#pica's excerpts

[oddmawd]

THE GRASP OF GILDED STRINGS - Chapter 14: "The Curfew Bells are Ringing"

SUMMARY: Through violence and bloodshed, Donquixote Doflamingo carved out a world of his own making. Now someone is mending the broken toys of Dressrosa with gold — and they did not ask the king of the island for permission. In a land he rules with an iron fist, this small act of rebellion cannot go unchallenged...but for all his schemes and plans, Doflamingo was unprepared to meet the woman behind the gold. Through dogged determination, Saffron engineered a quiet place for herself in the kingdom of Dressrosa. She is content in her self-imposed isolation, because solitude means safety when you have an ability like hers. Too bad she’s been noticed by the one man who could destroy her hard-won way of life. Mending broken toys seemed an act of mercy. Now Saffron can only hope the king of Dressrosa will show her the same. (Doflamingo/OC. Explicit content. Unhealthy relationship. Doffy corrupts. This is not a redemption story.)

TAGS & CONTENT WARNINGS for Chapter 14

MAIN LINK: Read the full story on AO3

PAIRINGS: Doflamingo/Original Character

RATING:  E(xplicit) (MDNI, 18+)

WORD COUNT: 16k for chapter 14

GENRE: Dark Romance

FANDOM: One Piece

TAGS: Power Imbalance, Power Dynamics, Original Character(s), Character Driven Plot, Romance, Doflamingo is a horrible person and he will not be redeemed, Corruption, falling in love with a villain, Emotional Manipulation, Post-Traumatic Stress Disorder - PTSD, Possessive Behavior, Possessive Sex, Kintsugi Devil Fruit, Harems, Murder, Stalking, Spying

WARNINGS: Rated E for adult content & canon-typical violence

EXCERPT from CHAPTER 14:

After his return to the shores of Dressrosa, Doflamingo watched Saffron approach the palace gates every morning from the lofty height of the throne room. Every day he sent Baby 5 to ensure Saffron made it safely up Pica’s stone elevator...not that he had left the goldsmith much choice in the matter. Doflamingo had already sent workers to her horrible barn to collect Saffron’s spinning wheel and other materials the day after he declared she would be permanently moving her work to the palace. She had protested, of course, but those protests had died after he reminded her of the truth they established the day prior when they reunited in her horrible barn.

“My world,” he’d told her.

“Your world,” she’d conceded with eyes averted.

And that was the end of that discussion, despite the adorable pout Saffron sported as she surveyed the workers collecting her spinning wheel. Her expression did little to sway him. He’d just laughed at her, patting her head when they carted the items away, delighted when she swatted at his hand like a kitten pawing a wolf.

Her mood improved when she saw her new workspace, of course. The pill became a little easier to swallow, he imagined, when you chased it with a spoonful of luxury. Spacious and bright, the converted suite with its high windows overlooking Dressrosa was fit for any visiting monarch, and it had housed more than one such figure over the years of Doflamingo’s reign. Now, though, it housed everything a workman like Saffron could ask for, and then some. A private courtyard, multiple chambers for storage or workshops, even a private bath…and the neighboring rooms were rarely occupied, bordering a shared courtyard with a trickling fountain very few ever bothered to approach. A quiet and serene place. It was rather removed from the rest of the palace, naturally, kept in an outer wing, isolated and quiet. Doflamingo had chosen it for Saffron personally. 

The distance from the main corridors of the palace was intention. He didn’t want to be bothered by her noisy work when he wasn’t in the mood for it, you see. Here, she was just distant enough for his comfort, yet still close enough for his convenience. 

But to Saffron, to whom he explained none of this, it was simply more of the luxury she’d likely come to expect from the palace. Her eyes widened at the lovely windows and the ornate marble floor, tracing her gloved fingertips across the large drafting tables arranged for her to work upon, mouth dropping open when she spotted the best tools money could buy sitting in the corner. She couldn’t hide her reaction, her delight, the gasp of pleasure that dropped from her lush lips.

But then, in spite of the lavish accommodations Doflamingo had so generously granted Saffron, her face fell. She looked at him askance, eyes flickering first at him, then at the door.

“The pool.” She swallowed. “It’s nearby, isn’t it.”

“Of course,” said Doflamingo.

Saffron nodded, teeth scraping her lower lip. She did not appear quite as happy as before, even when she looked at the rack of tools that had brought her so much joy only moments prior. But what could the problem possibly be? She needed pool access to complete her job. This was a logical place for her new workshop. Yes, it didn’t have direct access to the pool — this remote wing of the palace bordered the harem wing, and she was at the far end of it — but even so…

Ah. Was that it?

“Oh?” He leaned down toward her with a taunting grin, back hunching to put them at eye level. “Is this not to your liking? Do you want something fancier, perhaps?”

“It’s not that,” Saffron said at once. “It’s…”

But she stopped short. Her eyes darted toward the door — and then to the massive, Doflamingo-sized armchair by the fireplace, which he’d placed there himself. And there it was, the truth of the matter writ plain as day across her lovely face. She was still wary of the harem girls and their assumptions, as predicted. Even though she was not directly underfoot of those primped and polished women, she still worried they’d come wandering and find her, did she? The chances of that were slim, as those women had the collective curiosity of a bread basket, but…

Doflamingo rather hoped they might come knocking. Saving Saffron from their perfumed wrath would go a long way toward earning her favor, and if she wouldn’t admit that they had been bothering her, he’d happily tempt fate a little. And if those girls were somehow encouraged to come find Saffron…well, such a thing would certainly force her hand, so to speak, and push her into coming to him for aid. Truth be told, he’d already thought of all of that when choosing her new accommodations. This new workspace was as much a gift as it was a pretty trap inlaid with marble tile.

But his dear Saffron didn’t know it. She looked around and forced a smile, unaware that she stood upon the threshold of carefully choreographed disaster.

“It’s…bigger than I’m used to,” was all she said, meeting his expectant stare with a polite smile. “And the light is good. It’s perfect, your majesty.”

Truths to shroud a lie unspoken. Silly thing, still avoiding his helping hand. Doflamingo left her to her work, laughing to himself as he stalked away.

Doflamingo continued to keep an eye on her after she took up residence in her new quarters. He watched her every morning from the throne room as she and Baby 5 walked together to the King’s Plateau, his keen eyes missing nothing even from such a high vantage point. Likewise he kept tabs on her work on the pool. Easy enough to do without attracting notice. His personal chambers overlooked the pretty courtyard and its heaven-on-earth array of delights. When she was there, he took meetings from his bedchamber, talking via Den Den Mushi from the shadows as his obscured gaze traced her every move. He wondered if Saffron could feel his eyes on her. 

He half suspected she might. Once, midway through a conversation with Pica, she stopped her work and stood. Slowly she pivoted in place, sunlight catching on her hair — and, for the briefest of flashing moments, a spark of gold at her throat. Her metallic eyes tipped upward and traced the windows overlooking the courtyard. Searching. A frown pulled at her mouth as those arresting eyes alit upon his bedroom window…

He held as still as the shadows wreathing him.

Saffron shook her head and looked away, seemingly convinced the unnerving feeling in her gut was little more than imagination. Pica bent his massive body low to say something in her ear, but she just shook her head once more and pointed at their unfinished project.

Speaking of Pica: Doflamingo had been told Saffron and Pica made a good team, but to see her in action with the high-ranking officer was another thing entirely. The pair appeared to work in harmony indeed. He witnessed them together over the course of many days, watching from afar as Saffron directed the enormous man about his tasks before going indoors to examine plans and place orders. To Doflamingo’s immense satisfaction, she spoke to Pica with confidence, asking him to move stone aside so she could see what lay beneath, or divert waterways running underground to better fit her plans. Confidence — he wasn’t used to seeing that on his timid little doll, but he had to admit the look suited her.

The curve of her smile when she laughed suited her, too. He saw her laugh from his lofty perch when Pica said something that made her throw back her head, grinning and giggling in the sunshine. Gold winked at her throat, copper in her hair, silver in her eyes — and for a moment Doffy bristled, thinking she might be laughing at Pica. But the giant man joined her laughter with a shrill shriek of his own, audible even from afar, and Doflamingo relaxed. 

Tension returned to him quickly, though he hid it when he summoned Pica to the throne room, adopting an easy affectation as he lounged with a leg hooked over the arm of his throne. Pica drop to one knee and bowed his head while Doflamingo looked him over with a nonchalant chuckle.

He was anything but nonchalant behind his massive, leering smile though. He watched Pica’s every move through unblinking eyes when he asked, “Miss Isabella — what do you talk about with her?”

Pica lifted his head, golden helmet with its many spikes winking in the sunlight streaming through the room’s tall windows. “The project, your highness.”

“And?”

“And stone. And Dressrosa.” Each syllable squeaked from his lips like air leaving a thin-necked balloon. “And the weather, I guess.”

“Nothing else?”

“Ah — and you, a few times.” Pica admitted this as an afterthought. “She’s asked about you once or twice.”

“I see.” Doflamingo’s smile wasn’t entirely performative anymore. “And what did she want to know?”

“If you treated your family well.”

“And what did you say?”

“That your family would die for you, of course, and that you protect us in kind,” said Pica. “And she seemed satisfied with that.”

“Good.” Doflamingo’s shoulders drained of tension, and he settled back against his throne. “What do you make of her?”

“Skilled,” Pica said at once. Then, more slowly: “And kind. Won’t last a week in this court without protection. I can see why Monet wants her escorted everywhere.”

The king chuckled. “Don’t think she can handle herself, huh?”

“Hard to say.” Pica shrugged. “Sometimes it’s the quiet ones who snap the loudest.”

This was true. Doflamingo though about that for quite some time, watching Saffron from his high perch. He still wasn’t sure what, precisely, had made Saffron laugh, but in the end he supposed he approved of her relationship with Pica. It seemed innocent enough. A bond between people who appreciated stone, and nothing more.

…he hated to admit that it nagged at him, though — that she’d laughed so easily for Pica, but not for him.

He hated to admit that he thought about it for days.

[Continued on AO3]

CLICK HERE TO READ THE REST OF CHAPTER 14 on AO3!

[cannibalismyuri]

def the writer mutual and wholesome willel/elmax supporter mutual!! A lot of the elmax art ending on my dash comes directly from your rbs and itʻs always a nice highlight to my tumblr experience! ALSO the mutual with excellent font taste for your fic excerpts?? I donʻt know much about typefaces but the one you pick is always so good to read AND to stare at!!

WRITER MUTUAL ?@@?!!?;:;@?? ok. normal abt that . and ohmygod so True. elmax are my loves 🫶 the girlies 🫶 and like thats so. light of ur tumblr experience??? im jumping off a cliff ok thanks thats the sweetest thing Ever . 😭😭💓💓

OHMYGOD YES !!!! um ok so thats actually the font that taylor used for the writing on the folklore album cover? and it makes my writers block disappear ! and it also looks heavenly so. thank u so much for the praise 💖💖 the font is called IM Fell Dw Pica on Google Docs and i use size 13 if u wanted to know <33

[picascribit]

The next thing I’m working on is a rewrite of a fic I originally write 10 years ago, called The Education of Madeleine Yaxley. It’s a story I know can be much better than it is, and there are some more themes I want to explore with it. The characters are mainly OCs, but the Lestranges will feature prominently. I don’t expect it to be a runaway hit, but I’m looking forward to writing it all the same. Once I get going on it, I’ll take down the old version and replace it with the new.

I wrote an opener for it a while back that I am still pretty happy with. Call it a teaser. If you like what you see here, go subscribe to the old version, and you’ll get updates on the new one.

Madeleine Yaxley was reading. She was not generally much of a reader, but this book was different. Three more like it were stacked on her nightstand, jewel-bright covers glowing in the afternoon sunlight.

"Just try them," her cousin Ravenna had urged, pushing them into her hands. "They're brilliant."

They were. Maddy had already devoured two of them in a matter of days, and was deeply engrossed in a third.

"No!" cried Estelle, colour flushing her delicate cheeks. She pointed her wand at Maximo with a trembling hand. "I will never marry you! You murdered my father!"

Maximo tore his gaze away from her heaving bosom to fix on her crystalline eyes, bright with fury. Merlin, but she was attractive when she was angry!

"I did not kill your father," he said, voice deep and rough. "He was already dead when I arrived. I would have saved him if I could. All I can do now is protect his only daughter. You must wed me, and the marriage must be consummated by midnight tomorrow, or I will have no choice but to hand you over to your father's enemies."

Estelle eyed the tall, broad-shouldered wizard contemptuously. It did not matter how handsome and well-built he was, or that his eyes were the colour of the sea before a storm. She could never wed such a rogue, or yield her maidenhead to him, not even to break her family's curse....

Maddy sighed with rapture and rolled onto her back, squirming into a more comfortable position on the worn velvet coverlet, already anticipating what would happen next. Estelle might resist for another fifty pages or so, but ultimately, she would succumb to Maximo's charms, and realise that they were meant for one another. And then they would go to bed together. That was the sort of story Freya Lovelace wrote, and the sort of story that kept Maddy turning pages.

At fifteen years of age, Maddy identified passionately with the virginal young heroines of Lovelace's novels. Like them, she saw herself as strong-willed, but ultimately good and deserving. Perhaps if she were as beautiful as they, she, too, might one day be swept off her feet by a tall, handsome rogue with a troubled past, finally tamed by the love of a good woman.

A light knock sounded on Maddy's bedroom door, and her mother entered. Maddy sat up, closing The Maiden's Curse on her finger to hold her place.

"I hardly knew you were home, you've been so quiet." Cartimandua Venuti Yaxley smiled, sitting down on the bed beside her daughter. She picked up one of the colourful novels from the nightstand, and examined it, brow creasing. "Where did you get these?"

"I borrowed them from Ravenna," said Maddy eagerly. "They're so good and --"

Her mother pursed her lips. "These kinds of books aren't appropriate for well-bred young witches."

"But Ravenna reads them," Maddy objected. "And Auntie Boudica too. I think they're hers."

"Ravenna is older than you, Maddy," said Cartimandua gently, "and my sister's family takes a different view of such things than we do in this house, as you well know."

Maddy pouted, hugging the book she held to her chest. "They're just stories, Mum. And they're good. I like them."

Her mother set the book back down on the nightstand with a sigh.

"I know you do, Sweetheart. We all like things that aren't good for us sometimes. When you're older, you can decide for yourself whether or not you want to read these kinds of books. But for now, I would prefer that you don't. You're still very young, with a lot to learn about life. These books will fill your head with ideas and expectations that will only cause confusion and unhappiness, because the real world isn't like that."

"I know it's not real," sulked Maddy, though she did not truly believe it.

People fell in love and lived happily ever after all the time. Perhaps not her mother, but that did not mean it was all just wishful thinking.

"It's natural for a girl of your age to be curious about sex," her mother continued kindly. "But it's not healthy to dwell on those thoughts and feelings. Thinking too much about it can lead to temptation. Someday, you'll have a husband who will teach you everything you need to know." Cartimandua smiled and winked at her daughter. "Until then, be patient, Sweetheart."

Maddy blushed. She already knew all about sex. When she was small, she had thought babies were made by magic, until she realised that Muggles had them, too. Her mother had gently explained the truth: how a man put his "wand" into a woman's sacred place, to make a baby together. That it was part of a woman's duty to her husband. How good pure-blood girls like her must keep themselves pure before marriage, if they wanted to win the love and respect of a good pure-blood man.

"I'm going to put these away," said Cartimandua, gathering up the books. "We'll return them to Ravenna next time we see her."

"Yes, Mum." Maddy swallowed her disappointment.

She knew that Estelle and Maximo were destined to fall in love and live happily ever after, but she still wanted to read about how it happened. Maddy wondered how scandalised her mother would be if she knew that the dark secret of Maximo's past was that his grandmother had been Muggleborn. Fictional characters going to bed together was one thing; pure-blood girls going to bed with half-blood men was something else entirely.

[accessibleaesthetics]

Just wanted to mention quickly jellyfish in Spanish isn’t actually “agua mala” and that’s misinformation! Do with that what you will.

I did see some notes along the lines of "um, we say 'medusa' not 'aguamala'," but I found it very strange that Google Translate would get a simple thing like this that wrong for a language as ubiquitous as Spanish (its accuracy decreases the more words you use in a single translation and the more obscure the language is). Sure enough...

[Image Description: Screenshot of a google search for "es medusa "aguamala"?" The first result is a post from milenio.com titled "Agua mala. Qué es y qué hacer si te pica una medusa." The excerpt reads "El agua mala es sinónimo de medusa. Su cuerpo es blando y trasparente, como la gelatina. Viajan a la deriva en la superficie de las corrientes marina."]

Also of note, that same web page has the sentence "La banderra azul significa que en la zona de playa hay aguas malas." And I sincerely doubt they're trying to tell people "the blue flag means that there are bad waters in the beach area."

I very much appreciate your commitment to fact-checking, but please remember that there can be more than one word for the same thing, especially with a language as widespread as Spanish.

[btssavedmylifeblr]

Oh god! This is going to be kind of long, but I explained some things to make more sense. Please, mind that this is a 2016/2017 story and it’s all written in Fridge!Jin POV.

These are just some scattered sentences and phrases. So please support the original work if you enjoyed reading these excerpts. If you’d like to read the original work, you can find it at Spiritfanfiction @theJokergirl.

“Jungkook is a tea addict......... besides, the boy – acording to my contacts – keeps flirting with male tea pots, he calls himself teapotsexual. I’m parying to God Namjoon’s is fridgesexual”

“I think my drawers are gonna get hard”

“Mr. Kim walked to the flower vase and threw water there, watering the little plants. ‘Dirty water, dirty!’ The flower said, grimacing. ........... ‘I’m Hoseok and these little Flowers are Hoseok Junior.’”

“’You’re handsome, Hoseok.’ Said Jimin (butterfly) smiling again, making Hoseok blush. Cute. I want them to have kids”

“’I’m Jimin!’ He said........ ‘... a witch turned me into half human. She said I should make chocolate for my stepmother...’

At this particular sentence, there’s a reference to a kids song we use to sing a lot. The song goes:

Little butterfly is in the kitchen (Borboletinha tá na cozinha)

Making chocolate for the stepmother (fazendo chocolate para a madrinha)

Poti-poti (Poti-Poti)

Wooden leg (perna de pau)

Glass eye (olho de vidro)

And woodpecker’s nose (e nariz de pica-pau pau pau)

“’I’m gonna set you two on fire if you dare to wake me up’, Yoongi said. I’m on Yoongi’s side, I hate When I’m resting and someone opens me. #TeamInfires”

The Chapter “Casa da Mãe Joonie” is a pun. In Portuguese is “Casa da Mãe Joana” (Mother Joana’s house), where everything is valid, there’s no order, there’s a mess.

“Taehyung always comes back wet after Jungkook and him escape, and that bothers me.”

“Yoongi and Jimin keep Fighting, but then I hear weid noises coming from the bedroom”

Jungkook was bored waiting for the subway, so “he asked ‘photos’ (nudes) of Taehyung (tea pot) being washed to Jimin, by message”

“....... Namjoon, with a not so friednly expression, got up and broke a water glass (thanks to Sehuna was empty).”

Yes, Sehuna refers to EXO’s Sehun. It was a very known meme between Brazilians. We’d use “Minha nossa Sehuna” instead of OMG.

“Meu G-Deus que estás no Big Bang.... (My G-God that is in Big Bang).”

Another pun! It’d be “Pai Nosso que estais no Céu” (The Lord’s Prayer)

“Speaking of that, I wanna be a human so I can eat Namjoon’s banana”

“’I think I’m Taehyungssexual as well’, stated Jungkook....” (I mean, who isn’t?)

Oh my goodness this is amazing!! There is even more going on than I realized! 😂

So from what I can gather for these snippets:

Taehyung is a teapot that Jungkook is attracted to sexually?

Hoseok is a flower who maybe has something going on with Jimin who is a bee?

And Jin is a fridge that wants to eat Namjoon’s banana! 😂😂😂

My brains keeps fixating on the phrase “male tea pots” like... what makes a teapot male vs female? There’s a whole fascinating question in and of itself. 😂

Thank you so much for sharing that with us!! 💜 I will second your suggestion that everyone should go read the original if they read Portuguese.

[rjzimmerman]

Excerpt from this story from the Washington Post:

This month the Democratic presumptive presidential nominee, Joe Biden, outlined an ambitious plan for tackling climate change that shows how far the party has shifted on the issue since it controlled the White House.

President Barack Obama’s Clean Power Plan had called for the electricity sector to cut its carbon pollution 32 percent by 2030, and did not lay out a trajectory for phasing out oil, coal or natural gas production.

Last year, 38 percent of U.S. electricity generated came from clean sources, according to a Washington Post analysis of data from the U.S. Energy Information Administration.

Biden’s new plan, which carries a price tag of $2 trillion, would eliminate carbon emissions from the electric sector by 2035, impose stricter gas mileage standards, fund investments to weatherize millions of homes and commercial buildings, and upgrade the nation’s transportation system. To reach its 2035 carbon-free electricity goal, the campaign includes wind, solar and several forms of energy that are not always counted in state renewable portfolio standards, such as nuclear, hydropower and biomass.

“A great appeal of the Biden proposal is that it is much closer to targeting carbon directly, which is the ultimate enemy, and plays fewer favorites with particular technologies,” said Michael Greenstone, who directs the University of Chicago’s Energy Policy Institute. “This will reduce the costs to consumers and give more carbon bang for the buck.”

But some environmentalists, such as Friends of the Earth President Erich Pica, question the idea of including more controversial carbon-free technologies. “There is no role for nuclear in a least-cost, low carbon world. Including these dinosaurs in a clean energy standard is going to incentivize industry efforts to keep aging, dangerous facilities online,” Pica said in an email.

[pommedeplume]

9, 10, 19, 27, and 47 for the fanfic ask wuestions

9. What are the best things about your current fandom?

I tend to think broadly most fandoms are the same but I think one of the great things about the HP fandom is just how broad it is. Depending on what corner you are in the fandom probably seems a bit different.

10.  Is there a fandom you read fic from but don’t write in?

God. I don’t really read much fic at all. Ironically aside from @picascribit (who is a real life friend so gets special privilege) I just don’t read much fanfic and when I do (again, aside from Pica) it’s almost never Harry Potter. It’ll use be... I watch something and wonder if there’s fic for it and peruse the fic. Or just random curiosity. Someday I’d like to take more time to read some HP fic just for some perspective but mostly I like keeping my mind clear of other people’s ideas and characterizations.

19. Is there a ship which you wished you could get behind, but you just don’t feel them?

It would be really convenient if I was into Drarry. There’s lots of other ships like... Fleur/Tonks that’s like... nothing objectionable at all but they are two characters with barely any relationship at all in canon and I just can’t muster up feels for that. I need something to go off of. I can’t just... point at two interesting characters and say “yes they are together and I have feels.”

27. What do you hate more: Coming up with titles or writing summaries?

Summaries tend to be harder. I usually just wait for the title to come to me. Summaries need to be come up with on the spot. I’ve increasingly been resorting to excerpts. 

47. Archive Of Our Own, Fanfiction.net or Tumblr - where do you prefer to post and why?

Hahaha. FFN is a garbage site. There’s nothing about posting directly to Tumblr that appeals to me. AO3 is where it’s at. It’s better at everything I want it do than literally everywhere else.

[douglasacogan]

Making the case for education as the means "to radically change the lives of the incarcerated"

Sean Pica has this new commentary headlined "The First Step is just the beginning. Here’s how to radically change the lives of the incarcerated." Here are excerpts:

"95 percent of all state prisoners will be released at some point in their lives. This includes most of the estimated 1,800 inmates incarcerated in Sing Sing Correctional Facility — a maximum-security prison located just 30 miles from New York City — and the place where I spent nearly 16 years of my life.

As more and more prisoners are being freed, some are skeptical that the incarcerated and those with criminal records are worthy of a second chance. They ask: is rehabilitation possible?  As a former inmate, I’m living proof that it is possible to reintegrate back into society and lead a productive life.  But to do that, the formerly incarcerated and those with a criminal record need a helping hand.

For me, it was being the beneficiary of bold thinking from the New York State Department of Corrections.  Thanks to their efforts, I was able to earn a college degree inside of Sing Sing through Hudson Link for Higher Education in Prison. The nonprofit, which I now lead, provides a college education and reentry support services to incarcerated men and women in five New York correctional facilities.

Recently, I helped organize Hudson Link’s biggest graduation ceremony to date, 48 graduates in total — most of them minorities — with more than 400 family members, friends, and well-wishers cheering them on....  In its 21-year history, Hudson Link has helped more than 700 men and women earn a college diploma, saving New York state taxpayers over $21 million per year.  The program boasts a recidivism rate of less than 2 percent.

Thanks to partners like the nonprofit Stand Together Foundation and inspiring correctional leaders like Sing Sing Superintendent Michael Capra, Hudson Link is helping put an end to the vicious cycle of recidivism and inter-generational incarceration by breaking down barriers that prevent people from realizing their full potential.

Let’s move away from the tired mentality of seeing prisoners as a punchline and a liability to manage, but instead as men and women with the potential to accomplish great things.

from RSSMix.com Mix ID 8247011 https://sentencing.typepad.com/sentencing_law_and_policy/2019/08/making-the-case-for-education-as-the-means-to-radically-change-the-lives-of-the-incarcerated.html via http://www.rssmix.com/

[ascwan]

Quote sharing

– Barney, quando o cara não tem onde cair morto, e tá encurralado, faminto e cansado, ele é capaz de chupar pica, mamica, e até de comer bosta pra poder continuar vivo; ou se conforma ou se suicida. a raça humana não tá com nada, rapaz. não é flor que se cheire. - Excerpt from Crônica de um Amor Louco. Charles Bukowski. 2017. www.bookviser.com. This material may be protected by copyright.

[micaramel]

Artists: Aimar Arriola, Nicole Bachmann, Omer Fast, Pedro G. Romero, Paul Maheke, Amalia Pica

Venue: Tenderpixel, London

Exhibition Title: A Gesture Towards Transformation

Note: Aimar Arriola’s Keratin Manifesto associated with the exhibition is available for download here.

Date: October 4 – November 25, 2017

Click here to view slideshow

Pedro G. Romero, excerpt of La Casa, 2005, video

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

Images:

Video:

Omer Fast, excerpt of CNN Concatenated, 2002, video

  Images and videos courtesy of Tenderpixel, London. Photos by Orestis Lambrou.

Press Release:

As verbal communication is becoming less and less trustworthy – and one could say, purposely and progressively emptied out of meaning through politics and mass media – we search for meanings that lie elsewhere. How can we free ourselves from set definitions enforced by spoken language’s power structures? Beyond words, we find plenty of other forms of communication, such as sound, tone, gesture, movement, rhythm, resonance and the repetition of all of the above. They are essential to how we go through the world, arranging the space between ourselves and our others – our boundaries become relational, they touch and intersect.

Such ways of sensing and describing our circumstances become essential parts of our identities. This is how we relate to our surroundings, how we define ourselves in the eyes of others as well as to ourselves, thinking about the permeability of borders such as our skin. With A Gesture Towards Transformation, the gallery spaces become a territory encoding a multiplicity of identities and geographies, constantly shifting and moving.

Expanding the idea of the present, the works were conceived and enacted at various historical moments over the last two decades, and yet remain viscerally relevant to our current times. Carrying the potential for transformation and activism, rather than being directly reactionary to contemporary politics, they build a new language and meaning bottom up, and through their own logic. Rather than creating utopian or parallel circumstances, the works exist in this reality and articulate empowering statements.

  Aimar Arriola (b 1976 Markina-Xemein, Basque Country, Spain) works as an independent researcher, curator and editor based in London and Basque Country. He is a graduate from PEI Independent Studies Program at Museum of Contemporary Art (MACBA), Barcelona, and Curatorlab – Curatorial Postgraduate Program at Konstfack University, Stockholm.

At present, he is a Visual Cultures PhD Candidate at Goldsmiths, University of London, UK as well as Chief editor of The Against Nature Journal, a new inquiry on the ‘against nature’ concept in law initiated by Council, Paris, FR. Together with Nancy Garín and Linda Valdes, he develops AIDS Anarchive, a long term project on the cultural responses to HIV/AIDS in southern Europe and Latin America, with a focus on Spain and Chile.

In 2016-2017 he has developed exhibitions and public program initiatives in contexts such as The Showroom, London, UK; CentroCentro, Madrid, SP; Tabakalera, San Sebastián, SP; Museum of Fine Arts, Bilbao, SP, among others. He has been a researcher-in-residence at X Central American Biennial, Costa Rica (2016); Visual AIDS, New York, US (2014); and Reina Sofía Museum, Madrid, SP (2012-2013).

As a writer, he has contributed to Afterall Journal, Caderno Videobrasil, We Who Feel Differently (an editorial project by artist Carlos Motta), and L’Internationale Online. He runs Album, his own on-and-off publishing house and is the editor of various artist books and web projects.

  Nicole Bachmann (b 1978, Zurich Switzerland) is based in London and Zurich.

After graduating from Zurich University of the Arts, she completed an MFA at Goldsmiths, University of London, in 2010. In her practice Nicole Bachmann explores ways of knowledge production through the use of the voice, language, movement and rhythm, and how can they be activated by the individual to make oneself heard and used as an agent for social and political change.

A selection of solo and group exhibitions includes Block Universe, Performance Art Festival, London, UK; London meets Altdorf, Haus für Kunst, Uri, Switzerland; Helmhaus Museum, Zurich, Switzerland; Solo Show, Corner College, Zurich, CH (all 2017); Historical Exhibition: Sites under construction, co-curated by Francesca Gavin, Manifesta 11, Zurich, CH; Performance, Haus der Zünfte, Cabaret Voltaire, Zurich, CH; L*, a project by Marie-Michelle Deschamps, Darling Foundation, Montreal, CA; Take One/Take Two/Take Three, Eastside Projects, Birmingham, UK (all 2016); DOings & kNOTs / Tegevus-sõlmed, Tallinn Art Hall, Estonia Rhythm of Thought, Whitechapel Gallery, London, UK; Look Live, Performance, ICA, London, UK; Control / Shift / Plus, Museum Bärengasse, Zurich, CH; Werkstipendien, Helmhaus, Zurich, CH (all 2015); Objective Considerations, MOT International Project Space, London, UK; Say it in words, Coleman Project  Space, London, UK; Performance as Publishing presents: The flow between the thing and the word, Modern Art Oxford, UK; Performance as Publishing, New York Art Book Fair, with Classroom curated by David Senior, PS1, NY, US; Swiss Art Awards, Basel, CH Aus dem OFF, curated by Patricia Bianchi, Winterthur, CH (all 2014); Disappearing Into One, Zabludowicz Collection, London, UK (2013); Performance as Publishing, Kunsthalle Basel, CH (2012); Ha, around the corner of one eye, Perla Mode, Zurich, CH (solo presentation) (2011).

Her recent awards include Werkbeitrag, the Swiss Arts Council Pro Helvetia; Winner Werkstipendium (Art Prize) City of Zurich, CH; and Art Prize 2008, Nationale Suisse, Basel, CH;  she has been awarded a number of residencies including Residency at LUX, London and Residency at Edinburgh Sculpture Workshop both with Ruth Beale and the Escalator program atWysing Arts Centre, Cambridgeshire, UK. And several project grants by various foundations and Arts Council England and Swiss Arts Council.

  Omer Fast (b 1972, Jerusalem Israel) lives and works in Berlin. He has received an MFA from Hunter College in New York City and completed his BFA from Tufts University/School of the Museum of Fine Arts (1995). He is a contemporary video artist and filmmaker, employing multichannel techniques, repetition and re-staging narratives at the frontier of documentary and fantasy.

He is the recipient of Preis der Nationalgalerie für junge Kunst, Berlin and 2008 Bucksbaum Award from the Whitney Museum of American Art and the Louis Comfort Tiffany Foundation Prize (2003).

Solo shows include Talking is not always the solution, Martin-Gropius Bau, Berlin, DE(2017); Continuous Present, Baltic Center of Contemporary Arts, Gateshead; Omer Fast, James Cohan, New York, US; Omer Fast, Kunsten Museum of Modern Art, Aalborg, DK(all 2016); Omer Fast, Le présent continu, Jeu de Paume, Paris, FR; Omer Fast, Taro Nasu Gallery, Tokyo; MOCAK Muzeum Sztuki Wspolczesnej w krakowie, Krakow, PL(all 2015); 5000 Feet is the Best, Stedelijk Museum, Amsterdam, NL(2014).

Selected group shows include Please come back. The world as prison?, MAXXI, Rome; Modern and Contemporary Art Portland Museum, Portland, UD; Looking for the Clouds,Casino Luxembourg Forum d’art contemporain, Luxembourg, LX; Under Arms, Fire & Forget 2, Museum Angewandte Kunst, Frankfurt, DE (all 2017); Fire and Forget, Museum für Angewandte Kunst, Frankfurt, DE; Whistleblowers and Vigilantes; Figures of Digital Resistance, Hartware Medien Kunst Verein, Dortmund, DE; Art from Elsewhere, Towner, Eastbourne; Thomas Demand: L’image volée, Fondazione Prada, Milano, IT; Se souvenir des belles choses, Musée Régional d’Art Contemporain Languedoc-Roussillon Midi-Pyrénées, Sérignan, FR (all 2016); 1st Asia Biennial / 5th Guangzhou Triennial, Guangdong Museum of Art, Guangzhou; Fomo, Friche de la belle de Mai, Marseille; Art from Elsewhere, Birmingham Museum & Art Gallery, Birmingham, UK (all 2015); Invisible Hand: Curating as Gesture, CAFAM Biennale, Central Academy of Fine Arts Museum, Beijing CH (2014).

His work has been acquired and included in permanent collections of Whitney Museum of American Art, Solomon R. Guggenheim Museum and the Metropolitan Museum of American Art in New York, US; The Los Angeles County Museum of Art; Tate Modern, London; Centre Georges Pompidou, Paris, FR; and the Stedelijk Museum, Amsterdam, NL. He is the recipient of Preis der Nationalgalerie für junge Kunst, Berlin, DE (2009), Bucksbaum Award from the Whitney Museum of American Art (2008) and the Louis Comfort Tiffany Foundation Prize (2003).

  Pedro G. Romero (b 1964 Aracena, Huelva, Spain) lives and works in Seville, where he graduated in Fine Arts. His body of work unfolds through multiple disciplines: he worked as a curator, sculptor, painter, flamenco expert, performer, theatrical author, screenwriter, critic of art and literature, editor and essayist.

He is the recipient of a selection of important awards such as the Spanish National Radio prize ‘El Ojo Crítico’ and a scholarship from the Cartier Foundation in Paris. He is the author of two publications on his own work, Las correspondencias and Los países, in a co-edition between Casa sin fin and Periférica. His project Archivo FX (an open archive, created at the end of the 90s, that establishes relations between different readings of documentary sources, used as a dictionary which also functions as an artistic index), has been exhibited in institutions such as the Tàpies Foundation (Barcelona), the Reina Sofía Museum (Madrid), the Venice Biennale, Manifesta, the Serralves Foundation (Porto), the MUSAC (Leon), MACBA (Barcelona), Montehermoso Cultural Center (Vitoria), CAPC (Bordeaux), MUDAM (Luxembourg), the Sculpture Center (New York), the Picasso Museum (Barcelona) or the Kunstverein in Stuttgart, among others.

Selected solo and group shows include dOCUMENTA 14, Kassel, DE; Máquinas de Trovar, àngels Barcelona, ES; Don Dinero Dos (Mister Money Two), Galería Casa Sin Fin, Madrid, ES (all 2017); Atlas. How to Carry the World on One´s Back?, Museo Nacional Centro de Arte Reina Sofía, Madrid, ES; ZKM, Karlsruhe; Deichtorhallen, Hamburg, DE; (all 2011-2012); Manifesta 8, Cartagena, Murcia, ES; Monument to Transformation, Montehermoso, Vitoria-Gasteiz, ES; (2010); Insiders. Practices, Customs, Know-How, Musée d´art contemporain, Bordeaux, FR; Out of Storage II: Rythmes, Musée d´Art Moderne Grand-Duc Jean, Luxemburg, LU; (2009); Soy el final de la reproducción, SculptureCenter, Long Island, US (2008); Silo. Archivo F.X., Museo Nacional Centro de Arte Reina Sofía, Madrid, ES;The Unavowable Community, Catalan Pavilion, 53rd Venice Biennial, Venice, IT (all 2009); Soy el final de la reproducción, Castillo/Corrales, Paris, FR; MACBA im Frankfurter Kunstverein, Kunstverein Frankfurt, DE; 1st Thessaloniki Biennial of Contemporary Art, Thessaloniki, GR (all 2007); Archivo F.X. La ciudad vacia, Fundació Antoni Tàpies, Barcelona, ES (2006).

His work as curator includes Brossa Poetry, MACBA, Barcelona, Es (2017); The Spanish Night. Flamenco, Avant-Garde and Popular Culture, Museo Nacional Centro de Arte Reina Sofía, Madrid, ES (2007-2008) and A Theatre Without Theatre, MACBA Barcelona, ES (2007).

  Paul Maheke (b 1985, Brive-la-Gaillarde France) lives and works in London. He completed an MA Art Practice from École nationale supérieure d’arts de Cergy (2011) and was an Associates of study at Open School East’s Programme of study, London, UK (2015), with a focus on research and public engagement around identity politics and new subjectivities, dance and the body as political and affective archive.

Selected solo and group exhibitions from recent years include Acqua Alta, Galerie Sultana, Paris, FR; What Flows Through and Across, Assembly Point, London, UK; In Me Everything is Already Flowing, cur. Room E-1027, Center, Berlin, DE; Ten Days Six Nights, cur. Catherine Wood and Andrea Lissoni, Tate Modern, UK; Diaspora Pavilion, cur. David A. Bailey, during 57th Venice Biennale, IT; (X) A Fantasy, David Roberts Art Foundation, London, UK; Partitions Performances, cur. Christian Alandete, Fondation Ricard, Paris, FR; Klub Fiesta, cur. Michal Novotný + Lumír Nykl, Plato, Ostrava, CZ; The problem with having a body / is that it always needs to be somewhere, The Approach, London, UK; Posthuman Complicities, cur. Andrea Popelka and Lisa Stuckey, Akademie der Künste, Vienna, AT; Opaque Poetics, Music Festival cur. Nkisi, Wysing Arts Centre, Cambridge, UK; La Pensée du Tremblement, cur. Diamètre, YGREC, Paris, FR; Habits of Care, cur. Helena Reckitt, Blackwood Gallery, Toronto, CA (all 2017); I Lost Track of the Swarm, South London Gallery, London, UK; Green Ray Turns Out To Be Mauve, Green Ray, London, UK (all 2016); Re-former le monde visible, Le 116, cur. Marlène Rigler, Montreuil, France; Festival of minimal actions, cur. Thomas Geiger, Bruxelles, Belgique; Paysage Sauvage / Wilderness, Les Banquets du Château, cur. Marianne Lanavère, Centre International d’Art et du Paysage – Île de Vassivière, France (all 2014); 59th Salon de Montrouge, France; VIVA!, Centre CLARK, Montreal, Quebec; Si nous continuons à nous parler le même langage, nous allons reproduire la même histoire, Le Commissariat, Treize, cur. Mikaela Assolent + Flora Katz, Paris, France; Videoakt, French Institute, Barcelona, Spain; Supermarket 2013, LMDP crew, Kulturhuset, Stockholm, Sweden (all 2013); «Pratiques Furtives» : fragments d’une enquête, cur. Patrice Loubier, Skol art center, Montreal, Quebec (2012); Le musée performatif, Patio del Liceo, cur. Liv Schulman, Bueños Aires, Argentina (2011).

Paul Maheke was awarded the South London Gallery Graduate Residency, UK, 2015 – 2016; Moving UP, commissioned by The Serpentine Galleries, London, UK, 2015; Darling Foundry, Montreal, 2015; Centre International d’Art et du Paysage, Vassivière, France, 2014; Résidence de la Ville de Montrouge, France, 2014; Villa Pan, Hors les Murs programme, French Institute, Suzhou, China, 2010.

  Amalia Pica (b 1978, Neuquén, Argentina). She is currently living and working in London and is the 2011 recipient of a grant from the Cisneros Fontanals Art Foundation, Miami. Completing her education at Rijksakademie van Beeldende Kunsten, Amsterdam, NE and Instituto Universitario Nacional del Arte, Buenos Aires, AR, her work has its interest in social circumstances and their effect on how language is used to communicate, along with the potentiality of language. She makes us of comical and historical narratives to explore social situations, communal spaces and freedom of speech.

Selected solo and group shows include The Power Plant, Toronto, CA Institute of Modern Art, Brisbane, AU; A un brazo de distancia, NC Arte, Bogotá, CO; Instituto de Vision, Bogotá, CO (both 2017); Double Edge, Folkestone Triennial, Folkestone, UK; This Is Not a Selfie: Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, San Jose Museum of

Art, San Jose, US; EXIT, curated by Adam Carr, Rodolphe Janssen, Brussels, BE; The Shyness of the Crowns, Museum of Contemporary Art, Vigo, ES; FRAC Lorraine, Metz, FR; Nieuw Amsterdams Peil: Where do we go from here?, Amsterdam, NL; Gray Matters, Wexner Center for the Arts, Columbus, US; Asamble (performance), Solomon R. Guggenheim Museum, New York, US; Drawing Biennial 2017, The Drawing Room, London, UK; EAT SLEEP WORK REPEAT, Travelling Gallery, Scotland (various locations), UK; The String Traveller, S.M.A.K, Ghent, BE; CONDO, Herald St, London, UK (all 2017); Blow the Whistle, Beat the Drum, Mark Foxx, Los Angeles, US; Gwangju Biennale, Gwangju, KR; Manifesta 11, Zurich, CH (all 2016); PORTLLIGAT, El Nuevo Museo de Arte Contemporáneo, Guatemala City, GT; Galerie Johann König, Berlin, DE (all 2015); La Criée Centre d’art Contemporain, Rennes, FR; A ∩ B ∩ C (line), Van Abbemuseum, Eindhoven, NL; Switchboard, Mostyn, Llandudno, UK; One Thing After Another, Stigter van Doesburg, Amsterdam, NL (all 2014); Amalia Pica en el MNBA, Museo Nacional De Bellas Artes, Neuquen, AR; Se essas paredes falassem, Phosphorus, São Paulo, Brazil, BR; A ∩ B ∩ C (line), Herald St, London, UK; Memorial for Intersections, Kunsthalle Lissabon, Lisbon, PT;  Low Visibility, Galerie Johann Konig, Berlin, DE; A ∩ B ∩ C, Museo Tamayo, Mexico City, MX (all 2013); Amalia Pica, Chisenhale Gallery, London, UK (2012); I am Tower of Hamlets as I am in Tower of Hamlets, just like a lot of people, Off-site project, Chisenhale Gallery, London, UK ( all 2011).

Link: “A Gesture Towards Transformation” at Tenderpixel

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Latest Information Technology jobs in Sydney, Sydney NSW posted on Tuesday 2nd of May 2017

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Latest Information Technology jobs in Sydney, Sydney NSW posted on Tuesday 2nd of May 2017 This job listing contains a total of 25 jobs.

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[celticmythpodshow]

CMP Special 43 Sussex Celts, Fairies & Folklore

Folklore, Fairies, Cold Iron of Sussex and Puck of Pook's Hill

  This is our biggest show ever! A real MONSTER of a show with an excerpt from the fascinating book, British Witch Legends of Sussex which you can get hold of from the publisher Country Books, a great story by Rudyard Kipling all about that tricky Fey, Puck and six pieces of great Fairy-inspired music. It's all topped off by two poems - including one poem read by our 9-year old Grand-daughter, Amielia!

Full show-notes, details and Contributor pages over at our main Website at http://celticmythpodshow.com/sussex

Running Order:

Intro 0:41

News & Views 2:05

Sussex Farms, Lore & Augury 3:10

Pica Pica by Kate Fletcher & Corwen Broch 6:17

Ecology and the 'Downs' of Sussex 9:09

Trip to Skye/Dance to your Daddy by Mike Gulston 14:15

British Witch Legends of Sussex, Pt.1 by Shaun Cooper 18:28

Celtic Tribes 23:37

Faerie Tale by Spiral Dance 24:35

British Witch Legends of Sussex, Pt.2 by Shaun Cooper 27:34

Scarborough Faire by Jenna Greene & Kellianna 39:57

All about the origins of Scarborough Fair 43:23

Cold Iron from 'Rewards and Fairies' by Rudyard Kipling 45:55

Shakespeare's Puck & Sussex Pharisees 1:21:39

Iron from Stone by Damh the Bard 1:26:00

Show Summary 1:33:56

Song of the Travelling Fairies by Kate Fletcher & Corwen Broch 1:39:57

Listener Feedback - Natasha 1:44:08

Fairies by Rose Fyleman 1:45:33

Outtakes 1:48:54

We hope you enjoy it!

Gary & Ruthie x x

Released: 3rd April 2017, 1hr 51m

It's always great to hear from you! Email garyandruth@celticmythpodshow.com, or call us using Speakpipe

News & Views

We bring you up-to-date with the progress of the website updates and let you know that the Scripting for Branwen, Daughter of Llŷr, is nearing completion. We also let you know that all of our shows are now hosted on the much more secure and speedier Libsyn servers, and the Shownotes pages can also be found there.

  Pica Pica

by Kate Fletcher & Corwen Broch

Pica Pica is a song stitched together from Magpie rhymes. Fishe or Fowle is Kate and Corwen's new duo CD. It is a double CD with 25 tracks. Available now, as a physical CD from their website or to download from Bandcamp.

They are musicians, instrument makers and workshop leaders who perform folk music and drama, recreate Ancient music and instruments, make crafts, run workshops for schools and demonstrate at museums and other events. You can find out more about these talented folks on their website or on our Contributor Page.

  Trip to Skye/Dance to your Daddy

by Mike Gulston

This beautiful Medley is made up by Mike's version of Trip to Skye, that he has sped up to a Mazurka rhythm and a beautiful rendition of Dance to your Daddy. He has written his own extra verse to this traditional English folk song. Mike's new solo album, Barking, was released in May 2016, an eclectic collection of traditional and modern songs, ranging from totally silly to tragic, romantic and singalong.

For more details about Mike, and his work with Blanche Rowen, see their website or our Contributor Page.

  British Witch Legends of Sussex

by Shaun Cooper

The book includes over sixty Sussex witch legends, mostly in their original texts, and they are compared with witch legends from the rest of the country - so the book is essentially a comparative study of witch legends, albeit with a very strong Sussex emphasis. Other subjects covered are: Sussex fairy and Devil legends, and dragons, Roman roads, the origins and dissemination of witch legends, and so forth.

You can see an interactive map of this area on Google Maps or download the KML file for Google Maps/Earth.

You can find out more about Shaun and where to get hold of his book on our Contributor Page on with his Publisher, Country Books.

We discuss which tribes might fall into the categories of Iron Age 'A', 'B' and 'C' Celts that are referred to in the reading. Although there are some discrepancies with the dating, the history does make sense when compared with the movements of the Atrebates, Catevellauni and Cantiaci tribes at the time of the Roman Conquest of Britain (A.d. 43). Our sources are:

http://www.historyfiles.co.uk/KingListsBritain/BritainAtrebates.htm

http://www.historyfiles.co.uk/KingListsBritain/BritainCatuvellauni.htm

http://www.historyfiles.co.uk/KingListsBritain/BritainCantii.htm

http://www.historyfiles.co.uk/KingListsBritain/BritainRegninses.htm

https://en.wikipedia.org/wiki/Atrebates

https://en.wikipedia.org/wiki/Verica

https://en.wikipedia.org/wiki/Cantiaci

https://en.wikipedia.org/wiki/Regnenses

  Faerie Tale

by Spiral Dance

Multi-award winning group Spiral Dance, based in Adelaide, has been playing rousing, high-energy music to enthusiastic audiences throughout Australia and beyond for over a decade. With a combination of haunting vocals, evocative fiddle, intoxicating guitar riffs and groovy accordion lines, underpinned with potent bass and dynamic percussion, the band presents an eclectic blend of traditional folk-rock with powerful self-penned songs and tunes. Enchanting melodies intertwine with mythical tales that are sure to captivate your soul, tease your mind and steal your heart, casting your spirit into the realms of magic and the mists of ancient time.

We are privileged to bring you the evocative track, Faerie Tale from their album Magick, for our Sussex Celts Show, and you can find the lyrics on their site. You can find out more about Spiral Dance on their website or on our Contributor Page.

  Scarborough Faire

by Jenna Greene & Kellianna

Kellianna is an American Neo-Celtic singer and songwriter internationally renowned for her powerful performance of song and chant inspired by myth, magic, sacred places and ancient times. Jenna Greene, "The Greene Lady", is a weaver of musical myth and magic. With a voice that is both ethereal and soulful, she sings of ancient lore, finding wonder and following dreams.

Scarborough Faire is just one of the heart-lifting traditional folk songs on the wonderful collaborative album, Traditions, by Kellianna. You can find out more about the Kellianna on her Contributor Page or more about Jenna Greene on her Contributor Page.

We talk about the origins of the original Scarborough Fair and the significance of the Parsley, Sage, Rosemary, and Thyme herbs.

  Cold Iron from 'Rewards and Fairies'

by Rudyard Kipling

Rudyard Kipling was an English journalist, short-story writer, poet, and novelist. Kipling's works of fiction include The Jungle Book (1894), Kim (1901), Puck of Pook's Hill (1906) and many short stories, including "The Man Who Would Be King" (1888). His poems include "Mandalay" (1890), "Gunga Din" (1890), "The Gods of the Copybook Headings" (1919), "The White Man's Burden" (1899), and "If—" (1910). He is regarded as a major innovator in the art of the short story; his children's books are classics of children's literature, and one critic described his work as exhibiting "a versatile and luminous narrative gift".

Rewards and Fairies is a historical fantasy book by Rudyard Kipling published in 1910. The book consists of a series of short stories set in historical times with a linking contemporary narrative. Dan and Una are two children, living in the Weald of Sussex in the area of Kipling's own home Bateman's.

Bateman's, Sussex

They have encountered Puck and he magically conjures up real and fictional individuals from Sussex's past to tell the children some aspect of its history and prehistory, though the episodes are not always historically accurate. Another recurring character is Old Hobden who represents the continuity of the inhabitants of the land. His ancestors sometimes appear in the stories and seem very much like him.

The full text of Rewards & Fairies can be found on Project Gutenberg. For more details about Rudyard Kipling visit the Wiki Page or Kipling Societ's website.

  Shakespeare's Puck & Sussex Pharisees

We discuss how Shakespeare may have heard the folklore of Puck on his travels with the Elizabethan court. The local Sussex word for Fairies, Pharisees, comes from the double plural found in the dialect - 'fairies-ies' or 'pharisees'.

"Then we have 'Puck' or 'Pook', which is derived from the Saxon word 'Puca', meaning a Goblin (Smith 1956 p.74). Both modern forms are common in placenames as will be seen later in this article, but also occurs as dialect description of fairies, but not just Goblins, which are seen as mischievous or nasty fairies (Simpson & Roud 2000 p.286). 'Dobbs' or 'Master Dobbs' is a name used for a house fairy that helps with the housework. If someone has been working harder than expected, it was often said of them that 'Master Dobbs has been helping you' (Parish & Hall 1957 p.31)." [Sussexarch.org]

  Iron from Stone

by Damh the Bard

This song, Iron from Stone, is inspired by the earlier song, Scarborough Faire. Damh tells us:

"Scarborough Faire is an amazing song. Such a wonderful melody and lyric that tells of all of the impossible tasks a human woman would need to achieve to be with a man from Elfland. But I began to wonder…

"These wonderful folk songs have been left us by anonymous writers from years ago and have been sung ever since. But is there another story behind Scarborough Faire? What about that songwriter from years ago? What inspired them to write such a song? So I thought I would tell that story." Damh the Bard

You can find his music on iTunes, or from his website, Pagan Music. He is also the voice behind Druidcast, the official podcast of the Order of Bards, Ovates and Druids (OBOD, for short) - modern day Druids. You can find Druidcast here and find out more about OBOD here. You can find out more details about Damh on his Contributor page on our website.

  Cold Iron

by Rudyard Kipling

Puck, Dan & Una

"Cold Iron" is a poem written by Rudyard Kipling published as the introduction to Rewards and Fairies in 1910. In 1983, Leslie Fish set the poem to music and recorded it as the title track on her fifth cassette-tape album.

  Song of the Travelling Fairies

by Kate Fletcher & Corwen Broch

Song of the Travelling Fairies is a Manx lullaby collected in 1930 by Mona Douglas from Caesar Cashin who said that after each verse there used to be a little dance imitating the movements of the particular bird named. It comes from Fishe or Fowle - Kate and Corwen's new duo CD. It is a double CD with 25 tracks. Available now, as a physical CD from their website or to download from Bandcamp.

  Listener Feedback

from Natasha in Portsmouth

We play some Audio feedback from Natasha in Portsmouth who recommends the lovely music of Lisa Thiel.

  There are fairies at the bottom of our garden

by Rose Fyleman, read by Amielia

Rose Fyleman (1877–1957) was an English writer and poet, noted for her works on the fairy folk, for children. Her poem There are fairies at the bottom of our garden was set to music by English composer Liza Lehmann. This classic, famous and iconic poem first appeared in her book, Fairies and Chimneys, in 1917. It is read here by our 9-year-old grand-daughter, Amielia who makes her reading debut on our Show!

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Special Thanks

BertycoX, for Rain in a Desert from Film'O Graf. See the Contributor Page for details.

Armolithae, for Endless Blue from Artanis and Journey from Beneath the Iron Star. See the Contributor Page for details.

Kenjiakira, For all the children of the earth from Azur Requiem. See the Contributor Page for details.

Julien Boulier, for Dogen Poignance from Erable and Remanence Prisme from the album Remanence. See the Contributor Page for more details.

Pascal SER'JACOBS, for Realité virtuelle from the album Confusion. See the Contributor Page for more details.

Keltoria, for The Gathering Storm from the album Lia Fail (Stone of Destiny) and Hollow Hills from Beyond the Wildwood. See the Contributor Page for more details.

XCyril, for Max s'introduit chez Zeger et commence a fouiller from the album Alter Ego. See the Contributor Page for more details.

Esgi, for Dawn of Mind, from the album Echoes in Time. See the Contributor Page for more details.

Victor Stellar, for Kaleidoscope. See the Contributor Page for more details.

VS, for Libera from Libera. See the Contributor Page for more details.

Flavio Simone, Absence infini from Orchestrale. See his Contributor Page for more details.

Adragante, for Harmonies from Harmonie Cosmique. See the Contributor Page for more details.

Tolen, Free Play Music

  For incidental music:

Diane Arkenstone The Secret Garden. See the Contributor Page for details.

Kim Robertson, Angels in Disguise. See the Contributor Page for more details.

Jigger, Time Ticks Away. See the Contributor Page for more details.

  For our Theme Music:

The Skylark and Haghole, the brilliant Culann's Hounds. See their Contributor page for details.

Additional Sources

OBOD

And, of course, the Awen - inspiration and imagination!

  Extra Special Thanks for Unrestricted Access to Wonderful Music

(in Alphabetic order)

Anne Roos Extra Special thanks go for permission to use any of her masterful music to Anne Roos. You can find out more about Anne on her website or on her Contributor page.

Caera Extra Special thanks go for permission to any of her evocative harping and Gaelic singing to Caera. You can find out more about Caera on her website or on her Contributor Page.

Celia Extra Special Thanks go for permission to use any of her wonderful music to Celia Farran. You can find out more about Celia on her website or on her Contributor Page.

Damh the Bard Extra Special thanks go to Damh the Bard for his permission to use any of his music on the Show. You can find out more about Damh (Dave) on his website or on his Contributor page.

The Dolmen Extra Special thanks also go to The Dolmen, for their permission to use any of their fantastic Celtic Folk/Rock music on the Show. You can find out more about The Dolmen on their website or on our Contributor page.

Keltoria Extra Special thanks go for permission to use any of their inspired music to Keltoria. You can find out more about Keltoria on their website or on their Contributor page.

Kevin Skinner Extra Special thanks go for permission to use any of his superb music to Kevin Skinner. You can find out more about Kevin on his website or on his Contributor page.

Phil Thornton Extra Special Thanks go for permission to use any of his astounding ambient music to the Sonic Sorcerer himself, Phil Thornton. You can find out more about Phil on his website or on his Contributor Page.

S.J. Tucker Extra Special thanks go to Sooj for her permission to use any of her superb music. You can find out more about Sooj on her website or on her Contributor page.

Spiral Dance Extra Special thanks go for permission to use Adrienne and the band to use any of their music in the show. You can find out more about Spiral Dance on their website or on their Contributor page.

SaveWe finish off by wishing you 'Hwyl Fawr', which is Welsh for 'Goodbye and have fun'!

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Check out this episode!

[picascribit]

I wrote 575 words today. Someone make me write some more.

"I don't see why someone who fucks all the time would think kissing is such a big deal," said Severus.

"Jealous?" asked Remus sarcastically. "If you're having a dry spell, we can talk prices."

Severus wrinkled his nose in disgust. "Not even if I were gay, and you were the last guy on Earth."

"Enough, you guys!" snapped Lily. "Sev, you know Remus doesn't like talking about his work."

Severus scowled. "Sorry. I forgot."

Like hell you did, thought Remus.

[rjzimmerman]

The central focus of this article is that other trump crap have hidden his environmental actions from public scrutiny. True. But, in defense of the press, how does one prioritize all the trump crap into headlines and front page stories?

Excerpt:

Environmentalists were braced for President Donald Trump's first 100 days. They expected the executive orders. They expected Congress to pass a flurry of bills rolling back agency regulations. But even the most seasoned veterans of green wars didn't quite anticipate the scale and scope of Trump's all-out attack on the environment.

Now, activists like Erich Pica, Friends of the Earth president with 20 years of experience in the environmental movement, use the word "unprecedented," a lot.

Yet the sheer sweep and effectiveness of Trump's achievements in undermining decades of progress in this issue has sometimes been obscured by the frenzied news cycles of the last 100 days, with a failed Affordable Care Act repeal, a confirmed Supreme Court nominee, the thwarted Muslim travel ban, his Russia scandal, and more.

"He’s done so many things simultaneously that I don’t think the environmental story has been adequately told," Pica says. "I don’t think there’s been that one moment yet where a lot of people were impacted at one time." But "collectively, he’s in the process of perpetuating one of the most devastating attacks on our environmental laws."

[jobhuntaus-blog]

Latest Account Managers jobs in Sydney, Sydney NSW posted on Monday 6th of March 2017

Latest Account Managers jobs in Sydney, Sydney NSW posted on Monday 6th of March 2017

Latest Account Managers jobs in Sydney, Sydney NSW posted on Monday 6th of March 2017 This job listing contains a total of 25 jobs.

Administration Assistant – Levies and Levy Arrears Job Excerpt

Prudential Investment Company of Australia (PICA) is looking for an administration assistant to join our Levies team and support our Strata Managers….

[picascribit]

Deferred Consent

Albus swallowed his disappointment, sensing the no before it was spoken.

"Oh. I -- um --" Scorpius's voice held the high, rushed tone that it always did when he was nervous. "I mean, parts of me are definitely ... interested, but -- I don't think the rest of me is ready for that quite yet. Sorry. I know it's your birthday and all, but --"

"Hush." Albus groped for his hand and squeezed it. "It's OK. We don't have to. It -- it was just an idea."

"Oh. Good." Scorpius sounded relieved. "You're sure?"

"Yeah. Of course," said Albus. "I'm not going to make you do anything you don't want to do. When we -- do things, I want you to want it, too."

"That's -- thanks.  You really wanted to, though? Tonight?" Scorpius now sounded more curious than nervous.

"Yeah. I mean, I think so. But it's OK," Albus assured him quickly. "I can wait."

"I just thought -- that doesn't seem very ... special," Scorpius said hesitantly.

Albus frowned, puzzled. "What d'you mean?"

"I mean all rushed and sneaking it in the middle of the night, surrounded by our roommates," explained Scorpius. "I thought when we -- that it would be ...  special. The first time."

Albus grinned. "Soppy git." He wrapped an arm around Scorpius and pulled him close for a kiss, which Scorpius returned without hesitation.

When they broke apart, Albus said, "So you've thought about it? What it will be like --?"

"Yeah. A bit," Scorpius admitted. "Haven't you?"

Albus chuckled. "Yeah. More than a bit. I'm glad to know I'm not the only one."

"And it's really OK if we wait, and if we ... make it special?"

"It's really OK," Albus promised, kissing him on the nose. "And how could it not be special? I'll be with you."

- Excerpt from Albus Day by @picascribit