#francon

[sketchonista]

Francon Editions shot at Amsterdam Fashionweek

[aayatunnisa]

lana del rey music really is so dominique francon 

[meli-r]

[literaryromps]

Peter Keating when Mama Keating implies Schlenker is going to get the job with Francon if he goes to Beaux-Arts:

[johnny-dynamo]

Bruce Lee - The Way Of The Dragon by Cristian Francone

[liquidcargo]

please do tell us more about how the rebecca and trent parallels connect to the fountainhead 👀

So, in The Fountainhead by Ayn Rand (Ted's favorite book) the main character Howard Roark struggles with his unbending vision regarding his work. Because of this he doesn't have many close relationships or even a stable living situation for most of the book. He does however form an incredibly strong bond with two individuals that for all intents and purposes should be as against him as the rest of the world seems to be. These two individuals are (Dominque Francon) a blonde woman who has credibility through her written works about his field and her familial connections, and (Gail Wynand) the owner/editor-in-chief to the prestigious newspaper of the time. In fact, these two characters have such an affection for Roark, and he for them, that they put their careers and reputations at risk for him. Even after all the hardships thrown at them, they are still irrevocably linked together, and the book ends with Roark's greatest feat being achieved thanks to their bond and shared trust in his abilities.

The obvious parallel here is Wynand and Trent. Like at the end of season 2 when Trent strikes off on his own from The Independent. Especially after protecting and warning Ted about the inside source that could've ruined his reputation. Wynand does a similar form of press control for Roark, and when that still isn't enough, he shuts down his paper to keep it from doing any more harm. The show and the book do a wonderful job of showcasing how much these two sets of characters respect each other's work and how that mutual respect then turned into a fulfilling personal relationship.

Now in comparing Dominque to Rebecca, they are both strong women who are dealing with inner turmoil about life and their place in the world. The Fountainhead makes a point of Roark and Dominque not getting together till the end. Allowing Dominque, the time to accept herself and her convictions even if they end up getting her hurt, because she finally believes in her ability to survive and find happiness despite the tribulations of life. Rebecca is on a similar journey as she lets herself grow comfortable with who she is and just how capable and strong that person is.

And it's because of their relationships to one another that these characters are able to experience change and growth. So while the book's primary focus is on an individuals potential for greatness while at odds with the collective norm, it still has those personal connections that make life more meaningful by knowing one another. A quality that is Ted's quintessential hallmark towards fostering a successful team. It is also what inspires Rebecca and Trent into forging their own pathes.

[brightbeautifulthings]

Golem by P.D. Alleva

"'You should. Great books are like a blueprint...a survival manual disguised as fiction. As folklore. Because the truth hides in plain sight and those that see have to hide and those that can't see...well, they're just a part of the plan.'"

Year Read: 2023

Rating: 2/5

About: When John Ashton makes detective, his first case is to follow up on a lead to a missing child. The D.A.'s daughter vanished years ago, but a patient at a psychiatric hospital, Alena Francon, claims to have new information on her. She weaves a tale of demonic conspiracy throughout the New York City elite, statues come to life, and sinister rings of pedophilia and human sacrifice, all centered around a mysterious figure she calls Golem. It's so outlandish it can't possibly be real, but when one of her old socialite friends, Annette Flemming, confirms Golem's existence, John is forced to reconsider everything he believes to be true about the world. I received a free e-copy from the author in exchange for an honest review. Trigger warnings: Everything. Character/child death (on-page, graphic), human sacrifice, rape/pedophilia, cannibalism, child abuse, torture, medical horror/lobotomy, graphic gore/body horror, severe illness/injury, violence, guns, gaslighting/manipulation, threats, vomiting, slurs, racism, xenophobia, sexism, questionable treatment of bisexuality, potential cultural appropriation. Graphic NSFW content.

Thoughts: Well, that was depressing. I want to preface this review by saying I had reservations about accepting this book because I typically don’t find Satanism/cults to be that interesting in horror. I like to support small press authors, but I should have gone with my instinct, because I also hate giving low ratings to small press authors, and here we are. I really believe this was a case of it just being the wrong fit for me, and I think the otherwise overwhelmingly positive reviews support that. If this sounds like something you would like, don't let my review put you off.

This book is oddly structured. The description gives the impression that the detective, John Ashton, is going to be the main character in unraveling this supernatural mystery. However, what happens is that John's case is little more than a framing story for Alena's tale, and in my opinion, it's the weakest part of the book. John is barely on the page, and he does little but sit there and tell us that Alena's story can't possibly be real. It's Alena's history that takes up the bulk of the novel, and I'm not sure why it's framed as a flashback when it's roughly the middle fifty percent of the book. Instead of getting invested in it, I kept waiting for it to circle back to John, but that only happens near the end. I think there could have been a better way to structure and pace this, maybe by breaking Alena's history up into smaller pieces uncovered in John's investigation, or by developing his investigation more (it's actually over very quickly, time-wise). I'm not sure, just that it comes off a bit unwieldy as-is.

It's also quite long in general, and if you're familiar with my reviews, you know I feel that books should have a very good reason to be over five hundred pages. It's over-written at times, and I got bogged down in some of the repetitive descriptions. Too many adjectives, too much chanting, too many bodily fluids. The actual story, I think, is pretty interesting when we get to it, and there's a unique twist on hell/outer space that I don't see often. (To be fair, I don't read a lot of science fiction either, but the only authors I can think of that even touch on this concept are Christopher Pike, my beloved, and V. Castro). It definitely ventures into some grotesque topics--pedophilia, human sacrifice, child abuse--that are central to the story, which is something to be aware of if you’re easily triggered.

It wasn't the horror so much that put me off, but this book is badly in need of a sensitivity reader. The biggest red flag is using a Romani woman as a villain and frequent uses of a slur. (For the record, "gypsy" is always a slur, and a sensitivity reader would know that.) I did enjoy the fact that her name is Maleva, which seems like a nod to The Wolf Man (1941), but that movie is eighty years old. Representation has come a long way since then. It also bothered me that, of the two graphic sex scenes in the book, one of them is with a demon and the other is between two women. I don't have any problem with men writing loving, non-exploitative wlw relationships, but in a novel where all the sex is part of some human sacrifice/pedophilia ritual, putting it alongside those felt like saying it was equally deviant-- and, ouch. There are also some comments about women in the narrative from both male and female characters I didn't care for, but I don't know if it's meant to be a reflection of the time period or true feelings. I'm also uncertain about the use of Mayan and Jewish culture (Xibalba and golems, respectively), particularly in making a villain out of golems, which are often portrayed as protectors of Jewish people.

After so long in these characters' perspectives, the ending is abrupt, and there isn’t a lot of closure on a plot level. Throughout the novel, we have the sense that characters are pawns in a game much bigger than they are. The downside is that they have almost no weapons with which to fight against that level of cosmic corruption and conspiracy, and it shows. The truth is there are no heroes in this novel, just victims and abettors. It's quite bleak throughout, and almost everything is left open-ended. There's the impression that this cycle has continued throughout history and will continue on into the future as well, regardless of any one or two humans trying to fight against it or any temporary victories.

[lemandro-vive-qui]

Pérotin [magister Perotinus magnus] (Parigi, 1160 circa – 1230 circa) - compositore francese, appartenente alla celebre Scuola di Notre-Dame a Parigi. Il musicologo inglese, noto solo come “Anonimo IV” (probabilmente uno studente inglese che lavorava presso Notre-Dame a partire dal 1270), menziona i compositori Pérotin e Léonin all’interno di un suo trattato musicale, assegnando quindi un nome ai maggiori esponenti della Scuola di Notre-Dame che sarebbero stati altrimenti anonimi. Pertanto Léonin e Pérotin sono tra i compositori più antichi di cui sia conosciuto il nome. Nonostante essi siano morti solo cinquant'anni prima che Anonimo IV scrivesse il suo trattato, egli li descrive come eminenti teorici e parte della tradizione della musica. Assieme ai lavori di Giovanni di Garlandia e Francone da Colonia, il trattato di Anonimo IV, è la principale fonte per capire la polifonia della Scuola di Notre-Dame. Una delle opere musicali attribuite a Pérotin è il “Viderunt Omnes” a quattro voci. Fu eseguito per la prima volta nella cattedrale di Notre-Dame a Parigi il giorno di Natale del 1198 e questa è la prima data certa di tutta la storia della musica.

Latin

Vīdērunt omnēs fīnēs terræ salūtāre Deī nostrī. Jubilāte Deō, omnis terra. Notum fēcit Dominus salūtāre suum; ante conspectum gentium revelāvit justitiam suam.

English

All the ends of the earth have seen the prosperity of our God. Rejoice in the Lord, all lands. The Lord has made known his prosperity; in the sight of the nations he has revealed his righteousness.

[sketchonista]

Francon Editions at Amsterdam Fashionweek

[ross1fum1]

FRANCONE NAZIONALE

[meli-r]

Dominique, Gail and Howard in The Fountainhead (1949)

[seslimeram]

Sesli Meram #453 - Yersiz Yurtsuz (01.04.2024)

"Biteviye kurumsallaştırılan dille birlikte oluşturulan tehdit mekanizmaları, geleceği her ne şekilde bu ülkenin yönetim katının çalmaya devam olduğunu da örnekler. Sürekli kılınmış olagelen her hamleyle o şiddet pratiklerine bel bağlamak kesintisiz kılınır. Baş efendi tüm o faşizan / dinci / ırkçı yapılarla gizli örtük kurduğu operasyon ağı / memleketin yegane hal ve istikameti belirlenir. Gelsin ondan sonra ana haber nam saray sultasının var ettiği hınç / linç dalgaları. Kesintisiz kılınmış bir hizaya çekmeye silsilesi. Göz dağları arkasına dizilmiş nice tehdit, hakaret ve sokağa yansımış olan kaybedişin, kenara terk edilmiş olan insana reva görülen sancılar, yıkımlar ve benzeri nice küçük kıyamet. Bütünüyle bir halin, memleket sathı mahallinin her nasıl bile isteye dönüştürüldüğü, dahası maçası yetmediği ilk anda insanını tefe koyan / gözden çıkartabilen, kolayca eleyip, ayrıştırabilen bir aklın, fikrin sahibinin elinde bir yön şiddetle buluşturulur. Her seçimin bir son seçim, hemen her seçimin o yönlendirip, yücelttikleri yepyeni ülkeleri adına / için bir ölüm kalım savaşı olduğundan bahisler açıp, kah çalıp çırpıp, kah sahiden de destek / umuttur diye basılan oylarla kalınan iktidar halinin en dehşet dolu yüzeyleri var edilir. Bugünün şiddetin tam anlamıyla pençesine düşmüş / kuşatılmış olagelen menzilin hakikati budur, bu kadardır." sesli meram

podcast image credit: illustration:::martina francone:::collater.al

[lboogie1906]

Sananda Francesco Maitreya (born Terence Trent Howard; March 15, 1962), who started his career with the stage name Terence Trent D’Arby, is a singer and songwriter who came to fame with his debut studio album, Introducing the Hardline According to Terence Trent D’Arby (1987). The album included the singles “If You Let Me Stay”, “Sign Your Name”, “Dance Little Sister”, and “Wishing Well”.

He was born Terence in Manhattan. His mother is Frances Howard, a gospel singer, teacher, and counselor. Frances Howard married Bishop James Benjamin Darby, who became his stepfather and raised him. He took this stepfather’s last name and added the apostrophe.

He trained as a boxer in Orlando and 1980 won the Florida Golden Gloves lightweight championship. He received an offer to attend boxing school in the Army but went to college instead. After enrolling at the University of Central Florida for one year and enlisted in the Army. He was posted at Fort Sill and served in the 3rd Armored Division, near Frankfurt, West Germany. He was court-martialed and dishonorably discharged by the army in April 1983 after going AWOL. He worked as a band leader with the band The Touch, releasing an album called Love on Time (1984). It was re-issued in 1989 as Early Works after his worldwide success as a solo artist. He left West Germany for London, where he played with The Bojangles, who were his backing group on his 1988 tour. He signed a recording contract with CBS Records.

He has a daughter from a previous relationship, London-based musician Seraphina Simone. He had a relationship with television presenter and writer Paula Yates; he was a regular musical guest on her UK TV show The Tube. He married Italian television host and architect Francesca Francone (2003). They have two sons. #africanhistory365 #africanexcellence

[johnny-dynamo]

Silverhawks by  Christian Francone

[mybittersweet]

Mönchshof birra francone tra le mie preferite al Getränkemarkt.

Mai provata 😂😅