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Fleeting Joys

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Most played:

• SF Bay Area (3)
• Los Angeles (LA) (1)
• Sacramento (1)

Appears most with:

• The Radio Dept. (3)
• The Deer Tracks (3)
• Ulrich Schnauss (3)
• The Laurels (2)

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The 4th album released November 2021 by Fleeting Joys on 180 gram black vinyl with color photo labels and song lyrics insert.  Created and recorded in their own studio during isolation - the songs build on the signature shoegaze guitars bringing in new elements of 80's synths and 60's mellotrons creating melancholic hope during a unique time in life.

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Fleeting Joys: An Interview with John and Rorika Loring

Photo by Joseph Najera Encapsulating the sheer bliss associated with the spiritual and visceral aspects of the best of shoegaze, Sacramento duo John and Rorika Loring have been the foundation of sonic stalwarts Fleeting Joys since 2006. Often compared in general (favorable) terms to My Bloody Valentine ( MBV ) and those on the noisier side of the genre, Fleeting Joys cherish dabbling in the nuances of sound as a means of exploring the mind & soul. Culminating in the band’s first full-length in ten years, Speeding Away To Someday captures everything there is to love about shoegaze via swirling, disorienting noise layers rooted in technical savvy, intertwined with co-ed vocals. The record features some of the band’s heaviest hitters to date in Don’t You Know the World Will End and Evil Crop yet strikes a tempered balance with the acoustic-based Come To and the record’s mid-tempo opus finale Returning and Returning and Returning . Fleeting Joys are why the future holds further curiosity and excitement about what may come from an increasingly diverse genre of music. The following interview took place over several reciprocations going back to 2019 in the build up to the release of the band’s exceptional third album, Speeding Away To Someday . As a supplement to the short take featured in issue 86, here is the full interview. Many thanks and much gratitude to Rorika and John for the music over the years as well as their accommodating nature!

James Broscheid : Congrats on the release of your stellar third album, Speeding Away To Someday ! In addition to chipping away at the songs that make up this record, what have you both been up to since your last record’s release in 2009 ( Occult Radiance )? Was there ever a danger of having a world without Fleeting Joys ? A very much warm welcome back!

Both : Thanks so much! Enough has happened that we could write a book, but we are always here, and working on music. Our relationship kind of mirrored the writing process, and the lyrics reflect this. It was a bit strange towards the end as we were trying to finish the darker tunes while planning to renew our wedding vows.

John Loring : I also went down the rabbit-hole of mixing and production. I learned so much and was constantly raising the bar. At the same time, I was rewriting because we had heard the tracks a million times – then, reverting back to older versions. It was classic tail chasing! So, this record has tension, and hopefully release, between older lo-fi and new skills.

Rorika Loring : Additionally, I wasn’t sure if I wanted to play guitar live – or just sing – so, we kept flipping back and forth between two-guitar songs to one-guitar songs. In the end, it’s a combination.

JB : Lake Placid Blue and Kiss A Girl In Black are featured on this record having been previously released in 2018 and 2013 respectively. Why did you include those two tracks and were they reworked at all for the album’s release?

Both : Those two tracks weren’t reworked other than having them mastered. Kiss a Girl In Black was always the heartbeat of album three, even though it took a long time to finish the rest. Lake Placid Blue was next to achieve doneness. Regardless of the time, it was really important for this record to be one cohesive thing. There’s actually more songs that nearly made this a double album, but we wanted to get something out. We’re going to put the other songs out soon, either as EP’s or a separate album.

JB : Speeding Away To Someday was available as a download initially. There was a delay with the record release on vinyl. 

RL : We decided to try a new pressing plant in Canada with modern lathes for better quality production coupled with mastering for vinyl by Dave McNair – who taught me how to engineer on analog gear in Austin, and was mastered out of Sterling in NYC before starting his own studio. The vinyl is a gorgeous ruby red splatter. (Now long gone! – JB).

JB : I suppose this ties in to the previous question. You run your own label, Only Forever Recordings . What are some of the pros/cons in owning/running your label? Was starting Only Forever for the sole purpose of releasing Fleeting Joys material? Do you still envision releasing other bands at some point?

RL : Our approach to music has always been DIY . My first job was at a big label and I saw them spending artists’ money on ridiculous dinners, payola, etc. Their exploitation of the artists was disgusting. It seemed more pure to integrate recording and releasing into our daily lives so that we could do things exactly as we wanted them. It is, however, a LOT of work! But, satisfying. When we run across someone with that extra something special, it’s really exciting, and we always want to help. We had envisioned putting out releases of our favorite bands before the industry shifted to streaming, and took our stream of income along with it! Hopefully, we will still find a way to make that happen – been talking about a few split singles that may happen.

JB : Can you elaborate on the equipment Fleeting Joys uses to achieve their sound? Any particular effects, equipment, etc. that you have the most fun experimenting with? How has technology evolved over the years and has it made your efforts easier or more complex? Is it difficult translating to a live setting?

JL : The ability to experiment endlessly is both the best and worst part of technology. Like everyone, we benefit, and suffer from it. We hated getting off of tape, but our writing process requires maximum flexibility to rearrange songs. Aside from multiple reverbs and a whammy, what’s really important is the instrumentation. I could probably replace any reverb I have with a digital delay pedal and get most of the way there because most things are smooshed up into power-tube saturation. It’s how the song is written that’s really important. We don’t really use fuzz or distortion pedals for our tones, although we do experiment with those things. Most of FJ’s guitars are recorded with a vintage AC30 , Marshall , or Traynor , pushed into power tube distortion.

RL : While others are vintage wine tasting in Sonoma, we’re happy taste-testing vintage tubes at a couple of local places here! John puts the tubes in the amp without me seeing what they are. I always seem to pick the most expensive, rare ones. John sighs and pulls out his wallet!

JB : What is both your takes on the resurgence of shoegaze and its long overdue appreciation? It has seen some of the heaviest hitters of the genre reform and record again ( Ride , Slowdive , My Bloody Valentine, etc.). I think back to the early nineties (at least in the U.S.), when radio was taken over by a small movement out of Seattle which shook the music industry in a big way. Seeing Nirvana perform in 1993 still leaves me with a tremendous sense of satisfaction because it was one of those nights the band was “on”. Do you feel shoegaze would have had a better chance to grab hold back then were it not for the “alternative” movement? 

Both : The underground stuff always bubbles up into the mainstream, and it’s interesting to us that it’s happening now. We have always thought that shoegaze was a part of the future. In 2006 people use to tell us not to use the term “shoegaze” because it was old, and we were like, but that’s what it is! We met Colm ( Ó Cíosóig ) from MBV when he was DJ-ing at the Hemlock in San Francisco – at that time MBV getting back together was just a pipe dream. Much has changed!

JB : Was your approach to songwriting & recording this album any different from past work? I suppose putting out the record yourselves reduced any time constraints drastically!

JL : Our writing process was consistent with the first two records The most important thing is the song writing. We love distortion, but, if we play this stuff acoustically – we still love it. We go back and forth in the song writing about whether or not to add samples because it’s more of a hassle live. But, whatever is cooler wins. Many times we will start with a great song, but then remix it to make something that has never been heard before. In many cases we will then re-record the remixed version of the song. Lake Placid Blue was originally created with guitar tracks from the (first album, 2006) Despondent Transponder period, and was worked up to sound completely different than the original. You Want To was almost part of (second album, 2009) Occult Radiance , but was totally reworked except for the keyboards and vocals. Evil Crop was originally an old 4-track cassette recording of drums and bass from when we lived in Austin that we recorded new guitars and vocals for. Those are just a few examples. Many of the other tracks have around 2-10 different versions, with different chord progressions and vocals. Some of those will morph into new songs in the future.

JB : Were you listening, reading and/or taking in anything in particular in the lead up to this record’s release? 

Both : We love a lot of psych and drone elements, and are influenced by older music as much as newer, but have yet to incorporate some of these things, although, probably will. This is one reason we like to work on other people’s projects.

RL : We’ve actually spent a good amount of time on political activities in the past couple of years too. We wish we didn’t have too, but that’s where we are. I was is quite busy with it, and doing something nearly every day from talking to congressmen in DC to working with local activists. We have relied on guidance from Vedic Jyotish for about a decade after visiting Amma, the Hugging Saint. It’s really helped us stay calm, focus, and plan. Matt Kahn has also been essential for clearing away mental debris. It would have been a tougher road without this kind of help.

JB : I was driving back from LA after catching Ringo Deathstarr , Tennis System , Blushing & The Meeting Places and could not stop playing Speeding Away To Someday ! Tracks like Don’t You Know The World Could End , Returning and Returning and Returning and Come To blaring away as I sped through the desert back to Tucson in the middle of the night – there was really nothing quite like it. To me, the shoegaze genre has always given me more of a visceral reaction, like our connection to the natural world. Something defying logic. What is it about the genre that you prefer or excites you the most?

RL : What a great visual, and exactly how how we feel!

JL : Don’t You Know the World Could End is kind of a logic defying song in that, the words are basically about giving up on life, but the music is almost celebratory and triumphant. The other two songs you mentioned are also musically triumphant, and one actually has a fanfare, but the lyrics are very personal and subdued. Musically we’re both suckers for bashy, punk drums, raw basses and guitars, but juxtaposed against other elements. In one of the first bands I was in that achieved the visceral thing was when the guitarist, (I was on bass then), accidentally left his wah pedal on and created this pure white noise hiss. I felt like my head was in a fishbowl and I couldn’t get enough of it! On an emotional level, I like to get the feeling of “it’s so beautiful I want to die.”

RL : The first time I ever heard shoegaze, it was the only music that ever gave that feeling and sound of being inside a wave! Everything about it is like surfing – exhilarating and soothing, roaring sound penetrating your body, wrapped in a force of nature. It was perfect! When I am in a room filled with John’s guitar, I get all that again.

JB : The new record is truly a marvelous effort and comes across as a record that was a joy to make. How much do you both labor over each track while recording and when do you know you’ve reached the point where a track or album is complete? How much thought went into sequencing the LP?

JL : We labor over everything a lot. It’s not easy to catch “that special something”. There is a point in every track were it goes from something we’re just working on to “Oh yeah that’s nice!” Often, it’s the result of experimenting with a different vocal melody, guitar line, or even a plugin in Pro Tools . Lots of times Rorika will record a melody line and wake up the next morning to find I’ve re-written a new song around it. Then we choose together – is it better or just different? On a playing, creating level, it is joyful! But, then, you have to piece it together in a composition, and mix it, and that takes trying to re-live an instant of inspiration over and over again.

Both : The 80/20 rule definitely applies to us. We do the bulk of creating really quickly, then spend 80% of our time finishing mixes, coming up with song titles, and wondering if we should change our font. Sequencing was also a big consideration, and it played a part in dropping some songs from the record.

JB : Any plans to hit the road to tour this album? I for one would make the trip back to SoCal should you add a date or two there! I am loving this record!

Both : We have considered doing a more stripped-down thing without samples for live shows since it does hold up that way,. And we have thought about adding more members to make touring easier. We’ll see how things pan out. We definitely wrote these songs to be bashed out live.

JB : You both hinted at some of the darker lyrics on this record while buoyed by almost celebratory melodies. Is it difficult to be married and be in a band together? Care to share some insights into some of the tracks on this record as far as headspace you were/are both in? Will lyrics be available with the physical copies of the album?

Both: (Laughing) Hell yes! 

JL : And it’s exacerbated by the fact that Rorika and I, although we have the same type of soul, go about things in completely different ways. We get to the same point, but our processes are from opposite directions in many cases. We like to think that anything we agree on is gold. Do you have anything to say Rorika?

RL : Nothing I want in print (both laugh)!

JL : Yes, we intend to share most, if not all the lyrics to the songs, one way or another.

JB : John, I think you nailed it about achieving something being so sonically beautiful you want to die. That is exactly what the best of shoegaze is about to me. No matter how hushed or loud, shoegaze is one genre of music that, when done right, achieves that very feeling. It’s always been a challenge to describe it to those who’ve never experienced it! Is it difficult to balance/reconcile darker lyrics/themes with the, as you mentioned, celebratory, almost triumphant melodies of the music? 

RL : We’ve always favored juxtaposition.

JL : I love juxtaposition because that’s what life is. For us it’s not hard because it’s where we live, so we just sing and say what’s on our mind. Life is confusing and often at odds. 

RL : You’ve always said you’re not writing about me or anyone specifically. 

JL : Right. Sometimes it’s negative about myself and sometimes it’s negative about the world we live in. (laughs) I can also say that one song might have feelings for Rorika in the intro, my upbringing in the chorus, and politics in the break. It’s all mixed together. 

RL : It’s not literal. 

JL : Definitely not literal. It’s all about the things in life that affect you mashed together to create a feeling. I’t’s easy in the fact that you want to sing about what you find interesting, and you want that to be heard, yet you’re playing with guitars that are so loud you can’t really hear them, which is easy to do as far as writing. 

RL : The music needs to be exciting and pretty or it gets boring. Plus it’s hopeful. We’ve always been hopeful and striving for better.

JL : We’re not just complaining. We’re talking about the human condition with its good and bad, and the good part is the hopeful, and that we are creating something that at the end of the day we find beautiful 

JB : It’s obvious you labor over your art – down to the font in fact! The results are outstanding but does it ever get burdensome/tormenting? How long does it take for an idea to evolve into a Fleeting Joys song? 

JL : We don’t labor over them in a way that’s overworking. We wait for inspiration a lot. It’s a combination of waiting for inspiration and working hard. 

RL : Trying different ideas, experimenting…

JL : And being open to throw out something you’ve spent a long time on in favor of an inspiration.

RL : Which always frustrates me because I’m convinced that I could take all of my favorite things that John’s decided to pull out not use and make an all-time greatest album ever of Fleeting Joys! (Laughs). 

JL : Those ideas usually become other songs. They would if time permitted.

RL : For live we want to change things up to make it easier and funner. 

JL : Yeah, we were each having to do so much we’re thinking about adding help. 

RL : At least one, if not two members to spread the duties. But it needs to be just the right person. It’s like a family. 

JL : We also have considered a bit of a stripped down punk version, where the drummer doesn’t need to where headphones to a click track. 

JB : You mentioned sequencing the new record and the need to drop some tracks from the album. Do you have any plans for those tracks seeing release some day? How do you know when you’ve got the sequence right? Is it a matter of tracks not fitting a certain theme/energy you’re trying to achieve and/or other factor(s)?

JL : We pulled off three tracks from the album that we didn’t think fit because they were more in the psychedelic vein, for lack of a better term. The songs were very different and  they messed up the flow of the record so we pulled them.

RL : We’re thinking about using them on split singles with some other bands, or just relating them as an EP on their own.

JL : Or they may be included on the next record because we have 6-10 other tracks they are coming along nicely. 

JB : Can you both discuss the history of the band? How the band formed and where the name came from? Rorika, what kind of impacts, if any, did your work in the political realm the past couple of years have on the new record? I personally need to find a way back to a more quiet, calmer headspace after the past several years in this country. I find myself getting very angry very quickly and it is just not a healthy place to be. 

RL : I was working in a recording studio in Austin learning to engineer and an x-boyfriend of mine said that I really needed to hear this guy’s music.

JL : And I had just become his room mate at the time.

RL : So he played it for me an I liked it. Then, I offered to record it for free in the studio and that’s how I met John. During that time I broke up with another boyfriend (both laugh), and John helped move  my furniture out on Valentine’s day! We became friends and things evolved naturally so that we knew each other and trusted each other. I knew he was a good person and, at that point in my life, I had encountered a lot of crazy people in the music business – so we kind of grounded each other.

JL : I had never met anyone who had so much style, charm, warmth and intelligence to do things before. She’s basically really good at everything I’m not. She’s the perfect balance for me.  We started being more than friends during a second recording session. There was a guy assisting her that asked her out. That’s when I realized I was emotionally hooked. He never got to take her out and we recorded like 17 hours that night.

RL : One thing that made a big impression on me during that time, John said, “You spend 17 hours a day helping other people getting their music out. Why don’t you spend that time on your own stuff?” He was the first person who ever said that to me where it really struck me that I was enabling everyone else and ignoring what I wanted to do. 

JL : That’s when we started making music together.

RL : The name Fleeting Joys came from a movie we loved called Nadja , where the girl says her pain is “the pain of fleeting joys.” What happened with the political stuff was that, back in Austin when I was a freshman in college, I did some lobbying at the capitol, and quickly realized how ridiculous and corrupt the political system is. I became very disillusioned,  never voted, and ignored it from that point on.  John pointed out Bernie Sanders when he first started running and we started listening and contributed, and we realized everything he was saying was directly affecting our lives and making it so much harder to get things done, accomplished and make music. It just opened up my eyes to how much better other countries support their citizens in living fulfilling  lives, and how we have become really like modern-day peasants in an aristocracy. It ignited me, and I wanted to help make some changes.  Then when you-know-who was elected – I come from New Orleans and I was raised around mafia – I know mafia when I see it, and I saw that he was the worst, most corrupt, thing that could have happened to our country. There was just no avoiding getting involved. It hasn’t been pleasant – it’s been stressful . I’ve learned a lot and speaking truth to power has been a real growing experience for me. But, I wish it hadn’t been necessary. I’m looking forward to Joe Biden and Kamala Harris taking over and making it all better so I can stop thinking about it all again!

JL : Agreed!

RL : One thing that it has prepared me to continue participating that has just happened last year – the Music Modernization Act (2018), that Congress passed. It’s been put into place now and we need to make sure that the big labels and publishers don’t take it over and just split the $1B unclaimed artists royalties that are pending to be distributed to the artists that deserve them.

JB : I understand the band was in rehearsals? Are these auditions for live members or is the line-up set? With how intimate Fleeting Joys is to you both, is it difficult letting other musicians into that world? And is it a pretty trying process getting the band’s live sound to meet your expectations?

JL : We just started preparing for some live shows after a long time – the first is a Part Time Punks show on Easter (fitting for our resurrection of sorts!) – with Tennis System and Slow Crush . It’s (was scheduled and subsequently cancelled – JB), at the Echoplex in LA and Coachella will be going on nearby in the desert.  After a bit of a shuffle, we’ve settled on a guitar player for bass, Sean Bivins , and Mitch Wheeler on drums. Both grew up in Sacramento and are part of a documentary being made about that group of musicians growing up together during a unique time in the music scene here. We all come from very different genres of bands, so, it will be interesting to see how things influence the live versions of the songs. We want to do a more stripped down versions of the songs. Besides, we don’t have truck loads of equipment and personnel like bigger bands in our genre!

JB : Going back to being a couple in music, is it sometimes easier to communicate with one another via your music?

(Both laugh!)

JL : We approach things very differently and where we meet in the middle is what we call golden. We write what we write as artists and I try to communicate to the listener – not specifically to each other.

RL : Not at all! John says that the words he writes aren’t about anyone (me) specific and I think that some of them definitely are about different times in our lives/relationship – but, probably could be said about most relationships at some point. I sometimes write about past feelings and sometimes it is just fantasy. 

JB : I was surprised to learning FJ guitars not being dependent on distortion/fuzz effects for tone. John, how long did it take for you to come up with your sound? A ton of time and experimentation I presume!

JL : I don’t use, for the most part, fuzz and distortion pedals into a relatively clean amp because I find that I prefer the richer sound of power tube distortion. Instead, I have the amp cranked, using a volume drop pedal for my cleaner tones which is the reverse of what most people do. I might use one boost pedal like the Timmy overdrive to take a cranked amp over the top. The only other pedal on my board right now is an EQ pedal for making the bridge pickup occasionally sound like a neck pickup. Recently, I’ve been experimenting with a treble booster, but, not sure it will make it onto the live board. A lot of my experimentation has been with different models of amps and which power tubes, pre-amp tubes, cabinets, speakers that I like. The 70’s Traynor that I used on most of SATD is nearly stock for that time period. The cabinet is a magical mystery given to me that no one can identify exactly who made it or what kind of speakers are in it! But, it’s the best cabinet I’ve ever heard. Over the years, I’ve tried a lot of different amps – for the heavier distorted tones, I prefer the Traynor which has a JTM 45_/_Bassman type sound to it. The AC 30 that I use in stereo is a 96 UK made model loaded with vintage Silver Alnicos and Gold Lion power tubes and some vintage preamp power tubes. It adds more articulate aggression to the Traynor’s fuzzy smoosh. The best amp I ever had was a vintage AC50 that may have been moded. Unfortunately, because it was a quieter amp and the drummer was super loud, I let it go when we lived in Austin. Should have let the drummer go instead! Luckily, I just got one like it again! It has a softer distortion than the Marshall that I had been using. In the future, I may be experimenting with some more chime-y guitar tones.

JB : You both mentioned enjoying working on other people’s projects. What other projects are you both involved in?

JL : In the last couple of years, I produced 2 albums for a French band called Dead Horse One . It gave us both a chance to write, sing and play things that we wouldn’t have gotten to do on a FJ record – flexing our Psych muscles. Right now, we are working on a remix for a new band called Loveblind where we are experimenting with Arabic trap beats and orchestral sounds.

JB : I am fascinated by scars, hurt, Hollywood and pain in the lyrics for this record. Has this record been your most cathartic as far as laying it all out there in your music? Do you both take part in writing lyrics (kind of tying into being a couple in music I suppose)?

JL : As people go through life, they pick up emotional and physical scars that tell their story and give them a certain degree of depth. Everyone can talk about hurt and pain – it’s a universal experience that we all can identify with. Loving you scars means that you are accepting yourself where you are after all the painful experiences. Hollywood has been an archetype of success to me.

RL : The first album was pretty cathartic – as was all of them. This one may be more so because we’ve had more life experiences to purge! Hollywood was an incredibly intense place to live. I only lasted a year! But, it was also kind of like a dream – so many amazing experiences that could never happen anywhere else.

JB : How have you been since the pandemic hit? The show I was looking forward to the most this year was cancelled! I was looking forward to being your roadie …

RL : We are keeping busy around here. We’ve been isolated since March when I had all the symptoms of covid. Test was negative but, I have heard of false negatives. It took ages to get over it. Lost my voice for a while/still have deep cough. John also has been raspy sounding when he sings. We are going to get an ozone generator along with some other stuff that should make it safer to go out and about as long as you do the preventative stuff regularly. It should knock out whatever is left in our systems as well as protect against future relapses.  Yes, we had everything in order to make the show in LA amazing – after all the shuffling of band members and drama around getting organized. Even had bought expensive inner ear monitors and wireless mixer! So discouraging to have it all yanked away suddenly. It’s hard to tell when it will be okay to be in large crowds or travel again. I was also devastated that my death doula certification was cancelled last month. After that, I was supposed to go to Scotland to learn ancient death chants from these death doulas there to use in ceremonies. Many cultures, philosophies believe that singing or reading aloud to the dead for three days after passing helps give them light/energy to find their way through whatever they need to do. So much death right now is sudden and violent and faced alone – certainly with no time to plan anything. It’s surreal. 

JB : As if the pandemic was not enough, California is being ravaged by wildfires. How are you holding up? Any updates on the potential of playing live? I know everything is still in a stand still pretty much.

RL : We’re doing alright and working on new music. Everybody involved is still looking forward to playing live once this is all over. Most of this time is being spent working on new material. There’s been a creative explosion of new ideas and new directions recently…it’s our favorite thing to do!

JB : How did the arrangement of the band’s back catalog being made available to streaming services such as Apple Music? Any other streaming services providing Fleeting Joys music?

RL : People kept telling us that they wanted to share our music with others but, (we) were having a hard time – so, we decided to make it more available. We’ve had a lot of great support from current fans, so, thought we’d stretch out our tentacles to see what would happen.

JB : John, any new projects in the works other than the groups you mentioned earlier? Dead Horse One is fantastic!

JL : Thanks! So much going on with the new material of ours, the side projects are taking a back seat. We’ll get back to those soon.

RL : John has been using this time to really get into playing drums and learning new beats – it’s been fun and great for the creative process as well.

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More in interviews

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Everything You're Running To

All Lost Eyes And Glitter

Speeding Away to Someday

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Occult Radiance

Cross Out My Heart-Bonus Track for Japan

Morphine Drip-Bonus Tack for Japan

Fleeting Joys California

"Swirling guitars... layers of noise... drugged out soft male and female vocals going back and forth... sounding like part love, part death, part hope, part sadness. It's as if they've turned their instruments into liquid and poured them into your ears." ...   more

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Past Events

Here are the most recent UK tour dates we had listed for Fleeting Joys. Were you there?

November 2007

• Sun 25 Nov London, The Social W1 Miranda Lee Richards, Fleeting Joys, The Flowers Of Hell, Ulrich Schnauss
• Thu 22 Nov London, Legion Asobi Seksu, Fleeting Joys, Soundpool, Ulrich Schnauss

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BREAKING: WikiLeaks founder Julian Assange to go free under plea deal with the U.S.

‘Failure of the negotiations’: Israel’s hostage rescue leads to one of the bloodiest days in the war

In Israel, the news of four hostages rescued from Gaza was met with cheering crowds and tearful scenes of reuniting families. Officials hailed the operation as miraculous and heroic, and offered a rare win for Israel's embattled Prime Minister, Benjamin Netanyahu.

But it came at the expense of hundreds of Palestinians, who suffered one of the bloodiest days in Gaza. Video filmed by an NBC News crew on the ground showed streets scattered with charred bodies, survivors gathering body parts into sacks, rescuers carrying mangled and blood-soaked children into chaotic hospitals overwhelmed with the injured.

By Sunday, joy in Israel was fading and giving way to the realities of a war that has dragged on for nine months and whose fissures and deep divisions remained largely unchanged by the rescue.

“What we saw yesterday is actually failure of the negotiations,” Yossi Mekelberg, an associate fellow with the Middle East and North Africa Programme at Chatham House, said in a phone interview with NBC News.

“Had there been a cease-fire , these hostages would already have been at home, and the civilians that were killed yesterday would be alive," Mekelberg said.

The destruction wrought during the rescue is unlikely to ease Israel's isolation from an international community that has censured Israel for months over the civilian death toll in Gaza. United Nations Special Rapporteur Francesca Albanese said in a statement that she was “Relieved that four hostages have been released," but that “it should not have come at the expense of Palestinians.”  

“Israel has used hostages to legitimize killing, injuring, maiming, starving and traumatizing Palestinians in Gaza,” she said.

At home, opposition leader Benny Gantz was expected to resign from Israel’s war cabinet on Saturday over Netanyahu’s failure to adopt a postwar plan.

Gantz delayed his statement after the rescue and Netanyahu asked him not to leave the emergency government in a post on X .

But the delay may be brief. Gantz will be making a statement on Sunday evening, where he is expected to announce his resignation and withdraw his National Unity Party from the coalition. If he does so, it would leave Netanyahu to rely on support from far-right members of his government who have loudly opposed a cease-fire deal, including the one proposed by President Joe Biden earlier this month.

As of Sunday, Gaza’s Ministry of Health said at least 270 people were killed, pushing the overall death toll past 37,000. Another 700 were injured in the assault and rescue operation, and more were believed to be buried in the rubble. Video from an NBC News crew on the ground captured the aftermath in Nuseirat that included a rush of wounded at Al-Aqsa Martyrs Hospital in Deir Al-Balah, including the bodies of surviving children wrapped in gauze that was soaked pink.

The Associated Press  reported that a baby was among the dead, and that small children were covered in blood and crying.

In a scene filmed by the NBC News crew in Gaza, a man on his knees wept next to five bodies wrapped in blankets, "Every day we say farewell to friends, every day we say farewell to loved ones."

The rare and limited rescue operation that resulted in mass casualties highlighted that such an approach is not likley to be viable for the 120 or so hostages that remain.

This was acknowledged by IDF spokesperson Daniel Hagari, who said Saturday "we know we can't do operations to rescue all of them."

Abu Obaida, a military spokesperson for Al-Qassam Brigades, the military arm of Hamas, said the operation killed other Israeli hostages, and that such raids pose a great danger to others. NBC News is unable to confirm this information.

Already there are fresh calls for a cease-fire deal to save the remaining hostages and end the war, but Netanyahu has increasingly distanced himself from a plan announced by President Joe Biden .

Biden said Saturday that he welcomed the safe return of the hostages, adding “We won’t stop working until all the hostages come home and a cease-fire is reached, and it's essential to happen."

The Hostages and Missing Families Forum also reiterated their calls for a cease-fire and continue to back Biden's three-part plan to end the war. During his weekly Sunday address, Pope Francis urged Israel and Hamas to accept the peace proposals “for the sake of the Palestinians and Israelis.”

The rescued hostages are Noa Aragmani, 25; Almog Meir Jan, 21; Andrey Kozlov, 27; and Shlomi Ziv, 40. They were among those kidnapped by  Hamas  during the  Nova music festival  on Oct. 7.

After nine months of captivity, some of the reunions were bittersweet. Meir's father, Yossi, died just hours before his son was rescued.

Aragmani was reunited with her mother, Liora who is suffering from terminal brain cancer. Her father, Yaakov, wept as he described their reunion in an interview this morning with Israel's Army radio.

"Unfortunately Noa’s mother is in a very bad situation, she hardly looked at Noa, it wasn’t the reaction I was expecting that after eight months this would be their encounter. It was very difficult," he said.

Netanyahu has also come under fire in Israel for his conduct after he spoke on the phone with Aragmani following her rescue.

Netanyahu "wants to bask in the sun of a success, but when there was an announcement of five soldiers killed weeks ago, he won't pick up the phone," Mekelberg said.

Opposition leader Yair Lapid has already called out the Prime Minister for meeting with the families of the rescued while neglecting the families of those who have been killed.

“If you are the prime minister — you are the prime minister of both successes and failures,” Lapid told the Kan public broadcaster. “Disappearing when things don’t go your way is disgraceful, but is this something we didn’t know about before?”

Freddie Clayton is a freelance journalist based in London. 

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Riyan Parag relishes maiden India call-up for Zimbabwe tour: Dare to dream

Riyan parag and dhruv jurel relilshed their maiden call-ups to the indian team on monday, 24 june after india announced their squad for the tour of zimbabwe. both players took to social media to express their joy..

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• India announced their squad for the Zimbabwe series
• Riyan Parag and Dhruv Jurel got maiden call-ups
• India rewarded IPL stars with maiden call-ups

India announced their squad for the Zimbabwe T20I series on Monday, June 24. The Board of Control for Cricket in India announced a 15-member squad filled with youngsters who have performed well in the Indian Premier League 2024 and the domestic circuit. Riyan Parag and Abhishek Sharma were among the prominent names to be called up for the national side, while players like Dhruv Jurel, and Washington Sundar were named in the list as well.

???? pic.twitter.com/Sx3iTP11wt — Riyan Paragg (@ParagRiyan) June 24, 2024

Jai bajrang bali ???? https://t.co/DZ0YJ9QwFl — Dhruv Jurel (@dhruvjurel21) June 24, 2024

INDIA'S SQUAD FOR ZIMBABWE TOUR

India tour of zimbabwe 2024 - schedule.

India are touring Zimbabwe for a 5-match T20I series in July, right after the T20 World Cup 2024. The Zimbabwe Cricket Board confirmed India's trip to Harare in a statement on January 6. Zimbabwe will host the 5-match T20I series from July 6 to 14 in Harare. This is India's fourth trip to Zimbabwe for a T20I series after 2010, 2015 and 2016. India have never played a bilateral series against Zimbabwe at home, but they have frequented the African country in the past. The confirmation of the tour came after productive discussions between the Zimbabwe cricket board and the BCCI, Zimbabwe said in a statement.

All matches at Harare Sports Club from 1 pm local time

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Sarah jessica parker celebrates her and matthew broderick’s twin daughters’ 15th birthday.

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Sarah Jessica Parker’s twins are growing up!

The “Sex and the City” alum celebrated Tabitha Hodge and Marion Loretta’s 15th birthday on Saturday with a glimpse of their party.

“2 divine 15 year olds,” the actress, 59, captioned an Instagram photo of balloons over the weekend. “We are so lucky and we love you so. Happy birthday to our dearest Loretta and Tabitha.”

The “And Just Like That” star concluded, “Celebrating you both today was pure joy. X, Mama.”

Parker shares her daughters with husband Matthew Broderick, as well as their 21-year-old son, James.

While the couple, who have been married since 1997, keep their kids off of social media, the little ones have made rare red carpet appearances over the years.

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Tabitha and Marion most recently attended the “Hocus Pocus 2” and “Some Like It Hot” premieres in 2022.

As for James, he attended the “No Hard Feelings” premiere with his dad in June 2023.

Parker gave rare insight into her parenting in April, explaining to “Ruthie’s Table 4” podcast listeners why she lets her daughters eat as much sugar as they want .

“When I had girls, I didn’t want them to have a relationship with food that was antagonistic and to see it as an enemy,” she said at the time.

In the “Hocus Pocus” star’s own childhood home, “sugar … chocolate and cookies” were banned.

“I didn’t want that for them,” Parker added. “In our house, we have cookies, we have cake, we have everything. And as a result, you have a better relationship.”

She went on to say that her girls “will have the figures they have, and hopefully they’ll be healthy.”

Parker noted, “They’re athletes and they enjoy food and have different palates. I hope that they can maintain their affection for the experience and their delight in taste.”

Her and Broderick’s twins were born via surrogate in 2009, seven years after James’ arrival.

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Mayor Brandon Johnson marks Juneteenth by joining youth-led West Side walking tour

By Marissa Perlman

Updated on: June 20, 2024 / 11:30 AM CDT / CBS Chicago

CHICAGO (CBS) -- Youth on the West Side are celebrating Juneteenth – the holiday also known as Freedom Day or Black Fourth of July, recognizing the full emancipation of slaves in the United States – by kicking off a summer series of walking tours with My Block, My Hood, My City.

Mayor Brandon Johnson joined Wednesday's walking tour in North Lawndale, led by youth guides from the West Side.

"Today is a reminder of why it's important for us to fully express our liberation, because there are forces who – just like in the 1800s – did not want to realize our full liberation. Those forces did not die out with the Civil War," Johnson said.

Organizers said the tours bring the young guides so much joy to show where they eat and they play.

The first time they did these tours, there were only six tours that summer. The next summer there were 31 tours. Now they're doing multiple public tours every Saturday from mid-June through August, and also offer private tours. The goal is to host 100 tours this summer.

It a summer job for the youth guides. They're paid $15 an hour, and get paid to show off their own community.

Organizers said, with these tours, visitors will see the West Side from the eyes of the young people who live there.

"You always hear the negative about the West Side of Chicago; they're selling drugs, they're shooting, they're in gangs, they're doing this. You get to see the artful intersections, you get to see the community roots, you get to see the hidden gem restaurants," said Jahmal Cole, founder and CEO of My Block, My Hood, My City. "You get to see the joy in the eyes of the youth, and this is Chicago, so youth are just showing off their neighborhood."

The free North Lawndale youth-led walking tours are held every Saturday at 9 a.m. through August. Tickets are available online.

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