The Universal Polerouter collection expanded in 1959 with the Jet and Date models
Universal added a date complication as well, though theirs added over 1 mm to the thickness of the base Cal. 215. This did not pose an issue because the Microtor was used in watches of more ordinary thickness like the Polerouter Date. But the Geneva company did finally lean into the thin profile of the basic Microtor movement with the new 1959 Polerouter Jet, boasting that it was as thin as a hand-winding watch and the thinnest waterproof automatic watch in the world. Universal put the Microtor-Calendrier movement on a diet over the next few years, beveling the edges and slimming it to 4.7 mm (once again 0.1 mm thinner than the competing Buren movement). And Universal proved the robustness of their movement by equipping members of the Swiss Greenland Expedition with Microtor-powered Polerouters during the International Geophysical Year.
Other watches had previously been advertised for their ultra-thin profile, including Omega’s Centenaire and Cyma’s Navystar, but Movado, Sandoz, and Piaget were the strongest contenders. Movado had claimed the crown for the thinnest watch in 1935 with the Novoplan and delivered the automatic Cal. 331 in 1952, which was just 4.3 mm thick thanks to a beveled bumper rotor.
The Sandoz 333 was supposed to be the thinnest automatic watch but was launched a year too late
Sandoz announced the “thinnest waterproof watch” in 1954 with their hand-winding Cal. 55, allowing them to produce a 6.9 mm watch. And they saw an opportunity in a peripheral rotor concept under development at the Fabrique d’Horlogerie de Fontainemelon. Unaware of the micro-rotor8, Sandoz and FHF targeted the 1959 Basel Fair to launch this new ultra-thin automatic watch. Despite being upstaged, the Sandoz 333 remains the first peripheral-winding automatic watch to market.
Piaget claimed outright victory for the thinnest watch in 1957 with the 4 mm Ref. 904, housing the 2.0 mm Cal. 9 P. Valentin Piaget of their specialist movement maker Complications SA saw unrealized potential in the micro-rotor concept. His Cal. 12 P, patented in 1958 and announced at the Basel Fair in 1960, dispensed with the center wheel and radically sliced away the ebauche. Measuring just 2.3 mm thick, this movement allowed Piaget’s Ref. 12 watches to stay at just 4 mm thick overall. Piaget has remained committed to this design, producing Cal. 1200 to this day!
The 1965 Buren Intra Matic was a modern interpretation of the ultra-thin dress watch
Image: Europa Star 35, 1965
Buren embraced Piaget’s ideas, and their Cal. 1280 was similarly stripped-down, coming in at just 2.85 mm thick. This was used in their modern Intra Matic9 line, launched at the Basel Fair in 1965. Variations with date and central seconds ranged up to 3.60 mm, still over half a millimeter thinner than their original Super Slender.
The Intramatic movement made history on March 3, 1969 when Hans Kocher10 and Gerald Dubois announced the Chronomatic movement, built on Buren’s micro-rotor ebauche. This would be the first Swiss automatic chronograph in customer hands, used by Breitling, Heuer, and Hamilton, which had purchased Buren in February of 1966. Hamilton-Buren was taken over by the SIHH group in 1971 and the once-great Büren factory was closed the following year, with all assets sold. This came just as the Chronomatic was gaining market traction and sadly just before the launch of Buren’s great Calbre 8211.
The Universal Golden Shadow was just 4 mm thick
Image: Eastern Jeweler 93, 1966
Universal also collaborated with Piaget, filing a joint patent in March of 1959 for a slim ratcheting winding system for micro-rotor movements. They continually updated their Microtor movement line, culminating in the 1966 introduction of the re-designed Cal. 66. Unlike the hand-made Piaget Cal. 12 P, the new Universal and Buren movements were designed for mass production and daily wear. And Universal once again beat Buren’s mark, with their ebauche measuring just 2.50 mm thick. This time Universal leaned into the thinness of the movement, matching Piaget with a new Golden Shadow watch line just 4 mm thick.
Everything changed for Universal in August of 1966, as the Bulova Watch Company of New York purchased the company. Flush with cash from the Accutron, a global phenomenon never before seen in watchmaking, Bulova sought to solidify its control over the luxury watch industry by bringing the Geneva firm under its control. Universal continued production of the Microtor family into the 1970s and even developed the world’s thinnest quartz movement in 197512. But Bulova was slow to embrace quartz as the market for the Accutron evaporated. The Universal factory in Geneva was bankrupt by the late 1970s and was sold in 1983 to new investors.
The Micro-Rotor Lives On
The micro-rotor is not dead. Far from it: There are more micro-rotor movements on the market today than ever before!
Patek Philippe filed for a patent their own micro-rotor movement in 1975, bringing their Cal. 240 to market a few years later. It has been continually updated and is one of the most-loved movements by enthusiasts like me. Chopard Manufacture leaned into the micro-rotor concept with the launch of the L.U.C movements in 1997, and it remains a highlight of the company’s offerings. A new Universal Genève launched in 2005, bringing a new Microtor (Cal. UG-100) to market in 2006. Schwarz Etienne and Parmigiani Fleurier both introduced new micro-rotor movements in 2010, and both supply these to other fine watch makers to this day. Armin Strom, Hermès, Girard-Perregaux, Bulgari, and many others have also released high-end micro-rotor movements. And Piaget never stopped developing their micro-rotor movements.
Universal was re-launched as an upscale sister brand to Breitling on April 8, 2026 and two new Microtor movements form the core of the new offerings. The new Polerouter Microtor is the first double-barrel micro-rotor movement I know of, and is a lovely tribute to Hans Kocher, who was deeply involved in both innovations. And the new Compax Microtor movement recalls the pioneering Chronomatic movement.
Research Notes
1. The question of whether Perrelet was the first to create a self-winding watch was a matter of great interest through the 20th century. Historian Alfred Chapuis uncovered many prior and subsequent designs, yet he concluded in his seminal book “La Montre Automatique Ancienne” that Perrelet absolutely deserved the credit. That being said, the self-winding watch “discovered” by Léon Leroy of Paris in 1949 may not have been created by Perrelet, according to a 1996 Europa Star article by Jean-Claude Nicolet with rebuttal by Jean-Claude Sabrier.
2. Not being a watch industry insider, Harwood may have been completely unaware that dozens of watchmakers had developed self-winding watches for over a century prior to his invention. And L. Leroy of Paris had already produced a self-winding wristwatch a year before Harwood’s patent. But he was the first to recognize the market for a wristwatch with a sealed case and self-winding movement.
3. The sliding weight concept was actually successfully revived by Pierce just after World War II. This “dissident” Moutier firm was unwilling to abide by the Swiss cartel’s production quotas, so they were blocked from working with nearly every other company. So they developed their own slim sliding-weight automatic, an amazing in-house chronograph movement, and more! In modern times we have seen another sliding-weight automatic, the Corum Golden Bridge Automatic.
4. I’m not a Rolex expert, but I am confounded by the lack of definitive history for this most-important watchmaker. The earliest mention I could find of the Oyster Perpetual comes from Journal Suisse d’Horlogerie in September of 1934, and it was fully illustrated in January of 1936. Given that Rolex trademarked the name in 1932, I guess that places the introduction of the Rolex Perpetual movement in 1933 or 1934. It definitely wasn’t 1931, despite countless blog posts and Rolex’s own advertising.
5. Incredibly, some of the earliest known self-winding pocket watch movements also have clever bi-directional winding solutions: The four controversial maybe-Perrelet movements have a pawl winding system similar to the much-later Pellaton and Magic Lever, and many of the “shaker” movements had bi-directional winding too. But Felsa’s elegant Bidynator inspired the whole industry to adopt this concept. Surprisingly, modern movements are dropping bi-directional winding, finding that it’s not actually all that useful.
6. Ball bearing support for a winding rotor was patented in 1929. But these typically placed the bearings at the periphery, supporting the rotor itself. ETA’s original Eternamatic was a tiny movement for ladies watches so the engineers brought the ball bearings to the center. Seeing how well it worked, the “five balls” became the logo of Eterna!
7. I should clarify that the name of the town is “Büren an der Aare” and it is commonly called “Büren”. But the brand name of the watch company, officially adopted by H. Williamson in 1916, was “Buren Watch Company” without the umlaut. This was generally used by the company through the 1960s, though they sometimes did include the umlaut in advertising and public communication. Confusingly, most patents list it using the Anglicized form of the name of the town, “Bueren Watch Company.” I try to be consistent (or perhaps confusing) and use “Büren” to refer to the town and “Buren” to refer to the company.
8. Oops! The Fabrique d’Horlogerie de Fontainemelon was working on another thin automatic winding system at the same time, filing patents on their peripheral rotor on September 11, 1956. This was before the announcement or publication of the micro-rotor, and they no-doubt thought that their “Fontomatic” Cal. 65 would be the thinnest automatic movement at just 4.5 mm. This came to market in 1959 as the Sandoz 333, and advertisements for this latecomer specifically neglect to mention that number, which was surpassed a year earlier by both Buren and Universal.
9. Buren trademarked “Intra Matic” in 1964 and used this name in the 1965 launch. But they also used “Intramatic” in this period, variously using both names. They had a sub-model called the “Intramatic Polestar” or “Intra Matic Pole-Star” in the 1960s as well, and I can’t imagine Universal loved this name.
10. This would be Hans Kocher-Aeschbacher, the son, rather than his father Hans Kocher-Rinner, who retired that same year. The younger Hans Kocher was a truly remarkable man, deserving of a Prix Gaïa award in all three categories: Watchmaker, businessman, and historian. He was also incredibly magnanimous, not giving undue attention in his industry history writing and speaking to the Buren “planetary rotor” despite considering it his life’s greatest work.
11. I’m wearing my Buren Calibre 82 watch as I write this!
12. The 1975 Golden Shadow and White Shadow Quartz movement measured 3.45 mm thick. It was rapidly surpassed by Citizen, just under 1 mm in 1978, Seiko, 0.90 mm that same year, and the incredible Swiss Delirium movements.
#AbrahamLouisPerrelet #Bulova #Buren #Chronomatic #Felsa #FredBandi #Glycine #HansKocher #Harwood #microRotor #Movado #Piaget #Rolex #Sandoz #UniversalGenève
#abrahamlouisperrelet #bulova #buren #chronomatic #felsa #fredbandi
Hugh's Views & News @[email protected] · 2026-01-05 · 14:27 UTC
Celebrating 2025: 12 Most Inspiring Posts That Defined the Year!
If you happen to be reading this in January, then it’s officially ‘Happy New Year!’ If it’s any other month, well, ‘Happy New Year’ anyway—because let’s face it, every day is just a chance to start fresh, much like your New Year’s resolution to stop binge-watching shows… which you’ve probably already forgotten by now!
I’m diving headfirst into 2026 with a parade of my 12 most beloved posts from 2025, all crafted by yours truly. Maybe they slipped under your radar, or perhaps you’re just itching to relive them—feel free to leave a fresh comment, even if you’ve already showered them with praise before. Because, let’s be honest, who doesn’t love a little comment déjà vu?
Click the links to view the posts.
January
Navigating the Social Media Landscape: My Journey with Five Platforms
I kicked the year off talking ‘Social Media,’ a subject that became a hot topic during 2025, sometimes for the wrong reasons.
Not only can social media be a ravenous beast in eating up a lot of your time, but it’s also a fantastic way to promote your blog posts, the posts of other bloggers (a great way to support other bloggers), and, best of all, it’s free to use unless you decide to pay for a subscription.
I not only shouted out the three social media platforms I’m still romancing, but I also gave a little eulogy for the ones I’ve ghosted. After all, as someone hilariously pointed out, ‘spreading yourself too thinly on social media is like trying to butter a piece of toast with a frozen brick of butter—good luck with that!’
February
Why Every Blogger Needs an Engaging ‘About’ Page: Key Elements and Tips
Do you know who you are? I hope most of you chimed in with a confident ‘Yes!’ But how well do you know the owners of the blogs you follow? I mean, do you really know them, or are they just mysterious internet wizards pulling strings from their lairs?
I’m still somewhat bemused by the number of bloggers who have an ‘About’ page that says, ‘This is the template for telling your audience a little about yourself and what you blog about,’ – well, something along those lines.
It’s truly wonderful to share a bit about yourself on your blog! You don’t need to provide a lot of information—a first name and a little insight into your location can go a long way. Plus, letting visitors know what your blog is about will help create a friendly connection and encourage them to explore your unique perspective!
As you’ll see in the comments section of the post, many bloggers won’t engage, let alone follow a blog that has no information about its host(s).
March
The Ultimate Guide to Engaging on Bluesky: Tips, Features, and Strategies for Success
Although published 10 months ago, this post from March 2025 is still attracting attention, making it my top pick of the month! If you’re a BlueSky user, this post is an absolute gem, offering you the fantastic opportunity to not just get your blog posts read but also to inspire meaningful engagement from your readers.
Bluesky can boost traffic and visitors to your blog.
Even if you don’t have a Bluesky account yet, it’s worth a read, as the information contained within the post can apply to other social media platforms.
April
Astonishing! Some Bloggers Kill Off Comments On Their Blogs. Why?
Talking of engagement, imagine my shock when, in April, there was a lot of talk amongst bloggers about killing off commenting on their blogs.
Most of the talk was on social media, but I also noticed that some bloggers had decided to disable commenting on their posts, citing the amount of time it took to respond.
But isn’t that what blogging is all about? Being able to engage, discuss and ask questions? Check the comments for the answers.
May
The Best Ultimate Guide To Why Alt-Text Is Important
It’s a sad fact that not everyone who visits your blog can see images or photos. Fortunately, WordPress allows users to add Alt-Text to all images in blog posts. This helps visitors who use screen readers and other software that describe images to know what’s in them. Sadly, many bloggers don’t help these visitors by not adding Alt-Text to their pictures.
Don’t know what Alt-Text is? Check out the post for details. And once you read it, make it a mission to welcome everyone to your blog.
June
This Is The One Thing You Can Do To Help Bloggers
What’s the one thing you could do to help other bloggers?
I’m sure there are many different answers to that question, but the answer I give in my post is one that I’m positive the majority of bloggers want! Yes, there will be exceptions, and I’m sure one or two will tell me, but if you’re somebody who gives excuse after excuse as to why you can’t do this, then you’ve allowed the problem to beat you.
July
Flash Fiction – Crossroads Of Desire
I didn’t write as much flash fiction during 2025 as I had intended, but this piece of flash fiction was my favourite of the year. It involves two people you’d probably pass in the street most days. Meet Bill and his wife, both in the autumn years of their lives. Are they a normal couple who you wouldn’t give a second look at, or are they two people who come with a twist? Only you can decide, but only if you read the piece of flash fiction that gives you a glimpse into their lives.
This 4-minute read packs a punch.
I’ll be making amends and writing more flash fiction during 2026, so you better watch out!
August
5 Reasons Why Every Blogger Should Have a Contact Page and How to Build One
August was the flattest month for me, blogging-wise, in 2025. It felt like I was on a plateau with no way up or down. There was little to choose from in terms of blog posts because I didn’t publish much, but thankfully, this post got a lot of engagement, proving it wasn’t as quiet out there as I thought.
Ask yourself these questions. Why would anybody want to contact you? But more importantly, how easy is it to contact you via your blog other than by leaving you a comment? Remember that leaving a comment isn’t always the right way to contact someone. After all, anyone visiting your blog can read comments. Are you missing out on any golden opportunities? Check the post for full details. You may be surprised.
September
This New WordPress Feature Helps Promote The Blogs You Love
I had to take an unexpected blogging break in September, but thankfully, this post had already been published before I departed. And I wasn’t disappointed with the reaction in the comments section to something the majority of WordPress users had no idea existed.
Short but sweet, this blog post from September 20-25 packed as much of a punch as Bill and his wife did in July.
October
Where To Legally Source Amazing Images For Your Blog Posts
The latter quarter of 2025 saw me focusing very much on copyright issues, with many bloggers believing that their blogs are so small and private, nobody will care if they use images, photographs, or any material, including song lyrics, that are copyrighted. How wrong they are.
If you can not guarantee that the material or images you are using in your blog posts is free to use, then are you breaking the law? And, even worse, could you be fined?
November
The Latest Blogging and Publishing Scams You Need to Be Aware Of Now
How many of you believe that you’d never get scammed online?
With the advent of AI, the perpetration of scams has become significantly more sophisticated, leading to an alarming increase in the number of individuals who are susceptible to such deceit.
Different scams are emerging continuously, yet it appears increasingly challenging to identify them. Are you equipped to recognize a scam?
December
5 ‘Questionable’ Photos That Give You The Chance To Say Who You Are
In November, I shared my exciting decision to dive back into my passion for photography blogging, but this time with a fresh perspective. Although I had paused my photography posts in the past due to engagement challenges, I’m now thrilled to explore new ways to connect and inspire my audience.
This post not only showcased more of my own photography but also offered readers a wonderful opportunity to share a bit about themselves. Success! Engagement flourished, and I ended the year just as I hoped, fostering genuine connections rather than mere visits masked by guilt.
Finally, a glimpse into the inside of 2025 for my blog.
How well did your blog perform in 2025?
- 43 posts published
- 32,600 words written
- 2,700 clicked the ‘like’ button on my posts
- 2,100 comments left
A busy blogging year full of creativity and engagement.

What was your favourite blog post of 2025 on your blog? Why did it resonate with you? What’s the most significant lesson you learned about blogging and engaging with your audience in 2025?
You can follow me at the following sites.
The featured image on this blog post is sourced from Pixabay. AI reviewed spelling and grammar errors.
Copyright @ 2026 hughsviewsandnews.com – All rights reserved.
#BestPosts #Blogging #BloggingAdvice #BloggingHelp #BloggingQuestions #BloggingTools #Engagement #photography #SocialMedia #WordPress #WordPressHelp
#bestposts #blogging #bloggingadvice #blogginghelp #bloggingquestions #bloggingtools
Hugh's Views & News @[email protected] · 2026-01-05 · 14:27 UTC
Celebrating 2025: 12 Most Inspiring Posts That Defined the Year!
If you happen to be reading this in January, then it’s officially ‘Happy New Year!’ If it’s any other month, well, ‘Happy New Year’ anyway—because let’s face it, every day is just a chance to start fresh, much like your New Year’s resolution to stop binge-watching shows… which you’ve probably already forgotten by now!
I’m diving headfirst into 2026 with a parade of my 12 most beloved posts from 2025, all crafted by yours truly. Maybe they slipped under your radar, or perhaps you’re just itching to relive them—feel free to leave a fresh comment, even if you’ve already showered them with praise before. Because, let’s be honest, who doesn’t love a little comment déjà vu?
Click the links to view the posts.
January
Navigating the Social Media Landscape: My Journey with Five Platforms
I kicked the year off talking ‘Social Media,’ a subject that became a hot topic during 2025, sometimes for the wrong reasons.
Not only can social media be a ravenous beast in eating up a lot of your time, but it’s also a fantastic way to promote your blog posts, the posts of other bloggers (a great way to support other bloggers), and, best of all, it’s free to use unless you decide to pay for a subscription.
I not only shouted out the three social media platforms I’m still romancing, but I also gave a little eulogy for the ones I’ve ghosted. After all, as someone hilariously pointed out, ‘spreading yourself too thinly on social media is like trying to butter a piece of toast with a frozen brick of butter—good luck with that!’
February
Why Every Blogger Needs an Engaging ‘About’ Page: Key Elements and Tips
Do you know who you are? I hope most of you chimed in with a confident ‘Yes!’ But how well do you know the owners of the blogs you follow? I mean, do you really know them, or are they just mysterious internet wizards pulling strings from their lairs?
I’m still somewhat bemused by the number of bloggers who have an ‘About’ page that says, ‘This is the template for telling your audience a little about yourself and what you blog about,’ – well, something along those lines.
It’s truly wonderful to share a bit about yourself on your blog! You don’t need to provide a lot of information—a first name and a little insight into your location can go a long way. Plus, letting visitors know what your blog is about will help create a friendly connection and encourage them to explore your unique perspective!
As you’ll see in the comments section of the post, many bloggers won’t engage, let alone follow a blog that has no information about its host(s).
March
The Ultimate Guide to Engaging on Bluesky: Tips, Features, and Strategies for Success
Although published 10 months ago, this post from March 2025 is still attracting attention, making it my top pick of the month! If you’re a BlueSky user, this post is an absolute gem, offering you the fantastic opportunity to not just get your blog posts read but also to inspire meaningful engagement from your readers.
Bluesky can boost traffic and visitors to your blog.
Even if you don’t have a Bluesky account yet, it’s worth a read, as the information contained within the post can apply to other social media platforms.
April
Astonishing! Some Bloggers Kill Off Comments On Their Blogs. Why?
Talking of engagement, imagine my shock when, in April, there was a lot of talk amongst bloggers about killing off commenting on their blogs.
Most of the talk was on social media, but I also noticed that some bloggers had decided to disable commenting on their posts, citing the amount of time it took to respond.
But isn’t that what blogging is all about? Being able to engage, discuss and ask questions? Check the comments for the answers.
May
The Best Ultimate Guide To Why Alt-Text Is Important
It’s a sad fact that not everyone who visits your blog can see images or photos. Fortunately, WordPress allows users to add Alt-Text to all images in blog posts. This helps visitors who use screen readers and other software that describe images to know what’s in them. Sadly, many bloggers don’t help these visitors by not adding Alt-Text to their pictures.
Don’t know what Alt-Text is? Check out the post for details. And once you read it, make it a mission to welcome everyone to your blog.
June
This Is The One Thing You Can Do To Help Bloggers
What’s the one thing you could do to help other bloggers?
I’m sure there are many different answers to that question, but the answer I give in my post is one that I’m positive the majority of bloggers want! Yes, there will be exceptions, and I’m sure one or two will tell me, but if you’re somebody who gives excuse after excuse as to why you can’t do this, then you’ve allowed the problem to beat you.
July
Flash Fiction – Crossroads Of Desire
I didn’t write as much flash fiction during 2025 as I had intended, but this piece of flash fiction was my favourite of the year. It involves two people you’d probably pass in the street most days. Meet Bill and his wife, both in the autumn years of their lives. Are they a normal couple you wouldn’t give a second look at, or are they two people who each come with a dark secret? Only you can decide, but only if you read the piece of flash fiction that gives you a glimpse into their lives.
This 4-minute read packs a punch.
I’ll be making amends and writing more flash fiction during 2026, so you better watch out!
August
5 Reasons Why Every Blogger Should Have a Contact Page and How to Build One
August was the flattest month for me, blogging-wise, in 2025. It felt like I was on a plateau with no way up or down. There was little to choose from in terms of blog posts because I didn’t publish much, but thankfully, this post got a lot of engagement, proving it wasn’t as quiet out there as I thought.
Ask yourself these questions. Why would anybody want to contact you? But more importantly, how easy is it to contact you via your blog other than by leaving you a comment? Remember that leaving a comment isn’t always the right way to contact someone. After all, anyone visiting your blog can read comments. Are you missing out on any golden opportunities? Check the post for full details. You may be surprised.
September
This New WordPress Feature Helps Promote The Blogs You Love
I had to take an unexpected blogging break in September, but thankfully, this post had already been published before I departed. And I wasn’t disappointed with the reaction in the comments section to something the majority of WordPress users had no idea existed.
Short but sweet, this blog post from September 2025 packed as much of a punch as Bill and his wife did in July.
October
Where To Legally Source Amazing Images For Your Blog Posts
The latter quarter of 2025 saw me focusing very much on copyright issues, with many bloggers believing that their blogs are so small and private, nobody will care if they use images, photographs, or any material, including song lyrics, that are copyrighted. How wrong they are.
If you can not guarantee that the material or images you are using in your blog posts are free to use, then are you breaking the law? And, even worse, could you be fined?
November
The Latest Blogging and Publishing Scams You Need to Be Aware Of Now
How many of you believe that you’d never get scammed online?
With the advent of AI, the perpetration of scams has become significantly more sophisticated, leading to an alarming increase in the number of individuals who are susceptible to such deceit.
Different scams are emerging continuously, yet it appears increasingly challenging to identify them. Are you equipped to recognize a scam?
December
5 ‘Questionable’ Photos That Give You The Chance To Say Who You Are
In November, I shared my exciting decision to dive back into my passion for photography blogging, but this time with a fresh perspective. Although I had paused my photography posts in the past due to engagement challenges, I’m now thrilled to explore new ways to connect and inspire my audience.
This post not only showcased more of my own photography but also offered readers a wonderful opportunity to share a bit about themselves. Success! Engagement flourished, and I ended the year just as I hoped, fostering genuine connections rather than mere visits masked by guilt.
Finally, a glimpse into the inside of 2025 for my blog.
How well did your blog perform in 2025?
- 43 posts published
- 32,600 words written
- 2,700 clicked the ‘like’ button on my posts
- 2,100 comments left
A busy blogging year full of creativity and engagement.

What was your favourite blog post of 2025 on your blog? Why did it resonate with you? What’s the most significant lesson you learned about blogging and engaging with your audience in 2025?
You can follow me at the following sites.
The featured image on this blog post is sourced from Pixabay. AI reviewed spelling and grammar errors.
Copyright @ 2026 hughsviewsandnews.com – All rights reserved.
#BestPosts #Blogging #BloggingAdvice #BloggingHelp #BloggingQuestions #BloggingTools #Engagement #photography #SocialMedia #WordPress #WordPressHelp
#bestposts #blogging #bloggingadvice #blogginghelp #bloggingquestions #bloggingtools
Hugh's Views & News @[email protected] · 2026-01-05 · 14:27 UTC
Celebrating 2025: 12 Most Inspiring Posts That Defined the Year!
If you happen to be reading this in January, then it’s officially ‘Happy New Year!’ If it’s any other month, well, ‘Happy New Year’ anyway—because let’s face it, every day is just a chance to start fresh, much like your New Year’s resolution to stop binge-watching shows… which you’ve probably already forgotten by now!
I’m diving headfirst into 2026 with a parade of my 12 most beloved posts from 2025, all crafted by yours truly. Maybe they slipped under your radar, or perhaps you’re just itching to relive them—feel free to leave a fresh comment, even if you’ve already showered them with praise before. Because, let’s be honest, who doesn’t love a little comment déjà vu?
Click the links to view the posts.
January
Navigating the Social Media Landscape: My Journey with Five Platforms
I kicked the year off talking ‘Social Media,’ a subject that became a hot topic during 2025, sometimes for the wrong reasons.
Not only can social media be a ravenous beast in eating up a lot of your time, but it’s also a fantastic way to promote your blog posts, the posts of other bloggers (a great way to support other bloggers), and, best of all, it’s free to use unless you decide to pay for a subscription.
I not only shouted out the three social media platforms I’m still romancing, but I also gave a little eulogy for the ones I’ve ghosted. After all, as someone hilariously pointed out, ‘spreading yourself too thinly on social media is like trying to butter a piece of toast with a frozen brick of butter—good luck with that!’
February
Why Every Blogger Needs an Engaging ‘About’ Page: Key Elements and Tips
Do you know who you are? I hope most of you chimed in with a confident ‘Yes!’ But how well do you know the owners of the blogs you follow? I mean, do you really know them, or are they just mysterious internet wizards pulling strings from their lairs?
I’m still somewhat bemused by the number of bloggers who have an ‘About’ page that says, ‘This is the template for telling your audience a little about yourself and what you blog about,’ – well, something along those lines.
It’s truly wonderful to share a bit about yourself on your blog! You don’t need to provide a lot of information—a first name and a little insight into your location can go a long way. Plus, letting visitors know what your blog is about will help create a friendly connection and encourage them to explore your unique perspective!
As you’ll see in the comments section of the post, many bloggers won’t engage, let alone follow a blog that has no information about its host(s).
March
The Ultimate Guide to Engaging on Bluesky: Tips, Features, and Strategies for Success
Although published 10 months ago, this post from March 2025 is still attracting attention, making it my top pick of the month! If you’re a BlueSky user, this post is an absolute gem, offering you the fantastic opportunity to not just get your blog posts read but also to inspire meaningful engagement from your readers.
Bluesky can boost traffic and visitors to your blog.
Even if you don’t have a Bluesky account yet, it’s worth a read, as the information contained within the post can apply to other social media platforms.
April
Astonishing! Some Bloggers Kill Off Comments On Their Blogs. Why?
Talking of engagement, imagine my shock when, in April, there was a lot of talk amongst bloggers about killing off commenting on their blogs.
Most of the talk was on social media, but I also noticed that some bloggers had decided to disable commenting on their posts, citing the amount of time it took to respond.
But isn’t that what blogging is all about? Being able to engage, discuss and ask questions? Check the comments for the answers.
May
The Best Ultimate Guide To Why Alt-Text Is Important
It’s a sad fact that not everyone who visits your blog can see images or photos. Fortunately, WordPress allows users to add Alt-Text to all images in blog posts. This helps visitors who use screen readers and other software that describe images to know what’s in them. Sadly, many bloggers don’t help these visitors by not adding Alt-Text to their pictures.
Don’t know what Alt-Text is? Check out the post for details. And once you read it, make it a mission to welcome everyone to your blog.
June
This Is The One Thing You Can Do To Help Bloggers
What’s the one thing you could do to help other bloggers?
I’m sure there are many different answers to that question, but the answer I give in my post is one that I’m positive the majority of bloggers want! Yes, there will be exceptions, and I’m sure one or two will tell me, but if you’re somebody who gives excuse after excuse as to why you can’t do this, then you’ve allowed the problem to beat you.
July
Flash Fiction – Crossroads Of Desire
I didn’t write as much flash fiction during 2025 as I had intended, but this piece of flash fiction was my favourite of the year. It involves two people you’d probably pass in the street most days. Meet Bill and his wife, both in the autumn years of their lives. Are they a normal couple who you wouldn’t give a second look at, or are they two people who come with a twist? Only you can decide, but only if you read the piece of flash fiction that gives you a glimpse into their lives.
This 4-minute read packs a punch.
I’ll be making amends and writing more flash fiction during 2026, so you better watch out!
August
5 Reasons Why Every Blogger Should Have a Contact Page and How to Build One
August was the flattest month for me, blogging-wise, in 2025. It felt like I was on a plateau with no way up or down. There was little to choose from in terms of blog posts because I didn’t publish much, but thankfully, this post got a lot of engagement, proving it wasn’t as quiet out there as I thought.
Ask yourself these questions. Why would anybody want to contact you? But more importantly, how easy is it to contact you via your blog other than by leaving you a comment? Remember that leaving a comment isn’t always the right way to contact someone. After all, anyone visiting your blog can read comments. Are you missing out on any golden opportunities? Check the post for full details. You may be surprised.
September
This New WordPress Feature Helps Promote The Blogs You Love
I had to take an unexpected blogging break in September, but thankfully, this post had already been published before I departed. And I wasn’t disappointed with the reaction in the comments section to something the majority of WordPress users had no idea existed.
Short but sweet, this blog post from September 20-25 packed as much of a punch as Bill and his wife did in July.
October
Where To Legally Source Amazing Images For Your Blog Posts
The latter quarter of 2025 saw me focusing very much on copyright issues, with many bloggers believing that their blogs are so small and private, nobody will care if they use images, photographs, or any material, including song lyrics, that are copyrighted. How wrong they are.
If you can not guarantee that the material or images you are using in your blog posts is free to use, then are you breaking the law? And, even worse, could you be fined?
November
The Latest Blogging and Publishing Scams You Need to Be Aware Of Now
How many of you believe that you’d never get scammed online?
With the advent of AI, the perpetration of scams has become significantly more sophisticated, leading to an alarming increase in the number of individuals who are susceptible to such deceit.
Different scams are emerging continuously, yet it appears increasingly challenging to identify them. Are you equipped to recognize a scam?
December
5 ‘Questionable’ Photos That Give You The Chance To Say Who You Are
In November, I shared my exciting decision to dive back into my passion for photography blogging, but this time with a fresh perspective. Although I had paused my photography posts in the past due to engagement challenges, I’m now thrilled to explore new ways to connect and inspire my audience.
This post not only showcased more of my own photography but also offered readers a wonderful opportunity to share a bit about themselves. Success! Engagement flourished, and I ended the year just as I hoped, fostering genuine connections rather than mere visits masked by guilt.
Finally, a glimpse into the inside of 2025 for my blog.
How well did your blog perform in 2025?
- 43 posts published
- 32,600 words written
- 2,700 clicked the ‘like’ button on my posts
- 2,100 comments left
A busy blogging year full of creativity and engagement.

What was your favourite blog post of 2025 on your blog? Why did it resonate with you? What’s the most significant lesson you learned about blogging and engaging with your audience in 2025?
You can follow me at the following sites.
The featured image on this blog post is sourced from Pixabay. AI reviewed spelling and grammar errors.
Copyright @ 2026 hughsviewsandnews.com – All rights reserved.
#BestPosts #Blogging #BloggingAdvice #BloggingHelp #BloggingQuestions #BloggingTools #Engagement #photography #SocialMedia #WordPress #WordPressHelp
#wordpresshelp #wordpress #socialmedia #photography #engagement #bloggingtools
Hugh's Views & News @[email protected] · 2026-01-05 · 14:27 UTC
Celebrating 2025: 12 Most Inspiring Posts That Defined the Year!
If you happen to be reading this in January, then it’s officially ‘Happy New Year!’ If it’s any other month, well, ‘Happy New Year’ anyway—because let’s face it, every day is just a chance to start fresh, much like your New Year’s resolution to stop binge-watching shows… which you’ve probably already forgotten by now!
I’m diving headfirst into 2026 with a parade of my 12 most beloved posts from 2025, all crafted by yours truly. Maybe they slipped under your radar, or perhaps you’re just itching to relive them—feel free to leave a fresh comment, even if you’ve already showered them with praise before. Because, let’s be honest, who doesn’t love a little comment déjà vu?
Click the links to view the posts.
January
Navigating the Social Media Landscape: My Journey with Five Platforms
I kicked the year off talking ‘Social Media,’ a subject that became a hot topic during 2025, sometimes for the wrong reasons.
Not only can social media be a ravenous beast in eating up a lot of your time, but it’s also a fantastic way to promote your blog posts, the posts of other bloggers (a great way to support other bloggers), and, best of all, it’s free to use unless you decide to pay for a subscription.
I not only shouted out the three social media platforms I’m still romancing, but I also gave a little eulogy for the ones I’ve ghosted. After all, as someone hilariously pointed out, ‘spreading yourself too thinly on social media is like trying to butter a piece of toast with a frozen brick of butter—good luck with that!’
February
Why Every Blogger Needs an Engaging ‘About’ Page: Key Elements and Tips
Do you know who you are? I hope most of you chimed in with a confident ‘Yes!’ But how well do you know the owners of the blogs you follow? I mean, do you really know them, or are they just mysterious internet wizards pulling strings from their lairs?
I’m still somewhat bemused by the number of bloggers who have an ‘About’ page that says, ‘This is the template for telling your audience a little about yourself and what you blog about,’ – well, something along those lines.
It’s truly wonderful to share a bit about yourself on your blog! You don’t need to provide a lot of information—a first name and a little insight into your location can go a long way. Plus, letting visitors know what your blog is about will help create a friendly connection and encourage them to explore your unique perspective!
As you’ll see in the comments section of the post, many bloggers won’t engage, let alone follow a blog that has no information about its host(s).
March
The Ultimate Guide to Engaging on Bluesky: Tips, Features, and Strategies for Success
Although published 10 months ago, this post from March 2025 is still attracting attention, making it my top pick of the month! If you’re a BlueSky user, this post is an absolute gem, offering you the fantastic opportunity to not just get your blog posts read but also to inspire meaningful engagement from your readers.
Bluesky can boost traffic and visitors to your blog.
Even if you don’t have a Bluesky account yet, it’s worth a read, as the information contained within the post can apply to other social media platforms.
April
Astonishing! Some Bloggers Kill Off Comments On Their Blogs. Why?
Talking of engagement, imagine my shock when, in April, there was a lot of talk amongst bloggers about killing off commenting on their blogs.
Most of the talk was on social media, but I also noticed that some bloggers had decided to disable commenting on their posts, citing the amount of time it took to respond.
But isn’t that what blogging is all about? Being able to engage, discuss and ask questions? Check the comments for the answers.
May
The Best Ultimate Guide To Why Alt-Text Is Important
It’s a sad fact that not everyone who visits your blog can see images or photos. Fortunately, WordPress allows users to add Alt-Text to all images in blog posts. This helps visitors who use screen readers and other software that describe images to know what’s in them. Sadly, many bloggers don’t help these visitors by not adding Alt-Text to their pictures.
Don’t know what Alt-Text is? Check out the post for details. And once you read it, make it a mission to welcome everyone to your blog.
June
This Is The One Thing You Can Do To Help Bloggers
What’s the one thing you could do to help other bloggers?
I’m sure there are many different answers to that question, but the answer I give in my post is one that I’m positive the majority of bloggers want! Yes, there will be exceptions, and I’m sure one or two will tell me, but if you’re somebody who gives excuse after excuse as to why you can’t do this, then you’ve allowed the problem to beat you.
July
Flash Fiction – Crossroads Of Desire
I didn’t write as much flash fiction during 2025 as I had intended, but this piece of flash fiction was my favourite of the year. It involves two people you’d probably pass in the street most days. Meet Bill and his wife, both in the autumn years of their lives. Are they a normal couple who you wouldn’t give a second look at, or are they two people who come with a twist? Only you can decide, but only if you read the piece of flash fiction that gives you a glimpse into their lives.
This 4-minute read packs a punch.
I’ll be making amends and writing more flash fiction during 2026, so you better watch out!
August
5 Reasons Why Every Blogger Should Have a Contact Page and How to Build One
August was the flattest month for me, blogging-wise, in 2025. It felt like I was on a plateau with no way up or down. There was little to choose from in terms of blog posts because I didn’t publish much, but thankfully, this post got a lot of engagement, proving it wasn’t as quiet out there as I thought.
Ask yourself these questions. Why would anybody want to contact you? But more importantly, how easy is it to contact you via your blog other than by leaving you a comment? Remember that leaving a comment isn’t always the right way to contact someone. After all, anyone visiting your blog can read comments. Are you missing out on any golden opportunities? Check the post for full details. You may be surprised.
September
This New WordPress Feature Helps Promote The Blogs You Love
I had to take an unexpected blogging break in September, but thankfully, this post had already been published before I departed. And I wasn’t disappointed with the reaction in the comments section to something the majority of WordPress users had no idea existed.
Short but sweet, this blog post from September 20-25 packed as much of a punch as Bill and his wife did in July.
October
Where To Legally Source Amazing Images For Your Blog Posts
The latter quarter of 2025 saw me focusing very much on copyright issues, with many bloggers believing that their blogs are so small and private, nobody will care if they use images, photographs, or any material, including song lyrics, that are copyrighted. How wrong they are.
If you can not guarantee that the material or images you are using in your blog posts is free to use, then are you breaking the law? And, even worse, could you be fined?
November
The Latest Blogging and Publishing Scams You Need to Be Aware Of Now
How many of you believe that you’d never get scammed online?
With the advent of AI, the perpetration of scams has become significantly more sophisticated, leading to an alarming increase in the number of individuals who are susceptible to such deceit.
Different scams are emerging continuously, yet it appears increasingly challenging to identify them. Are you equipped to recognize a scam?
December
5 ‘Questionable’ Photos That Give You The Chance To Say Who You Are
In November, I shared my exciting decision to dive back into my passion for photography blogging, but this time with a fresh perspective. Although I had paused my photography posts in the past due to engagement challenges, I’m now thrilled to explore new ways to connect and inspire my audience.
This post not only showcased more of my own photography but also offered readers a wonderful opportunity to share a bit about themselves. Success! Engagement flourished, and I ended the year just as I hoped, fostering genuine connections rather than mere visits masked by guilt.
Finally, a glimpse into the inside of 2025 for my blog.
How well did your blog perform in 2025?
- 43 posts published
- 32,600 words written
- 2,700 clicked the ‘like’ button on my posts
- 2,100 comments left
A busy blogging year full of creativity and engagement.

What was your favourite blog post of 2025 on your blog? Why did it resonate with you? What’s the most significant lesson you learned about blogging and engaging with your audience in 2025?
You can follow me at the following sites.
The featured image on this blog post is sourced from Pixabay. AI reviewed spelling and grammar errors.
Copyright @ 2026 hughsviewsandnews.com – All rights reserved.
#BestPosts #Blogging #BloggingAdvice #BloggingHelp #BloggingQuestions #BloggingTools #Engagement #photography #SocialMedia #WordPress #WordPressHelp
#bestposts #blogging #bloggingadvice #blogginghelp #bloggingquestions #bloggingtools
Angry Metal Guy @[email protected] · 2024-12-27 · 18:00 UTC
Dolphin Whisperer’s and Ferox’s Top Ten(ish) of 2024
By Dolphin Whisperer

Dolphin Whisperer
Every year, its end becomes more shocking and swift. Once, some guy told me, simply, “it only gets worse.” Not life though—attributing a better or worse or any sort of constant determination of our passage leaves a lot of room for falling into a void of enjoyment—life is, after all, a constant until its not. But time, or our sense of being in its too ever-present stream, flows at a rate that changes in ways to which we never quite catch up.
As such, there’s a comfort in knowing how much time an album, particularly one you enjoy will take. For the ten-to-twenty minutes it takes for grindcore proper to slap me silly or the forty-to-eighty minutes that it takes for my deepest progressive loves to wring out a moaning confession, I know where my attention lies, even if it’s only half there and half on a task at hand. Time and tasks, day to night, play to stop, music makes my world a better place. And entering my now third year at Angry Metal Guy, an institution that has been a fixture of my musical journey for even longer, I continue to hold a profound gratitude and excitement for another year of discovery.
2024 has had its challenges professionally and personally. 2025 will be no doubt the same, even if some trials we can see forming in the distance. But you want to know about the music, right? On that end, 2024 has yielded a heaping trove of great albums. Heck, even a Rodeö pick scratched at the rungs of an honorable mention. The below list barely scratches the surface of the breadth that the year has offered. Further down you will see Ferox‘s list, which captures a different collection equally rooted in joy. He might be more right than I am. But that matters little. Celebrate with us, your favorite collective of writers on the world wide web! Come hang with some of us on Discord too if you’d like. Most of the people there are certified flea-free. And don’t be too upset if 2025 doesn’t hit you the same at first. It’s just another year, and it’ll be over before you know it.

#ish. Kalandra // A Frame of Mind – At my core, I consider myself a Norwegian sad girl. Usually, this manifests in some sort of weepy, melancholy prog, the likes of Age of Silence or Madder Mortem.1 But Kalandra’s enfolkened an impassioned take on an artsy, progressive collection of empowering tunes hit me square in my aching heart from the moment I heard it. Most importantly, though, Kalandra knows that suffering is just a step on the path of growth and happiness, which is a message that inspires me every day.
#10. Dawnwalker // The Unknowing – The power to dream and envision a world driven by mysticism has an allure that’s hard to ignore. And while we know that more determinable laws guide the happenings of our daily lives, a glimpse of the unknown will always find its way into sequence. Dawnwalker putting this esoteric but ever-present concept into an atmospheric, genre-warped, playfully progressive package hardly surprises me, though. The British troupe has had my number since their unsung classic In Rooms,2 so I’m doing my last in continuing to love them despite Twelve‘s best efforts to underrate them.3
#9. Lizzard // Mesh – Lizzard’s 2021 opus Eroded is my favorite album of this decade so far. The French trio’s ability to warp deep, rhythm-tricky layers into driving and emotional rock songs his me at the core of my musical desire for cathartic hope expressed in an unassuming and lush framework. Mesh doesn’t present any differently in that regard. But its wrinkles on Lizzard’s timeless yet ’90s alternative-rooted oeuvre fuel Mesh’s inherent melancholy with a hope that’s jubilant, like a cracked smile on an overcast day.
#8. Dissimulator // Lower Form Resistance – [INCOMING TRANSMISSION.] “My name is Clyde, and I arrive from beyond with wonderful news. My good friend Ferox has survived this timeline after all, having learned to navigate the Lower Form Resistance assault of fast-twitch rhythms and slow-twitch death metal punctuation. His head, fully intact, sways wildly in its hairless glory—big dives for big skanking breaks, snappy rolls for whiplash accelerations. He may not be as rhythmically gifted in pit-galloping cadence as the virtuoso drum and bass duo that provides life to Dissimulator’s effortless strides, but Ferox is my everything nonetheless.” [END TRANSMISSION.]
#7. Mamaleek // Vida Blue – I couldn’t begin to tell you what has never landed about Mamaleek’s works before with a weird precision. As an act dedicated to sounding only like Mamaleek, their singular expression of tortured black(ish) metal warped by jazzy and slogging attitudes has manifested quite the take-it-or-leave-it musical experience. And while you, dear reader, may assume this is firmly up my alley, it has not been. At least not until Vida Blue served a bottom of the ninth heart-shaker as an ode to a departed friend.4 With a soulful swing, a tortured connection, and an exit velocity powered by equal parts loss and love, Mamaleek has clinched a campaign for my attention.
#6. Defeated Sanity // Chronicles of Lunacy – As an apex predator in the brutal death metal world, Defeated Sanity’s appearance arouses not questions of competency but rather calculations of the carnage wrought. Chronicles of Lunacy does not mark a turning point or novel twist in the Defeated Sanity timeline—its finely tuned lashings hit as inescapable all the same. When neither a beast’s reach, nor mass, nor attack speed goes contested, an exhibition of its might will flash with morbid glee. As such, Defeated Sanity need not surprise to strike mortal wound. Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect. And I want more.
#5. Orgone // Pleroma – Meticulous and constructed as a master-work, Pleroma’s opening notes signal a trance. Acoustic twang and chamber instrument-fueled swoon build an atmosphere of wonder against a fervent and languished march of post-genre swells and death-fueled crescendos. Cycling through its many shades feels less like a fever dream and more of a trial-filled journey. Wielding a demure grandeur, Pleroma’s effortless realization of Orgone’s peerless vision never feels like the epic journey its runtime suggests. Were my time truly infinite, Pleroma would be even harder to rip away from the queue.
#4. Julie Christmas // Ridiculous and Full of Blood – A lady screaming bloody murder shouldn’t go down this smooth, but that’s always been the promise and success of Julie Christmas. Few vocalists leave me slack-jawed and ear-shaken in the wake of piercing cries, raw-throated shrieks, and impassioned lyrical slather. Yet, Ridiculous and Full of Blood cuts track after track out of sonic patterns that do exactly that, all while empowering a full band expression of alternative-laced grooves, post-informed climbs, and punk-tied sneer. The Christmas season sums a flurry of inspired performances under the banner of a madwoman. And I stand at the ready to fray my vocal cords in attempt to crack with the same battle-tested precision that Ms. Christmas has earned from a life hard-worn.
#3. Ingurgitating Oblivion // Ontology of Nought – Though born of minds unrelated, Ontology of Nought exists as an esoteric companion to the Pleroma embodiment. Orgone is the twin that went to conservatory, graduated with honors, and holds an honorable performing chair, all while remembering its young love for death metal. Ingurgitating Oblivion, on the other hand, dropped out, spiraled into entheogenic dissociation, earns a living gigging at jazz clubs—also maintains its youthful lust for the clamoring riff and hammering blast. Maximalism oozes a frothing wonder in the hiss of distorted chatter and rhythmic mastery. An imperfect and breathing construction rises and falls in ethereal inhales and vision-spinning mantras. Ontology of Nought deserves each of its over-budget minutes. Invest time in the freedom that it promises… “and cease to be.”
#2. OU // 蘇醒 II: Frailty – The casualness of OU’s inception belies its profound leap into my necessary rotation. No incumbent love ever has a defined position in the halls of end-of-year accolades,5 and even more so when the act’s very presence rang suspicious in its finely-tuned invasion to my critical wiles. But, as I noted when I first blew my love for 蘇醒 II: Frailty over the pages of Angry Metal Guy, it’s OU’s “idiosyncratic atmosphere” that pulls from a “polyrhythmic hypnosis” and masterful “energetic flow” that continues to chart them deservedly high in the annals of ’20s progressive music. And while this collision of classically-minded, synth-addicted madness slowly expands its universe one OU release at a time, I’m content to sit here and yell their praises at anyone who will listen.
#1. Pyrrhon // Exhaust – You know you’re getting old when an album about modern burnout and the pains of traffic resonates with you all the way from frozen shoulder to radiating lower back to cold-groaning knee. But when Pyrrhon stealth-bombed my aging metalhead mind with a tech-dial riff barrage of noisy and shouting proportions, I had no choice but to surrender. Exhaust demands attention from its initial irony-laced lift-off to its closing brutalist clock-out, swinging skronk-enabled splatters and ache-addled vituperation around every faded line and pothole in its death metal architecture. Though Pyrrhon uses simpler blocks, their construction here defies convention at every step. One fine commenter summed up Exhaust in the most succinct manner in that regard: “Death Metal, Hardcore, Noise Rock, Technical Death Metal. It’s just mathcore.” Except they took away the wrong message from that distillation. The verdict, in fact, is fuck you.
Honorable Mentions:
- Inner Strength // Daydreaming in Moonlight – Another way you know you’re getting old is that you love an album that sounds like it should have released in 1995. Alas, here we are.
  Dysrhythmia // Coffin of Conviction – Instrumental progressive music should be as exciting as Dysrhythmia. Comes for the Martyr riffs. Stay for the Metheny floating.
  Beaten to Death // Sunrise Over Rigor Mortis – Beaten to Death is still the best grindcore band on the planet. They probably won’t ever release a better album than Dødsfest!, but that’s OK. Their discography is now about two hours total. Go listen to it if you haven’t.
  Stygian Crown // Funeral for a King – Doom should always have a guitar tone that feels equally powered by swords and beer alongside vocals that feel soft like bar-stained leather stools.
  Kollapse // AR – I didn’t know KEN mode had a Danish doppelgänger with a frightening, large pink face. But they do, and boy does Kollapse know how to yell and riff.
  Sleepytime Gorilla Museum // of the Last Human Being – Had I infinitely more listening time, I may have been able to parse better this deeply cinematic and wacky slab of no wave emboldened prog. Most don’t actually earn the avant-garde tag the way SGT does.
  Defying // Wadera – Hour-long albums based on old Polish werewolf stories and horror movies shouldn’t be this easy to repeat, but I find myself often falling into Wadera’s unbreakable spell.
  Arthouse Fatso // Sycophantic Seizures: A Double Feature – I didn’t have radically-minded industrial deathgrind about the frustrated escapades of a fictional Orson Welles life on my 2024 bingo, but here I am telling you to listen to it anyway.
  Concrete Winds // Concrete Winds – Just this. And shitloads of riffs.
Disappointments o’ the Year:
- Myrath // Karma – I love Shehili so much. My love for power metal isn’t what it used to be, but Myrath’s exuberance while staying rooted in both the trickier waters of prog and the anthemic cries of power metal gave me hope both that I’d continue to latch on to the kind of playful love it can offer. But the arrangements on Karma, despite Myrath’s still life-affirming messages, do absolutely nothing to bolster that same joy for me. Karma sinks my listening brain. And that hurts.
- Pallbearer // Mind Burns Alive – The continued non-success of Pallbearer and their sleepy-toned take on creaky prog rock hurts the Dolph who fell in love with their weepy doom classic (and still controversial to true doomsters) Heartless. And yet the general blogging population seems to praise them for trying to reinvent sadboi roots rock with worse lyrics. And, for my money, Pallbearer is sounding increasingly thin live. If a return to glory is in store for Pallbearer, it will begin with them finally playing a riff again.
- Polterguts // Nobody Likes You – Okay, this EP actually rips because Polterguts rips. Hard. But, Polterguts, if you’re reading this, please put it on Bandcamp so I can link the shit out of it and give you money. I am disappointed that I have no way to contribute currency to your cause. “Ricky Has a Knife2” is worth the price of admission alone.
Songs o’ the Year:

Why give you one when I can give you twenty-seven? Why twenty-seven? That’s my secret. Now, I’ve talked enough, go out there and enjoy some music, friends. And enjoy this photo of my dogs.

Coconut (left), Kiwi (right) in a stylish Adidog sweater.

Ferox
I worked way too much in 2024. I can’t complain; it was meaningful work that I chose to take on, and it got me that much closer to not having to work at all if I don’t want to. Still, that’s what I’ll think of when I think of 2024: lots and lots of work. That had a knock-on effect, especially when it comes to hobbies like lifting, getting out to national parks, and writing here. I did very little of any of that. I kept up with metal as best I could, and embarked on a big end-of-year listening push to have an accurate picture of what came out in 2024. I’m grateful that I got to do a list at all this year, so I took the responsibility seriously… but I’d be lying if I said I was buried in the scene all year.
One of the highlights of my 2024 was meeting a whole slew of staffers in person. I traveled a bunch this year, both for work and for my daughter’s ballet pursuits, and with that came the chance to hang with some of the people who make this place go. My body count of staffers met this year: Steel Druhm, Madam X, Cherd, Twelve, Dr. Wyrm, Thus Spoke, El Cuervo, Doom et al, and Holdeneye. It was a veritable orgy of almost entirely chaste fellowship, and only one (1) bad hang among the lot!6
I’m grateful to Steel Druhm and Angry Metal Guy for indulging my schedule, and for the real leadership they provide at my fake job. I found this unique community because it had the best music writing on the internet, and that remains true today thanks to the talented people who contribute their time and enthusiasm to keeping the machinery humming. I’m lucky to be a small part of it, and hopeful that 2025 will give me more time to spend in the Hall.

#ish. Mother of Graves // The Periapt of Absence – My “-ish” spot typically goes to an album that might have listed if I just had more time with it. That holds true of the sophomore effort from Indianapolis’s Mother of Graves, which landed on my radar by way of Carcharadon‘s excellent TYHMHM piece. This slab of classic sadboi death doom transcends any tribcore concerns through sheer quality of execution. From opener “Gallows” through final track “Like Darkness to a Dying Flame,” The Periapt of Absence guides the listener through the stages of grief with varied compositions that maintain a consistent mood throughout. Classic death doom is alive and well.
#10. Wormed // Omegon – Maddog‘s compelling rave for Omegon is my personal Review o’ the Year; fortunately, the prose was well spent on this efficient and brutal riff delivery system. Wormed has been creating slam-adjacent otherworldly death metal for a good while now, and Omegon is a distillation of everything the band has learned over the past two decades. 2024 is the year I realized I’ve been a brutal death metal guy all along. With songs like “Pareidolia Robotica” and “Virtual Teratogenesis,” Wormed took me by the hand and guided me through this journey of self-discovery… all while the people in the offices around me called in noise complaints.
#9. Ripped to Shreds // Sanshi – The already impressive Ripped to Shreds leveled up with Sanshi, a blast of aggressive but technically adept death metal that never left my rotation after its release. The guitar hero shredding plays like a release valve to the vicious and punky energy that Andrew Lee injects into his compositions. This cycle of tension and release makes for an addictive listen that feels like it ends mere moments after you hit play. The thrash elements of the R2S sounds are more prevalent on Sanshi, meaning the band now scratches the same itch for me that Horrendous did with their last killer slab.
#8. Scumbag // Homicide Cult – Scumbag! SCUUUMMMMBAGGGG. This nasty bit of business, with its deathgrind touches and morbid sense of humor (“Pure Adrenaline Hard-On,” “The Meating”), was tailor-made for the Ferox sensibility. Herein lie twenty-eight minutes of death metal that never slams but still walks the same line that Wormhole managed to last year: brutal but somehow cheerful, and stoopid without being remotely dumb. Dylan Cruz, of this band and Noxis, came out of nowhere to occupy a huge chunk of my limited listening time this year.
#7. Black Curse // Burning in Celestial Poison – With Burning in Celestial Poison, Black Curse stages a forty-five-minute takeover of your central nervous system. Eldritch Elitist captured the elemental power of these five compositions better than I ever could, but this album gave me exactly what I needed in a 2024 that was characterized by an extreme lack of work-life balance. Metal can provide a safe outlet for less-than-savory feelings, and Black Curse expressed a lot of things for me that I couldn’t express myself and stay employed. Lose yourself in these five tracks and emerge scoured but smarter.
#6. Spectral Wound // Songs of Blood and Mire – The hot streak continues; Songs of Blood and Mire, Spectral Wound’s fourth album, is their best effort yet. Carcharadon capably cataloged crisp new cross-currents in the band’s sound, but the song quality remains the same. Tracks like “At Wine-Dark Midnight in the Mouldering Halls” and Song o’ the Year “Aristocratic Suicidal Black Metal” showcase the band’s gift for coupling aggression with sweeping melody. In this way, Spectral Wound recalls Watain without so much distracting ooga-booga. Songs of Blood and Mire finds them continuing to refine their sound and grow in confidence.
#5. Endonomos // Endonomos II – Enlightenment – Endonomos carried the torch for doom in 2024. Enlightenment is a stately procession, its six long tracks blending influences from all across the doom spectrum. This is music that soars as it plods. Steel Druhm noted similarities to both Khemmis and Fvneral Fvkk. Those comps are perfect; not since Carnal Confessions has a doom album so effectively cut through the clutter of genre tropes to evoke genuine emotion.
#4. Pyrrhon // Exhaust – I hate it when the promotional push for an album ties a record too strongly to the narrative of its creation. It’s like the record company is trying to force a reaction that the album itself might or might not evoke. So when Exhaust arrived with heavy-handed descriptions of process and what Pyrrhon went through trying to make the album happen, I bristled and stopped reading. Fortunately, the music on Exhaust speaks for itself. This is a bitter and blistering record that finds the band raging against their rage’s inability to change even a single thing. I’ve always appreciated Pyrrhon, but I’ve never connected with their music as immediately as I did on Exhaust.
#3. Defeated Sanity // Chronicles of Lunacy – Defeated Sanity has had quite the AMG journey. They’ve gone from being brushed aside by a n00b named Potato Jim to being on the receiving end of a double-4.0 fellating from the tenured likes of Dolphin Whisperer and Maddog. Chronicles of Lunacy finds Defeated Sanity extending the Colin Marston-enabled peak that they hit on 2020’s The Sanguinary Impetus. It takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.
#2. Inter Arma // New Heaven – Here’s another band that could be wrestling with The Law of Diminishing Recordings by now, but instead persists with quality release after quality release. Inter Arma never repeats themselves, but each of their albums could only come from them. Hot take: Sky Funeral has remained my favorite Inter Arma album even as they’ve racked up an epic run of excellence. New Heaven makes a run at unseating it. This is a slab that rewards the many repeated listens I gave it in 2024; it sat in my top slot for much of the year until a late-breaking favorite pushed it aside.
#1. Noxis // Violence Inherent in the System – This is my third time publishing a list at AMG; each previous year, I had clear Album o’the Year winners in Immolation’s Acts of God and Afterbirth’s In But Not Of. 2024 marked the first Listurnalia that began with an opening for my top slot. But as I weeded through my favorite music of the year, I realized: Noxis drew me in with the bass flourish at the beginning of album opener “Skullcrushing Defilement,” and they still haven’t let go. The Pittsburgher in me hates to credit anything from Cleveland, but Noxis weeded out that deeply rooted prejudice with their inventive and fresh take on death metal. Every track on Violence Inherent in the System is a wild ride that alternately crushes, challenges, and tickles. The only break from the madcap pace comes on mid-album interlude “Excursion,” but that just prepares you for the utter barking lunacy of “Horns Echo Over Chorazim.” That song incorporates strange arrangements that include various woodwind instruments, and somehow they do it with zero pretension and abundant commitment to brutality. Listurnalia may have begun with a blank space atop my list, but it ended with Noxis firmly entrenched as the winner of 2024.
Honorable Mentions:
- Stenched // Purulence Gushing from the Coffin – This one-man outfit captured that elusive filthy magic and spewed out the annum’s premiere filthy wallow.
  Aborted // Vault of Horrors – These Belgian veterans, long under-appreciated in the Hall, finally found their champion in Grier. They hooked themselves up to the juvenation machine by leaning into the melodeath that has been creeping into their sound, and cranked out their best set in years.
  Vitriol // Suffer and Become – Here’s a mean and heavy slab that seemed to fade from the general consciousness as the year wore on, but remains worthy of note.
Disappointment o’the Year:
Ferox! I just didn’t have time to make a meaningful contribution here this year. It has been a pleasure to watch other members of my n00b class like Dolph and Maddog and Thus become AMG institutions, even as I mostly watch from the sidelines and come out to play when I can.
Song o’the Year:
Imagine being asked to name your favorite song of the year, and responding with a twenty-seven song playlist!7

Show 7 footnotes
1. Whose very good outing is another in a long line of successes. Old Eyes, New Heart missing the cut should ring testament to how wonderful 2024 has been. ↩
2. In case you don’t know, Ampwall is a music e-commerce hub built by members of Woe as an alternative experience to Bandcamp. Vowing to maintain an artist-first and community-influenced direction, Ampwall holds a lot of promise to the musical underground. And the whole Dawnwalker discography digitally! ↩
3. Seems like a 4.0 innit. ilu Twelve. <3 ↩
4. Former Mamaleek keys maestro Eric Livingston. RIP. ↩
5. Pain of Salvation, feel free to read this and prove me a liar. ↩
6. It was Grier, right? – Steel ↩
7. Who would do such a thing? Surely, if one were to commit such a heinous act, they’d at least provide a cute dog picture to atone. – Dolph ↩
#2024 #AFrameOfMind #Aborted #AR #ArthouseFatso #BeatenToDeath #BlackCurse #BurningInCelestialPoison #ChroniclesOfLunacy #CoffinOfConviction #ConcreteWinds #Dawnwalker #DaydreamingInMoonlight #DefeatedSanity #Defying #Dissimulator #Dysrhythmia #Endonomos #EndonomosIIEnlightenment #Exhaust #FuneralForAKing #GodsOverBrokenPeople #HomicideCult #Horrendous #IngurgitatingOblivion #InnerStrength #InterArma #JulieChristmas #Kalandra #Khemmis #Kollapse #Lists #Listurnalia #Listurnalia2024 #Lizzard #LowerFormResistance #Mamaleek #Mesh #MotherOfGraves #Myrath #NewHeaven #NobodyLikesYou #Noxis #OfTheLastHumanBeing #Omegon #OntologyOfNought #Orgone #OU #Pallbearer #Pleroma #Polterguts #PurulenceGushingFromTheCoffin #Pyrrhon #RidiculousAndFullOfBlood #RippedToShreds #Sanshi #SaveThisUtility #Scumbag #SleepytimeGorillaMuseum #SongsOfBloodAndMire #SpectralWound #Stenched #StygianCrown #SufferAndBecome #SunriseOverRigorMortis #SycophanticSeizuresADoubleFeature #ThePeriaptOfAbsence #TheUnknowing #VaultOfHorrors #VidaBlue #ViolenceInherentInTheSystem #Vitriol #Wadera #Watain #Wormed #蘇醒IIFrailty
#aframeofmind #aborted #ar #arthousefatso #beatentodeath #blackcurse
David Boles @[email protected] · 2026-05-05 · 11:46 UTC

The Dissociated Universe: Bernardo Kastrup’s Analytic Idealism and the Mind That Contains the World

This essay completes a sequence. The first article considered Iain McGilchrist’s panpsychist proposal that matter is a phase of consciousness, the way ice and vapor are phases of water. Its companion examined Daniel Dennett’s illusionism, which argued that consciousness as we ordinarily conceive it is a user illusion the brain stages for itself. The third position, the one we take up here, inverts the relation again. Bernardo Kastrup’s analytic idealism holds that matter is an appearance within mind rather than the substance from which mind emerges or the surface on which it plays. The three views together cover most of the contemporary terrain on the consciousness question, and once we have all three on the table we can ask what each gets right, what each fails to deliver, and what the overall topography tells us about the limits of philosophical argument when applied to the deepest question we know how to ask.
Kastrup is an unusual figure in contemporary philosophy of mind. Born in Rio de Janeiro in 1974 and now based in the Netherlands, he holds two doctorates: one in computer engineering from Eindhoven University of Technology, completed in 2001, and a second in philosophy from Radboud University Nijmegen, completed in 2019, with a dissertation titled “Analytic Idealism: A Consciousness-Only Ontology.” He spent years at CERN working on the trigger system for the ATLAS experiment at the Large Hadron Collider, founded the parallel processor company Silicon Hive (acquired by Intel in 2011), and currently runs an AI hardware company called Euclyd while serving as Executive Director of the Essentia Foundation, the Dutch nonprofit dedicated to advancing post-materialist research. His scientific credentials matter for the discussion that follows, since one common line of dismissal against idealism is that it represents a flight from science. Kastrup spent two decades inside science before publishing a single book on metaphysics, and the work he produces shows that experience on every page.
Begin with the position itself, stated as carefully as possible. Analytic idealism holds that reality is mental at its base. There is one substrate of existence, and that substrate is consciousness, what Kastrup calls mind-at-large or the universal field of subjectivity. The physical world we perceive is the extrinsic appearance of mental processes, in the way that the surface activity of a brain (neurons firing, blood flowing, electrical signals traveling) is the extrinsic appearance of someone’s inner experience. When you observe another person’s brain in an MRI scanner, you see the outside of their thoughts. When you look at the universe, you see the outside of mind-at-large.
The question this position must answer is the obvious one. If everything is mind, why does it look like a world of separate things, including separate persons with separate inner lives? Kastrup’s answer is the most striking move in his system. He argues that individual minds are dissociated alters of universal consciousness, comparable to the alternate personalities that appear in cases of Dissociative Identity Disorder, the condition formerly known as multiple personality disorder. In DID, one biological organism hosts multiple distinct centers of awareness that often have no access to one another’s memories, preferences, or self-conception. Each alter experiences itself as a separate person. Each alter is a real conscious subject. There is one underlying organism producing all of them. Kastrup proposes that we (and all other living creatures) are alters of mind-at-large, dissociated centers of awareness within the single field of universal subjectivity, each of us mistakenly experiencing ourselves as a separate person when we are something the universe is temporarily doing.
The physical world, on this view, is a representation. Specifically, it is what the dissociation looks like from the inside of an alter. Just as the dashboard of an airplane represents external states (altitude, fuel, airspeed) without itself being those states, our perceived world represents the activity of mind-at-large without itself being that activity. The dashboard analogy, which Kastrup uses repeatedly, makes the claim concrete. We do not perceive reality directly. We perceive a user interface that represents reality, and the interface is constructed by our cognitive apparatus, which is itself a dissociative boundary within a larger mental field.
Several consequences follow that distinguish analytic idealism from neighboring positions. Death, on this account, is the end of dissociation rather than the end of consciousness. When the alter dissolves, what was alter rejoins what was always already mind-at-large. Psychedelics are interpreted as substances that weaken the dissociative boundary, which is why they often produce ego dissolution and what Kastrup considers genuine glimpses of pre-dissociated awareness. Near-death experiences are read as moments when the dissociation thins and richer experience floods through. Most strikingly, artificial intelligence on Kastrup’s view cannot be conscious in the relevant sense, because computers are what he calls heaps, aggregates of components that do not constitute a true dissociative process. Only metabolism, life, the actual process of biological self-maintenance, produces the kind of dissociation that yields a conscious alter. Silicon will not do, no matter how complex the architecture.
Where his case works, it works for these reasons.
The argument is effective because idealism dissolves the hard problem rather than postponing it. If consciousness is the base substrate and matter is its appearance, there is no question of how non-conscious stuff produces conscious experience, since there is no non-conscious stuff. The question David Chalmers identified in 1995, the question that materialism cannot answer and that illusionism tries to argue out of existence, simply does not arise on idealist premises. This is no small advantage. A theory that does not face the hardest problem in philosophy of mind has gained considerable ground over theories that do.
It is also effective because the DID analogy is rooted in actual psychiatric and neurological evidence. DID is a controversial diagnosis, but its empirical reality is harder to dispute than its theoretical interpretation. There exist documented cases of patients whose alters present with measurably different physiological responses, different visual capabilities (one alter cortically blind while another sees normally, as documented by Strasburger and Waldvogel in their 2015 PsyCh Journal case report on patient B.T., who showed completely absent visual evoked potentials in her blind alters and normal VEPs in her sighted ones, with switches occurring within seconds), and different allergic reactions, all in the same body. Whatever DID is, it shows that the relationship between one biological substrate and multiple centers of awareness is genuinely possible. Kastrup uses this as proof of concept rather than as proof of his metaphysics, but the proof of concept matters: a critic cannot dismiss the dissociation move as impossible in principle, because we have evidence that something analogous happens at the human scale.
A further strength: the position takes empirical findings about brain function seriously in a way his critics often do not credit. Studies by Robin Carhart-Harris and colleagues at Imperial College London, beginning with the 2012 Proceedings of the National Academy of Sciences paper on psilocybin and brain activity, found that psychedelic experience correlates with decreased activity in certain brain regions, particularly the default mode network. Materialist orthodoxy predicts that richer experience should require more brain activity. The data show the opposite in significant cases. Kastrup uses this as evidence for what philosophers call the brain-as-filter hypothesis: the brain constrains and channels consciousness rather than producing it, with reduced activity allowing wider awareness through. Aldous Huxley made a version of this argument in 1954 in The Doors of Perception, drawing on Henri Bergson’s earlier work, and the recent neuroscientific findings have given the older idea a second life. Whether or not one accepts the idealist conclusion, the empirical pattern is real and demands explanation.
The position earns additional power because it accommodates findings in foundational physics that materialism handles awkwardly. The relational interpretation of quantum mechanics, developed by Carlo Rovelli starting in 1996, holds that the properties of a physical system exist only relative to other systems, with no observer-independent reality. Kastrup, in a 2018 Foundations of Physics paper coauthored with Edward F. Kelly and others, argued that this interpretation aligns naturally with idealism, since a universe in which physical properties exist only as relations is a universe whose deepest substrate may be mental rather than material. The argument does not prove idealism, though it does show that idealism coordinates with serious physics in ways that flat-footed materialism does not.
Last, the position is internally coherent in a way panpsychism struggles to achieve. McGilchrist must explain how micro-experiences combine into the unified field of human awareness, and the combination problem identified by William Seager in 1995 has no settled solution. Kastrup argues that idealism faces only the inverse problem, what philosophers call decombination, which asks how universal consciousness divides into apparent multiplicity. Kastrup’s answer is dissociation, and dissociation is something we have empirical reason to believe occurs in nature. The combination problem requires us to imagine micro-experiences merging into macro-experiences, a process for which we have no empirical model whatsoever. Decombination, by contrast, has a real-world analog in psychiatric phenomena that can be studied. The asymmetry between the two problems is one of Kastrup’s strongest arguments for preferring idealism over panpsychism.
Weaknesses follow, however, and any honest reader should press them.
The argument is not effective because the DID analogy, suggestive as it sounds, is doing more work than analogies can legitimately bear. Even if dissociation occurs in human minds, extrapolating from human dissociation to cosmic dissociation is a major leap that the analogy cannot underwrite by itself. Kastrup acknowledges this and frames the move as inference to the best explanation, but inference to the best explanation requires that the explanation actually be best, which is the question in dispute. A critic can reasonably reply that we have no idea whether mind-at-large, even if it exists, would dissociate the way human minds do, since the conditions producing human dissociation (trauma, neurological development, psychological defense) have no obvious analog at cosmic scale.
It is also not effective because DID itself remains contested as a clinical diagnosis. The condition was popularized by cases like Sybil and The Three Faces of Eve, both of which have been challenged in subsequent decades on grounds of iatrogenic creation, where the diagnosis was effectively constructed by therapist suggestion rather than discovered in the patient. The 1973 Sybil case, the foundational case for the modern diagnosis, was substantially reexamined by Debbie Nathan in her 2011 investigation Sybil Exposed, which presented evidence that the alters were largely produced by the therapeutic process rather than preexisting it. Building a metaphysics on a clinical category whose status is genuinely uncertain creates exposure that Kastrup tends to underplay. The cases of differential physiological response across alters are real and significant, but the broader diagnostic category of DID may not be quite the natural kind his argument requires.
A further weakness: the decombination problem may be no easier than the combination problem, only different. Kastrup claims it is easier because we have human dissociation as an example. The reply is that dissociation in human minds occurs within a single biological organism with a single nervous system, where the unity is given and the division is what needs explanation. Dissociation at cosmic scale would require the unity to fracture across what looks like an entire universe of separate beings, which is a different operation by orders of magnitude. Saying “the universe dissociates the way a human mind dissociates” makes the words available without making the operation clear. Whether this is genuine progress over panpsychism depends on whether the analogy translates, and that translation has not been demonstrated.
The position fails because it cannot account well for the resistance the world offers to the will. If everything is mind, why does the chair refuse to move when I will it to? Why do facts about the world repeatedly disconfirm my expectations? Kastrup answers that the rest of mind-at-large is not under my control, since I am only an alter, and what I experience as physical resistance is the appearance of mental activity outside my dissociative boundary. This response is not incoherent, but it does shift the burden onto explaining why the appearance is so consistent across different observers, why it has the lawful structure physics describes, and why it tracks counterfactuals so reliably. A mind-at-large that produces a perfectly consistent appearance of a physical world is doing something hard to distinguish from actually being a physical world, and the explanatory virtue of idealism shrinks the more its appearance matches what materialism predicts.
His treatment of artificial intelligence is also vulnerable to challenge. The claim that silicon cannot host consciousness because it is a heap rather than a metabolic process is a strong commitment that does work Kastrup may not be able to cash. The distinction between heap and life is doing the heavy lifting, and the distinction is itself empirical: he is claiming, on metaphysical grounds, that we know which natural systems can support dissociation and which cannot, but the criterion (metabolism) is itself something that arose through unguided physical processes. Why metabolism in particular should mark the threshold of dissociative capacity, when we cannot specify what about metabolism makes it special, leaves the position exposed to the objection that the threshold is being drawn for convenience rather than on principle. If materialism cannot explain why neurons matter and silicon does not, idealism inherits the same difficulty in different vocabulary.
Last, idealism shares with all consciousness-fundamental positions the difficulty of empirical falsifiability. Kastrup makes empirical predictions about psychedelics, about NDEs, about quantum measurement, but the core claim that reality is mental rather than physical is hard to test in any decisive way, since both views can typically accommodate the same data with different interpretations. While this does not prove idealism wrong, it does mean that any preference for idealism over materialism rests on theoretical virtues like coherence and explanatory parsimony rather than on a knockdown empirical case, and theoretical virtues alone rarely settle metaphysical disputes that have run for two and a half thousand years.
Now bring the three positions together. Each of the views we have considered confronts the hard problem differently, and each pays a different price for its solution.
Dennett’s illusionism tries to make the hard problem disappear by denying that phenomenal consciousness exists in the way introspection suggests. The cost is high. Illusion presupposes a perceiver, and the position has never quite recovered from this objection. What survives Dennett’s project is a sharpened understanding of how introspection misrepresents underlying neural activity, which is significant cognitive science but does not amount to the metaphysical achievement he claimed.
McGilchrist’s panpsychism tries to dissolve the hard problem by making consciousness elementary at every level of organization, with matter as one of its phases. The cost is the combination problem, which has occupied serious philosophers since William James raised the worry in 1890 and which has not been answered to general satisfaction. What survives the panpsychist program is the recognition that emergent materialism may be smuggling in a miracle when it claims that consciousness arises from non-conscious matter at some unspecified threshold of complexity.
Kastrup’s analytic idealism tries to dissolve the hard problem by making consciousness the only thing there is, with matter as its appearance under conditions of dissociation. The cost is the decombination problem, the dependence on a contested clinical analogy, and the difficulty of explaining the apparent independence of physical regularity from subjective will. What survives the idealist position is a coherent and rigorous alternative to materialism that takes the empirical findings about psychedelics, NDEs, and foundational physics more seriously than its competitors typically do.
The honest verdict is that none of the three positions has solved the consciousness problem, and that each has identified real difficulties in the others. If those previous moves are correct, then the hard problem is real (against Dennett), the materialist emergence story is unconvincing (against the orthodoxy), and consciousness must be either elementary at every level (McGilchrist) or the only level (Kastrup). The choice between the latter two depends on whether one finds the combination problem or the decombination problem more tractable, and reasonable readers will divide on that question along lines that have less to do with evidence than with which kind of mystery each finds easier to live with.
What the trilogy together suggests is something philosophy is reluctant to admit. The consciousness problem may not be solvable by argument alone. We are conscious beings trying to construct a theory of consciousness from inside consciousness, and there is no obvious way to step outside the medium in which the theorizing takes place. McGilchrist and Dennett and Kastrup have each produced careful work that engages the problem from a different angle, and each has been pressed by serious critics in ways that expose real weaknesses in his position. None of the three has won the argument. None has even come close to winning the argument. What they have done, taken together, is mapped the terrain in enough detail that we can now see why winning the argument may not be possible with the tools currently available.
This map is itself an honest accounting of the limits of the inquiry, which philosophy at its best produces and which the consciousness debate increasingly demonstrates. The next generation of work in this area will need to go beyond the choice among materialism, panpsychism, illusionism, and idealism, and find some way of asking the question that the current frame cannot accommodate. Whether that requires a new conceptual vocabulary, a new empirical paradigm, or simply more patience with the irreducibility of the problem remains to be seen.
For the BolesBlogs reader who has followed the sequence to this point, the takeaway is this. Consciousness is real. The hard problem is real. Materialism cannot explain consciousness. Panpsychism faces the combination problem. Illusionism collapses on its own premises. Idealism trades one set of difficulties for another. We have not been told the truth about what we are by any of the available frameworks, and the search continues. The task of the serious reader is to hold the question open, refuse to settle prematurely on any of the offered solutions, and continue reading what the philosophers and the scientists and the contemplatives produce as they work toward whatever lies beyond the current map.
Kastrup wrote in a 2019 Scientific American opinion piece that mind is the only carpet under which we can no longer sweep the inconvenience of consciousness. The line is sharp and works whether or not we accept his particular formulation of what mind requires us to believe. Consciousness is the inconvenience that materialism cannot explain. Whether it is the only inconvenience, or whether it is the substrate from which all other inconveniences follow, is the question we have been asking for three articles now, and the question we will keep asking long after this sequence concludes.
We assume our own inwardness because we have nothing else to assume from. Whether that inwardness reaches outward into a world of separate things, downward into the smallest particles, inward into a single field that contains everything, or only inward into the lighted corner where we happen to find ourselves, is the question philosophy has not yet answered and may never answer. The honest scholar lives with this. An honest writer says it out loud. And the honest reader, having followed three serious philosophers through three serious wagers, walks away from the sequence with sharper questions and fewer false certainties than when he or she began.
That is what philosophy at its best can do for us. None of the three thinkers we have considered solved the problem. All three of them taught us how the problem must be approached if we are to make progress on it, and all three of them deserve continued reading, continued argument, and continued respect for the seriousness with which they pursued the deepest question we have.
Part three of three. For the full sequence and reading guide, see The Consciousness Trilogy: Reading Three Wagers on the Question We Cannot Settle.
#death #disassociated #huxley #idealism #kastrup #mind #physics #rovelli #tech #universe #weakness #world

#death #disassociated #huxley #idealism #kastrup #mind