#Commercial Contracts in UK

[looplegal]

Is Your Business Protected? A Guide to Essential Commercial Contracts

Importance of Commercial Contracts for Business Protection

Here’s why commercial contracts are essential for business protection:

Clarity and Certainty: Contracts clearly define the rights and obligations of each party involved in a business transaction. This includes details like scope of work, pricing, timelines, payment terms, and intellectual property ownership. With everything laid out in writing, there’s less room for misunderstandings and disagreements down the road.

Risk Mitigation: A well-drafted contract anticipates potential problems and outlines solutions. This can include clauses addressing delays, breach of contract, termination procedures, and dispute resolution mechanisms. By having these measures in place, businesses can minimize financial losses and disruptions in case of unforeseen circumstances.

Dispute Resolution: Even with the best intentions, disputes can arise. Commercial contracts provide a clear framework for resolving them efficiently and fairly. They may include provisions for mediation or arbitration, saving businesses the time and expense of lengthy court battles.

Building Trust: A well-crafted contract demonstrates professionalism and a commitment to fair dealing. This fosters trust and confidence between businesses, leading to stronger partnerships and potentially smoother future collaborations.

Protecting Assets: Commercial contracts can safeguard intellectual property, confidential information, and other valuable business assets. Clear ownership clauses prevent unauthorized use or misappropriation.

Remember: A commercial contract is only as good as its drafting. Consulting with an experienced commercial contract lawyer ensures your agreements are comprehensive, clear, and enforceable. This investment can save your business significant time, money, and frustration in the long run.

The 5 Most Critical Commercial Contracts Your Business Should Have

Every business operates within a web of agreements. But certain commercial contracts are fundamental to ensuring smooth operations, protecting your assets, and mitigating risks. Let’s explore the 5 most critical contracts your business should have in place:

Non-Disclosure Agreement (NDA): An NDA protects confidential information you share with third parties, such as potential partners, investors, or vendors. This safeguards your trade secrets, ideas, and sensitive data.

Sales Agreement (or Service Agreement): This agreement forms the backbone of your revenue generation. It outlines the terms of sales or services you provide, including scope of work, pricing, delivery schedules, payment terms, and warranties.

Vendor Agreement: Whether you’re working with suppliers, distributors, or independent contractors, a clear vendor agreement is essential. It defines the responsibilities of each party, quality standards, delivery expectations, and payment terms.

Employment Agreement: A well-defined employment agreement protects both your business and your employees. It details job duties, compensation, benefits, confidentiality obligations, and intellectual property ownership.

Commercial Lease Agreement: If you lease office space, retail storefronts, or warehouse facilities, a comprehensive lease agreement is crucial. This spells out rental rates, maintenance responsibilities, termination clauses, and permits any modifications you plan to make to the property.

Beyond these core contracts, the specific agreements your business needs will depend on your industry and operations. An experienced contract review lawyer can help you identify additional contracts tailored to your unique requirements.

How to Negotiate and Draft Airtight Commercial Contracts

Well-crafted commercial contracts establish a foundation for secure business relationships. A carefully negotiated, ironclad agreement safeguards your interests, reduces risks, and builds trust with partners. Realizing these benefits demands thorough preparation, strategic negotiation tactics, and unambiguous language. Follow this roadmap to get started:

Preparation is Key:

Identify Your Needs and Goals: Before entering negotiations, clearly define what you want to achieve from the agreement. Consider factors like pricing, timelines, intellectual property rights, and dispute resolution mechanisms.

Understand the Other Party’s Perspective: Put yourself in their shoes. What are their priorities and concerns? This will help you anticipate potential sticking points and craft mutually beneficial solutions.

Research Industry Standards: Familiarize yourself with standard terms and conditions common in your industry. This provides a baseline for negotiation and ensures your contracts are competitive.

Negotiation Strategies:

Start with a Strong Template: Don’t rely on boilerplate templates. Use a starting point developed by a lawyer familiar with your industry, tailored to your specific needs.

Communicate Clearly and Concisely: Be direct and professional in your communication. Avoid ambiguity and ensure all terms are clearly defined.

Focus on Value, Not Just Price: Negotiate beyond just the bottom line. Consider factors like payment terms, warranties, and dispute resolution to create a win-win scenario.

Be Prepared to Walk Away: Don’t be afraid to disengage from negotiations if the other party’s terms are unacceptable.

Drafting for Airtight Agreements:

Clarity and Concision: Use clear, concise, and unambiguous language. Avoid legal jargon whenever possible.

Attention to Detail: Pay close attention to details like dates, timelines, and specific deliverables. Ensure all parties’ obligations are clearly outlined.

Risk Mitigation Clauses: Include clauses that address potential problems, such as delays, breach of contract, termination procedures, and confidentiality.

Dispute Resolution: Outline a clear process for resolving disagreements, such as mediation or arbitration.

Seek Professional Guidance:

Commercial contracts are complex legal documents. Consulting with an experienced commercial contract lawyer throughout the process is crucial. They can guide you through negotiations, ensure your agreements are comprehensive and enforceable, and protect your business interests.

By following these steps, you can negotiate and draft commercial contracts that are not only fair but also ironclad. Remember, a well-crafted agreement is an investment in your business’s future success.

Learn More: The Importance of Professional Contract Review Services for Small Businesses

Avoiding Common Pitfalls: Protecting Your Business with the Right Contracts

In the fast-paced world of business, contracts are essential for establishing clear expectations and safeguarding your interests. However, poorly drafted or incomplete agreements can create a minefield of problems down the road. Here, we’ll explore common pitfalls to avoid and strategies for using contracts to effectively protect your business:

Pitfall #1: Unclear Language and Ambiguity

Vague terms and legalese can lead to misunderstandings and disputes.

Solution: Use clear, concise, and plain language. Define all technical terms within the contract itself.

Pitfall #2: Incomplete or Inaccurate Identification of Parties

Double-check names, titles, and business entities involved in the agreement.

Solution: Ensure all parties are clearly identified by their legal names and any relevant registration details.

Pitfall #3: Lack of Essential Clauses

Omissions like payment terms, termination procedures, or confidentiality protections can cause issues.

Solution: Include standard essential clauses tailored to your specific agreement type. A lawyer can help ensure all necessary bases are covered.

Pitfall #4: Ignoring Dispute Resolution

Having a plan for disagreements saves time and money compared to litigation.

Solution: Include a clause outlining preferred methods for resolving disputes, such as mediation or arbitration.

Pitfall #5: The “One-Size-Fits-All” Approach

Every business deal is unique. Don’t rely on generic templates without proper adaptation.

Solution: Use a solid contract template as a starting point, but customize it to reflect the specific agreement and your business needs.

Protecting Your Business: The Importance of Legal Expertise

Commercial contracts are legally binding documents. Consulting with a qualified commercial contract lawyer is an investment that pays off in the long run. They can help you:

Draft clear, enforceable contracts that protect your interests.

Identify and address potential risks before they become problems.

Navigate negotiations to ensure you achieve favorable terms.

By understanding common pitfalls and seeking professional guidance, you can ensure your business has the right contracts in place to operate smoothly and mitigate risks. Remember, proactive planning with well-drafted contracts is key to securing your business success.

Working with a Commercial Contracts Lawyer to Safeguard Your Business

Commercial agreements serve as the foundation for prosperous business transactions. They establish precise expectations, safeguard your valuable assets, and mitigate potential risks. However, comprehending the intricacies of contract law can be overwhelming. This is precisely when a skilled commercial contracts attorney assumes the role of your reliable consultant.

Why Partner with a Contracts Lawyer?

Expertise and Experience: They have a deep understanding of contract law and industry standards. This ensures your agreements are comprehensive, enforceable, and aligned with your business goals.

Risk Mitigation: A lawyer can identify potential issues and draft clauses that safeguard your interests in case of unforeseen circumstances. They can also help you avoid common pitfalls like ambiguous language or missing essential terms.

Negotiation Prowess: Skilled lawyers can champion your position during negotiations, securing favorable terms and ensuring a balanced agreement.

Dispute Resolution: Should disagreements arise, your lawyer can guide you through the dispute resolution process outlined in the contract, protecting your rights and minimizing disruptions.

What to Expect When Working with a Contracts Lawyer

Initial Consultation: Discuss your business needs, the specific contract you require, and your desired outcomes.

Information Gathering: The lawyer will gather relevant details about the agreement, counterparties involved, and industry specifics.

Contract Drafting and Review: Your lawyer will draft a clear and comprehensive contract tailored to your situation. You’ll have opportunities to review and provide feedback before finalization.

Negotiation Support: The lawyer will guide you through negotiations, ensuring your voice is heard and your interests are protected.

Ongoing Guidance: A good lawyer remains a valuable resource even after the contract is signed. They can advise you on any future questions or concerns.

Finding the Right Lawyer

Experience: Look for a lawyer with proven experience in commercial contracts and your specific industry.

Communication Style: Choose someone you feel comfortable communicating with openly and honestly.

Fees and Billing Structure: Understand the lawyer’s fees and billing structure to ensure it aligns with your budget.

Investing in Your Business Security

Working with a commercial contracts lawyer is an investment in the security and success of your business. Their expertise can save you time, money, and avoid costly legal battles down the road. By partnering with the right lawyer, you can ensure your contracts are watertight and your business is well-protected for the future.

Conclusion: Protect Your Business with Essential Commercial Contracts Today

Commercial solicitors are the cornerstones of strong business relationships. They clearly define terms, safeguard your interests, and minimize risks associated with any business transaction.

Failing to have the right contracts in place can expose your business to:

Misunderstandings and disputes

Unforeseen financial losses

Delays and disruptions

Breaches of confidentiality

By prioritizing essential commercial contracts and partnering with a skilled commercial contracts lawyer, you can:

Operate with Confidence: Clear contracts provide peace of mind and allow you to focus on growing your business.

Mitigate Risks: Anticipated problems are less likely to become costly setbacks.

Foster Trustworthy Relationships: Well-drafted contracts demonstrate professionalism and build trust with partners.

Secure Your Future: Solid contracts protect your assets and pave the way for long-term success.

Don’t wait until a problem arises to address your business’s contractual needs. Contact Loft Legal today to schedule a consultation and discuss how we can help you draft ironclad commercial contracts that safeguard your business for the future!

[doyoulikethissong-poll]

Madonna - Like a Prayer 1989

"Like a Prayer" is a song by American singer Madonna and was released as the lead single from her 1989 fourth studio album of the same name. Written and produced by both Madonna and Patrick Leonard, the song heralded an artistic and personal approach to songwriting for Madonna, who believed that she needed to cater more to her adult audience. Along with the parent album, "Like a Prayer" was a turning point in Madonna's career, with critics starting to acknowledge her as an artist rather than a mere pop star.

"Like a Prayer" is a pop rock and gospel song that also incorporates elements of funk. The lyrics contain liturgical words, but they have been interpreted by some people to have dual meanings of sexual innuendo and religion. "Like a Prayer" was acclaimed by music critics upon release and was a global commercial success, becoming Madonna's seventh number 1 hit on the US Billboard Hot 100, topping the Hot 100 for three consecutive weeks and also topping the charts in many other countries, including Australia, Brazil, Canada, Italy, Mexico, New Zealand, Spain and the UK. It was Madonna's fifth number 1 hit on the Eurochart Hot 100, and stayed at number one for 12 weeks.

The accompanying music video for "Like a Prayer", directed by Mary Lambert, shows a white woman being sexually assaulted and subsequently killed by a group of white men, but a black man is arrested for the crime. The video depicts a church and Catholic symbols such as stigmata. It also features the Ku Klux Klan's burning crosses and a dream sequence about kissing a black saint. Leon Robinson was hired to play the role of a saint; the part was inspired by Martin de Porres, the patron saint of mixed-race people and all those seeking interracial harmony. The Vatican condemned the video, while family and religious groups protested against its broadcast. They boycotted products by soft drink manufacturer Pepsi, who had used the song in their commercial. Pepsi canceled their sponsorship contract with Madonna, but allowed her to retain the $5 million fee.

While most TV stations banned the music video, MTV notably continued to air the video on heavy rotation. The controversies leading to her "Like a Prayer" video introduced the concept of free publicity and became a turning point where Madonna was viewed as a shrewd businesswoman who knows how to sell a concept. At the 1989 MTV Video Music Awards, the video for "Like a Prayer" was nominated in the Viewer's Choice and Video of the Year categories, winning the former. It was number one on MTV's countdown of "100 Videos That Broke the Rules" in 2005, and for the channel's 25th anniversary, viewers voted it as the "Most Groundbreaking Music Video of All Time". In addition, the video was ranked at number 20 on Rolling Stone's "The 100 Top Music Videos", and at number two on VH1's 100 Greatest Videos. In a 2011 poll by Billboard, the video for "Like a Prayer" was voted the second-best music video of the 1980s, behind only Michael Jackson's "Thriller". According to Screen Rant, "Like a Prayer" is one of the most used Madonna's songs in movies and television, most recently notably featured in the 2024 film Deadpool & Wolverine.

"Like a Prayer" received a total of 87,9% yes votes! Previous Madonna polls: #18 "Who's That Girl", #184 "Live to Tell".

[sgiandubh]

The telling hashtag

So S is willfully disclosing his LHR location, with a story and a post to boot, as expected:

📌at Bourne Offices, 11 Richmond Buildings, in Soho:

Literally round the corner from Soho House, on Dean Street. Of course:

Also, this - very telling:

#gifted. Before *urv starts her demented Fitness at Dawn - The London Hyrox Edition fanfic, let's unpack:

S chose to wear, in this post, one of the sunglasses models from David Beckham's eyewear collection. Price tag is a bit steep (twice my Ray-Ban Wayfarers), but still democratic:

But why the #gifted hashtag? Before you think C or Scottish Xena lovingly picked those up the shelf for his birthday, you might like to check a bit around for context. You see, all dbeyewear collections are manufactured by a single Italian producer based in Padua, Safilo Group. Hashtagged accordingly in his post, by the way.

A couple of days ago, Safilo Group and dbeyewear's commercial partnership reached a new, very important milestone:

[Source: Safilo Group press release, https://assets.ctfassets.net/cmstik7jzbvm/2lwJmoKJR7x3ydijfpi7c6/9870e11fbb2c040a89a6d8acb4ed25ea/20240502_Safilo_firma_un_accordo_di_licenza_perpetua_per_l-eyewear_di_David_Beckham.pdf]

On May 2nd, Safilo Group and Authentic Brands Group (ABG), the corporate side of Eyewear by David Beckham signed a 'perpetual licensing agreement, replacing the current one that would have ended in 2030'. Authentic Brands Group and Safilo Group have been working together since 2019, when Beckham started to design his own eyewear collection. Now, they are taking their collaboration one step further, with ABG (or the licensor) granting Safilo Group (the licensee) perpetual (unlikely to be retired, unless something goes really, awfully wrong along the way: breach of contract, etc.) exclusive right to produce, use, advertise, sell its merchandise.

Something like this needs proper promotion, so Safilo Group and/or ABG graciously sent S those sunglasses, in the hope he will sport them in one of his posts with a potential 3+ million subscriber views.

A word on the UK pretty obscure regulations on promoter advertising and the use of the #gifted hashtag. There is not one, but two competent national regulatory authorities: the Advertising Standards Authority (ASA) and the Competition and Markets Authority (CMA). The ASA is a bit more lenient in its approach and they clearly say that if the promoted product has been sent to the influencer on a no strings attached basis, then it is ok to use that #gifted hashtag. They will not pursue, based on the lack of #ad, however they will name and shame you - not a pretty picture, after all:

[Source, heh: ASA's Influencer Guide to making clear that ads are ads, https://www.asa.org.uk/static/uploaded/3af39c72-76e1-4a59-b2b47e81a034cd1d.pdf]

But the CMA is way more vigilant. They consider that any freebie can and must be monetized, based on its retail value and as such, must be clearly labeled as an #ad, when promoted on socials by an influencer. And yes, they can and might pursue, at any given moment: that must be proportional with the offence and in S's case, it might simply mean being served with a cease and desist notice or a removal and prohibition order. I'd rather not be in those shoes, mind you:

[Source: CMA's guide Hidden ads: Being clear with your audience, 2022; https://www.gov.uk/government/publications/social-media-endorsements-guide-for-influencers/social-media-endorsements-being-transparent-with-your-followers]

If he wants no further headaches, he should simply edit that post and add the right hashtag. It will be interesting to see if and when he will do it.

As for Fitness at Dawn, well... not even sorry.

Gracias a ti, ❤️. Siempre.

[pop-punklouis]

I feel it's not fair at all, poppunk is not my type, On the other hand, I love Louis's voice in 1d songs, and back to you , and couple songs from walls album. And that's it, I don't have anything new to listen to from him. I know this is my problem and my musical taste and it's not Louis's fault. But come on do something like back to you that more people loved it, what's wrong with that? If we want to be logical pop punk has its own fans but they are in the minority.

I know his prejudice fans always says, that's fine, he'll be fine, don't worry about him, let Louis be for us, we don't want to share him, becoming number one is not his goal, but isn't it? Wasn't he happy when he was number one in the UK? I know the fans made it , but it's not like Louis said I'd be upset if I became number one and I don't want it and I refuse to accept it.

He says he doesn't care about commercial success, but who wouldn't want that. When you have the ability and talent, what's wrong with using it and singing a song that will bring everyone's attention to you? I really don't understand why Louis doesn't want to sing something that is popular with the majority of society?

1) this is such a weirdly self-serving ask of an artist like: “create music i want to listen to. if not, i cant listen to it and you’re not going to be successful.” perhaps, louis isn’t making music for you but for himself and if that isn’t for you, that’s fine. but that doesn’t mean he isn’t successful…..?

2) louis made mainstream pop music with one direction for five years. and tried his own hand at it for the first half of his solo career. he’d been in that world for a decade. and for his solo career, it wasn’t really that successful. and most importantly he wasn’t happy??

3) louis has made it abundantly clear that he didn’t want to make pop music. that his heart belonged in the indie rock/pop-punk scene. and always has. there’s been remnants of that in his style, his interests, and some of his music for years. he’s given countless interviews and talked himself about the pressure that was put on him to dress up as someone he wasn’t with these major record labels. to hide his accent. to create radio friendly music. to be a puppet on a string for them. he wasted years of his career dealing with that pressure and those contracts.

4) FITF, an album that was created as the most authentic body of work he’s released yet, is what got him the number one. it wasn’t walls. it wasn’t any of the strictly EDM work he released. it was FITF. it was an album that featured the sound that he loves and wants to strive towards going forward. it was louis clear vision babe.

5) louis has seen a growth in his career and his venue sizes that is exponential in just one year. and this isn’t because he’s releasing mainstream pop music. it’s because he’s being authentically him. his music is better. his tour is bigger. his presence is brighter. it’s gravitating so much good his way because of the content he’s creating and how it’s translating to his crowds and him as an artist. he’s a much more confident person than he was just a couple years ago. he’s a much more self-assured person.

6) FITF is part of the reason he’s being booked for these festivals now. it allowed him the growth in his fanbase and live shows to attract fests. if he was still creating music like Walls, i’m not sure if it would be shaking out the same way. and with how his music sounds now, it is open to attracting new fans especially in these big festival settings. most of the songs from walls don’t have the capacity to do that. and that’s just the reality.

7) there isnt just one metric of success. success has many different forms. numbers and charts aren’t the only way to succeed. and louis has lived in that world of success. he’s done all of those things. he’s hit those milestones. they feel good, but they aren’t a driving force behind why he does what he does. he does what he’s doing now because he’s finally being able to show who he is sonically. who he is as a lyricist. who he wants to continue growing into going forward in his career. he’s succeeding through his own journey in the industry. and he’s doing a damn good job controlling that for himself.

8) there’s nothing wrong with pop music. i love pop music. there’s a reason why pop music is popular. but asking your favorite artist to reshape who they’ve steadily been building themselves to be all because you don’t like the sound and you think they need to follow a one-dimensional version of success is….. sad lmao he has worked so hard to be where he is. to feel authentic in the music he’s putting out. and for someone to be like “um anyways i don’t like this. go back to what you were trying so hard to not be. i liked your music better that way” is just ????

9) indie-rock isn’t unsuccessful. it isn’t dead. it’s very alive and successful. genres don’t have to be pop or mainstream to be successful. give music much more credit than that, please.

[jedivoodoochile]

Joanne Latham.

Latham was born in Wolverhampton. After studying classical ballet for nine years she took a scholarship to the Royal Ballet School. A dancing competition led to her modelling for retailer Miss Selfridge. This led on to other modelling and television commercials, including appearing on Page 3 of The Sun and in the Daily Mirror.

In 1978, ATV made a documentary about her called "A Model's Dream" in the series England, Their England. After a shoot with leading glamour photographer Patrick Lichfield, he included her photo on the inside front cover of his book The Most Beautiful Women, a collection of his photographs.

In 1979, men's magazines Playboy and Penthouse competed to publish the first nude pictures of her. Latham signed a contract with Bob Guccione and Penthouse, which promised a fee of £70,000 for her to appear in the September 1979 issue, which was also the 10th Anniversary of the US edition. Latham was selected as Pet Of The Month and featured on nineteen pages of the magazine, including the cover. That edition made U.S. history, selling more in dollar percentage than any other magazine to date and making a profit of $18 million. She also appeared with other Penthouse Pets in the televised broadcast pageant for the selection of the 1979 Pet Of The Year, in which she participated in the opening segment with singer Frankie Valli and a fashion show. After a brief affair with Guccione, Latham's contract was terminated with Penthouse when she fell in love with Guccione's son. She moved from New York to Los Angeles and briefly became the girlfriend of Hugh Hefner, living in the Playboy Mansion. In the early 1980s, Latham returned to England to her Midland home in the village of Tettenhall.

Latham was featured on the cover of Death Penalty, the debut album by the heavy metal band Witchfinder General, which was released in 1982. She also featured on the cover of Friends of Hell, their second album released in 1983.

In 1982, Latham was involved in a serious car accident, after which she gave up modelling and opened the first 'workout' keep-fit studio in the UK. Her daughter, Elizablue Nairi, was born in southern Spain in June 1985.

In later years, she studied drama at Birmingham Repertory Theatre, working under a director of the Royal Shakespeare Company and went on to play the lead role in a government-funded film for the arts.

In 1999, Latham became a teacher of yoga training at the Sivananda Yoga Vendanta Centre in Nassau, Bahamas. Since then, she has continued working in the healing arts. Despite several offers, she has refused to write her autobiography. She has set up her own charity with her daughter 'Blue', who is also a teacher of yoga.

[stephensmithuk]

The Hound of the Baskervilles: The Man on the Tor

E. Remington and Sons, founded in 1816, was an American company known for firearms and typewriters, manufacturing the first commercial model of the latter. The typewriter part of the business was sold off in 1886 and via a series of corporate changes, the company is now part of Unisys. Not that it makes typewriters anymore.

The earliest known use of the word "sexy" comes from a letter by Arnold Bennett in 1896.

This is a period where people, especially of class, very much cared about avoiding scandal. A married woman visiting a single man late at night would be a scandal.

At this time Laura Lyons would have to prove that her estranged husband had committed both adultery and abandoned her. Proving the former would usually require a private detective of some form, beyond the means of most people.

A red letter day is one of special significance. In the UK, there are certain days where English High Court judges wear scarlet robes instead of the normal black. This would include religious festivals and the Sovereign's birthdays (official and actual), but I am unable to find an updated official list to reflect the situation with the current King.

Red Letter Days is also the name of a company that sells "experiences" like tank driving days or a cream tea at a posh hotel.

While Franklin possibly isn't aware of it as it was a common turn of phrases, the term "double event" was used in a postcard purporting to be from Jack the Ripper sent the day after that serial killer murdered two women in the space of an hour.

The Court of Queen’s Bench, now the Court of King's Bench, is the division of the High Court dealing with things like personal injury, libel and breach of contract:

Frankland clearly does not remember that you cannot sue the Sovereign. He could sue the Devon County Constabulary though, which has since become the Devon and Cornwall Police.

Tins for food were widespread at this time. They were made of iron, soldered with a tin-lead alloy, which could lead to poisoning by the latter until Max Ams developed a seam in 1888 that only required the solder on the outside.

A pannikin is a metal cup coated in enamel.

"Spartan" means austere. The city state of Sparta in ancient Greece was known, in a rather mythologicalised fashion, for its heavily militarised society, eschewing personal comfort for this. It attracted a lot of admirers as a result, including playing a big part in fascist beliefs. Their reputation for physical prowess has also seen several sports teams adopt their name, like AC Sparta Prague, who dominate the Czech association football game.

There is also of course 300...

[gatheringbones]

[“Both the US and UK typically tie domestic workers’ visas to a specific employer. As a result, a staggering 80 per cent of migrant domestic workers entering the US find that they have been deceived about their contract, and 78 per cent have had employers threaten them with deportation if they complain. In the UK, these ‘tied visas’ were only introduced – by Prime Minister Theresa May, who was home secretary at the time – in 2012, so it is possible to see their effect very clearly. Migrant domestic workers who entered the UK after 2012 on a tied visa are twice as likely to be physically abused by their employers as those who arrived on a visa that gave them the right to change employers. Compared to migrant domestic workers on the previous, more flexible form of visa, those on tied visas are substantially more likely to be underpaid, assaulted, and overworked, to be expected to sleep on the floor, and to have their passports confiscated by their employers. Punitive immigration law produces harm.

However, much mainstream trafficking discourse characterises the abuse of migrants and people selling sex as the work of individual bad actors, external to and independent of state actions and political choices. Sometimes this discourse works not only to obscure the role of the state but to absolve it. One feminist commentator, for example, writes of the sex trade that ‘criminalisation doesn’t rape and beat women. Men do’. From this, we might conclude that changing the law is pointless because, what makes women vulnerable is simply men. This may feel true for women who do not have to contend with immigration law, police, or the constant fear of deportation, but we can see from the results of tied visas that the legal context – including migration law – is heavily implicated in producing vulnerability and harm.

For undocumented migrant workers looking to challenge bad workplace conditions, penalties do not stop at deportation; instead, these workers face criminalisation if they are discovered. In the UK, someone convicted of ‘illegal working’ can face up to fifty-one weeks in prison, an unlimited fine, and the prospect of their earnings being confiscated as the ‘proceeds of crime’. This increases undocumented people’s justified fear of state authorities and makes them even less able to report labour abuses. Such laws therefore heighten their vulnerability and directly push them into exploitative working environments, thereby creating a supply of highly vulnerable, ripe-for-abuse workers. Increasingly, border enforcement is infiltrating new areas of civic life. Landlords are now expected to check tenants’ immigration status before renting to them; proposals have been floated to freeze or close the bank accounts of undocumented people, and a documentation check was introduced in England when accessing both healthcare and education, as part of an explicit ‘hostile environment’ policy (although both have been challenged by migrants’ rights organisers, including in court). The UK devotes far more resources to policing migration than it does to preventing the exploitation of workers. Researcher Bridget Anderson notes that ‘the [National Minimum Wage] had 93 compliance officers in 2009 and the Gangmasters Licensing Authority [which works to protect vulnerable and exploited workers] had 25 inspectors … The proposed number of UK Border Agency Staff for Local Immigration teams … is 7,500.’

This is the context in which commercial sex frequently occurs. Undocumented or insecurely documented people are enmeshed within a punitive, state-enforced infrastructure of deportability, disposability, and precarity. Any work they do – whether it is at a restaurant, construction site, cannabis farm, nail bar, or brothel – carries a risk of being detained, jailed, or deported. In any work they do, they will be unable to assert labour rights. Even renting a home or accessing healthcare can be difficult. All this makes undocumented people more dependent on those who can help them – such as the people they paid to helped them cross the border, or an unscrupulous employer. It should therefore be no surprise that some undocumented migrants are pushed into sex work by those they rely on, or that some enter into it even if the working conditions are exploitative or abusive.”]

molly smith, juno mac, from revolting prostitutes: the fight for sex workers’ rights, 2018

[chussyracing]

what is happening in the world of motorsports?

Williams confirmed they will send Alex's (technically Logan's) chassis damaged in Japan back to their UK factory before China to repair it (so they will both have repaired ones) and their destructor championship cost is already around 2m for this year (that means up to one or two upgrade packages in F1 numbers)

Ralph Schumacher is trying to stir the pot as per usual because he said that Logan Sargeant doesn't have a contract for the full year and he gets contract for each GP individually meaning he could be replaced for any GP from now on (I call BS)

Rumouredly, Mercedes is looking into a possibility of hiring Pierre Waché from RBR

Also, a rumour slash insider info from my comm (maybe others knew but I am kinda shocked): a lot of teams are surprised by the tyres this year from one race to another because apparently Pirelli mixes them a bit more than just for every reason, but the features are different for every race basically (so although Bahrain and Japan had the same allegation of tyres, it's not just the weather conditions and track surface why they act differently)

Marko Helmut spoke to OE24 (Austrian journal) and mentioned that they are ready to give Checo Perez a new contract after they saw his results because he is their best option for the second seat and Checo himself said he expects a lot of contracts being announced in upcoming weeks, including his own future which should be settled within a month

NXT GEN Cup won't be supporting Formula E at all this season due to "unexpected constraints" although it was supposed to support all European races, and they already tested at Misano World Circuit (FE spokesperson also says they want to raise young talents through FIA Girls on Track and other positive initiatives)

Misano will also feature a 30 mins FE rookie test on Friday with some familiar faces like Zane Maloney, Robert Shwartzman, Ciao Collet, Taylor Barnard, Tim Tramnitz, Jack Aitken or Jordan King

Lewis reportedly walked out of an interview after a reporter asked if he was jealous of Ferrari's results, saying "don't you have any better questions?" (go off tbh)

Speaking of Lewis, am I the last person to learn he has his own TV and movie production company, Dawn Apollo Films?

Peter Kenyon, who previously worked in Manchester United and Chelsea, is joining Williams as a commercial advisor

Regarding Carlos still being jobless, Eddie Jordan believes he is going to Aston Martin starting 2025 (but has "no real hardcore evidence") and racingnews365 reported that Audi (and Seidl who already worked with Carlos) are interested in him but want to lock drivers for their 2026 in 2025 already so they gave him a deadline to give his final answer by the end of April on their deal and Helmut Marko said they have no interest in the market right now and you won't hear from them till mid-season at least concerning new drivers or personnel

Lewis is looking into the possibility of testing the monocoque of Ferrari at the end of this year but "doesn't know if Mercedes will allow him"

Katherine Legge will race Indy 500 for e.l.f. cosmetics brand with number 51

Heikki Kovalainen, who underwent a heart surgery, says that he might fully recover thanks to a fast intervention from the doctors

Fernando was asked if he will try to get the Mercedes seat and joked that he is not interested in a team that is behind them in pace, so Toto won't hear from him any time soon

after some F1 tests and current results, Kimi Antonelli now has enough points to drive in F1 with superlicence but since he is still 17, he has to wait to be of age

RB and Sauber are testing in Suzuka these days for the 2025 Pirelli tyres testing (so both dry and wet condition tyres)

speaking of the future of F1, some rumours leaked about the 2026 regulations and it doesn't look good, because to simplify it, the active aero on the rear wing in combo with the engine on full power makes drivers spin out on straights or in the mildest of turns in simulations with a test car - and to avoid it they have to drive slowly to the point of going slower than the current regulation of F2 cars; there are also some concerns about the 50/50 split engine (the problem is it is too late to change the 2026 regs so what they will try now is to make the active aero on both front and rear wing and see how it goes)

like they teased previously and like rumours suggested, Prema is joining Indycar with two entries starting with 2025 season

René Lammers (15 years old Dutch f4 driver) won Ferrari's scouting camp and 2023 CIK-FIA European championship and his father Jan Lammers now told GPFans that his son was offered a 10 year deal from Ferrari but they decided to refuse although it looked promising at first so he will stay non-related to any F1 team and continue with MP Motorsport in Spanish F4

Max spoke about F1 Academy and especially the competitiveness, the ladder to F1 and the impact of F1 teams and I have a lot of mixed thoughts I won't share here but I'm willing to discuss if anyone is interested

apparently during Lewis' talks with Ferrari, he completely omitted his current manager, so he saved money and got the deal for himself (but also this comes from a Czech source that is not super reliable)

also in GQ Lewis said that Niki Lauda wasn't happy with his ventures into the fashion world at first because he thought it would be distracting him from racing

Theo Pourchaire will be on "standby" for McLaren's Indycar car number 6 for the next race (because David Malukas got injured and they are not sure if he will be good to race and because Callum Ilott who is on standy has WEC duties that weekend)

British American Tobacco (BAT) renewed sponsorship of McLaren - they began sponsoring them in 2019 but European Union banned the advertisement of tobacco, now they will advertise electronic cigarettes and nicotine pouch products on both F1 and FE cars

[coochiequeens]

Countries that ban commercial surrogacy but allow altruistic surrogacy are by default allowing would be reproductive purchasers to guilt trip young women into inconveniencing herself for over a year when they could look into adopting.

MAY 31, 2024 - 1:10PM

Ireland has mummy issues. Nowhere is this more apparent than in the upcoming Assisted Human Reproduction Bill. The proposed legislation, which passed through the Dáil on Wednesday, would allow those who have been resident in Ireland for two years to hire women from a list of approved countries to serve as surrogates, gestating and giving birth to babies who will then be handed over to them.

The main body of the bill concerns the licensing of agencies engaged in international surrogacy and the establishment of new legal frameworks. So-called “intended parents” will have legal rights, even where the baby is born abroad, provided the child has a “genetic link to at least one” of them.

While the ban on commercial surrogacy remains in place, a “reasonable sum” can be offered, and it seems entirely likely this will open the door to pregnancy-as-employment. For example, legitimate expenses will include the loss of income by the surrogate mother for up to one year and the salary of a cleaner for the duration of the pregnancy. There are a range of safeguards in place to ensure that prospective surrogate mothers are not exploited, but whether these will be respected in jurisdictions outside Ireland remains questionable.

With fertility rates plummeting across the world, the baby-making business is set to boom; in 2022 the surrogacy industry was valued at $14 billion. Given the swelling commercial clout, it seems likely smaller countries will cave to domestic and international pressure by loosening laws.

The Irish bill will bring the country closer to the UK, which allows for altruistic surrogacy. Notably, while Russia and Ukraine have lax laws and effectively allow surrogate mothers to be paid, all forms of the practice are outlawed across much of Europe, including Italy, Spain, France and Germany.

Many of the bill’s proponents have heralded it as marking progress toward equality between same-sex and opposite-sex couples, toward a forward-looking Ireland free from the scandals of its Catholic past.

The bill’s righteous and progressive aims were cemented in January when the Pope called surrogacy “a grave violation of the dignity of the woman and the child, based on the exploitation of situations of the mother’s material needs.” “A child is always a gift and never the basis of a commercial contract,” he added.

Chair of the Fine Gael parliamentary party, Alan Farrell TD, swelled with pride during a debate on the bill as he reflected: “We have seen dramatic changes in women’s rights and LGBT rights in Ireland, led by the public and pursued by the Government. This bill is the latest where successive governments have sought to build on that progress and deliver real change that reflects more understanding and an equal country.”

A spokesperson from the LGB rights group “Not All Gays” told me that opposition to the legislation has been framed as “anti-LGBTQIA”. “When will they stop weaponising LGB’s struggles and genuine homophobia to push for ethically dubious laws that could be plucked straight out of Gilead?” she asked. “We are not your shield to be used to silence reasonable debate or opposition to laws that seek to erode the rights and civil liberties.”

Just as with the dissolution of women’s rights at the hands of trans activists, this most recent threat to women’s dignity, health and happiness has come cloaked in the rainbow flag. But in reality, it signifies nothing more than a social shift toward the commercialisation of women’s bodies.

It is a triumph of market forces, of the state-sanctioned use of wombs for the production of a designer accessory. Provided the mother meets the minimum requirements, couples and individuals who have commissioned babies will be able to pose with them for Instagram snaps as soon as the mother has given birth.

The bill will probably pass into law, and Ireland will become a land where virgins may indeed become mothers. It is conceivable that future generations will look back on the period of legalised surrogacy with horror as we now do the brutal homes where unmarried mothers had their infants ripped from their care.

Josephine Bartosch is a freelance writer and assistant editor at The Critic.

In the meantime

[thecrownnet]

Equity Updates Strike Advice Due To “Panic & Confusion” Among UK Publicists Over Actors’ Press Duties

Jake Kanter, July 25, 2023

DEADLINE

[Photo: Actors Andy Serkis, David Oyelowo, Hayley Atwell, Rob Delaney, Brian Cox, Simon Pegg, Jim Carter, and Imelda Staunton, attend a rally by UK performers' group Equity, in solidarity with striking US actor collective SAG-AFTRA, in London, UK, on Friday, July 21, 2023. They hold a large purple banner that says "Equity stands in solidarity with SAG-AFTRA."]

EXCLUSIVE: British actors union Equity will today update strike guidance for publicity agents amid confusion over how stars should manage their promotional duties during the SAG-AFTRA walkout.

The union, which has said it will enthusiastically support industrial action within UK laws, is expected to update its strike FAQs after getting calls from publicists requesting clarity.

Multiple publicists have told Deadline that there is uncertainty over how they should be preparing for press campaigns over the coming months.

“Everybody’s in a state of panic and downing tools because they don’t want to put their clients in a difficult position,” said one publicist. Another added: “It’s difficult to see where actors stand and there is a lot of confusion.”

Equity General Secretary Paul W Fleming encouraged publicists to check the contracts of their clients and plan campaigns accordingly.

He said actors on a SAG-AFTRA deal are likely to be told by the U.S. union that they are forbidden from doing promotional work. Those on an Equity agreement are not on strike and should fulfill their contractual duties.

“The contract is in dispute, not the union itself,” Fleming said. “American actors are still recording TV commercials. Americans are still recording audiobooks, including for struck companies … because the agreements that they’re recording on are not subject to the dispute.”

Deadline hears that British actors have voiced reservations about doing interviews and other publicity work during the strike, even when they are on Equity deals. 

One publicist said contracts often include a vague provision for “reasonable publicity,” which could be open to interpretation in terms of the volume of promotional work an actor undertakes.

Fleming said members are welcome to contact Equity for specific advice if they are concerned that they are undermining a strike by going “above and beyond” their contractual duties.

“Do you have to carry on doing press and publicity as specified in your contract if you’re on an Equity agreement? Yes. If you’re contractually bound to do ‘reasonable press and publicity,’ what does that now mean? Well, that will depend on the circumstances,” Fleming said.

“What are you objecting to, in particular? Going on a chat show in these circumstances, for instance, maybe a more reasonable thing to object to, as opposed to having a photograph taken.”

The union would never actively advise members to renege on press duties to support the strikes because it could be seen as an inducement to take illegal industrial action.

[justforbooks]

The director and producer Norman Jewison, who has died aged 97, had a career dedicated for the most part to making films that, while entertaining, included socio-political content. His visual flair, especially in the use of colour, spot-on casting and intelligent use of music, enabled him to raise sometimes thin stories into highly watchable films.

He hit the high spot critically and commercially with In the Heat of the Night (1967), which starred Sidney Poitier as a northern US city police detective temporarily held up in a small southern town and Rod Steiger as the local sheriff confronted with the murder of a wealthy industrialist. The detective mystery plot was perhaps mainly the vehicle for an enactment of racial prejudices and hostilities culminating in a grudging respect on both sides, but it worked well. The final scene, much of it improvised, in which the two men indulge in something approaching a personal conversation, was both moving and revealing.

The film won five Academy awards – for best picture, best adapted screenplay, best editing, best sound and, for Steiger, best actor – and gave Jewison the first of his three best director nominations; the others were for Fiddler on the Roof, his 1971 adaptation of the Broadway musical, and the romantic comedy Moonstruck (1987). In 1999 Jewison was the winner of the Irving G Thalberg memorial award from the academy for “a consistently high quality of motion picture production”.

The son of Dorothy (nee Weaver) and Percy Jewison, he was born and brought up in Toronto, Ontario, where his father ran a shop and post office. Educated at the Malvern Collegiate Institute, a Toronto high school, Jewison studied the piano and music theory at the Royal Conservatory in the city, and served in the Canadian navy during the second world war. On discharge, he went to the University of Toronto, paying his way by working at a variety of jobs, including driving a taxi and occasional acting.

After graduating with a bachelor of arts degree, in 1950 he set off with $140 on a tramp steamer to the UK, where he landed a job with the BBC, acting and writing scripts. On his return to Canada two years later, he joined the rapidly expanding television industry, producing and directing variety shows for the Canadian Broadcasting Corporation.

Jewison was spotted by the William Morris talent agency and invited to New York, where he signed with CBS and was given the unenviable task of rescuing the once successful show Your Hit Parade, which was by then displaying signs of terminal decline. He revamped the entire production and took it back to the top of the ratings. He directed episodes of the variety show Big Party and The Andy Williams Show, and specials for Judy Garland, Frank Sinatra, Harry Belafonte, Jackie Gleason and Danny Kaye.

On the Belafonte special, Jewison had white chains dangling above the stage, an image that displeased many southern TV stations, which refused to screen the show. This was the first indication of his stance on racism.

Success brought him to the notice of Tony Curtis, who had his own production company at Universal, and Jewison began a three-year contract with 40 Pounds of Trouble (1962), starring Curtis. This was followed by the likable but light Doris Day comedies The Thrill of It All (1963), Send Me No Flowers (1964) and The Art of Love (1965).

In 1965 he got out of his contract to make the first film of his choice, MGM’s The Cincinnati Kid, starring Steve McQueen (the Kid) and Edward G Robinson (the Man) and centring on a professional poker game between the old master and the young challenger. He took over the project from Sam Peckinpah, tore up the original script by Paddy Chayefsky and Ring Lardner, and commissioned Terry Southern, the result getting him noticed as a more than competent studio director.

In 1966 he made the beguiling but commercially unsuccessful comedy The Russians Are Coming, The Russians Are Coming, about a Russian submarine stranded off the coast of Cape Cod. This was at the height of the cold war and gained him a reputation for being a “Canadian pinko”, although it was nominated for a best picture Oscar.

In the Heat of the Night was followed by The Thomas Crown Affair (1968) in which McQueen and Faye Dunaway played thief and insurance investigator respectively and engaged in a chess game that evolved into one of the longest onscreen kisses, as the camera swirls around and around above their heads. The theme song, The Windmills of Your Mind, was a hit and the film a success.

Fiddler on the Roof, with a silk stocking placed by Jewison across the camera lens to provide an earth-toned quality, won Oscars for cinematography, music and sound, and a nomination for Chaim Topol in his signature role of Tevye.

Jesus Christ Superstar (1973), his adaptation of Andrew Lloyd Webber’s rock opera, and Rollerball (1975), starring James Caan, were followed by F.I.S.T. (1978), a tale of union corruption starring Sylvester Stallone as an idealistic young organiser who sells out, and And Justice for All (1979), starring Al Pacino, a deeply ironic portrayal of the legal world.

A Soldier’s Story (1985), based on the Pulitzer prize-winning play and including an early performance from Denzel Washington, dealt with black soldiers who risked their lives “in defence of a republic which didn’t even guarantee them their rights”, and some of whom had internalised the white man’s vision of them.

Moonstruck, a somewhat daft love story but a tremendous box office success and for the most part a critical one, won the Silver Bear and best director for Jewison at the Berlin film festival and was nominated for six Oscars, winning for best screenplay, best actress for Cher and best supporting actress for Olympia Dukakis.

Then came Other People’s Money (1991), a caustic and amusing comedy on the new world of corporate finance and takeovers, in which Danny DeVito played a money hungry vulture, made largely in response to Reagan’s era of deregulation, and The Hurricane (1999) in which Jewison again worked with Washington, who played the real life boxer Rubin “Hurricane” Carter, falsely convicted of a triple murder and imprisoned for years before the conviction was quashed. The latter film aroused controversy over its alleged manipulation of some facts and, despite its undoubted qualities, this fracas probably contributed to it being commercially disappointing.

In the early 1990s, Jewison had begun preparations for a film on the life of Malcolm X, and had secured Washington to play the title role, when Spike Lee gave his strongly expressed opinion that only a black film-maker could make this story. The two met, and Jewison handed over the film to Lee.

Jewison’s last film, The Statement (2003), starred Michael Caine as a Nazi war criminal on the run. He was also producer for films including The Landlord (1970), The Dogs of War (1980), Iceman (1984) and The January Man (1989).

He had returned to Canada in 1978, living on a ranch north of Toronto with his wife Dixie, whom he had married in 1953. There he reared Hereford cattle, grew tulips and produced his own-label maple syrup. In 1988 he founded the Canadian Centre for Advanced Film Studies, now known as the Canadian Film Centre, in Toronto.

He was a confirmed liberal, a man of integrity who turned in his coveted green card in protest at the Vietnam war and saw film not only as entertainment but also as a conduit for raising serious issues.

Dixie (Margaret Dixon) died in 2004. In 2010 he married Lynne St David, who survives him, as do two sons, Kevin and Michael, and a daughter, Jennifer, from his first marriage.

🔔 Norman Frederick Jewison, film director, producer and screenwriter, born 21 July 1926; died 20 January 2024

Daily inspiration. Discover more photos at Just for Books…?

[doyoulikethissong-poll]

Roxette - The Look 1989

"The Look" is a song by pop duo Roxette; Sweden's second-best-selling music act after ABBA. It was released in early 1989 as the fourth single from their second studio album, Look Sharp! (1988). The album was an immediate commercial success in their home country, spending seven weeks at number one on the Swedish Albums Chart. "The Look" was written by Per Gessle as an exercise while learning how to operate the Ensoniq ESQ-1 synthesizer he had recently purchased, using a repeated A–G–D bass line as the song's core. The track's sixteenth-note rhythm was inspired by the work of ZZ Top. The original title was "He's Got the Look", with the lyrics using male pronouns. Gessle said this was done because he initially wanted Marie Fredriksson to sing the track. Both he and EMI Sweden had chosen to highlight Fredriksson as Roxette's lead vocalist. However, when recording the demo, Gessle realised the song "didn't fit her style that well, so I had a go and it sounded OK."

The singles from Look Sharp! at the time were only released in Sweden, Germany and France. However, an American exchange student from Minnesota named Dean Cushman returned from Sweden and gave his copy of the album to his local Top 40 radio station, KDWB-FM in Minneapolis. The station's program director Brian Phillips initially ignored Cushman's request to play a song from the album, leaving the CD unplayed in his office for several weeks. Phillips eventually listened to it after learning Cushman had come to the office requesting the return of his CD. Immediately impressed by the album's opening track, "The Look" was played by the station for the first time on US radio less than an hour later, and the response from listeners was overwhelmingly positive; the station immediately began receiving phone calls to replay the track.

KDWB began distributing the track to their sister radio operations, sending 500 copies to other stations throughout the United States. EMI America promptly signed the duo to a recording contract as a result of the airplay. The label had previously rejected Roxette as "unsuitable for the American market". The song had already entered the top fifty of the Billboard Hot 100 before official promotion began, peaking at number one on the chart eight weeks later. This made "The Look" the third number one single by a Swedish act on the Billboard Hot 100, following Blue Swede's "Hooked on a Feeling" (poll #152) in 1974 and ABBA's "Dancing Queen" in 1976.

The track went on to top the charts in 25 countries. It spent three weeks atop the New Zealand Singles Chart, and six weeks at number one in Australia, where it was certified platinum for sales in excess of 70,000 copies. It also topped the charts throughout Scandinavia. The song spent five weeks at number one in West Germany, and an additional five weeks at number two. It was a massive success in Spain and Switzerland, spending eight weeks at number one in both countries. It reached number seven on the UK Singles Chart.

"The Look" received a total of 80,5% yes votes!

[markalberding]

Taro Okamoto

Exhibition at the Tokyo Metropolitan Art Museum

Taro Okamoto was a prolific avant-garde artist, a trickster who forged his own path and encouraged others to do the same with his famous exclamation-cum-exhortation "art is an explosion". Completely modern in his output, he nonetheless had a deep respect for elements of traditional Japanese culture (Okinawan) and pre-historic art (Japanese Jōmon, Pre-Columbian in Mexico),which formed a basis for his practice and theorizing, for he also wrote on art a great deal, particularly focused on promoting a modern Japanese aesthetic unshackled from the wabi-sabi conventions he felt had dominated Japanese artistic creation for too long. He produced a wide variety of work in different media and placed a great deal of importance on public art.

This exhibition at the Tokyo Metropolitan Art Museum in Ueno was well mounted, the works appearing on the first of three floors in particular being very effectively presented brightly spot lit against black walls and dark carpet, which made his bold, colorful canvases really burst forth. The second and third floors took a more historical and chronological approach, ending with his last canvases in the early 1990's, including one unfinished work. The famous gigantic Myth of Tomorrow mural, painted then somehow "lost" in Mexico City in 1967, then rediscovered in Mexico 30 years later, then restored and mounted in Shibuya station in Tokyo in 2008, is represented by a large scale painted sketch. There are also a few films, one on the making of the famous Tower of the Sun for the 1970 World Expo in Osaka (and there are a couple of models of it as well), and extensive slide shows of photographs he took while researching Okinawan and pre-Columbian arts and culture.

As is often the case, while the sections had good English introductions along with the Japanese, the exhibition texts on the placards accompanying most works were exclusively in Japanese. Yes, this is Japan, and yes, if you attend a comparable exhibition in the United States or the UK, for example, there will not be Japanese explanation anywhere, but English is an international language and particularly for an artist with a global outlook like Okamoto's, one might hope for more English for the exhibition texts. Given that the museum is pretty undeniably overstaffed, with dark-suited individuals standing around doing nothing more than holding a sign or making an unnecessary announcement that someone else is also making 10 yards away (a very common sight here), some of the money used for excess staff could be used to pay a proper translator to do all of the explanatory texts (I don't want to take anyone's [part-time, contract work] job away, but the number of people is pretty ridiculous at some of these institutions). To their credit, they allowed photography, which is very often not the case at large Japanese museums.

Okamoto sold little work during his career, partly because he was in a position which made sales unnecessary, but also because he wanted to have available for display as much of his work as possible, rather than having it secreted away in the homes of collectors. Somewhat ironically for a resolutely non-commercial artist, the gift shop was larger and had a wider range of goods than I think I have ever seen at an exhibition of similar size. I assume the proceeds at least in part go the foundations running the two permanent museums housing his work in the area.

markalberding.com

[slurping-up-grass]

science is cool

my parents are scientists

it's a funny job to have grown up around

My Father, in particular, works for a research intensive university, which means that he ends up in all sorts of trades, learning random pieces of information.

In effect, aside from the teaching side, he is a prostitute who the university pimps out to larger, older clients, for luxury, longer term contracts. He can say no, of course, but rarely has reason to.

"Let's see, little-pharma, you're looking for a lanky chemical-physicist who cannot leave the house without 3 layers of band shirt and a corduroy jacket, is that right?"

"Does he have any...um...special interests?"

"Well as a matter of fact, he's a rehologist, do you know what that is?"

*gasping and blushing*

It can be quite depressing though: after creating a surface coating that prevented barnacles attaching to ships (which cause thousands to be wasted on fuel as the ship becomes less and less streamlined over time) everything was scrapped because you had to apply two coats, which is commercially too costly to sell upfront.

Did you know that your washing machine actually runs about 10°c lower than whatever you set it at, because for years detergents have been effective enough to work at lower temperatures, but by force of habit people kept using the higher settings and wasting energy?

Something else is that in the UK, at least, most of the plastic we send to recycling is actually just burned, or sent abroad.

"not our problem anymore"

My mum works with DNA and other human molecules. The technology we have now means that we could basically do whatever we want to a person, we just don't- it's illegal.

The principle is that if you can do it to ape DNA, you can do it to a person, and we can do a hell of a lot to apes.

Probably the best thing she's done is put bacterial genes inside jellyfish to make them glow green.

Someone could have done that to you as a foetus, they just didn't.

Anyway, science is cool, and I'm still going to disappoint my parents by becoming an amoral, humanities-worshipping, child-of-diablo lawyer :D

[starryspectre]

Hey!! Here’s my updated commission sheet. Everything is correct as of February 2023. You can also tip me on ko-fi here

It’s very important that you read the T&Cs under the read more before commissioning me. I’ve tried to keep it as short and sweet as possible, but there are things you need to know in order to have the most streamlined experience possible.

If you have any further questions, please don’t hesitate to send me an ask or email.

Thanks! ♥

Notes

Standard resolution is 300dpi. Size can be altered to meet requirements.

Please let me know if you want to remain anonymous, if you do not want the work to be shared, or want to use an alias when the work is presented in my portfolio.

All images will have a watermark during the WIP stage. The watermark will be removed upon delivery of the artwork.

Please remember that all copyright is retained by me, the artist, and starryspectre/Bel must be credited when/if you share the artwork anywhere. If you share my artwork online, a link to my site or blog would be really helpful, but it isn’t mandatory.

Usage

These price guidelines are for personal use only. Commercial artwork (e.g. book illustrations, editorials etc) will require further negotiation of prices, as well as a new contract and licensing agreement.

Please contact me directly if you’re uncertain or the artwork is intended for commercial use.

Development

Major revisions (e.g. changing a pose, clothing, angles etc) are best decided on during the sketch phase of the artwork. This is because I am a traditional artist and major revisions are not easily achieved once the work is completed. This means that once I get your approval on a sketch, no more major revisions can be be done. So please tell me if something is not to your liking or you would like something significantly altered during the sketch stage.

Please try to keep major revisions to a minimum of two.

Minor revisions (such as a small change of colour or fine details) are okay and incur no added cost.

Please send references to help me meet your requirements as closely as possible. This can include sketches and photos, but descriptions are also useful.

If you do not have a very solid idea of what you want, it’s okay! These are simply rough guidelines for the limits of what I can/will do. Much of the brief will likely be created during our initial discussion, so if you’re not sure, the best idea is to just shoot me a message and see if we can come up with something.

Payment

Paypal is preferred but if you live in the UK and would rather do a bank transfer, this can also be arranged.

50% of the payment is expected before the commencement of work on the commission, and 50% upon its completion.

Alternatively, you can pay me 100% of my fee before the commencement of work if you prefer.

Cancellation & Kill fees

If the commission is cancelled before the sketch stage, I will refund you fully.

If the commission is cancelled during the sketch phase, I will refund 50% of the initial fee paid. If you have paid in full already, I will repay 75% of the overall fee.

If the commission is cancelled after the sketch phase, there will be no refund.

If I cannot complete the commission for some unjustifiable reason of my own, I will refund you fully.

Content

I will not illustrate depictions of excessive gore, violence, or hateful subject matter (racism, homophobia, misogyny etc).

Nudity and NSFW commissions will be accepted as long as they do not fall into the above categories.

I will not plagiarise another artist’s work, designs or style.

Contact

You can contact me in a variety of ways:

E-mail: starryspectre@gmail.com (preferred)

Via an ask on Tumblr

Via PM on Artstation

My timezone is GMT or GMT+1 in Summer. If you need your work by a certain date/time, please let me know beforehand.

[olivercervoni]

Is Palantir the Number One AI Stock?

$PLTR has been one of the hottest topics this year in the world of finance. It has turned the heads of even the most successful investors following its year-to-date jump of over 200% making it one of the highest-growth stocks in the AI sector. Here I will break down all the key events of 2023 leading to Palantir’s success and potential going into 2024 and why I believe Palantir deserves a place in everyone’s portfolio.

In Palantir’s Q2 earnings report, it reported a net income of 28 million with a year-over-year revenue of 13%. However, things just kept getting better for Palantir in 2023.

In Palantir’s Q3 earnings report of 2023, It announced its earnings with a quarterly profit and a net income of $72 million and a revenue improvement of 16.8% compared to Q3 of 2022 revenue. This earnings report demonstrated Palantir’s potential for profitability and a shift towards more profitable commercial contracts.

In October of 2023, Palantir was included in the S&P 500 index, a massive milestone for every American company. This solidified Palantir’s position at the forefront of the AI sector. In 2023 Palantir’s AIP (Artificial Intelligence Platform) showed great potential and was greatly received by customers. This led to Palantir conducting major collaborations with some of the biggest names in finance. One of which is $IBM. IBM and Palantir collaborated to produce IBM Cloud Pak. This product is aimed at helping businesses with operations and improving efficiency.  The IBM Cloud Pak was seen as a very powerful and useful tool for businesses to optimize and can be used in a variety of markets such as healthcare and finance.

Similarly, Palantir collaborated with the giant $AMZN on the AWS sector. This collaboration consisted of Palantir Foundry now being accessible through the AWS infrastructure saving time for businesses to access Palantir making it an even more useful tool for businesses to use giving it leverage over competitors in the market.

Palantir is already collaborating with the NHS to improve efficiency, better patient care, and perform advanced decision-making. This collaboration is a huge label for Palantir due to it being trusted by the UK’s biggest health service, to optimize operations.

Overall, I believe $PLTR is a very promising company in the AI sector and shows great profitability potential.  In 2023 Palantir has made major collaborations giving it leverage over rivals and solidifying its status in the world of finance.

Oliver Alessandro Cervoni