#Core Masson

[wispmusic]

[awesomecooperlove]

🤡🤡🤡

[louisupdates]

The Habit He Can’t Break 3/4

IQ 123 | Gordon Masson | 9.11.2023

We Made It

Making sure that the Faith in the Future tour delivers Tomlinson to his growing legion of fans, PM Sherwood’s first long association with the artist manager, Vines made him the obvious choice when the artist first began his solo career.

“I remember doing a lot of promo dates around the UK and US before we started touring properly,” says Sherwood of his work with Tomlinson. “In fact, one of the first shows I remember doing with Louis was in Madrid when he played in a stadium, and I could see it was a taste of things to come.”

The partnership between Sherwood and Vines is crucial. 

“In terms of the show growing, our biggest challenge is keeping costs down, because we’re extremely cautious on ticket pricing,” says Vines. “We don’t do dynamic pricing, we don’t do platinum ticketing, we don’t do paid VIPs, we don’t increase ticket prices on aisle seats – all those tricks that everyone does that most fans don’t know about: we don’t do any of those.”

“So, when it comes to the production side of things, we need to be incredibly careful. But I’ve been working with Craig for a decade, and he knows the importance of trying to keep costs as low as possible. For instance, we’ll run the show virtually a number of times, so Louis can watch it with the show designer, Tom Taylor, make comments and tweak things. Then we’ll go into pre-production. But we try to do as much in virtual reality as possible before we take it into the physical world.”

Sherwood states, “Basically we started out with two or three trucks, but now we’re up to nine, and things seem to be getting bigger day by day.”

Thankfully, Sherwood has amassed a vastly experienced crew over the years, allowing them to handle even the most unexpected scenarios. “I’ve been touring since the dawn of time, but the core crew I work with now has been together since about 2010, and I trust them implicitly, so I’ll leave it up to them who they hire, as long as they think I’m going to like them, and they all get along with everyone. So far, it has worked well,” Sherwood reports.

And the veteran crew has dealt with some terrifying weather extremes on the current tour, including a show at Red Rocks in Colorado, where the audience were subjected to a freak, storm with golf ball-sized hail stones injuring dozens of people. 

Elsewhere, the crew has had to act quickly when the threat of high winds in Nashville caused problems on that outdoor run. “We didn’t want the video screens blowing about above the heads of the band, so it must have been amusing for the audience to see us taking them down,” Sherwood reports. 

Indoors in Europe, the environment has been more controllable. The production itself involves an A-stage set 180° across the barricades, although Sherwood says that on occasion, a catwalk is also used by the perimeters. 

“It’s a great lighting show and fantastic for audio, as we have phenomenal front-of-house sound engineer – John Delf, from Edge Studios – who makes life very easy for the rest of us,” says Sherwood. He also namechecks Barrie Pitt (monitor engineer), Oli Crump (audio system designer), Tom Taylor (lighting designer), Sam Kenyon (lighting technical director), and Torin Arnold (stage manager), while he praises Solo-Tech for supplying the sound, and Colour Sound Experiment (CSF) for taking charge of lighting, video, and rigging equipment.

Indeed CSE has 10 personnel out with the Faith in the Future tour. “We have eight screens on the road – six on stage plus two IMAGS that we use wherever appropriate, the company’s Haydn Cruikshank tells IQ.

“We need to tweak the rigging on a daily basis, as we move to different venues, but other than that, it’s a fairly smooth process thanks to Craig Sherwood. He is old school and planned and worked on the production very far in advance, which is a great scenario for all involved. Craig is definitely one of our favorite production managers to work with.”

Garry Lewis at bussing contractors Beat The Street is also a fan of PM Sherwood.

“Craig split the European tour into different runs. So, from Hamburg to Zürich, we had two super high decker 12-berth buses for the tour party and two 16-berth double-deckers for the crew,” says Lewis. “After the show in Athens, we still have the two super high-deckers, as Louis knew them – he prefers to spend time on the bus, rather than in hotels – but we also have two 12-berth super high-deckers for the crew, as well as another crew 16-berth double-decker.”

Lewis continues, “We’ve worked with Craig for a good few years, and we have a great relationship with him. He plans everything way in advance, so it means it’s all very straightforward for us with no issues. So, we use single drivers for each bus, except on the longer runs, or when our drivers are scheduled for prolong breaks, and then we’ll fly an extra drivers as needed.”

1/4, 2/4, 4/4

[paint-by-numbers-adults]

Unleashing the Unconscious: Journey into the Realm of Surrealism Art

Surrealism, an artistic and literary movement born in the early 20th century, continues to captivate audiences with its intriguing blend of reality and imagination. Defined by its embrace of the irrational, the dreamlike, and the subconscious, surrealism challenges conventional notions of art and invites us to explore the depths of our minds. This article delves into the origins, key principles, notable artists, and lasting impact of surrealism as a transformative force in the art world.

Origins of Surrealism: Surrealism emerged as a response to the disillusionment caused by World War I and the societal norms that stifled individual expression. André Breton, a French poet and writer, is often credited as the founder of the movement. In his 1924 Surrealist Manifesto, Breton defined surrealism as a means to unleash the true potential of thought, unhampered by reason, logic, and traditional aesthetic constraints.

Key Principles of Surrealism: At its core, surrealism sought to tap into the unconscious mind, the realm of dreams and desires, to reveal hidden truths and challenge societal norms. The movement aimed to fuse the world of dreams with reality, blurring the boundaries between the conscious and the subconscious. Surrealists believed in the power of chance and spontaneity, embracing automatism, a technique that allowed the artist to create without conscious control, thus tapping into the depths of the imagination.

Notable Surrealist Artists: Surrealism brought forth a constellation of talented artists who pushed the boundaries of artistic expression. Salvador Dalí, with his melting clocks and fantastical landscapes, remains one of the most recognizable figures of the movement. René Magritte's thought-provoking juxtapositions of ordinary objects challenged our perception of reality, while Max Ernst's collages and paintings presented bizarre and dreamlike compositions. Other notable artists include Joan Miró, Leonora Carrington, and André Masson, each contributing their unique perspectives to the surrealist canon.

Impact and Legacy: Surrealism's influence extends far beyond the confines of the art world. The movement's exploration of the unconscious mind and its emphasis on challenging established norms paved the way for subsequent artistic movements, such as abstract expressionism and pop art. Surrealism's rejection of rationality and emphasis on personal freedom and liberation inspired poets, writers, and filmmakers to experiment with unconventional narratives and explore the depths of the human psyche.

Moreover, surrealism's impact on popular culture cannot be underestimated. Its imagery and ideas have seeped into advertising, fashion, and music, permeating our collective consciousness. Films like David Lynch's "Mulholland Drive" and Terry Gilliam's "Brazil" showcase surrealistic elements, highlighting the ongoing relevance and appeal of the movement.

Surrealism remains a powerful force that challenges our perception of reality, inspiring artists and audiences alike to explore the depths of the imagination. By embracing the irrational and tapping into the subconscious, surrealism has opened new pathways for artistic expression and influenced a wide range of creative disciplines. As we continue to navigate the complexities of the human experience, surrealism serves as a reminder to unlock the hidden realms of our minds and celebrate the boundless possibilities of art.

[giancarlonicoli]

17 mag 2023 18:20

“ADESSO È CHIARO A CHE COSA SERVA A RENZI ‘IL RIFORMISTA’: A SPACCIARE FAKE NEWS PRO DOMO SUA” – “LA VERITÀ” INFIOCINA IL QUOTIDIANO DI MATTEONZO, DOVE SI LEGGE CHE I GENITORI DEL DIRETTORE SONO “STATI ASSOLTI”: “IN REALTÀ SONO FINITI AI DOMICILIARI PER UNA TRIPLICE BANCAROTTA E PER QUESTO SONO ANCORA A PROCESSO. AD APRILE LA PUBBLICA ACCUSA HA INCASSATO UN IMPORTANTE QUANTO INASPETTATO PUNTO A FAVORE. LA RELAZIONE TECNICA FIRMATA DAL COMMERCIALISTA BRESCIANO ANTONIO FAGLIA, CHE CONTIENE NUOVE, PESANTI ACCUSE E…” -

Estratto dell'articolo di Giacomo Amadori per “La Verità”

MATTEO RENZI A CINQUE MINUTI CON IL RIFORMISTA

Adesso è chiaro a che cosa serva a Matteo Renzi il Riformista: a spacciare fake news pro domo sua. Lunedì sul quotidiano nella versione online (gestita dall’ex spin doctor della Bestia renziana Alessio De Giorgi), è stato pubblicato un articoletto da cui si intuiva come l’ex premier e i suoi fedelissimi stessero godendo per le altrui inchieste giornalistiche sulla mamma di Giorgia Meloni, Anna Paratore.

Ma, secondo i renziani, i vertici di Fratelli d’Italia non sarebbero autorizzati a invocare il garantismo perché uno dei loro leader, Giovanni Donzelli […] osò dichiarare: «Sono anni che alcuni fatti sono arcinoti, alcuni li abbiamo denunciati in maniera incontrovertibile: mi sorprendo siano emersi solo adesso».

A distanza di anni il Riformista lo fulmina: «Peccato per Donzelli che dopo un lungo calvario giudiziario i genitori sono stati assolti dal processo sulle false fatture». Spiace contraddire i renziani, ma trattasi di fake news: in realtà i genitori sono finiti ai domiciliari per una triplice bancarotta e per questa imputazione sono ancora sotto processo.

Quanto alle false fatture, quelle sono state considerate dai giudici gonfiate e truffaldine, ma non finalizzate ad evadere le tasse, da qui l’assoluzione. Va aggiunto che gli affari della Paratore non hanno mai visto la figlia Giorgia implicata direttamente, mentre Matteo nella ditta dei genitori è stato dirigente sino al 2014 quando, scoperto dai giornalisti, ha dovuto dimettersi: i parenti lo avevano promosso da co.co.co a dirigente poco prima che diventasse presidente della Provincia così da garantirgli la possibilità di mettere da parte ricche marchette pensionistiche.

Ma torniamo al processo per bancarotta contro i genitori. Dovrebbe concludersi entro fine anno e ad aprile la pubblica accusa ha incassato un importante quanto inaspettato punto a favore. Si tratta della relazione tecnica firmata dal commercialista bresciano Antonio Faglia, consulente dell’imputato Pasqualino Furii, alla sbarra per aver accettato di ricoprire l’incarico di presidente in una cooperativa poi fallita, la Delivery service Italia, dal 2010 al 2013.

Il documento contiene nuove, pesanti accuse e scarica le responsabilità dei magheggi contabili sui genitori e sulla coppia che li ha sostituti alla guida di diverse società in crisi, ossia Mariano Massone e Giovanna Gambino. Un sistema svelato in anteprima nel 2016 dal libro I segreti di Renzi del direttore Maurizio Belpietro. Il consulente definisce Furii una «controfigura» che andava mantenuta «intenzionalmente avulsa rispetto alle vicende societarie; priva di qualsiasi partecipazione ai disegni gestionali dei dominus della situazione».

Un semplice «uomo di fatica» che portava al macero i volantini e che venne inserito nel cda della Dsi quando questa era già «decotta». Il professionista cita mail e dichiarazioni testimoniali per dimostrare il «disegno complessivo» alla base della costituzione e successivo prosciugamento delle cooperative (in realtà «imprese commerciali»), Dsi, Europe service e Marmodiv, a cui veniva subappaltato il lavoro di distribuzione dei volantini, core business dei Renzi.

Un disegno «atto ad avvantaggiare esclusivamente» le «società loro sovraordinate». Infatti gli «oneri previdenziali ed erariali» gravavano sulle finte coop che avevano un tempo di vita «estremamente breve», come dimostra la storia della Dsi di cui sarebbe stato «artefatto» persino il primo bilancio: un deficit di 55.000 euro sarebbe stato trasformato in un attivo di 5.000.

Le tre ditte fallite dovevano conservare lo «status di “società sana”» giusto per il tempo «necessario ad assumere dipendenti e ottenere finanziamenti dalle banche». «Poi, una volta prosciugate e condotte a una irreparabile situazione di difficoltà economica, venivano abbandonate e sostituite da una nuova coop già previamente (e a bella posta) costituita e destinata alla medesima fine».

E chi c’era dietro a tutto questo? Il consulente dell’ex «presidente» della Dsi non usa giri di parole: «A tenere le redini di un siffatto disegno erano i coniugi Tiziano Renzi e Laura Bovoli, cui sono sempre state riconducibili le società di cui al piano gerarchico superiore».

In un altro passaggio l’uomo fa riferimento a un piano che «faceva evidentemente capo ai coniugi Renzi e, in particolare, alla signora Laura Bovoli». Il consulente […] parla di «spregiudicati progetti» e sottolinea che tutte le operazioni sarebbero avvenute sotto la loro «attenta e persistente supervisione».

Faglia sostiene che rami di azienda, commesse e dipendenti passavano da una coop all’altra sotto la regia di Rignano sull’Arno. Al piano inferiore c’erano i «loro sodali» che venivano «riutilizzati» come amministratori nelle nuove società, mentre in quelle in crisi subentravano prestanome e persone «inermi e ingenue», «inidonee a valutare con cognizione di causa le conseguenze dei ruoli assegnati», «meri esecutori di volontà altrui».

Addirittura sarebbero stati ingaggiati degli studenti, che da scuola venivano spediti dal notaio direttamente da babbo Renzi. «I veri e unici obiettivi degli “organizzatori” erano: da un lato, avviare una nuova cooperativa, dall’altro “spremere” sino all’ultimo Dsi». «Il loro interesse precipuo» era che coop fossero costituite e gestite «senza troppi problemi», tanto che «molti dei soci fondatori non ricevettero più alcuna notizia di Dsi».

In una mail Giovanna Gambino chiede alla Bovoli: «Sostituiamo tutti e tre (i componenti del cda, ndr.) o solo il presidente?». Come se i membri dei consigli fossero delle figurine.

[…] Mamma Laura nelle mail evidenziate parla di prosciugamento dei conti e di «massimo spremibile» dalla Dsi. Alla Gambino chiede fatture «per abbattere l’Iva» che non riesce a pagare «non avendo più nulla». In un ultimo messaggio attacca il marito che gli aveva promesso di lasciare sempre un «tesoretto x coprire almeno 3/4 rate» di mutuo e al cui posto la donna ha trovato, però, «una mega voragine»: «Mi viene voglia di strozzare qualcuno» conclude con durezza e sincerità.I

[rabchunter]

What a fantastic day I had yesterday at our Somerset Provincial AGM at The Webbington Hotel.

No I am not going to say it, oh hell, yes I am WOW MASSONICALLY there I said it.

Such an inspirational and humbling day spent with great men and Freemasons, The Somerset Provincial Team seriously those boys know how to do ceramony well, lead by our awesome PGM, a truly inspiring man were so lucky to have him as our intrepid leader, his speech spoke to my very core.

I looked around and saw the best part of 400 men/freemasons just happy to be in each others company.

I saw my name in the honours book as I have my provisional post for The MTSFC.

I cannot recommend highly enough the virtues of Freemasonry if you have Charity at your core.

If you would like to know more about becoming a Freemason click on the website link below 👇

www.somersetfreemasons.org

#somersetfreemason #somersetfreemasonry #somersetfreemasons #somersetagm #theolehedgecreeper #freemasonrysomerset #freemasonrysquared #freemasonryinthecommunity #freemasonryuk #freemasonrytoday #freemasonryinthecomunity #ugle #unitedgrandlodgeofengland #pglsomerset

[dimelotv]

CitoOnTheBeat – Dimelo Download the full mixtape @ source

[gingerwritess]

I’m really drunk and your reader Loki drunk fix is like my actual life right now minus I’m alone and drunk lmao

“Your…nose, Lucky.”

Loki’s sigh is royal.

“What about my nose?”

“It’s cute,” you giggle, rolling over and pressing your index finger to the tip of his nose. “It looks evil, though…still wanna kiss it.”

You do—with a very loud, over-exaggerated smooch.

“Can you go to sleep now?” Blanching, he wipes off the tip of his nose. “My nose will still be here in the morning, we’ll see how you feel about it then.”

“M’gonna still love it,” you mumble—and then pull your shirt off.

“Why…”

“I want to be free,” you sigh, stretching your arms over your head. “C’mon, you too.”

“I’m never allowing you to drink my mead again.”

Sure, he’s grumbling, but a few seconds later you’re seeing double—double foggy but impeccably chiselled eight-packs, that is.

“Tha’s mine,” you mumble, and your hand goes bumpbumpbumpbump as it drags over his stomach, a drunk giggle erupting into the dim room. “Where’d you get your abs?”

Loki blinks, pausing his attempts to pull the blankets up to your chin. “Uh…I’d have to say they’re from excessive training.”

“Oh, like exercise, mmm.”

“Sure.” He chuckles when you fling the covers off again and try to roll out of bed, only to be caught and plopped right back on the pillows by your lovely boyfriend. “Can you please go to sleep now?”

“Stay with me, eight-pack.” Your hand latches around his wrist.

“Is that all I am to you? My abs?”

“Duh, you sexy piece of meat,” you giggle sleepily, and you lurch forward suddenly to wrap your arms around his waist, squishing your cheek against his abs. “Comfy, too. C’mon, I wanna use you as a pillow.”

“I’m…offended,” he sighs, climbing into bed beside you, your happy little squeal making his heart somersault. “Being a pillow was never the intended use of a strong core, but here we are…”

He knows you’re going to drool all over him tonight, but the way you snuggle up against his cool skin stops his breath in his throat.

“What’d you train for then, not being my pillow?” You poke him a couple times, grinning when he squirms—ticklish, no matter how hard he tries to deny it. “You’re real good at it, lucky ducky.”

Ignore the name, get you to fall asleep. Simple.

“Ah…wars.” He smoothes a hand over your head. “Training for battles and raids and wars, anything I needed to use to protect myself, the people I love, and my home.”

“So…have y’killed anyone, Lucky?”

A lump catches in his throat.

You innocent little human. Daft, utterly stupid and clueless, getting yourself into a situation like this with a person like him, trusting him to care for you, but still so innocent.

Asking him to stay? Hugging him like this?

Stupid, did he mention?

“You know the answer to that,” he murmurs, thumb brushing over your cheek. “The more you think about it, the less you’ll want me.”

“Okay.”

Your arms around him tighten and you smile into his abs.

“You’re still a good pillow.”

“Thank you.” He smiles down at your squished-up cheek. “Will you please sleep now?”

“Sheesh, fine.”

Dim moonlight fills the room as his thumb brushes over your jaw, a gentle breeze leading the curtains lining the open window in a waltz…he’s stuck praying it helps you fall asleep quicker.

As quick as possible, actually, because he really doesn’t know how much longer he can last before completely losing his mind.

Your breathing steadies after a few minutes, slow, warm, open-mouth breaths fluttering over his skin.

“Goodnight,” he whispers, prying your arms from around his waist. “I’ll check on you in the morning, my love.”

He’s nearly to the door when you sit straight up and screech after him “WAIT, GIMME YOUR EVIL NOSE—”

This. close.

Turning back around with a half-hearted sigh, he trudges back to lean on the edge of the mattress, bowing his head for you to do as you please with his, uh…evil nose.

“Gosh, everything on your face is pretty.” You heave a dreamy sigh, draping your arms around his shoulders. “I’m gonna kiss it all.”

“Mhm. You’re going to be in so much pain tomorrow.”

“Don’t care. Tonight was fun.”

“Just kiss me and go to sleep,” Loki laughs, bumping the tip of his nose into yours.

“Don’t rush me,” you huff with a frown. “Gotta take it all in. ‘Purdy face.”

“Just get it over with.”

Face scrunched into quite possibly the cutest grin Loki has ever seen, you place both your hand gently on his cheeks, gazing up at him as he leans over you.

You squish his cheeks together, giggling like a child when his lips pucker and he frowns.

“I have a reputation I need to maintain, you know.”

He doesn’t move, though.

You jump forward and plant a kiss on his forehead. “Love you here, pretty boy.”

“Again, is all I am to you my looks??”

Your mead-stained lips trail down the bridge and smack against the tip of his nose. “Love ya here, too, mister sexy-pants.”

“I don’t approve of this,” he jokingly scoffs, still not even trying to move away from your reach. “Our love should be so much more than physical—”

One loud smooch lands on his lips.

“Really love you here. Over ‘n over ‘n over.”

Twenty some-odd more little kisses pepper over his lips, touching down neatly on the corner of his mouth and venturing down to make sure his chin gets the love it deserves, too.

“You’re fuckin’ beautiful,” you mumble into his lips, still squishing his face between your hands. “I just can’t believe I get you, like, whenever.”

“Beauty is fleeting,” he whispers, weakly trying to brush away your compliments.

Your drunken gaze turns serious and you pull away to stare at him, eyebrows furrowed. “But you gotta know how beautiful y’really are, Lucky.”

“I’m lucky,” he repeats—if you weren’t drunk, maybe you would’ve caught the sentiment, but for now, you just burst out laughing again before kissing him.

The compliments are new.

“Beautiful, pretty, beautiful angel…” you’re mumbling again, fingers stroking along his cheekbones and over the bridge of his nose. “With ‘n evil nose. Looks anger-y, Lucky.”

“My nose looks angry?” He laughs, bringing up a finger to bop your own.

“Needs a smooch.”

“Ah.”

His eyes flutter closed when you lean forward to “smooch” the tip of his nose…again.

You sit back and decide that no, that beautifully sculpted nose needs at least two more smooches, but when you lean back in to deliver, Loki tilts his head up to catch your kiss with his lips.

“Cheater.” Your lips squish together as you try to speak.

“Trickster,” he corrects, a hand coming up to cradle the back of your head. “That’s enough about my nose. Kiss me properly, darling, please.”

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

hope that helps with the (possible!) hangover ;)

hope you enjoyed, please reblog and feel free to send me ideas!

loki tags: @bluediamond007 @himitoshi @drakesfiance @destiel1597 @dangertoozmanykids101 @archy3001 @jcalpha1 @yzssie @skullvieplu @forthesnakeofdragons @skulliebythesea @wegingerangelica @storiesfrommirkwood @agarwaeneth @adaliamalfoy @laurfangirl424 @paradisaicsam @fitzsimmons-is-forever @ladylokimischief @katelinwrites @tarynkauai @polaristrange @loavesofmeat @canadian-ravenpuff-multishipper @lou-makes-me-strong @holyn0vak @chocolatealmondmillk @swtnrholland @kenzieam @jessiejunebug  @catticas @the-republic-and-face-of-texas @doralupin01 @whitewitchdown @atomiccharmer @falconfeather23435 @babygirlicecream @avengrcs @vethrvolnir2 @bookgirlunicorn @wabisabigrl @myhealingstar @khaleesi-marvel @ei77777 @spacecrumbs @scarlettghost13 @rocks-are-pretty-odd @confessionsofastrugglingteen @easilydistractedwriter @arttasticgreatnessoftheawesome77 @fluffyllamaswearinghats @milktearose @lcyouinhell @h0tshotholland @dontmesswithmemundane @southsidesarcasticwriter @helnik-s @lilith-akemi @fire-in-her-veinz @unlikelysamwinchesteronahunt @mischievousbellerina @kcd15 @mellowgirl01 @lokislilcaribbeanprincess @allthingzhiddleston @scorpionchild81 @lokixme @blue-automne @galaxycharmed @devilbat @kangaroobunny @end-up-well @planetariumx @sarcsep @mrfandomtastic @amaru163 @im-way-too-many-fandoms @caswinchester2000 @kybaeza @wester-than-west @vintagesunshinebitch @adefectivedetective @poetic-nikolai @moonduhsted @kerri-masson @iamverity @innaminitus @spnbarnes @narcissxblack @woohoney @anxiousamandapanda 

[comrade-meow]

“If you’ve recently discovered radical feminism and would like to read more about the core issues - prostitution, surrogacy, pornography, misogyny in all its forms - here are some books we’d like to recommend. And to get you started, simply enter code FREEPOST at the website checkout and we’ll throw in free delivery to all Australian addresses. Use the links below to the books, read more about them, and add them to your cart. We’ve also put together a special bundle of all five books. Buy all five and save.

Let’s start your radfem library with the classic Radically Speaking: Feminism Reclaimed edited by Diane Bell and Renate Klein. Since the 1960s radical feminists have worked to articulate a vision of the world in which all women are safe and are acknowledged as human beings in their own right. Their projects include Take Back the Night campaigns, establishing women’s refuges, rape crisis centres, health centres, organising against pornography and developing courses in Women’s Studies. The richness of the practice and the theory of radical feminism is often misrepresented or unknown. Radically Speaking tells this important story. It’s a good starting point and has been described as an ‘incredibly powerful collection of articles by radical feminists about radical feminism.’

Prostitution Narratives: Stories of Survival in the Sex Trade, edited by Caroline Norma and Melinda Tankard Reist, documents the reality of prostitution revealing the cost to the lives of women and girls. For too long the global sex industry and its vested interests have dominated the prostitution debate repeating the same old line that “sex work” is just like any job. In large sections of the media, academia, public policy, Government and the law, the sex industry has had its way. Little is said of the damage, violation, suffering, and torment of prostitution on the body and the mind, nor of the deaths, suicides and murders that are routine in the sex industry. This important book refutes the lies and debunks the myths spread by the industry through the lived experiences of women who have survived prostitution. These disturbing stories give voice to formerly prostituted women who explain why they entered the sex trade. They bravely and courageously recount their intimate experiences of harm and humiliation at the hands of sex buyers, pimps and traffickers and reveal their escape and emergence as survivors. Prostitution Narratives: Stories of Survival in the Sex Trade will strengthen and support the global campaign to abolish prostitution, provide solidarity and solace to those who bear its scars and hopefully help women and girls exit this dehumanising industry. As one reviewer said “these narratives should serve as a rallying cry for action to end this modern-day slave trade.

”Informed and informative, thoughtful and thought-provoking, Prostitution Narratives: Stories of Survival in the Sex Trade is a compelling and exceptional read from beginning to end…— Midwest Book Review

Misogyny Re-loaded is an explosive manifesto against the resurgent sexual fascism of the new world order. By exposing the casual acceptance of snuff pornography in gore culture through to the framing of rape as slapstick, Abigail Bray links the celebration of sexual sadism to the rise of an authoritarian culture of militarised violence. Arguing that a meaningful collective resistance has been scattered by the mass destruction of genuine social and economic security for ordinary women, Misogyny Re-loaded presents a scathing critique of the political drool of mainstream billionaire-friendly feminism.

According to a New Statesman article by Victoria Smith @glosswitch feminists first started to express concerns about the development of reproductive technologies and the associated commoditisation of pregnancy during the 1980s. Spinifex Press speaks out about the multitude of harms caused by the practice of surrogacy around the world. As Robert Jensen asks in an article on Feminist Current how did we get here - an allegedly civilized world which treats a woman’s body as a commodity. And even polite liberal circles find it not only acceptable but a sign of being progressive, and celebrated — not only among many men but also many women, even among some feminists! 

Start reading more about surrogacy with Broken Bonds: Surrogate Mothers Speak Out. Who are the faceless, nameless women who nurture and give birth to these babies? These women who are left with empty arms and leaking breasts after delivery? Surrogacy-dealing companies call them ‘special angels’ who ‘make miracles possible’, giving ‘an extraordinary gift’. IVF clinics call them ‘gestational surrogates’. The intended parents have promised them healthcare, full reimbursement, and ongoing contact with the baby. What could possibly go wrong? Everything. Because surrogacy violates the human rights of the women whose bodies are used, and the children who are born. Because it is a fundamentally flawed and misogynist concept to imagine that women are interchangeable. And it is wishful thinking that watertight legal contracts and counselling can fix this.

 In Broken Bonds, strong and courageous women from the USA, the UK, Canada, Australia, India, Austria and Russia share their true stories of becoming 'surrogate' mothers out of kindness and compassion (or need for money), only to be deceived, neglected, abused, harassed, or abandoned by ‘baby buyers’, clinics, and lawyers. Their stories are tragic, shocking, and revelatory of a profit-driven industry that preys on desperation and women’s compassion. You won’t look at surrogacy the same way after reading it.

Lastly, your radfem collection requires a book on pornography and we’d recommend Big Porn Inc: Exposing the Harms of the Global Pornography Industry edited by Melinda Tankard Reist and Abigail Bray. With contributions from leading world experts and activists, Big Porn Inc offers a cutting edge exposé of the hidden realities of a multi-billion dollar global industry that promotes itself as a fashionable life-style choice. Unmasking the lies behind the selling of porn as ‘just a bit of fun’ Big Porn Inc reveals the shocking truths of an industry that trades in violence, crime and degradation. This fearless book will change the way you think about pornography forever. Contributors include: (Australia) Maggie Hamilton, Nina Funnell, Christopher Kendall, Susan Hawthorne, Sheila Jeffreys, Caroline Taylor, Meagan Tyler, Robi Sonderegger, Caroline Norma, Renate Klein, Helen Pringle, Betty McLellan, Melinda Tankard Reist, Abigail Bray, Melinda Liszewski. (International) Gail Dines, Catharine A MacKinnon, Melissa Farley, Diana Russell, Robert Jensen, Jeffrey Masson, Chyng Sun, Julia Long, Diane L Rosenfeld, Linda Thompson, Hiroshi Nakasatomi, Anne Mayne, Ruchira Gupta, Asja Armanda, Natalie Nenadic, Anna van Heeswijk, Matt McCormack Evans.

 Look out for a future post to highlight the next lot of books for your radfem collection and important books from Renate Klein, Julie Bindel, Rachel Moran, and many more. And if you’re interested in learning more about the books we publish please sign up to our newsletter and follow us on social media. Links in header above.

Spinifex Press books can be ordered directly from this website, from all good bookshops, online booksellers and ebook etailers. 

And please ask for them at your library.“

[historysurvivalguide]

Bibliography for the sources behind the Wendigo guidebook page. If folks are curious it is a mixture of folklore and psychology papers

💀 ❄️ 🔥

The Algonquin Legends of New England, or, Myths and Folk Lore of the Micmac, Passamaquoddy, and Penobscot Tribes.” The Algonquin Legends of New England, or, Myths and Folk Lore of the Micmac, Passamaquoddy, and Penobscot Tribes, by Charles Godfrey Leland, Houghton, Mifflin and Co., 1884, pp. 240–246.

Bird, Louis, and Tamara Robinson. “Our Voices—Cannibalism (Omushkego Oral History Project).” Omushkego Oral History Project, www.ourvoices.ca/.

Cooper, John M. “The Cree Witiko Psychosis.” Primitive Man, vol. 6, no. 1, 1933, pp. 20–24., doi:10.2307/3316222.

“Culture-Bound Syndromes.” Core Psychiatry E-Book, by Padraig Wright et al., Saunders Ltd., 2012, p. 356.

Guinard, Joseph E. “Witiko among the Tete-De-Boule.” Primitive Man, vol. 3, no. 3/4, 1930, pp. 69–71., doi:10.2307/3316416.

“Les Bourgeois De La Compagnie Du Nord-Ouest: Récits De Voyages, Lettres Et Rapports inédits Relatifs Au Nord-Ouest Canadien.” Les Bourgeois De La Compagnie Du Nord-Ouest: Récits De Voyages, Lettres Et Rapports inédits Relatifs Au Nord-Ouest Canadien, by L. R. Masson, Québec, Impr. Générale A. Coté Et Cie, 1889, pp. 249–250.

James R. Stevens, “ZHAUWUNO-GEEZHIGO-GAUBOW,” in Dictionary of Canadian Biography, vol. 13, University of Toronto/Université Laval, 2003–, accessed October 27, 2019, http://www.biographi.ca/en/bio/zhauwuno_geezhigo_gaubow_13E.html.

Marano, Lou, et al. “Windigo Psychosis: The Anatomy of an Emic-Etic Confusion [and Comments and Reply].” Current Anthropology, vol. 23, no. 4, 1982, pp. 385–412., doi:10.1086/202868.

Rand, Silas, and Helen Webster. “Legends of the Micmacs.” Legends of the Micmacs, New York; London : Longmans, Green, 1884, pp. 196–197.

Rohrl, Vivian J. “The Cure and Feeding of Windigos: A Critique.” American Anthropologist, vol. 74, no. 1-2, 1972, pp. 242–244., doi:10.1525/aa.1972.74.1-2.02a01750.

Rohrl, Vivian J. “A Nutritional Factor in Windigo Psychosis.” American Anthropologist, vol. 72, no. 1, 1970, pp. 97–101., doi:10.1525/aa.1970.72.1.02a00120.

Turner, D. H. “Windigo Mythology and the Analysis of Cree Social Structure.” Anthropologica, vol. 19, no. 1, 1977, pp. 63–73., doi:10.2307/25604977

[architectnews]

Project Berkeley-Oxford, Cesson Sévigné Building

Project Berkeley-Oxford Cesson Sévigné, Rennes Building, French Architecture, Brittany Development Images

Project Berkeley-Oxford, Cesson Sévigné Building, Rennes

14 April 2022

Design: ALTA Architectes – Urbanistes

Location: Cesson Sévigné, Ille-et-Vilaine department, – suburb directly to the east of near Rennes, Brittany, north west France

Project Berkeley-Oxford, Cesson Sévigné Design

Photos © Stephane Chalmeau

Project Berkeley-Oxford, Cesson Sévigné Building News

Cesson Sevigne_berkeley – Oxford _office Complex

Located in the ZAC VIA SILVA of Cesson-Sévigné in the immediate vicinity of the new metro line from Rennes Metropole, The new project consists of four office buildings situated along the new road which restructures the circulation of the area.

The project is divided into four distinct buildings whose choice of location was made with a view to maximising privacy. The buildings are designed with a system of terraced volumes which break-up the south facing facades while offering visual access to the terraces on the uppermost levels. The project is divided into 4 distinct volumes with a central core that unifies the whole. There are three levels of underground parking to meet the required number of spaces (474) for the program.

The office floors are spacious, well lit and modular offering a wide range of organisational possibilities. The circulation spaces are generous and open onto dedicated areas for exchanges and meetings. The positioning of the relaxation areas at the interface between the them and work areas offers pleasant and relaxing views of the landscape and the terraces.

Each building is designed to have its own impact on the site with a volumetric language that seeks a global unity across the ensemble as a whole. With varying heights, volumes and orientations each adapted to their position, the terrain and the natural light. And it is this play of light on the façades which gives the buildings through shadow and reflection an architectural lightness and at the same time a solid presence.

These elements will be amplified by the night lighting which inverts the role of shadow and transparency giving a depth to read relative to the composition of each building. Their façades are organised with an alternate arrangement of solid aluminium panels and window panels creating a subtle kinetic effect. A certain sparkle.

This architecture is the very image of the activity it is designed for, powerful, rigorous and resolutely turned towards the future. The building as a place for work and play opens onto and looks towards the city. Its technical, environmental and social aspects will make the Campus a centre of communication and a tool for sustainable development in the noblest and most ambitious sense.

Project Berkeley-Oxford, Cesson Sévigné, Rennes, France – Building Information

Photographs © Stephane Chalmeau

Project Berkeley-Oxford, Cesson Sévigné Building, Rennes, Brittany images / information received 310521 from a/LTA architectes

Location: Rennes, Brittany, northwestern France, north west Europe

New Buildings in Rennes

Rennes Architectural Designs

Westside Office Building Design: a/LTA architectes photograph © Charly Broyez Westside Office Building, Rennes

Urban Quartz Design: Hamonic+Masson & Associates photos : Takuji Shimmura and Stéphane Chalmeau Urban Quartz Offices in Rennes

The Beauregard Rescue Center, rue Doyen Leroy Architects: Jean-Pierre Lott photos : Stéphane Chalmeau The Beauregard Rescue Center Rennes Building

Metropole’s Crematorium Building Design: PLAN01 architects photos : Stéphane Chalmeau Metropole’s Crematorium in Rennes

Rennes Residential Tower Competition, Blériot-Féval site, Eurorennes development Architects: Team JDSA with local architects Maurer & Gilbert and Paris offices SMAC and Think Tank image courtesy of JDSA architects Rennes Residential Tower Competition

Church of Saint-Jacques de la Lande Architects: Alvaro Siza Vieira photo : Joao Morgado Church of Saint-Jacques de la Lande Rennes building

Cité Internationale Paul Ricœur Design: Hérault Arnod Architectes photography : André Morin Cité Internationale Paul Ricœur in Rennes

Ilot de l’Octroi Housing Design: MVRDV, architects image : l’Autre Image, Paris Ilot de l’Octroi Housing in Rennes

New Buildings in France

French Architectural Projects

French Architecture Design – chronological list

French Architecture News

French Architect Offices – design firm listings

Saint-Nazaire Architecture

French Architecture

Comments / photos for Project Berkeley-Oxford, Cesson Sévigné Building in Rennes design by ALTA Architectes – Urbanistes page welcome

The post Project Berkeley-Oxford, Cesson Sévigné Building appeared first on e-architect.

[rabchunter]

After a shout out a couple of days ago by a dear friend and future Bro, could I help him as he wanted to donate some live Christmas trees to those less fortunate than ourselves, families not able to afford a tree, OAPs, the disabled a nursing home perhaps, I put a post out on social media, for anyone who wanted a tree and could not afford one, this spurred a huge influx of messages, this really showed how people are struggling and desperately using food banks etc 🙏🎅✨🌲🕯️this also showed the spirit of this time of year and people's charity at their core, we had a garden centre offer free trees to those less well off than us too, Massonically this field many a brothers charity, like my dear friend and Mihaita he had a brand new optical fibre Christmas Tree 🌲 and donated that to the cause, last night that was the final delivery of all the trees 🌲 an elderly disabled lady who is on her own, her neighbour contacted us and we delivered it last night, her smile went from ear to ear as the lights went on, she wanted to give us money, but as I explained it was a Christmas gift from us Masonic Brothers to a worthy lady who needed some Christmas spirit, Mihaita and I left with a tear in our eye wishing we could do more god bless her 🙏

Merry Christmas one and all ✨🕯️🌲🙏🎅

www.somersetfreemasons.org

#freemasonryinthecommunity #freemasonrysquared #freemasonryuk #freemasonryinthecomunity #freemssonrytoday #somersetfreemasonry #somersetfreemasons #theolehedgecreeper #masonic #freemasonry #craft #chaper #royalarch #holyroyalarch #christmas #charity #festiveseason #festivecheer

[disamedia]

FNYC: TO FEEL - PROGRAM 1 from Flaherty Seminar on Vimeo.

“TO FEEL, TO FEEL MORE, TO FEEL MORE THAN” PROGRAMMED BY ALIA AYMAN, DEVON NARINE-SINGH, AND SUNEIL SANZGIRI

Friday, April 2, 8pm ET & Saturday, April 3, 4pm ET

Live conversation to follow the screenings featuring our 2020 Programmers-in-residence - Devon Narine-Singh, Suneil Sanzgiri, and Alia Ayman and Guest Filmmakers: (Program 1) Ho Rui An , Kalpana Subramanian, Miranda Javid, Natasha Raheja, Bassem Saad and M. Woods / (Program 2) Erica Sheu, Vashti Harrison, Teona Galgoțiu and Leah Franklin Gilliam.

LIVE Q&A LINK: youtu.be/GlNLHmmb3c8

The future remains uncertain, but the past persists. The abundance, excess, and indulgence of images, and access to information that simultaneously leaves us sick, overwhelmed, and uneasy, also brings us further away from oblivion. Despite the fiction of borders, race, gender, and time that many would have us maintain through both overt violence and covert forms of soft power, our interconnection to each other—the continuum of care that brings us together across generations—is visible through the ways we commit to each other through our screens.

This program, developed as a final output of the Flaherty NYC programming team comprised of Alia Ayman, Devon Narine Singh, and Suneil Sanzgiri, looks at how media ecosystems, digital detritus, and cultural memory are navigated across boundaries, identities, and history. Can remembrance fix a broken world? If not only by an act of saving the memories from being encompassed by that world, but acting as beginnings for other possibilities?From children’s drawings collected by Frantz Fanon during the Algerian war, sci-fi allegories on toxicity, swimming, and e-waste, to a 1908 film effectively envisioning our obsessions with Zoom calls and Snapchat filters, these films question the human, our relationship to the natural world, to time, to technology, and to each other. Our title comes from a passage from Fred Moten’s Black and Blur, which asks if anything still remains of the human, and how we might enact that remainder.

PROGRAM 1 - Friday, April 2

Shell Revolution (2018) 1’, by Ho Rui An (Silent) Core Dump (2018) 15’, by Francois Knoetze WHALES SPF 50 (2017) 7’, by Wickerham & Lomax Tattva (2018) 4’ , by Kalpana Subramanian Long Distance Wireless Photography (1908) 6’, by Georges Méliés Bedford Cheese (2016) 19’, by M. Woods WARNING: This video may potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised. The Wind (2019) 3’, by Miranda Javid Kink Retrograde (2019) 18’, by Bassem Saad A Gregarious Species (2021) 7’, by Natasha Raheja

TRT: 80 mins

PROGRAM 2 - Saturday, April 3

Memory Palace (2015) 2’, by Martine Syms A Short History (2017) 3.5’, by Erica Sheu Field Notes (2014) 18’, by Vashti Harrsion Glimpse of the Garden (1957) 5’, by Marie Menken An Excavation of Us (2017) 11’, by Shirley Bruno Brief Conversation about the D Word (2018) 15’, by Teona Galgoțiu J'ai huit ans (1961) 9’, by Yann Le Masson, Rene Vautier, Olga Baïdar-Poliakoff Now Pretend (1991) 10’, by Leah Gilliam I Don’t Protest, I Just Dance in My Shadow (2017), 5’, by Jessica Ashman

TRT: 78.5 min

Link to Q&A Program 1: youtu.be/GlNLHmmb3c8

[fabioferreiraroc]

Entenda o movimento CoBrA do pós-guerra

Sinopse

O grupo CoBrA foi um coletivo de artistas de curta duração mas altamente influente formado em Paris. Nomeado com base nas três cidades do norte da Europa de que seus fundadores se originaram – Copenhague, Bruxelas e Amsterdã – seus cerca de trinta membros tornaram-se conhecidos por seu estilo de pintura vigorosamente espontâneo e rebelde que foi fortemente inspirado pela arte das crianças e dos doentes mentais.

Com seus métodos intuitivos, marcas soltas, gestuais e cores fortes, os artistas da CoBrA usaram algumas das técnicas do estilo da escola de Nova York na mesma era. No entanto, a arte da CoBrA é mais política e é mais sensível à enorme devastação das cidades e pessoas européias após a Segunda Guerra Mundial. Sua abordagem democrática para a visualização e a criação foi inspirada e expandiu ainda mais o que chamamos de Arte Estrangeira (trabalho feito por artistas inexperientes, especialmente crianças e doentes mentais) como um movimento sério por direito próprio.

Idéias-chave

Como cidadãos de três cidades que anteriormente estavam sob a ocupação nazista, uma das principais forças motrizes do grupo era seu desejo de enfrentar e fornecer um contraponto forte às ideologias ocidentais predominantes que sentiam estar presas em um passado traumático – o que eles chamavam de “um mundo de Decorações e fachadas vazias “. Eles pensavam que os movimentos de arte pós-guerra (especialmente abstração e naturalismo) eram muito estéreis e conservadores e pediam uma abordagem expressiva e livre que se rebelou contra eles.

Ao invés de procurar obras de arte em galerias ou museus para inspiração, os artistas da CoBrA foram fortemente influenciados pelo que eles chamavam de criações “incivilizadas” – incorporadas na arte infantil, obras dos doentes mentais e “primitivismo” (um termo agora desatualizado que se refere a a arte das sociedades antigas na África e na Ásia).

O movimento anterior que o grupo considerava digno de atenção era o surrealismo. Como defensores entusiasmados da espontaneidade no processo de criação de arte, os artistas da CoBrA estavam especialmente interessados ​​em pressionar os limites da ideia surrealista de “automatismo”, uma técnica que exigia que um criador se rende todo o comando sobre a arte fazendo, permitindo que a mente inconsciente controle a mão enquanto trabalhavam.

Em muitos aspectos, a CoBrA pode ser definida pelo que se opõe: o legado em curso da arte clássica no trabalho de seus contemporâneos, abstração geométrica e racionalidade intensa, a abordagem ditatorial dos Realistas Sociais e o que eles viram como a atitude limitante e burguesa da instituição francesa conservadora, a Ecole de Paris.

Os artistas da CoBrA estavam muito interessados ​​em produzir obras de arte colaborativas – incluindo murais, estampas e publicações – como forma de expressar seu desdém pelo individualismo e, por extensão, a noção de artista solo, genial (um dos muitos aspectos da arte tradicional ocidental cânone com o qual se opuseram). Isso, por sua vez, estava ligado às suas fortes crenças marxistas, embora nenhum dos grupos compartilhasse o gosto pela esquerda política para a teorização.

Começo do movimento

Oficialmente formado em um café parisiense em 8 de novembro de 1948 em uma reunião organizada por Asger Jorn, os artistas da CoBrA vieram de três países – Dinamarca, Bélgica e Holanda – isolados um do outro durante anos sob o domínio nazista. O grupo de pintores, escultores e poetas tinha um número invulgarmente grande de membros fundadores, geralmente concordaram em ser: Asger Jorn, Carl-Henning Pedersen, Karel Appel, Cornelius Guillaume Van Beverloo (conhecido como Corneille), Christian Dotrement, Constant Anton Nieuwenhuys (Constante) e Henry Heerup.

Esses jovens haviam sido irremediavelmente afetados pelo trauma da guerra e estavam unidos por um sentimento de fortuna extraordinária para ter sobrevivido a uma experiência que matou tantos contemporâneos junto com o desejo de alcançar um renascimento artístico que eles esperavam que levaria outros para a auto-realização. “Queríamos começar de novo, como uma criança”, disse Karel Appel, da fundação do grupo.

Raízes do CoBra

O artista suíço Paul Klee estava particularmente interessado na arte criada por crianças. Ele se inspirou nos próprios desenhos de infância e filho de seu filho e pensou que essas avenidas abriram um caminho completamente diferente para a criatividade artística longe das antigas tradições de alta arte. Vários artistas na época modernista seguiram métodos similares – por exemplo, Wassily Kandinsky e Pablo PicassoPablo Picasso em sua exploração de arte “primitiva”. Klee, em particular, teve uma grande exposição em Amsterdã em 1948, e vários artistas da CoBrA se referiram especificamente a ele.

artistas do CoBrA

O Manifesto: “La cause était entendue”

Logo após esta reunião inicial, Christian Dotrement escreveu o manifesto do grupo intitulado La Cause Était entendue (The Case Was Decided). Ele estabeleceu a determinação do grupo de rejeitar o que eles viram como as “abstrações estéreis” da arte geométrica que tinha sido tão popular nas duas décadas anteriores – particularmente destacando o trabalho e as idéias de Piet Mondrian para a crítica. De acordo com Dotrement, eles se estabeleceram com o moniker ‘CoBrA’ como “… uma homenagem à paixão geográfica que nos encheu em nossa liberdade restituída, dando à luz o mito animal”.

Les transformes (Jean-Michel Atlan e Christian Dotremont)

O título do manifesto foi, na verdade, uma peça sobre o nome de um documento influente, La Cause Est Entendue (The Case Is Decided), produzido por um grupo separador de surrealistas belgas em 1947. Apontou para o complexo relacionamento do jovem grupo com o Surrealismo – Asger Jorn e Christian Dotrement foram membros-chave deste grupo renegado anteriormente, e eles e outros membros da CoBrA denunciaram explicitamente as idéias surrealistas “tradicionais” de André Breton, mas acabariam por trazer muitos dos métodos do movimento para suportar seu novo artístico risco. O “surrealismo orgânico” de Max Ernst, Joan Miró e André Masson se tornaria altamente influente no estilo de pintura livre e automático que seria praticado por Appel, Jorn, Corneille e Pierre Alechinsky. Por exemplo. Os Objetos Poublelles de Appel também foram influenciados por “objetos de chance” surrealistas, enquanto o conceito de “acidente planejado” do surrealismo obrigaria Jorn a escrever seu livro Luck and Chance em 1952 e se tornou central para muitos métodos de artistas CoBrA.

Participantes

Karel Appel (1921–2006)

Pierre Alechinsky (1927)

Else Alfelt (1910–1974)

Jean-Michel Atlan (1913–1960)

Ejler Bille (1910–2004)

Pol Bury (1922–2005)

Jacques Calonne (born 1930)

Hugo Claus (1929–2008)

Corneille (1922–2010)

Jacques Doucet (1924–1994)

Lotti van der Gaag (1923–1999)

William Gear (1915–1997)

Stephen Gilbert (1910–2007)

Svavar Guðnason (1909–1988)

Henry Heerup (1907–1993)

Edouard Jaguer (1924–2006)

Asger Jorn (1914–1973)

Aart Kemink (1914–2006)

Lucebert (1924–1994)

Ernest Mancoba (1904-2002)

Jørgen Nash (1920–2004)

Jan Nieuwenhuys (1922–1986)

Erik Ortvad (1917–2008)

Pieter Ouborg (1893–1956)

Carl-Henning Pedersen (1913–2007)

Bert Schierbeek (1918-1996)

Max Walter Svanberg (1912–1994)

Uno Vallman (1913–2004)

Serge Vandercam (1924–2005)

Sonja Ferlov Mancoba (1911–1984)

Fonte: Wikipedia, theartstory.org

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