#aileen's daily song

[ask-aileen-berwick]

Daily Song

[deertism]

🪦⚰️ :33

🪦 ; a song from my playlist(s)

⚰️ ; a fun fact about the mortician

Poor Aileen — Superheaven

Once, I spent my last O3 dollars on a Dr pepper lip balm — Totally worth it, I use it daily.

[webspun]

1-39 mj

WOULD YOU RATHER KNOW THE DATE OF YOUR DEATH OR THE CAUSE OF YOUR DEATH?

well, considering she’s morbid as fuck… yes. but any way it goes—three days from now or thirty years—she will go absolutely bonkers. bucket list, babes. logically she should already be crossing shit off… but she isn’t. big fat L. 

 IF YOU WERE FORCED TO KILL YOUR MOTHER OR YOUR FATHER, WHICH ONE WOULD YOU CHOOSE? 

her dad. she hates him so fucking much, my dudes. when she pushes him to suicide >>>>>>

WHAT’S THE MOST DISTURBING THOUGHT THAT’S EVER RUN THROUGH YOUR HEAD DURING SEX? 

“kill me, lol”

DO YOU LIKE THE TASTE OF BLOOD? 

she thinks blood is cool as hell. but it’s gross when it’s in your mouth. she’ll keep it there, though. for the aesthetics…

WHICH SERIAL KILLER DO YOU FIND THE MOST FASCINATING?

probably aileen, why lie? #feminism … 

WOULD YOU RATHER BLEED OUT OR BE SET ON FIRE?

while being set on fire sounds dope—it’d hurt, no? like, bad. and blood is cool, as established. she loves a gruesome scene. 

IF YOU WERE TRAPPED ON AN ISLAND, WOULD YOU RATHER RESORT TO CANNIBALISM OR DIE OF STARVATION?

mj thinks she’s way cooler than she is. BUT A LINE MUST BE DRAWN SOMEWHERE… and it’s at cannibalism. 

IF SOMEONE YOU LOVED COMMITTED A GRUESOME MURDER, WOULD YOU HELP THEM COVER IT UP?

yes. she is ride or die, my guy. nobody take advantage of that.

WOULD YOU RATHER SEE THE GHOST OF A STRANGER OR OF SOMEONE THAT YOU LOVE?

stranger, for cheesy. also who would the supposedly loved ghost be? lol… haha…

WHICH HORROR MOVIE MONSTER DO YOU THINK IS THE DEADLIEST?

does freddy krueger count as a horror movie monster? because she thinks he’s pretty neat. like aesthetically. he’s gross, personally.

WOULD YOU RATHER BE EATEN ALIVE BY WOLVES OR EAT ANOTHER HUMAN ALIVE?

both HORRIBLE options… wolves.

HOW OFTEN DO YOU THINK ABOUT DEATH?

all the time. literally. all. the. fucking time. when, how, and why… kidnapping was not a top contender but here we are.

IF YOU WERE A NECROPHILIAC, WHICH CELEBRITY WOULD YOU WANT TO DIG UP? 

sid vicious. let’s not discuss. 

WHAT’S THE MOST DISTURBING SONG SOMEONE COULD PLAY WHILE HAVING SEX?

to her? anything… you put some saucy eighties ballads on and mj is bolting through the door. intimacy is scary. movie-like intimacy is downright petrifying. 

WOULD YOU EVER STAY THE NIGHT IN AN ABANDONED HOUSE THAT EVERYONE CLAIMS IS HAUNTED?

what makes you think she hasn’t already?

WHAT WOULD YOU DO TO DEFEND YOURSELF IF SOMEONE BROKE INTO YOUR HOUSE?

she’s homeless? but say she was still living at home… get a bat, get her dog, and hide in the closet. if rusty isn’t included in the scenario then she’d just jump out the window. #parkour

IF THERE WAS A ZOMBIE APOCALYPSE, WHICH ONE OF YOUR FRIENDS WOULD DIE FIRST?

pippa. next question.

DO YOU THINK DEATH BY DROWNING OR DEATH BY ELECTROCUTION WOULD BE MORE PAINFUL?

drowning, hands down.

IF YOU MET A VAMPIRE, WOULD YOU LET IT BITE YOU FOR ETERNAL LIFE OR WOULD YOU SHOVE A STAKE IN ITS HEART?

immortality sexy. blood sexy. vampires sexy. it’s a hells to the yes, baby.

WOULD YOU RATHER MURDER THREE INNOCENT CHILDREN OR WATCH THREE OF YOUR LOVED ONES DIE IN FRONT OF YOU?

fuck them kids.

IF ALIENS CAME TO EARTH, WOULD YOU WANT US TO WELCOME THEM OR KILL THEM?

mj is definitely an alien fucker (if the alien looks like venom) but i don’t think she’d welcome them as much as hide out until she knows they’re not looking to probe slash maim her. 

IF THERE’S A HELL, DO YOU THINK YOU’RE GOING THERE?

she is catholic. yes.

WHAT’S THE MEANEST THING THAT YOU EVER HOPED HAPPENED TO SOMEONE?

mj wishes for people’s deaths on a daily basis. probably wished for slow ones for m*tch and s*ra though. 

WOULD YOU RATHER EAT A CHUNK OF A HUMAN HEART OR AN ENTIRE HUMAN EYE?

eyes are gucky. heart for sure.

HAVE YOU EVER TRIED TO CONTACT A SPIRIT WITH AN OUIJA BOARD?

do you even know her? there’s no way that this bitch hasn’t rolled up to a cemetery with a ouija board in clutch. #ghostfucker

IF THE OPPORTUNITY PRESENTED ITSELF, WOULD YOU WATCH YOUR CRUSH GET UNDRESSED THROUGH THEIR WINDOW?

ask her again in 2 weeks when her crush is zach and fair is fair…

WOULD YOU RATHER HAVE SEX WITH ELDERLY PEOPLE FOR THE REST OF YOUR LIFE OR NEVER HAVE SEX AGAIN?

isn’t that already what she’s doing? but… naw. she’d never have sex again. the allure of the Older Man is entirely based on her first relationship and the adrenaline she gets from such stupid, idiotic situations. she doesn’t have an old person fetish. 

HAVE YOU EVER MASTURBATED WHILE SOMEONE ELSE WAS IN THE ROOM WITH YOU?

pippa, i’m so sorry… jk! do pets count? jk, again. she kicks rusty out.

HAVE YOU EVER HAD THE URGE TO JUMP IN FRONT OF A CAR?

every fucking day.

IF YOU WITNESSED A MURDER, WOULD YOU GO TO THE COPS OR KEEP YOUR MOUTH SHUT?

ACAB…

WHAT’S THE CREEPIEST THING YOU’VE EVER DONE WHEN YOU HAD A CRUSH ON SOMEONE?

stalk them for an hour or two. don’t worry about it. 

HAVE YOU EVER HAD A DREAM ABOUT DYING?

only the good ones.

HAVE YOU EVER HAD A DREAM ABOUT KILLING SOMEONE?

only the good ones.

IF YOU WERE ASKED TO FILM A NEW HORROR MOVIE, WHAT WOULD THE PLOT BE?

some really basic slasher where the final girl turns into the final boss.

HAVE YOU EVER SEEN A GHOST, A SPACESHIP, OR ANYTHING ELSE YOU COULDN’T RATIONALLY EXPLAIN?

she’s dumb not stupid.

IF YOU KILLED SOMEONE, HOW WOULD YOU GET RID OF THE BODY?

she’s literature smart, not science smart. she’d probably wind up just burying whomsoever in the woods… cover them with leaves. she’s not strong enough to move them to a secondary location, though. it’s a pickle.

IF YOU CAME BACK AS A GHOST, WHOSE LIFE WOULD YOU MAKE A LIVING HELL?

mitch. sera. mitch. sera. smitch.

WOULD YOU RATHER HAVE AN ARM HACKED OFF OR A LEG?

who is she… juli? arm. 

IF YOU COULD ASK THE DEVIL A QUESTION, WHAT WOULD IT BE?

“can you slice and dice my father pretty please”

[micaramel]

Artists: Amalia Ulman, Eric Sidner, Aileen Murphy, Yong Xiang Li, Maryam Hoseini, Judith Hopf

Venue: Deborah Schamoni, Munich

Exhibition Title: Fables Of Resurrection

Date: May 28 – August 8, 2020

Click here to view slideshow



Full gallery of images, press release and link available after the jump.

Images:

Video:



Yong Xiang Li, 金丝小调 (继 唐尼海瑟薇与卡彭特兄妹, Some Hair May Sing (A Song for You), 2019, 09:49

Images courtesy of Deborah Schamoni, Munich

Press Release:

The exhibition Fables of Resurrection manifests a kaleidoscopic snapshot of experiences that oscillate between arrest and an excess of agency. Conveying dreamlike states, the works in this exhibition weave together modes of storytelling to think about different relationships between the individual and social body.

Such a reflection on the interrelation between corporality and temporality may inevitably be read as one about the current “Virus- Time”: the replacement of an illusion of a common, global world with discontinuous and isolated realities; the provocation of “a temporality that’s not only plotless but has no end in sight.”(1)

Fables of Resurrection frames these experiences within economic deferrals that have promoted competition and risk instead of stability, security and compassion, and have intensified social asymmetries. Questions about political subjectivity and social transformation in particular draw on the often-romanticized role of art and the artist: what are the narrative potentials in the face of such overdetermined conditions?

The exhibition showcases new and seminal works by artists of the gallery Judith Hopf, Amalia Ulman, Eric Sidner and Aileen Murphy, as well as works by New York-based painter Maryam Hoseini and the Frankfurt based artist Yong Xiang Li.

Amalia Ulman’s online performance Excellences & Perfections (2014) over the course of five months, continuously documented the evolution of a young woman in the age of social media, her daily self-mirroring and self- optimization. Sourcing found footage from the vast pool of images that the internet has to offer, and carefully reconstructing scenes of her ‚self‘, the artist spawned the story of a vulnerable girl, seeking good fortune in Los Angeles, where she undergoes a breast augmentation, meets a sugar daddy, suffers a drug addiction and after a breakdown eventually finds healing and happiness in avocado toasts and yoga. Ulman demonstrates the fragile threshold between staging and identity, and reality and fiction. She simultaneously questions the digital realm’s potential to drive societal transformation. That, particularly, in the face of its architectures of control and individualism, inciting the constant production and consumption of regulated and quantifiable pleasure.

Yong Xiang Li works in diverse media and tests out the intersections of painting, sculpture and video. Stylistically, Shirt Late(2018) references exotizising and erotizising potencies found in paintings of Fin de siècle interior scenes, foregrounding cultures’ double-edged role to consolidate, and, on the other hand, potentially disrupt oppressive power structures of representation. Within a larger than life sculptural wood frame three young men are depicted lingering, possibly sleeping, surrounded by blank books and pages. Their relation to each other and status is unclear: Are they resting in preparation or have they capitulated? On the other side of the frame, the act and space of viewing and interpretation is thrown back at us through a large mirror. The video work 金丝小调 (继 唐尼海瑟薇与卡彭特兄妹), Some Hair May Sing (A Song for You) (2019) imagines what would happen if the owner of a home is not in charge of the house anymore.

In her sculptures, videos and drawings, Judith Hopf addresses the politics of art making and the impact of visible and invisible architectures, technology and objects, on the human body and movements. Often sourced from everyday as well as modern and postmodern aesthetic vocabulary, her works challenge habituals views, representations and behaviors. The anthropomorphized Laptop Men (2018), which have already been shown in solo exhibitions at Kunstwerke Berlin and SMK – the National Gallery of Denmark, in particular, point to our relationship to com- puters and the tendency to increasingly view them as extensions of our bodies. Sitting, laying on the floor, leaning, the Laptop Men are immersed in their own worlds and thematize the changing way that we interact with each other in private and public space.

Aileen Murphy’s canvases are lurid and brassy with strong sweeping brush strokes that evoke activity and dance, in which bodies merge with each other and their surroundings. Her figures melt into many amorphous shapes, implying both corporeal and spiritual realms. As her paintings bounce between abstraction and figuration, the presence of bodies, and the artist’s own body is omnipresent and transport irrational, sometimes uneasy feelings. Paintings allow for contradictions to coexist in the same place and Murphy’s methodology embraces conflicting sensibilities of disobedience, care and desire.

Maryam Hoseini’s carefully constructed acrylic paintings with detailed pencil drawings create fictional stories that are built on visible and invisible ruins of architectures and histories. Her works ambiguously operate in the realm between representation and abstraction and depict the interrelation between fragmented bodies and spaces, at once flattened out and in motion, as the collapse of the body and the background create unease. Hoseini is interested in the political, social, and personal conditions of the often-fractured construction of self. The headless bodies may manifest both a potential subversion and captivity in dynamics that categorize racial and sexual identities. They are bodies of anxiety, but, as Hoseini describes them, they are also full of strength. Hoseini’s works distinctively play with narrative and temporal openness. Ruins, they seem to suggest, can be built on collectively.

Eric Sidner’s work often grapples with the unconscious relation to popular culture and the way our relationships and identities are affected by passive absorption of visual in- formation. For the Heads series of psyche

Judith Hopf

delic looking outdoor sculptures, the artist worked through a wide range of images of, amongst others, phenomena in nature that trigger trypophobia: an aversion to the sight of irregular patterns or clusters of small holes or bumps. With this sculptural series, inciting both repulsive and attracting effects, Sidner wants to point to way fear of the unknown and perceived threats to the symbolic order can, on individual and socio-political levels, lead to an irrational and often dangerous de- ferral of such phobias.

1 John Kelsey “VIRUS-TIME”, Artforum, MAY/JUNE 2020, VOL. 58, NO. 9

Link: Group Show at Deborah Schamoni

from Contemporary Art Daily https://bit.ly/2YZKDMK

[bcnn4youth]

‘My Mom Prayed for Me My Entire Life, Hoping I’d Come Back to God’: Pop Star Katy Perry Hints She May Have Returned to Faith After Meeting Pope Francis

The risqué smash hit song, "I Kissed A Girl", introduced the world to pop sensation Katy Perry back in 2008.

It also mortified Katy's strict Christian parents, who worried they had lost their daughter to the 'devil's playground' of rock music.

But on Tuesday, Katy told Vogue Australia: 'Now that I'm in my 30s, it's more about spirituality and heart goodness [for me].'

The about-turn appears to have been prompted by Katy's meeting with 81-year-old Pope Francis in April.

Katy, 33, her boyfriend Orlando Bloom, 41, and Katy's mother, Mary, met the Pope after attending a Vatican health conference in Rome.

As reported in The Daily Telegraph on Tuesday, Katy told the August issue of Vogue: 'My mom has prayed for me my entire life, hoping I'd come back to God.'

She added: 'I'm such a big fan of Pope Francis. It's a combination of compassion, humility, sternness and refusal. He is a rebel - a rebel for Jesus.'

Perhaps in another sign she has turned her back on earthly delights, Katy recently slashed $335,000 from the price of her huge Los Angeles compound.

The "Roar" singer originally put the sprawling mansion on the market in September.

Katy will now accept $8.95 million for the Mediterranean-style property, which includes a four-bedroom house, fitness studio and an outdoor pool.

She listed the home 10 months ago, but a lack of offers - and perhaps Katy's rekindled spirituality - has resulted in a reduction on its original $9.285 million asking price.

Despite the marginally lower price, the pop star is still set to make a modest profit from the property she purchased from heiress Aileen Getty, 61, for $8.2million.

Credit Source: Daily Mail - Nick Hadley

[ask-aileen-berwick]

Daily Song

[netmyname-blog]

Daymond Aileen ME

New Post has been published on https://nerret.com/netmyname/daymond-aileen/daymond-aileen-me/

Daymond Aileen ME

Daymond Aileen ME Top Web Results.

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[goodailynews]

INSTAGRAM Ceon Broughton, 28, had also accused the girl of "crushing his heart and soul". Broughton is a grime artist who uses the name CEONRPG. In his song Duracell, he hinted at an explosive *beep* life with his lover who he described as "ever ready" and "didn't care about the glamour or the glitz". .................................................................................................. British soldiers in court for 'neo-Nazi' terror offences Hope Hicks: ♫ https://youtu.be/pBEDbCBmg6M Angela Merkel BOOED by protesters after horrific migrant *beep* attack on jogger Tmobile: ♫ https://youtu.be/58phxdgEoh4 Eight dead in horror shooting rampage as police gun down suspect 9/11: ♫ https://youtu.be/4ggHrgx7KQQ M25 Dartford Crossing CLOSED and trains CANCELLED as Storm Aileen batters Britain Hand in Hand: ♫ Drink-drive PA asked court not to ban her from driving because she is 'too important' Tmobile: ♫ https://youtu.be/O9D4vT8UH-0 .................................................................................................. SUBSCRIBE: https://goo.gl/Gd5aaC FACEBOOK: https://goo.gl/ybp8jQ TWITTER: https://goo.gl/o24hEF ✖ Follow GOO Daily News channel(SUBSCRIBE) to look for that. GOO Daily News - New videos evreyday! MONDAY - SUNDAY. Thanks for watching! Background music video is allowed by FreeBackgroundMusic. Please visit their channel to view more: FreeBackgroundMusic: https://www.youtube.com/channel/UCzdbJ_mnXo5tf-4hVNgJ5Wg Thank you! .................................................................................................. INSTAGRAM Ceon Broughton, 28, had also accused the girl of 'crushing his heart and soul'. Broughton is a grime artist who uses the name CEONRPG. In his song Duracell, he hinted at an explosive *beep* life with his lover who he described as 'ever ready' and 'didn't care about the glamour or the glitz'. INSTAGRAM 'You didn't believe in love until you met me, how could you disrespect me?' Ceon Broughton But he went on to suggest the relationship had hit the rocks, singing: 'You didn't believe in love until you met me, how could you disrespect me? 'Crush my heart and soul now these feelings are dead buried.'' Broughton released the track before heading to Bestival with Louella, the daughter of Holby City star John Michie, 60. John Michie's daughter Louella who died at Bestival Coronation Street star John Michie's daughter Louel

[autistic-space-elf]

"It is impossible to understand this political extremism without first considering the cultural isolation of the Russian intelligentsia. This tiny elite was isolated from official Russia by its politics, and from peasant Russia by its education. Both chasms were unbridgeable. But, perhaps even more importantly, it was cut off from the European cultural world which it sought to emulate. The consequences, as Isaiah Berlin has so elegantly argued, was that ideas imported from the West (as nearly all ideas in Russia were) tended to become frozen into abstract dogmas once the Russian intelligentsia took them up. Whereas in Europe new ideas were forced to compete against other doctrines and attitudes, with the result that people tended towards healthy skepticism about claims to absolute truth, and a climate of pluralism developed, in Russia there was a cultural void. The censor forbade all political expression, so that when ideas were introduced there they easily assumed the status of holy dogma, a panacea for all the world's ills, beyond questioning or indeed the need to test them in real life. One European intellectual fad would spread through St. Petersburg after another - Hegelianism in the 1840s, Darwinism in the 1860s, Marxism in the 1890s - and each was viewed in turn as a final truth. There was much that was endearing in this strangely Russian search for absolutes - such as the passion for big ideas that gave the literature of nineteenth-century Russia its unique character and power - and yet the underside of this idealism was a badgering didacticism, a moral dogmatism and intolerance, which in its own way was just as harmful as the censorship which it opposed. Convinced that their own ideas were the key to the future of the world, that the fate of humanity rested on the outcome of their own doctrinal struggles, the Russian intelligentsia divided up the world into the forces of 'progress' and 'reaction', friends and enemies of the people's cause, leaving no room for doubters in between. Here were the origins of the totalitarian world-view. Although neither would have liked to admit it, there was much in common between Lenin and Tolstoy.

Guilt was the psychological inspiration of the revolutionary. Nearly all of these radical intellectuals were acutely conscious of their wealth and privilege. 'We have come to realise', the radical thinker Nikolai Mikhailovsky wrote, 'that our awareness of the universal truth could only have been reached at the cost of the age-old suffering of the people. We are the people's debtors and this debt weighs down on our conscience.' As the children of noblemen brought up by serf domestics on the estate, many of them felt a special personal sense of guilt, since, as Marc Raeff has pointed out, these 'little masters' had usually been allowed to treat their serf nannies and 'uncles' (whose job it had been to play with them) with cruel contempt. Later in life these conscience-stricken nobles would seek to repay their debt to 'the people' by serving them in the revolution. If only, they thought, they could bring about the people's liberation, then their own original sin - that of being born into privilege - would be redeemed. Nineteenth-century Russian literature was dominated by the theme of repentance for the sin of privilege. Take, for example, Prince Levin in Tolstoy's Anna Karenina, who works alongside the peasants in his fields and dreams of giving them the profits of his farm so as to bring about a 'bloodless revolution': 'in place of poverty there would be wealth and happiness for all; in place of hostility, concord and a bond of common interest.'

The first step towards this reconciliation was to immerse oneself in the people's daily lives. The romantic interest in folk culture which swept through Europe in the nineteenth century was felt nowhere more keenly than among the Russian intelligentsia. A Blok wrote (with just a touch of irony) in 1908:

'the intelligence cram their bookcases with anthologies of Russian folk-songs, epics, legends, incantations, dirges; they investigate Russian mythology, wedding and funeral rites; they grieve for the people; go to the people; are filled with high hopes; fall into despair; they even give up their lives, face execution or starve to death for the people's cause.'

Riddled with the guilt of privilege, the intelligentsia worshipped at the altar of 'the people'. They believed profoundly in their mission of service to the people, just as their noble fathers had believed in their duty of service to the state. And in their world-view the 'good of the people' was the highest interest, to which all other principles, such as law or morals, were subordinate. Here was the root of the revolutionaries' maxim that any means were justified in the interests of the revolution.

For all too many of these high-born revolutionaries, the main attraction of 'the cause' lay not so much in the satisfaction which they might derive from seeing the people's daily lives improved, as in their own romantic search for a sense of 'wholeness' which might give higher meaning to their lives and end their alienation from the world. This was certainly the case with Mikhail Bakunin, the founding father of Russian Anarchism, as Aileen Kelly has so brilliantly shown in her biography of him. It was, as she puts it, his own need 'to identify with a meaningful collective entity' that led this wealthy nobleman to sublimate his own (quite enormous) ego in the abstract notion of the people's cause. The history of the revolutionary movement is to a large extent the prosopography of such noble and bourgeois intellectuals seeking this sense of belonging. They thought they had found it in the clan-like atmosphere of the revolutionary underground.

As for their commitment 'to the people', it was essentially abstract. They loved Man but were not so sure of individual men. M.V. Petrashevsky, the utopian theorist, summed it up when he proclaimed: 'unable to find anything either in men or women worthy of my adherence, I have turned to devote myself to the service of humanity'. In this idealized abstraction of 'the people' there was not a little of that snobbish contempt which aristocrats are inclined to nurture for the habits of the common man. How else can one explain the authoritarian attitude of such revolutionaries as Bakunin, Speshnev, Tkachev, Plekanov and Lenin, if not by their noble origins? It was as if they saw the people as agents of their abstract doctrines rather than as suffering individuals with their own complex needs and ideals. Ironically, the interests of 'the cause' sometimes meant that the people's conditions had to deteriorate even further to bring about the final cataclysm. 'The worse, the better', as Chernyshevsky often said (meaning the worse things became, the better it was for the revolution). He had advocated, for example, the emancipation of the serfs /without/ land in 1861 on the grounds that this would have resulted 'in an immediate catastrophe'.

In this contempt for the living conditions of the common people were the roots of the authoritarianism to which the revolution had such a tragic propensity. Its leaders sought to liberate 'the people' according to their own abstract notions of Truth and Justice. But if the people were unwilling to be led in that direction, or became too chaotic to control, then they would have to be forced to be free." - Orlando Figes, A People's Tragedy, Datalinks

[ask-aileen-berwick]

Weekly Song

[ask-aileen-berwick]

Daily Song

[ask-aileen-berwick]

Daily Song

[ask-aileen-berwick]

Daily Song

[ask-aileen-berwick]

(Ooc: both Aileen and Toria have been sharing a lot of music with us. Do you gather their choices in a Spotify playlist somewhere / plan to make one at some point? Just out of curiosity 😊 And just in case, your anons are off for this blog, I'm not sure if it's intentional or not, sorry if it's a rude thing to point out)

(OOC: Oh no! I didn't realize that. I fixed it. Thank you so much for letting me know! As for a playlist, I haven't made one but I may soon 💜)

[ask-aileen-berwick]

Daily Song

[ask-aileen-berwick]

Daily Song