#European Industry Week

[cathkaesque]

The local population in countries that export bananas typically eat different varieties grown primarily by small farmers. The ones for the Americans and the Europeans, Cavendish variety bananas, are grown in huge, monoculture plantations that are susceptible to disease. The banana industry consumes more agrichemicals than any other in the world, asides from cotton. Most plantations will spend more on pesticides than on wages. Pesticides are sprayed by plane, 85% of which does not land on the bananas and instead lands on the homes of workers in the surrounding area and seeps into the groundwater. The results are cancers, stillbirths, and dead rivers.

The supermarkets dominate the banana trade and force the price of bananas down. Plantations resolve this issue by intensifying and degrading working conditions. Banana workers will work for up to 14 hours a day in tropical heat, without overtime pay, for 6 days a week. Their wages will not cover their cost of housing, food, and education for their children. On most plantations independent trade unions are, of course, suppressed. Contracts are insecure, or workers are hired through intermediaries, and troublemakers are not invited back.

Who benefits most from this arrangement? The export value of bananas is worth $8bn - the retail value of these bananas is worth $25bn. Here's a breakdown of who gets what from the sale of banana in the EU.

On average, the banana workers get between 5 and 9% of the total value, while the retailers capture between 36 to 43% of the value. So if you got a bunch of bananas at Tesco (the majority of UK bananas come from Costa Rica) for 95p, 6.65p would go to the banana workers, and 38p would go to Tesco.

Furthermore, when it comes to calculating a country's GDP (the total sum of the value of economic activity going on in a country, which is used to measure how rich or poor a country is, how fast its economy is 'growing' and therefore how valuable their currency is on the world market, how valuable its government bonds, its claim on resources internationally…etc), the worker wages, production, export numbers count towards the country producing the banana, while retail, ripening, tariffs, and shipping & import will count towards the importing country. A country like Costa Rica will participate has to participate in this arrangement as it needs ‘hard’ (i.e. Western) currencies in order to import essential commodities on the world market.

So for the example above of a bunch of Costa Rican bananas sold in a UK supermarket, 20.7p will be added to Costa Rica’s GDP while 74.3p will be added to the UK’s GDP. Therefore, the consumption of a banana in the UK will add more to the UK’s wealth than growing it will to Costa Rica’s. The same holds for Bangladeshi t-shirts, iPhones assembled in China, chocolate made with cocoa from Ghana…it’s the heart of how the capitalism of the ‘developed’ economy functions. Never ending consumption to fuel the appearance of wealth, fuelled by the exploitation of both land and people in the global south.

[reasonsforhope]

An illegal toxic dump site in Croatia, the theft of water from a major aquifer in southern Spain, illegal trading of ozone-depleting refrigerants in France: This is just a sampling of the environmental crimes that European countries are struggling to stop. The lack of accountability for these acts stems in part from the European Union’s legal code, which experts say is riddled with vague definitions and gaps in enforcement. That’s about to change. 

Last week, EU lawmakers voted in a new directive that criminalizes cases of environmental damage “comparable to ecocide,” a term broadly defined as the severe, widespread, and long-term destruction of the natural world. Advocates called the move “revolutionary,” both because it sets strict penalties for violators, including up to a decade in jail, and because it marks the first time that an international body has created a legal pathway for the prosecution of ecocide.

“This decision marks the end of impunity for environmental criminals and could usher in a new age of environmental litigation in Europe,” wrote Marie Toussaint, a French lawyer and EU parliamentarian for the Greens/European Free Alliance group, on X...

The new directive uses the term “ecocide” in its preamble, but does not criminalize the act by laying out a legal definition (the most widely accepted definition of ecocide was developed by an international panel of experts in 2021). Instead, it works by providing a list of “qualified offenses,” or crimes that fall within its purview. These include pollution from ships, the introduction of invasive species, and ozone depletion...

The new law holds people liable for environmental destruction if they acted with knowledge of the damage their actions would cause. This aspect of the law is important, experts said, because it means that a permit is no longer enough for a company to avoid culpability.  

“If new information shows that behavior is causing irreversible damage to health and nature – you will have to stop,” a member of the European Parliament from the Netherlands, Antonius Manders, told Euronews. 

Advocates like Mehta hope that the EU’s move will have influence beyond Europe’s borders. The principal goal of the Stop Ecocide campaign is for the International Criminal Court to designate ecocide as the fifth international crime that it prosecutes, after crimes against humanity, war crimes, crimes of aggression, and genocide. At the moment, environmental destruction can only be prosecuted as a war crime at the ICC, and limitations in the law make this extremely difficult to do...

Kate Mackintosh, the executive director of the Netherlands-based UCLA Law Promise Institute Europe, told Grist that the ICC is unlikely to adopt an ecocide law if other countries do not do so first. 

“It’s not something you can just pull out of thin air,” she said, adding that any international legal doctrine has to have a precedent on the national level. “That’s the way states are going to accept it.”

The EU’s 27 member states will have two years to adapt the new legislation into their penal codes. Afterwards, their implementation must be reviewed and updated at least once every five years using a “risk-analysis based approach,” to account for advancements in experts’ understanding of what might constitute an environmental crime. Mehta said that despite its omission of some important offenses, the law sets an important example for other countries. Several days before the EU vote, Belgium adapted its criminal code to include the directive, making it the first country in Europe to recognize ecocide as a crime.

The ruling “shows leadership and compassion,” Mehta said. “It will establish a clear moral as well as legal ‘red line’, creating an essential steer for European industry leaders and policy-makers going forward.”

-via Grist, March 6, 2024

[fandomnerd9602]

All Too Well

Actress!Wanda x Stunt!Reader

Inspired by the film ‘The Fall Guy’

You couldn’t remember what drove you and your girlfriend, the famous actress Wanda Maximoff, apart. Maybe it was the different schedules. Maybe it was the nagging feeling that an actress of her caliber deserved better than a stunt person like yourself.

So you made the biggest mistake of your life and broke up with her. If you could take it all back you would.

It had been four months since you broke up. The stunt industry was hitting a slight lull due to a bigger focus on special effects and deepfakes. So you were shocked when Tony Stark, a good friend and famous director in his own right, called you saying that he needed a stunt person of your caliber to help out on his latest blockbuster.

“You’re gonna love it (Y/N)!” He exclaimed over the phone’s speaker, “it’s the biggest film of my career and I want you for a few stunts. Two weeks, Australia, it’s perfect.”

“Fine.” You huffed, “if it was anyone else, I’d say no but…”

“Yeah yeah never say no to a Stark” even thru the speaker you could tell he was smirking.

So you boarded the overnight flight to Australia. You ran over the stunts via Zoom with Clint and Natasha - the best stunt team in the world. The first big stunt was a motorcycle crash into the bed of a truck while the lead actress rode away on her own. You'd be playing the henchman chasing her that ends up in said truck bed.

You arrived on the set the following day and go your horror, you saw her from a distance. Your ex, Wanda Maximoff. Her back was to you but you knew it was her, her reddish brown locks. You’d know her anywhere. She was talking to some British dude, she seemed happy. It broke your heart, shattered it into a million pieces.

You quickly ducked into a trailer and came face to face with Tony.

“So how was your flight?” He smirked.

“You didn’t tell me Wanda was here!” You whispered-yelled at him.

“You wouldn’t have come if I did.” He shrugged, “listen you’re the best fall person in the business. This movie needs you. And even if she doesn’t know it, Wanda needs you too”

You let your brief anger subside, "so who's the guy? Wanda seems happy"

"That's Vision, her costar"

"Vision?"

"I don't know he's European or something like that" Tony passes you a cup of coffee, "for the jet lag. Your stunt's coming up, Fall Guy"

Tony gives you a wink and heads out of his trailer. You gave it some thought. Wanda did need you. This movie had to be a success. Wanda deserved all the success, all the happiness in the world. And if you can help in some small way, that's all that mattered.

You readied yourself, crash suit, helmet, crash pads, and your sense of danger and confidence. You put down the visor and made your way to the set.

You walked past and saw Vision gently talking to Wanda, "go get it, super star"

Superstar. That was your nickname for her. You boarded your motorcycle and she boarded hers. Tony took his place behind the camera.

"Camera rolling. Speed. Action!"

Wanda revved the motorcycle and took off. You took off after her. You kept the safe distance per the plan.

"And cue motorcycle crash!" Tony called out. Wanda fired her fake gun. BLAM! BLAM! The blanks went off.

You fumbled and crashed right into the crash cushions hidden in the truck bed. Your motorcycle went up and over, according to plan and landed with a crash.

"And cut!" Tony called out. You stumbled and fell onto the street.

Wanda ran up to you, "are you alright?" She didn't even know it was you and yet she still had the same care for a stunt person. You gave her a thumbs up. Wanda's eyes went wide.

"(Y/N)?!" Wanda asked in sheer shock.

You stumbled to your feet and yanked off your helmet. "h-hey Wanda"

"And that was perfect! We're moving on!" Tony called out. The crew grabbed their gear and moved out, leaving you and Wanda staring at one another.

"I can't believe you're here" she shook her head.

"Believe me I'm in the same boat" you shrugged, "you look great"

"its the costume"

"no it's you. You look great in everything. You look good in nothing" you stuttered out.

"Same old (Y/N)" she shook her head and walked away. You could feel her slipping from your grasp yet again.

"Wanda" you called out, "I'm sorry"

She stopped dead in her tracks, "what?"

"I-I'm sorry" you apologized, "you deserved better and it looks like you're on your way to that."

"t-thank you" she whispered out before walking off. Vision approached you with a smile.

"You're (Y/N) (L/N)!" the British actor said, "I hope this is alright but I am such a fan of your stuntwork. I've looked up your reels so many times. Wanda's told me she loved working with you"

"Working. Yeah." you gave him a smile before heading off set, "it was nice meetin' you Vision."

Tony walked by and handed you a set of car keys. "Your hotel's set up on the GPS. The GMC's yours to keep" Tony gives you a genuine smile.

It was dusk. Everyone was readying to head back to their respective lodgings. You found the GMC Tony spoke of. It was GMC Sierra 1500 AT4X, pretty expensive for a little token of Tony's appreciation.

You hopped in, and immediately all your hopes came crashing down. Why did you have to mess it up? Wanda was the best thing you've ever known and now she's got that British actor Vision. All proper and well mannered.

You turned on the truck and out of all the songs the radio could've played, it just had to play All Too Well (Taylor's Version).

'Cause there we are again on that little town street You almost ran the red 'cause you were lookin' over at me Wind in my hair, I was there I remember it all too well

Your head just sunk a little. Your eyes went up and saw her walking with Vision and a couple other actors. She looked happy. How you wanted to be happy with her. Guess you'd have to be happy for her instead.

The memories just came flooding in. Every stolen moment. Every kiss. Every laugh that the two of you shared.

And maybe we got lost in translation Maybe I asked for too much But maybe this thing was a masterpiece 'til you tore it all up Running scared, I was there I remember it all too well

Tears just began running down your cheek. You lost her. And you'd never get her back.

Never again would you hold her in your arms. Share cuddle sessions in her trailer. The little brainstorming sessions that you had with her on how she could run a scene. The little stunt practices where she'd smash a prop bottle over your head. The little concern that she'd have only for you to give her your signature thumbs up.

And you call me up again just to break me like a promise So casually cruel in the name of being honest I'm a crumpled up piece of paper lying here 'Cause I remember it-

Knock! Knock! Knock! A knock at the truck's window stirred you from your thoughts. You turned to find Wanda looking at you. Her brow was fraught with concern. Her eyes still showed the same adoration and care that she had for you on your first shared film.

You rolled down the window. "um...hey" you tried to say.

"were you listening to Taylor Swift and crying?" she asked you.

"It's just how I unwind after a day of stunts" you tried to cover your tracks.

"may I come in?" she asked. You didn't hesitate to unlock the passenger door. Wanda slipped around the truck and got in.

"You never told me why" Wanda whispered. "why did you break up with me?"

"Where do I even start?" you found yourself at a loss for words.

"Just one reason."

"You deserved better. I'm a stunt person, you were on your way to becoming the starlet you are today and I-i..."

"You were an idiot"

"I know."

"I could do without a lot of things. But losing you was the worst feeling I ever went through." Wanda admits.

"I'm sorry, super star" you look her dead in the eye, "I loved you too much. I thought I would hold you back."

"We were in it together" Wanda looks you in the eyes, there wasn't a hint of anger or malice, "I wanted to be your side."

"And I wanted to be by your side too...Vision seems nice. Does he treat you right?"

"What? I'm not dating Vision."

"Wait what?"

"You thought I'd move on that quickly?" Wanda begins to giggle. Her laugh always made your heart beat out of your chest.

"I-I...um...thought so?" you found yourself blushing.

"Maybe we just needed to learn to communicate better" Wanda takes your hand, "do you think maybe we could start over?"

You offered her a genuine smile and held out your other hand, "(Y/N) professional stunt person"

Your favorite actress giggles and shakes your hand, "Wanda Maximoff. Actress and huge fan of Taylor Swift"

The two of you share a little laugh, "I really missed you Wanda"

"I missed you too...Fall Guy"

She leaned in. So did you. The mere touch of her lips sent shocks thru your whole body. How you missed her touch. The two of you became lost in one another. And this time, you'd never let her go again.

'Cause there we are again when I loved you so Back before you lost the one real thing you've ever known It was rare, I was there, I remember it all too well

Wind in my hair, you were there, you remember it all Down the stairs, you were there, you remember it all It was rare, I was there, I remember it all too well

Tony walked by, catching the sight of the GMC's windows beginning to fog up. He caught just the glimpse of you and Wanda kissing softly through the window.

"Mission accomplished" he laughed to himself as he walked to his own car.

THE END

Tags @lifespectator @olsenmyolsen @supercorpdanbeau @scarletquake-n7 @iamnicodemus @iiconicsfan25 @multi-fandom-enjoyer @pinklawyerwinnerzonk @russianredassassin @revanshand @family-house-of-m @holiday-house-of-m @ab1nsur @aloneodi

[sayruq]

The cost of damage to critical infrastructure in Gaza is estimated at around $18.5 billion according to a new report released today by the World Bank and the United Nations, with financial support of the European Union. That is equivalent to 97% of the combined GDP of the West Bank and Gaza in 2022.

The report finds that damage to structures affects every sector of the economy. Housing accounts for 72% of the costs. Public service infrastructure such as water, health and education account for 19%, and damages to commercial and industrial buildings account for 9%. For several sectors, the rate of damage appears to be leveling off as few assets remain intact. An estimated 26 million tons of debris and rubble have been left in the wake of the destruction, an amount that is estimated to take years to remove. The report also looks at the impact on the people of Gaza. More than half the population of Gaza is on the brink of famine and the entire population is experiencing acute food insecurity and malnutrition. Over a million people are without homes and 75% of the population is displaced. Catastrophic cumulative impacts on physical and mental health have hit women, children, the elderly, and persons with disabilities the hardest, with the youngest children anticipated to be facing life-long consequences to their development. With 84% of health facilities damaged or destroyed, and a lack of electricity and water to operate remaining facilities, the population has minimal access to health care, medicine, or life-saving treatments. The water and sanitation system has nearly collapsed, delivering less than 5% of its previous output, with people dependent on limited water rations for survival. The education system has collapsed, with 100% of children out of school. The report also points to the impact on power networks as well as solar generated systems and the almost total power blackout since the first week of the conflict. With 92% of primary roads destroyed or damaged and the communications infrastructure seriously impaired, the delivery of basic humanitarian aid to people has become very difficult.

[dandelionsresilience]

Good News - May 22-28

Like these weekly compilations? Support me on Ko-fi or $Kaybarr1735! Also, if you tip me on Ko-fi or CashApp (and give me some way to contact you if it doesn’t automatically), at the end of the month I'll send you a link to all of the articles I found but didn't use each week - almost double the content!

1. Scientists Invent Healthier More Sustainable Chocolate

“The new chocolate recipe from researchers at ETH Zurich uses more materials from the cocoa pod that are usually discarded, including more of the pulp as well as the inner lining of the husk, known as the endocarp. […] The resulting chocolate also [was “deliciously sweet” and] had 20% more fibre and 30 percent less saturated fat than average European dark chocolate[, and] it could enable cocoa farmers [to] earn more from their crops.”

2. Vermont Is Coming for Big Oil, Making It Pay for Decades of Climate Pollution

“Legislators in Montpelier are on the brink of enacting the "Climate Superfund Act," modeled after the federal Superfund law, that seeks to make oil, gas and coal companies pay for damages linked to historical greenhouse gas emissions. […] Companies would be held liable for the costs associated with […] floods and heat waves, along with losses to biodiversity, safety, economic development and anything else the treasurer deems reasonable[, that were caused by their emissions].”

3. Important bird habitat now protected in the Rocky Mountain Trench

“Grassland-reliant species in the Rocky Mountain Trench now have more protected habitat thanks to a new [270-hectare] conservation area near Cranbrook. […] About one-third of the Skookumchuck Prairie Conservation Area is forested[…,] Most of the site is a dry grassland[…, and] Three hectares of wetlands add to the landscape diversity and offer crucial benefits to wildlife and water systems in the area. This conservation gem also provides habitat for endangered American badger and excellent winter range for elk, mule deer and white-tailed deer.”

4. Lemur Week marked by 70th breeding success

“A wildlife park has celebrated its 70th lemur breeding success ahead of a week raising money to help save the endangered primates. […] The park's open-air Madagascar exhibit is home to 31 free-roaming lemurs and was officially opened in 2008. […] Females are only sexually receptive for just one or two days a year, leaving a small window of opportunity for males to father offspring. […] The two playful siblings, one female and one male, were born to father Bernard and mother Hira.”

5. Innovative material for sustainable building

“Researchers introduce a polymer-based material with unique properties. This material allows sunlight to enter, maintains a more comfortable indoor climate without additional energy, and cleans itself like a lotus leaf. The new development could replace glass components in walls and roofs in the future.”

6. Isle of Wight eagles don't pose threat to lambs as feared

“While there had previously been fears that the eagles would feed on livestock, such as lambs, the project has found no evidence of this. [… “W]hite-tailed eagles effectively steal meals from other predatory birds[, which is] a really important ecological role that had been lost within the landscape and is being restored.” [… The birds’] population was boosted by a chick last year – the first time the species has bred in England in 240 years.”

7. Breakthrough discovery uses engineered surfaces to shed heat

“Cheng's team has found a way to lower the starting point of the [Leidenfrost] effect by producing a surface covered with micropillars. […] The discovery has great potential in heat transfer applications such as the cooling of industrial machines and surface fouling cleaning for heat exchangers. It also could help prevent damage and even disaster to nuclear machinery.”

8. New malaria vaccine delivered for the first time

“A total of 43,000 doses arrived by air today from UNICEF, and another 120,000 are scheduled to show up in the coming days. […] They're the first vaccines designed to work against a human parasite. […] Across four African countries, these trials showed a 75% reduction in malaria cases in the year following vaccination of young children. […] The Serum Institute of India, who will be manufacturing the new vaccine, says a hundred million doses will likely be available to countries by the middle of next year.”

9. Urban gardening may improve human health: Microbial exposure boosts immune system

“"One month of urban indoor gardening boosted the diversity of bacteria on the skin of the subjects and was associated with higher levels of anti-inflammatory cytokines in the blood. The group studied used a growing medium with high microbial diversity emulating the forest soil," [… whereas] the control group used a microbially poor peat-based medium. [… N]o changes in the blood or the skin microbiota were seen. […] “This is the first time we can demonstrate that meaningful and natural human activity can increase the diversity of the microbiota of healthy adults and, at the same time, contribute to the regulation of the immune system."”

10. Cities Are Switching to Electric Vehicles Faster Than Individuals

“[M]ost large cities have adopted some kind of climate goal, and some of them are buying EVs for their municipal fleets at a faster rate than the general public. And that progress could speed up as more EVs enter the market and as cities get educated about grant funding and tax incentives that were passed over the last four years.”

May 15-21 news here | (all credit for images and written material can be found at the source linked; I don’t claim credit for anything but curating.)

[fob4ever]

i was at a bookstore yesterday that had a copy of the kerrang: living loud book that featured the FOB watergun fight article i've never seen transcribed anywhere so i made a transcript of it for archival purposes. enjoy! from kerrang, may 2005.

For a man staring down the barrel of a loaded gun while wearing just underpants, Fall Out Boy bassist Peter Wentz looks remarkably chipper. Especially when you consider the person about to unload in his face is guitarist and vocalist Patrick Stump, grinning madly despite the fact that fellow six-stringer Joe Trohman has a pistol to his temple. He in turn is firmly in the firing line of drummer Andy Hurley, cackling loudly with his finger hovering over the trigger.

Passers-by stop and stare, waiting for the inevitable, messy climax of this "Reservoir Dogs" scenario. The tension mounts, onlookers brace themselves, the band get ready to open fire. Suddenly it happens.

"Argh!" screams Wentz as several litres of icy water soak him. "That's fucking cold!"

No, Fall Out Boy aren't about to blow each other away, They're having a water fight for K!'s benefit in a car park at the Chicago stop on travelling punk circus Warped Tour, where they're knocking out their "softcore" wares ("We're basically a hardcore band that couldn't cut it as a hardcore band," laughs Wentz) on the main stage alongside big hitters like The Offspring, Avenged Sevenfold and My Chemical Romance. The Windy City is more than just another stop for them; Chicago is Fall Out Boy's hometown, the place where they formed out of the ashes of their old hardcore bands, and where they still live with their parents- who are here for today's show - during the few weeks of the year they're not on tour.

It all started for Fall Out Boy here in 2001 when the members wanted a break from playing in their various bands. Long time friends Wentz and Hurley got together with hardcore associate Joe Trohman to do something a bit less heavy. Following a conversation about avant-metallers Neurosis in a bookstore, Trohman introduced Stump to the rest of the band. When their other bands folded, they took on Fall Out Boy full time.

"We wanted to do things before we were ready," chuckles Peter Wentz fondly of the early days of DIY tours for the benefit of the one or two people who would show up. "We'd plan two-week tours, just to see the world. Nobody would book us, so we had to do it all on our own."

"A lot of bands have scenes to go into and surround themselves with those people," says Stump. "We had no scene, so we would just play anywhere, with whoever."

FOB have come a long way from their humble roots. Right now they're America's fastest rising band. Radio smash 'Sugar, We're Goin' Down' has placed them squarely in the mainstream, having spent three weeks as the Number One song on MTV's 'TRL', a prime-time show usually devoted to pop acts like Maroon 5 and Ashlee Simpson. So dizzying their Stateside assent has been, they had to cancel their recent European tour in order to play the MTV Music Video Awards, where they are also nominated for 'Sugar...'. Thankfully, FOB haven't let the screaming adoration turn them into big-headed twats.

"A piece of shit with legs on it could walk onto 'TRL' and people would still go crazy," laughs Wentz. "That stuff just goes straight by me. With the fast turnover in the music industry, how can anyone have an ego"

Andy Hurley chips in. "You can be today's main stage and tomorrow's trash."

That's to find out tomorrow, though. Today among the madness of trying to plan anything on the Warped Tour - stage times are decided daily by lottery - Fall Out Boy have to try and find time for hanging out with family and friends.

"Three weeks on Warped is like three months on a normal tour," says Peter Wentz.

"Home becomes like Atlantis on tour, you wonder if it actually exists after a while," adds Patrick Stump.

Now FOB are big stars, a lot of old 'friends' have been coming out of the woodwork. Joe Trohman and Peter Wentz have polarised views on those who didn't give a toss back in the day suddenly becoming your pal once you've made it.

"The way I look at it is if someone's a dick to you and you don't know them, so what?" says Trohman. "Just care about who did support you, keep those important people close, not the people who five years ago called you a loser."

"I work the opposite way!" Wentz counters, before adding darkly, "The people I think about most are enemies. My brain works on revenge!"

Though a tight knit group of close friends, Peter Wentz is clearly Fall Out Boy's spokesman. He does most of the talking during the interview and writes the lyrics, and seems like the most driven one of the lot. As well as doing Fall Out Boy, Wentz has also written a book with tattoo artist Joe Tesaure, 'The Boy With The Thorn In His Side'. It's a dark, twisted tale that could have come straight from the brain of Tim Burton.

"I've always been into Roahl Dahl and people like that, and I was friends with a tattoo artist at the time and we came up with this idea to do a book together," he explains. "It wasn't something I felt fitted in with what Fall Out Boy is, I hate when bands do something that's not 'them'. The book is what it is, and Fall Out Boy is what we are."

Despite all thise talk of nightmares and revenge, FOB are upbeat individuals, enjoying their newfound success, while refusing to allow success to go to their heads. They'll tell you they don't like the shallowness of groupies or industry parties, and that the trappings of rock stardom hold no appeal.

"I don't feel like I deserve it," says Wentz in closing. "It's not like, 'this amount of time and this amount of shows = this kind of bus'. I appreciate what we've got. We've toured in a tiny van and it was cool, but now we're having new adventures living like this. I don't feel we deserve it more than any other bands do."

He surveys the sumptuosly appointed tour bus for a moment before chuckling heartily.

"Actually, that's a lie, we totally deserve it more than anyone else! Ha ha!"

[buckets-and-trees]

Devour: FAT

Fandom: MCU Title: Fat (Devour, part two) Characters/Pairings: mostly-dark!mob!Bucky Barnes x Female Reader Word Count: 2k Summary: True achievement in the restaurant industry requires a relentless drive. No compromises. You’ve risen through the ranks, and now hold the mantle of executive chef at Devour - a restaurant now owned by the infamous James Buchanan Barnes. He's just as relentless as you, and he's used to always getting exactly what he wants.

Content Warnings: smut (vaginal fingering), some strong language, mildly dark possessive behaviors

Additional Notes: Sequel to Salt (part one of the Devour series). Filling my tenth square for Bucky Barnes Bingo @buckybarnesbingo - U5 "Kink: Lingerie" and circling back to hit week 6 of Hot Bucky Summer for the prompt "How do you want me?"

↠ Masterlist | Aspen's Ask Box | Field Guide to the Forest

“What’s that look?” you narrowed your eyes as Stanley’s approached. As Devour’s Maître d’ Stanley was regularly in and out of the kitchen on any given night, but it was the air of intent that had you questioning him.

“Mr. Barnes is dining with us tonight. Just arrived.”

“Right, everyone, the big boss is dining tonight!” your sous chef Charlie called out to the rest of the kitchen.

There was an immediate flare of sound and activity over the announcement, and so you threw your pan down onto the counter.

“Everyone stop – right now. Stop.”

The whole staff turned their attention to you.

You didn’t raise you voice but made sure you spoke clearly. “I will say this one time: if you cook better tonight than you have every other night because Bucky Barnes is here, you better keep that fucking level every minute you stay in my kitchen from here on or else don’t come back tomorrow.” You let your eyes quickly rove over all of them.

You don’t doubt this staff, you’ve worked with them for years – inherited some of them from your predecessor and recruited some of them yourself – and helmed them without questioning their loyalty since taking over the past week. But you’ve made it clear with this statement, letting them know this is the final test of the transition in your eyes.

“Understood?”

“Yes, Chef,” is the assent from everyone.

“Back to it then.”

Stanley raised an eyebrow as everyone got back to work. “You good?”

You nodded. “It’s not his kitchen, it’s mine.”

To his credit, Stanley didn’t push you any further on the matter and took you at your word.

An hour later, the Maître d’ returned. “Mr. Barnes said, ‘my compliments to the chef,’ on his way out.”

You tilted your head to the side and frowned. “’My compliments to the chef?’ That’s it?”

Stanley waved his hand in a vague gesture that indicates that’s the extent of it.

“And he left?”

“In and out smoothly from our new owner is all I want to see,” Stanley said before returning to the front of the house.

Bastard.

You worked to ignore the disappointment that took over the anxious heat that had been simmering in your core knowing he’d finally come back. It had been exactly a week since your debut as the new Executive Chef, meaning it had also been a week since mob boss James Buchanan Barnes came in, dined, bought the place, tripled your salary, and took you apart in this empty kitchen.

You excused yourself, needing to take a walk out back to work off the pent-up energy. Once out in the cooler night air, your hand worked under the shoulder of your chef’s coat to fidget with the strap of your bra. Then you huffed at doing that because it’s now one more thing that reminded you of him.

It had also been a week with an early morning delivery every day of a simple white box wrapped in a silk ribbon, and a set of under garments resting in a bed of tissue paper and two cards – one indicating it’s La Perla lingerie (a quick Google search confirming it was some of the most expensive intimate wear in the world, an Italian line that used only the finest European silks and lace), the other with a hand-written –JBB on it to let you know exactly who it was from. It was more than a little bold to send you something like that, but when you touched the soft, luxurious material with your fingers, you sighed, thinking it would be a shame to waste something so fine. You had tried it on, just to see.

It was maddeningly also the perfect fit.

You rationalized that if he was going to send it, who were you to deny yourself something so nice just because it was a bit audacious? Let him waste his money sending you these gifts.

Today’s set was black silk and tulle. You hated how wonderful it was.

The ticket for his table that night had been dinner for two with a bottle of wine.

You hated that, too.

He returned two nights later. The order brought back by his waiter this time was to “surprise” him. Another table for two, another bottle of wine. You sent the evening’s special.

Fifteen minutes after the plates went out, so did you.

Hell if James Barnes thought he’d dine and disappear again. (It hadn’t been a dine and dash the last time – he dined for free now as the owner, but he the staff couldn’t help remarking on the more than generous tip he still left.)

Again, in one of the more private table alcoves, you knew you were approaching his table with a bit of steam pouring from your ears, but you were not going to be deterred and wanted to strike while your resolve was strong.

Steve was his dining companion tonight, and as he saw you coming, he shot you a very small smile, excused himself from the table, and gestured for you to take his spot across from the mob boss.

“Good evening,” James said, voice low, eyes hinting at a bit of mirth.

“You buy my restaurant, take me in the kitchen, drop off the grid for a week, return to dine with a woman and leave without even a word, then show up here again tonight, and think you can get off without seeing me this time?”

He smiled. “Do you want to know who she is?”

Your mouth snapped shut. You hadn’t wanted to divulge that you knew he’d been here dining only with that woman, whoever she was, or that you cared that he’d been dining with a woman. Except a little of you also did want him to know you didn’t want to be one of a string of conquests.  

He slid out of his side of the booth and came around and moved in next to you. “Interesting choice of words there, too: ‘get off.’”

You opened your mouth and closed it again. His eyes were dark with lust now, a smirk on his face, and the air felt suddenly thick around you.

“And she was my sister, by the way.”

“Oh.”

“But you should care. I like that.”

He moved even closer to you and placed his hand on your thigh, just above your knee. He brushed a finger along the side of your neck, and you couldn’t help but shiver.

“Now you said, it’s your restaurant.” His lips moved just to the shell of your ear. “Don’t forget it’s mine, Chef.” His tongue darted out to lick the curve there.

Half a whimper escaped your lips as your breath hitched.

He chuckled in your ear then pressed a kiss to your temple. He lifted his hand from your leg, and reached to the middle of the table where he dipped his finger into the dish of soft herbed French butter, then wiped it over your bottom lip. “This was delicious,” he started. You licked what he’d left on your lips, and you watched him lick the remainder of the butter off his own finger.

“But I bet you’ve got something even more delicious for me.”

You knew exactly what he was going to do, but maybe it was the intensity of his eyes locked with yours that made you remain still, practically holding your breath as his hand moved to the waistband of your pants and inside, going directly for the wetness he was creating between your legs. You shifted, body reacting to allow him more access even though your face burned with the heat of panic, not at all comfortable at the thought that anyone could see what was happening, but also desperate for him to give you the pleasure he was dangling in front of you.

“I remember the taste of your skin, and now I will get my taste of this.”

A full whimper fell from your lips this time, and you closed your eyes as his fingers circled your clit. His other hand came to rest at the nape of your neck as he planted his lips at your ear again.

“How do you want me? I bet you’ve been thinking about it.”

You gasped as he stroked up and down your labia and then slipped his fingers inside your cunt.

“Do you want me pushing these thighs open with my face buried between your legs, eating you out until you cry from it being too much for your over-sensitive clit? Splitting you open with my cock, you caged in beneath me while I fuck you into a mattress? Pressed up against a wall while I fuck you from behind? Have you thought about sitting in my lap and riding me?”

Your head fell forward, eyes closed, and you tried desperately to concentrate on your breathing and controlling the sounds you were trying to keep at by while he worked diligently to bring you towards ecstasy. Every word he said was making it all the more difficult, and you clutched at the edge of the table.

His other hand moved from caressing your neck to slip under the edge of your collar, pulling the shirt back enough for him to hook his fingers under the silky band of your bra. “Wearing what I got you.”

You reached up to grab his wrist and pull that hand away. He didn’t fight it, but he did grab your chin and tilt your face up to his for a fierce, hungry kiss. He bit at your lip, and his tongue coaxed and demanded entry to your mouth. He curled his fingers up against your pelvic wall, finding the sensitive spot there, and your lips immediately parted on a true keen over the sensation he stoked in your core. He swallowed up the noise in his mouth. His tongue stroked yours as expertly as his fingers stroked your heated channel, and within only a few more moments, your whole body seized up and then shuddered in the peak of the orgasm he demanded from you there at the table.

His kiss and his fingers both brought you down softly but quickly, and then he pulled you into his chest, tucking your head under his chin and rubbing small circles at the small of your back as your breathing returned to normal. When he removed his fingers from your cunt, he brought them to his lips, and made a low hum as he tasted your essence on his tongue.

“James,” you rasped.

“Delicious,” he whispered. “Mine.”

“Oh god.”

He snickered. “Nowhere close, you know that.”

You straightened your shirt and adjusted your trousers while he kept his broad torso sideways, and your glad he was so big he truly did afford you a modicum of privacy through the whole episode due to his size.

He pushed out of the booth, then took your hand and helped you out as well. He leaned in to kiss your cheek, but you put your fingers up to stop him. His brow furrowed.

“If I’m yours, I need more than this.”

He cocked his head just a fraction, his expression unreadable, but you saw a glimmer in his devastatingly blue eyes. “More it is, then.”

He pressed a kiss to the palm of your hand then sent you on your way. Steve passed you as he returned to the table and you to the kitchen, giving you a nod.

When you arrived home that night after your shift, something seemed different in your apartment, but you couldn’t put your finger on it immediately. You dropped your clothes into the laundry hamper, then jumped in the shower to wash the kitchen smell off you before bed. It was when you made your way to your closet, wrapped in a towel, that you noticed exactly what it was – you weren’t a slob, but everything was now extremely tidy.

Opening your drawer to get some panties, you audibly gasped.

A drawer cleared of all your old underwear, almost overflowing with new lingerie, and a card with the word ‘enjoy’ and his initials told you everything you needed to know.

He was an audacious bastard.

And when you looked at your phone as you crawled into bed, you had a goodnight text from an unknown number that undoubtedly had to be his. You frowned and did not respond.

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Link to part three: ACID

[sophaeros]

arctic monkeys for clash magazine, april 2010

ON THE ROAD WITH… ARCTIC MONKEYS

Words by Simon Harper Photos by Jason Joyce

As Britain’s favourite band headed out on the European leg of their ‘Humbug’ tour, Clash discovered that Arctic Monkeys were less sex, drugs, and rock ‘n’ roll, and more cakes, ping-pong and Coco Pops…

The city of Offenbach, about twenty minutes south of Frankfurt, was once noted for its abundant leather industry, and is currently the base of the German weather service, but such claims don’t negate the fact that it’s basically a sterile, grey, typically German suburban borough. The arrival of a fleet of trucks and buses, carrying Arctic Monkeys, their crew and stage gear, heralded the notion that for one night only, Offenbach may just come alive with suitably bustling energy.

Offenbach’s Stadthalle is the smallest venue on the Monkeys’ three-week tour of Western Europe. The band have been through Portugal, Spain and France, and know how to kill time during the day while everyone works around them, building the stage for that night’s show. And so, when Clash finds them, upstairs in the Stadthalle’s back rooms, they’re in the middle of a fierce ping-pong match – the game scores being tallied up across the tour. The table, it transpires, is the band’s own, and follows them wherever they go. A set of football goals lie waiting for action, but the small white balls prove more enticing.

It’s a cold, February Tuesday, and these back rooms are where the band will spend the whole day.

Previous encounters with Arctic Monkeys have been somewhat tough – notoriously reticent and famously press-shy, there’s a tangible wall that surrounds them, which is seemingly hard to penetrate. Suspicious stares cut through you, while succinct answers frustrate you. Today, however, they couldn’t be more accommodating.

Clash sits with the quartet in the band-only room, where their personal equipment is kept in a vertical flight case of drawers, and a small fridge is at hand for cold beers. Nick O’Malley, Jamie Cook and Matt Helders sprawl on the leather couches, while Alex Turner perches on the table, often pacing the room, then escaping in search of a lighter. We’re here to talk about life on the road. What starts as an interview eventually descends into louche conversation; daft chat punctuated by much laughter. Perhaps they’re glad to see a friendly face; perhaps the monotony of touring makes them crave any respite; perhaps there’s nothing better to do in Offenbach.

Is being on tour like real life, or does it feel like you’re detached from what real life is?

Matt: It’s probably real life. It doesn’t seem like it’s too separate or miles away.

When you go home is that normality or is it just a continuation of what you do on the road?

Matt: I don’t find it hard to settle back and switch between the two.

Nick: You feel like you’re unemployed when you go home properly.

Like you’ve got nothing to do?

Nick: Yeah, or like if you’ve got a couple of weeks off.

Matt: Like school holidays.

Alex: Does that make this school then?

Matt: Yeah, but it’s like basketball camp or something you enjoy.

How do your friendships cope with life on the road? 

Matt: It’s fine.

Nick: Yeah. We know how to not annoy each other. We’ve never really had friction, because we’ve all got a similar outlook on how not to annoy people, I suppose, so there’s never really been any problems.

Alex: (Mock nastily) That’s what you think, mate.

Nick: (Laughs) I suppose if you see the same people every day, after a while you’re bound to get a bit annoyed, but as long as you keep in your mind that it’s just because of the situation and not because you don’t like the person, then you can kind of avoid outbursts that you might not mean. It’s never really been a problem so far.

Do you notice a huge cultural difference between touring Europe and America? 

Alex: Even between places in Europe. I mean, often, to be honest, certainly at this stage that we’re at, days like today aren’t uncommon, where you’re out of town and you don’t even really see where you are, as I’m sure you’re aware. But you can really tell the difference just in the show, from the crowd. We did Madrid and Barcelona over t’weekend, and last week Portugal, and they were really excitable and there was like a frenzy going on when we were playing. Whereas I think crowds elsewhere can be a bit more reserved, can’t they, depending on where it is. I reckon one of the best crowds on this tour was a gig we did last week in Porto. We’ve never played there before. There was this real appreciation or something just from the start. You can just sort of feel it, can’t you; ‘We’re all here to have a laugh’.

Alex lives in the States now. Have any of you considered moving to somewhere you’ve visited on tour?

Matt: Yeah. It’s good that you do get to see places that you might consider moving, like Berlin. I could imagine living there.

Does living apart make you appreciate each other more when you’re back together?

Jamie: [Long pause] Mmmm…yeah.

Gone are the days when you’re living round the corner from each other.

Alex: Yeah, I suppose that’s true. You’ve got to sort of organise to be in one place. I suppose that is a bit of an inconvenient drag.

Are there any essential items that you have to pack before you come out on tour?

Jamie: One of them rolly things that gets fluff of your coat. (All laugh)

Alex: I feel like you’re a lot better equipped than the rest of us with things like that.

Yeah, you’re looking very bobble-less.

Jamie: Ah, cheers. Yeah, I did it this morning actually. A quick roll.

Matt: A skipping rope – except I forgot it this time. I’ve lost mine.

Nick: DVDs, stuff like that.

A ping-pong table?

Jamie: A ping-pong table is essential actually. I don’t think we’d go on tour without that.

Alex: Some kind of series…

Matt: A box-set.

Alex: Kinda really discovered that this last year. It was summat I’d never really got into before.

Nick: Any HBO series.

Alex: (Laughs) Yeah. I’ve really learned to appreciate that sort of continuum, because you can follow a thread.

Matt: You know what you need to do the next day.

What have you been watching?

Alex: We’ve got into Deadwood a bit on the last tour. That’s what’s been missing, I think, for me on this tour, some sort of thing like that.

Have you done The Wire?

Alex: Yeah.  I went Wire mad on that tour. I just got so greedy. I get so greedy with them things.

Matt: I couldn’t catch up.

Jamie: Yeah, he ditched everyone. I got ditched on t’second series!

Matt: Six in t’morning, I could hear him.

Jamie: You’d get up and that [theme] song would be on. It’d just be crisps all over, a bottle of…

Nick: ‘Wire Beast’s been up all night again!’

Alex: ‘Where’d you get that dressing gown from?’

Jamie: Just laying there with crumbs all over him.

Have you ever had any scares at customs? 

Nick: I got searched yesterday actually.

Matt: It was your squeaky wheels, just as I’d said. I said, ‘Them wheels are gonna attract attention.’

Nick: In Germany. A very thorough search, but luckily no glove action.

Jamie: They probably wanted to mend your wheels for you.

Matt: ‘I’ve got summat for that, some GT85.’

Nick: They were really suspicious of me. They really took everything apart and didn’t put it back as neat as I’d put it in.

Alex: At this end, yesterday?

Nick: Yeah, when we arrived in ‘Munchen’.

Alex: They’re quite, like, strict, aren’t they, Bavarian authorities.

Nick: Yeah. They had a look at me belt, everything. All me case and bag. Took everything apart. Then he were like, ‘Where have you come from?’ I went, ‘Barcelona’. He were like, ‘Have you had any contact with drugs in Barcelona?’ I went, ‘No.’ He went, ‘What do you do?’ I said, ‘I’m in a band.’ And he went, ‘Ah’, and then, like, swabbed everything.

Alex: When I got in t’car yesterday, the fella were like, [German accent] ‘If you like to do drugs, do not try and do it in Bavaria.’

American customs scare me most. 

Matt: Yeah, it’s a load of questions.

Alex: ‘What are you doing here?’

Jamie: New Zealand were quite funny. We all got pulled…

Matt: We had to sit in them chairs for a bit…

Jamie: And this guy was asking us directly the last time we ever did drugs. Then someone came over who worked for us…and he soon disappeared rather fast. We were fine. (All laugh)

Alex: I’ve come to quite enjoy the American customs people. (All laugh)

Matt: They’ve always got weird names.

Alex: They’re like, [American accent] ‘So you’re in a band, huh?’ You go, ‘Yeah, yeah.’ ‘What do you do in the band?’ ‘Oh, I’m the singer.’ ‘Yeah? You don’t look like a singer to me.’

Nick: ‘Do you sound like Coldplay?’

Alex: Yeah, ‘What kind of music do you guys play?’

Jamie: ‘Do you sound like Staind?’ I went like, ‘Staind? I know them… Fuckin’ hell!’ It took me ages. ‘Yeah, yeah, we sound a bit like Staind.’ When he said it I were like, ‘Yeah, a bit.’

You’ve said before that you wanted to try and get an album out this year. Do you get any time on the road to do any work on that?

Alex: Not really. That’s a bit of a pain in the arse, not being able to rehearse and work stuff out. I don’t think I write very good songs on t’road. They’re all a bit wonky. You get back and you’re like, ‘Hmmm’.

Does it detach you from what we were talking about earlier, ‘real life’? Does it detach you from the things that you want to be writing about?

Alex: I dunno. You can still use your imagination, but I just think, yeah, in your surroundings there’s always about to be something that’s going to happen. You can’t think. I always write wherever I am, but I dunno if the things that come out when you’re touring around always have the shelf life that the other things do.

Have you got any songs earmarked for the next album?

Alex: Yeah. I mean, there’s some ideas, but we haven’t really had the chance to get out the fine toothed comb.

‘Humbug’ was a departure in sound from your previous albums – do you think you’ll continue in that direction, maybe bring Josh Homme in again?

Alex: Not sure, really. We would like to do something with Josh again – it was terrific for us to go on that adventure – but whether or not it’s this next thing, I’m not sure. And also, like, he’s busy! (Laughs) He’s got a schedule himself, doesn’t he?

You went to record over in his place, so do you think next time you’ll have him over to...

Alex: High Green? (Laughs) Homme in High Green? I quite fancy that.

Nick: He’d look like a superhero in High Green, all the bad genetics there are in High Green. He’d look amazing.

Matt: He’d be the biggest man there.

You’ve released a couple of singles exclusively through Oxfam. What made you decide to do that? 

Jamie: Laurence and Jonny at Domino came to us with that idea – a great idea for the charity reason, and then cos Woolworths and stuff had shut down, but there were always an Oxfam.

Alex: Like, in towns where there perhaps aren’t, like, an Our Price or something.

Do you have to think of more creative ways to get your records out there?

Jamie: Yeah, rather than just sat at home.

Matt: They should think about making the journey exciting – paint paths a nice colour to the record shops.

Alex: The yellow brick road.

Matt: Something that makes people want to walk to a record shop. Even if it’s just free parking. (All laugh)

Jamie: It’s just too easy to buy music now.

How do you feel as artists about the devaluing of music? Does it annoy you that you’re working hard to make something, but people can just pick it up from their friends?

Jamie: I suppose we were never in the industry when it were big money, when people used to sell twenty million albums. Has that ever happened since we’ve been around?

Probably someone like Dido has.

Jamie: Yeah, that were probably the last.

Matt: It’s like, we wouldn’t expect anything like that to happen to us, so…

Alex: I do think there is people that always will want to go and get records.

Matt: Yeah, it won’t change everybody.

Alex: I was reading a couple of months ago about there’s an idea where you won’t even have ��� you know like you pull songs off iTunes or whatever – but they were saying you subscribe to a database and pay to get ’em…

Jamie: Spotify, that’s what that was.

Alex: Yeah. But you can’t get them on…

It streams the music – you can’t download them.

Alex: But you can’t do that on your phone, can you?

Matt: Yeah, you can do Spotify on your phone if you pay about £10 a month. Nokia did that thing where you can just pay a monthly thing and you can have as many as you want…

Alex: The fella had a quote, he’s like, ‘There’s nothing sexy about an MP3 on your desktop’. (Laughs) He’s like, ‘There’s nothing sexy about having a subscription to a database’. (All laugh) But then you could just sort of buy a record and stand it up against your wall. Not that that’s particularly sexy, but, you know what I mean… I like things that you can stand up.

Jamie: Like you said the other day, everyone’s just gonna have an empty house.

Matt: Yeah, there’s gonna be nothing on t’shelves. Not even books now.

Jamie: No one’s got any photos anymore, no ones’s got any CDs or records…

Matt: You’ll just have a screen and a chair.

Jamie: You’ll just go, ‘Sound. This is sound.’

Matt: With nowt on your wall.

Jamie: You can just have everything [at your fingertips]; turn your fire on, open your curtains…

Alex: You’d get in it for your bath. (All laugh)

[Alex goes into the band’s equipment drawer, pulls out a giant figure of Freddie Mercury in full-on rock pose. “See, he said he likes things that stand up,” Matt says.]

Does being on an independent label give you the freedom to experiment with your marketing or promotions? 

Matt: Yeah. They [Domino] have as many ideas as us for stuff like that, like the Oxfam thing. They tend to think on a similar level, and, at the same time, if we have a suggestion, they’re open to it. It sometimes is a good thing to have a label like Domino, cos they’re experienced in doing weird stuff, and have obviously signed things that aren’t necessarily to make any money or anything, so we’ll listen to them if they have a suggestion, and vice versa. They’d put records out on tins of beans and all sorts. (All laugh)

Jamie: I wanted to do it on a conifer. I wanted to put an MP3 out on a conifer.

Matt: Or just seeds. Christmas tree seeds.

Alex: Yeah. What did they actually do?

Matt: There’s a Jewish guy, I forgot what his name is, and they did it on a kosher chicken noodle soup or something. You buy the soup and you get the code [for the MP3]. Which is good in a way, because he’s just poo-pooing the fact that there’s not much point. It’s an incentive, but it doesn’t get it in the chart, you see. It’s a give-away. So you can sell anything and just have an MP3 code on it. You can sell a car and you’d just get one song.

Jamie: But then it doesn’t count towards t’charts?

Matt: No. The Oxfam thing don’t either, does it. Only the download bit does. You’re not allowed to give away incentives like free stuff, because that’s obviously encouraging people. See, that’s the thing – people might buy the soup and not download the song. ‘I wonder if they make good soup?’

Jamie: When you see a good cover sometimes…

Matt: Yeah, you buy it for the cover.

Alex: Perhaps the epitome of that is you buying a Lady Gaga picture disc. (Laughs)

Matt: Yeah, I did. I’ve been a fool.

Alex: It’s great, cos she’s wearing like a fuckin’ box of Coco Pops or something. (Laughs)

Matt: You could buy that Freddie Mercury thing and get a Queen album, for instance. You don’t need to put it on or owt.

Jamie: You want to make it awkward.

Matt: Buy a chair. Buy a flat pack piece of furniture and you get a code for an album.

Jamie: You have to put your furniture up and send a picture to someone, then they send you the MP3.

Alex: That would make a good video: playing in a bowl of Coco Pops. (All laugh) Remember that kids programme where they used to have to go swimming in a bowl of cereal…

Jamie: Ah yeah. Didn’t they used to do something like that on The Big Breakfast?

Matt: They did, yeah.

Jamie: It were a massive cup of tea and you used to have to get the sugar lumps…

Matt: Yeah, yeah, that was it: One Lump Or Two.

Jamie: One Lump Or Two, yeah!

Alex: It would be great: kid comes down, he’s having his breakfast – Coco Pops – and then, like, Arctic Monkeys are in his cereal. (All laugh)

Jamie: Hot milk, though.

Matt: Hot milk in t’afternoon.

Alex: (Laughs) ‘Why not try Coco Pops after school?’

Jamie: (Laughs) I love that advert!

Alex: It’s the best!

Do your fans give you CDs of their bands?

Matt: They throw them on t’stage! Imagine if you got one of them in t’eye! Fuckin’ hell! Remember in America, a kid got on stage and he had a handful [of CDs] and someone had to grab him to get him off, but he threw them. So he were getting pulled away and he threw them.

Alex: I’ve been getting less CDs though…

Matt: Now they’re throwing download cards at you!

Alex: I got a pair of underpants…

Jamie: People are chucking downloads at you. You’re like, ‘What the fuck?’

Matt: People are throwing zeroes and ones at you – it’s like the credits of The Matrix!

Jamie: You can’t get any flick on a download.

Alex: They’re chucking Spotifys at me. Maybe that’s what them pants were – some sort of code.

I think it’d be a totally different sort of code! Do you listen to the music that fans give you?

Matt: I listened to one that someone gave me the other day. It just were at home though, he just gave it me.

Alex: No more than I’d wear that pair of pants! (Laughs)

Matt: It were just convenient – I were getting in me car and there’s a CD player there.

What’s the strangest thing a fan has given you?

Matt: Just in Japan – everything you get is weird! Like, a monkey hat – it left your own face in but it’s got ears and a tail.

Jamie: And sweets.

Matt: A lot of sweets.

Jamie: We once said, ‘Oh, we like these sweets’ in an interview…

Nick: There’s someone that makes baked goods.

Matt: You got a good one, where it were like a picture of you…

Alex: Yeah, I got like a diagram of myself…

Matt: A diagram, pointing at every bit, and then asking to fill in, like, what his favourite brand of jeans were.

Alex: Hand it back, and then she’d sort of kit me out.

Matt: She’d buy it all! So, like, ‘Favourite shoes? Trainers or boots?’ It would be like that. He’d fill it in and send it back and then she’d buy it. ‘Will this do?’

Alex: Back it came with this jumper that were perfect actually. She really knew me better than I knew meself.

Nick: With baked goods, I know it’s not [spiked], but you never know… It’s probably fine – it’s more than likely fine – but it is a gamble.

Matt: It’s innocent, but someone might have seen that opportunity.

Jamie: I don’t think I’m ever gonna eat a baked good that some stranger’s made. You learn about that. There is a story there…

What’s the first thing you do when you get home after the tour is finished? 

Nick: See your friends and family that you’ve not seen.

Matt: I go and get my photos developed. That’s actually one of the first things I do.

Alex: I usually pick up me guitar. Honestly. It’s a deep breath.

Later that evening, Clash is back in the ping-pong room. The tour manager comes to break bad news to the band - the curtain at the front of the stage is broken. They won't be able to make their usual grand entrance. "Ah, we've got to do it," grins Alex. Do what? "We've been saying on this tour if ever the curtain doesn't work, we've got to go on to this song." Which song? "Black Eyed Peas’ ‘I Gotta Feelin’’," Alex beams. The band are giddily bouncing around, electrified by the prospect of taking the stage to the song that's soundtracked many a menopausal vodka-stained Saturday evening's preparatory gathering.

“But when do we go on?" Matt asks.

"The rap. We gotta wait for the rap," Alex asserts.

"We should wait until "Mazel tov”,” Jamie smirks.

Ten minutes later, Clash is amidst the Offenbach crowd when the lights go out and the song bursts from the PA. A wave of euphoria swells, the irony not lost, and right on cue, just as the Peas declare, "I know that we'll have a ball", the four Monkeys stride towards their instruments.

The nineteen-song set covers their three albums - with Nick Cave's 'Red Right Hand’ thrown in for good measure. The last song before their encore is 'Secret Door’ from 'Humbug’. Just as Matt cracks the snare drum that launches the song's long psychedelic outro, cannons on the roof blast out gold and silver confetti over the joyous crowd below, proving that the Monkeys aren't averse to a bit of showmanship every now and then.

The after party is a subdued affair (well, in Offenbach it's bound to be!), with just the band, some friends, crew, and Clash, diving into the beer and nibbles on offer. A fairly drunken chat with Alex about Johnny Cash, Billie Holiday and Gram Parsons rounds off our time with the band, as they retreat back to the confines of their bus, about to depart for Dusseldor and their next gig.

Such a welcome and warm atmosphere is often rare backstage, especially with a band as celebrated as this, but the Monkeys - ever changing and ever surprising - are beginning to make a habit of defying expectations. Growing up has never been such fun.

[jokeroutsubs]

📝[ENG Translation] Joker Out exclusively for Style.

Before their performance at Sziget, Joker Out spoke exclusively to Style.Over.Net about what this means to them and when we can expect new music.

Article written by Meta Vrazic, published on 22.08.2024 on the Style.Over. Net website.

Translation by @kurooscoffee, review by a member of JokerOutSubs, proofread by @flowerlotus8

What do Tom Odell, Sam Smith, Bebe Rexha, and Kylie Minogue have in common?

All of these music giants shared the stage last week with the Slovenian band Joker Out at one of the biggest European festivals, Sziget.

Before their performance, they spoke exclusively to Style.Over.Net about what this means to them and when we can expect new music.

Photo: Vita Orehek

You're performing at Sziget, which means you're sharing the stage with some of the biggest names in the music industry. What does this mean for you?

Bojan: For us, this is a dream come true. Today (editor's note: on the day of the concert), we'll reach or even surpass our hidden hopes and dreams that every band starting out at 15 years old has.

Kris: I'd like to add that, in my opinion, it doesn't matter that much who is on stage before or after me. I focus more on which other performers have played on this stage at this time. In 2018, I listened to one of my favourite bands, The Kooks, at this exact time at Sziget. Lewis Capaldi also had his first performance at this time, and yesterday, Tom Odell got this slot. To me, it's an incredible achievement that we can compare ourselves with such names, especially in our region.

So you would equate yourselves with these artists? Do you see yourselves as equals?

Bojan: Yes, we're on par with Lewis Capaldi (laughs). No, we don't see ourselves as equals, but I would emphasise that this festival has 60 stages and over a thousand performers. So, being on the main stage at such a time is quite an amazing feeling.

Photo: Vita Orehek

In a recent interview, you mentioned differences between Slovenian and European stages. So, I have to ask – do you have a shower here?

Jure: Yes, I saw a shower. We'll definitely shower after the show since we're heading straight into a van and back to the studio.

So, you won't have a chance to walk around Sziget? When did you even arrive?

Jure: We left Hamburg at 7 AM, arrived at 11 AM, had a coffee, did a soundcheck, now we're talking to the media, then it's the concert, and back. It's pretty packed.

Photo: Vita Orehek

You've already performed for various audiences in many countries. Which audience is more demanding, Slovenian or international?

Bojan: Slovenian, for sure, because it's our home crowd. Other artists we've talked to also say that the home audience is always more demanding.

In Slovenia, we're omnipresent, both musically and in the media, so there are certain expectations. Some might even come to our shows hoping our performace would suck, so they can justify not liking us. Meanwhile, in other countries, they don't understand what we're saying, so they come just to let loose, dance, and have a good time.

International audiences sing incredibly well. If you closed your eyes during the concert and just listened, you'd think you were in Slovenia.

Kris: I'd add that someone willing to listen to music in another language is by default more open-minded and less demanding.

What's tougher: Sziget or Eurovision?

Jure: Eurovision, because we had no experience, and the pressure was much greater. We prepared for it for six months, whereas for a concert, you have a day or maybe even just a few hours.

Bojan: At Eurovision, it doesn't matter how good you are or what kind of performance you have. If you mess up in those three minutes, you're done. There are so many people there who don't care about your story or how precise you are—if you make a mistake, it's over. Whereas at a concert, you're there to have fun, and even mistakes are welcome as they make the experience more enjoyable.

Photo: Vita Orehek

How do you prepare for concerts? Do you have any special rituals?

Bojan: Not really. About 30 minutes before the concert, we completely calm down, practice a little, and then we all shout our motto together.

We've all heard stories about stars with very specific backstage food and drink requests. Do you have any special requests? What must be there for you?

Jure: Ginger shots, sour candies, vitamin water, towels...

Bojan: A mirror! It sounds bizarre, but there's often no mirror backstage, and before you go on stage, you can't check that everything's in place. So now we've specifically added a mirror to our list.

Is there even any stage fright still present before the concerts?

All: Yes, definitely.

Kris: Sometimes it happens about 20 minutes before the performance, depending on the day you're having.

Photo: Vita Orehek

And who's the most nervous?

Jure: Lately, it's been Bojan.

You now have songs in three different languages. What does this mean for your target audience? What is your target audience like, actually?

Bojan: We aim to have a good time. To play and enjoy ourselves, this music comes from us – and we haven't changed much during this time. Of course, we always try to find something new and different, depending on where the wind takes us.

I mainly think that you don't need to take this too seriously. If everyone checks their playlist and looks at the music they listen to, it's probably not all the same and monotonous. Why shouldn't it be the same for performers?

Have you ever felt that you aren't taken seriously because of the “boyband” label?

Bojan: We get this most often precisely in Slovenia. When we did interviews abroad, serious journalists approached us with a great deal of respect. They often even came to our concerts before the interview and expressed their enthusiasm and respect—you can feel that they take you seriously. Still, this doesn't bother us in Slovenia either, because, in reality, we are a “boyband.”

Photo: Vita Orehek

Do you ever get tired of any of your songs?

Kris: I always enjoy all our songs, but during a one-month tour in Europe, we involved the audience during the song 'Umazane misli'. And sometimes, while waiting for the audience, it drags on and gets a bit boring.

Bojan: Well, I had a great time even during those moments.

Of course, we need to check in on how the new album is coming along. When will it see the light of day?

Bojan: The album is expected to be “on time,” and you can expect it at the end of October. So far, things are moving well; we occasionally hit a “bump” that throws us off rhythm, but we're satisfied. We're doing well and holding up great.

[yonpote]

mr. pote please explain shoe ig story for the ignorant (me)

not much to explain other than. dan posted an instagram story of their shoes pressed together

ok i guess ill share a LITTLE context. around late january to early february 2023 was when dan was having a mini-break from touring for philly's bday before he had to hit the road for the non-uk european shows. the thing is, there were kind of a lot of complications happening wrt tickets, especially problems surrounding the iceland show, which dan had hyped up as where he was going to end the tour, and pj even mentioned on stream that he and sophie would possibly meet dan and phil there and have essentially a double date holiday! the day before the Shoe Pic, dan had announced that the iceland show was cancelled. he posted the cancellation on his story in icelandic, here is the english translation:

Sorry for the frozen people. Couldn't bring this show to your island this trip, that's all I can say for now. It's on my bucket list to be with you one day. I'll see you then.

he then posted an ig story where he seemed to be out on a walk that was quite self-deprecating on the fact that no one takes him seriously "in life, business, or the industry." it was just a bummer day for dan. so a few twitter phannies (back when there was a Little peace) thought to make an encouraging hashtag for dan, #weloveyoudan to show some appreciation for him when he really seemed to need it! (this also spawned an in-joke hashtag my good friend @editingz0ne made, #giveamazingphilnukes, that phil tweeted about 💀)

so the next day, when dnp had both posted while at an apex legends esports competition thing, we all kinda inferred that this was a lil date, possibly as another phil bday present (still his bday week) or as a lil gift to cheer dan up, or both! and then. he posted the fuckin shoe pic.

listen. idk how to explain it. it just. felt like something so weirdly intimate? like, no idea what the context is, other than theyre sitting in the back of a cab and took a photo of their shoes pressed together. and like one is clearly phil's shoe and the other clearly dan's shoe, and i assume theyre the same shoe size (do not tell me wikifeet ppl i dont need to know) and so they just. fit perfectly together. and all this was after the harrowing previous day, and after all that dan just decided to let us in on this picture that is so silly and not really anything and yet feels so personal? its like when we hear their alien language in the texting vids, or that they get fries every saturday and call it "fry-day". like its not a bit its not playing up a dynamic for a camera its just. THEM! its just them!!!!!!!! anyway thank you for coming to my ted talk on the dan and phil shoe photo taken on february 5th, 2023 by dan howell.

[dreamings-free]

It's not just the Black Keys. Why are so many big tours selling poorly? Stereogum | June 11, 2024 | by Zach Schonfeld

long (and US focused) but still quite interesting article on the current state of concert touring, why tours are getting cancelled or downsized, and what's up with ticket pricing. (my selected excerpts/highlights under the cut)

[excerpt, all highlights mine]

[Eric Renner Brown, a senior editor at Billboard] adds, “I do think [The Black Keys] are an artist that can fill those rooms still. I think the demand is there in terms of people who want to see Black Keys. But perhaps at that price point, the demand was not there.”

Ostensibly, agents and promoters should have access to data that can give them a better sense of demand. But they often place outsized importance on raw streaming numbers.

“The data is very confusing,” says the anonymous booking agent. “There’s a lot of passive listeners for data. You can have millions upon millions of streams, but that doesn’t mean it’s gonna turn into tickets. The opposite is, there are some artists who don’t have many streams at all and they can sell like 2,000, 3,000 tickets.”

[..]

It’s worth noting that the Black Keys have released four albums since returning from hiatus in 2019, and toured arenas as recently as 2022. This may be a case of oversaturating the market.

The band’s 2019 and 2022 arena runs weren’t exactly sold out. In between, the band left their longtime manager in 2021, signing with Irving Azoff and Steve Moir at Full Stop Management. Some sources speculate that Azoff, a former CEO of Ticketmaster, may have encouraged ambitious touring plans. On Thursday, Billboard reported that the group has now parted ways with Azoff and Moir. (The management company did not respond to a request for comment.)

“Essentially, you have some very big managers that are out of touch with the granular finesse and nuance of ticketing,” says another anonymous booking agent. “And they have these large expectations and they tell their agents what they want. And the agents are probably texting each other on the side, going, ‘This man is out of his fucking mind.’ But they do it anyway because, in the case of Black Keys, they’re not gonna challenge Irving Azoff.”

[..]

One contributing factor to instability in the touring industry is the rising cost of… well, everything. It’s part of why ticket prices are so high; it’s also part of the reason some acts are backing out of touring commitments.

Bands at all levels have been sounding the alarm about this for years. In 2022, for instance, Animal Collective canceled European tour dates and explained, “We simply could not make a budget for this tour that did not lose money even if everything went as well as it could.”

Industry insiders say that’s not uncommon. “Everything is ridiculously expensive,” says a tour manager who works with major acts and asked not to be named. “There’s not enough gear for everyone to share, so the vendors are having to pay high amounts for equipment. A single bus for a six-week tour can cost $100,000. Multiple that by multiple buses, and then trucks, and then crews are at a minimum, so they’re getting top rate right now because there’s not enough crews.”

COVID, of course, exacerbated this crunch. “What happened after the pandemic is, everyone was ready to tour at once,” the tour manager says. “There’s not enough gear to cover all of that. A lot of bands have had to cancel tours because they don’t have gear or they couldn’t afford the gear,” the tour manager continued. “I was on a tour with somebody last year where we had to book a private jet because there were no buses available. For the first week of the tour, we had to charter planes.”

Acts are thus incentivized to book bigger venues to recoup the costs of touring. The catch-22 is that bigger venues necessitate more elaborate stage production, which makes for a more expensive tour.

“There’s the expectation to have that production,” says the tour manager. “If people went back to having just two trusses of lights and a P.A. and no frills, it was just about the music, they can afford to tour. But everyone wants to see those flashing lights. Everyone wants to see that video.”

“So much of the economics of these big tours is completely invisible to fans and consumers,” says Kevin Erickson, director of Future of Music Coalition, a nonprofit advocacy group. “You can sell out a tour and come back in the red if there was a cost overrun or a miscalculation.”

For mid-level acts with sizable followings, these frustrations are compounded by a lack of suitable mid-sized venues.

“For a band that maybe has assessed its demand in the market to be in the 8K range or something for capacity, where are they going to go if that sort of venue doesn’t exist?” says Brown. “And if, say, the local theater that seats 3K or 4K can’t accommodate two or three nights, it can only put them for one night on the tour routing. That’s a real concern.”

[..]

At the end of the day, it all comes back to price. The average ticket price for one of the top 100 tours rose from $91.86 to $122.84 between 2019 and 2023. Concerts are too damn expensive, and there’s a growing sense of consumer frustration with shows that cost as much as airline tickets.

-> read the full article here on Stereogum.com

[omgthatdress]

Nanea Mitchell is a half Scottish-American, half Native Hawaiian girl living in Honolulu, Hawaii in 1941 during the attack on Pearl Harbor. Her release was met with a lot of surprise. Going back to WW2, it seemed like AG was running out of history. But Nanea is pretty different than Molly. She covers the beginning of the war and the Pacific theater while Molly covers the end of the war and the European theater.

More than anything else, Nanea represents Native Hawaiians in the historical line. Being post BeForever, she only received two books. The two book format might seem to fit covering one event like Pearl Harbor better, but honestly, with Hawaiian history and culture and the beginning of WW2, there is SO MUCH to cover. I think the traditional six books for Nanea would be fantastic.

To start with, I’d like to see some before and after. Appropriating Pacific Islander culture was a major trend in the 1930s, and the Hawaiian tourism industry really took of. It would be interesting to see Nanea’s reaction to White actresses wearing sarongs and leis and poorly dancing the hula on the silver screen, or seeing sacred tikis reduced to cheap bar kitsch.

You can listen to or read the episode of the food history podcast Gastropod about tiki bars.

As far as the Pearl Harbor attack goes, one of the enduring and most fascinating parts of history is the normalcy that exists during crisis. My middle school orchestra performed at Disney World two weeks after 9/11 when people were still terrified of going into major tourist places for fear of attack. We visited Disney World in September every year and had the date scheduled in advance, we weren’t gonna let some fucking terrorists stop us. I’d love to see Nanea just being a kid in the middle of chaos.

And then there’s just the island’s history! There’s so many stories you could work out with Nanea just learning Hawaiian history!

Nanea’s style of blouse is called a tea-timer. It became popular in the mid-20th century after being appropriated from the Chinese cheongsam.

(SneakyTiki)

Her shorts are a sailor-inspired design called moku shorts, but I can’t find any information about their history.

(Ritual Vintage, credit @in-pleasant-company​)

Her little necklace is made out of (imitation) celluloid and seashells.

(Garden Party Collection Vintage Jewelry)

Here’s a pretty great article about Native Hawaiian reaction to Nenea’s release.

[girlactionfigure]

LEICA AND THE JEWS

The Leica is the pioneer 35mm camera. It is a German product - precise, minimalist, and utterly efficient.

Behind its worldwide acceptance as a creative tool was a family-owned, socially oriented firm that, during the Nazi era, acted with uncommon grace, generosity and modesty. E. Leitz Inc., designer and manufacturer of Germany's most famous photographic product, saved its Jews.

And Ernst Leitz II, the steely-eyed Protestant patriarch who headed the closely held firm as the Holocaust loomed across Europe , acted in such a way as to earn the title, "the photography industry's Schindler."

As soon as Adolf Hitler was named chancellor of Germany in 1933, Ernst Leitz II began receiving frantic calls from Jewish associates, asking for his help in getting them and their families out of the country. As Christians, Leitz and his family were immune to Nazi Germany's Nuremberg laws, which restricted the movement of Jews and limited their professional activities.

To help his Jewish workers and colleagues, Leitz quietly established what has become known among historians of the Holocaust as "the Leica Freedom Train," a covert means of allowing Jews to leave Germany in the guise of Leitz employees being assigned overseas.

Employees, retailers, family members, even friends of family members were "assigned" to Leitz sales offices in France, Britain, Hong Kong and the United States, Leitz's activities intensified after the Kristallnacht of November 1938, during which synagogues and Jewish shops were burned across Germany.

Before long, German "employees" were disembarking from the ocean liner Bremen at a New York pier and making their way to the Manhattan office of Leitz Inc., where executives quickly found them jobs in the photographic industry.

Each new arrival had around his or her neck the symbol of freedom - a new Leica camera.

The refugees were paid a stipend until they could find work. Out of this migration came designers, repair technicians, salespeople, marketers and writers for the photographic press.

Keeping the story quiet The "Leica Freedom Train" was at its height in 1938 and early 1939, delivering groups of refugees to New York every few weeks. Then, with the invasion of Poland on Sept. 1, 1939, Germany closed its borders.

By that time, hundreds of endangered Jews had escaped to America, thanks to the Leitzes' efforts. How did Ernst Leitz II and his staff get away with it?

Leitz, Inc. was an internationally recognized brand that reflected

credit on the newly resurgent Reich. The company produced cameras, range-finders and other optical systems for the German military. Also, the Nazi government desperately needed hard currency from abroad, and Leitz's single biggest market for optical goods was the United States.

Even so, members of the Leitz family and firm suffered for their good works. A top executive, Alfred Turk, was jailed for working to help Jews and freed only after the payment of a large bribe.

Leitz's daughter, Elsie Kuhn-Leitz, was imprisoned by the Gestapo after she was caught at the border, helping Jewish women cross into Switzerland . She eventually was freed but endured rough treatment in the course of questioning. She also fell under suspicion when she attempted to improve the living conditions of 700 to 800 Ukrainian slave laborers, all of them women, who had been assigned to work in the plant during the 1940s.

(After the war, Kuhn-Leitz received numerous honors for her humanitarian efforts, among them the Officier d'honneur des Palms Academic from France in 1965 and the Aristide Briand Medal from the European Academy in the 1970s.)

Why has no one told this story until now? According to the late Norman Lipton, a freelance writer and editor, the Leitz family wanted no publicity for its heroic efforts. Only after the last member of the Leitz family was dead did the "Leica Freedom Train" finally come to light.

It is now the subject of a book, "The Greatest Invention of the Leitz Family: The Leica Freedom Train," by Frank Dabba Smith, a California-born Rabbi currently living in England.

Thank you for reading the above, and if you feel inclined as I did to pass it along to others, please do so. It only takes a few minutes.

Memories of the righteous should live on.

Rabbi Yisroel Bernath

[femsolid]

The documentary showed footage of Depardieu on a trip to North Korea in 2018 to mark the secretive state’s 70th anniversary. The actor, who had travelled to Pyongyang with a TV crew and knew he was being filmed, made obscene comments to women, and about women, repeatedly sexually harassed a female translator and made sexual comments about a child at an equestrian centre whom he saw riding a horse. On Friday, the footage was described by the leftwing member of the European parliament Manon Aubry as “vile”.

So to be more precise since I've seen the footage and I speak french, big trigger warning, Depardieu is looking at a 10 years old korean girl riding a horse and explains that "women love riding horses because they rub their clitoris on it, they cum a lot, the women who ride horses are big whores". Talking about the girl he says "if the horse starts running she'll cum" and the young girl turns towards him and he laughs "yeah, that's right my little girl, keep it up, see how she's rubbing it?". He tells another korean woman (I think she's his interpretor) 'why aren't you riding? It feels good!" before looking her up and down making grunting noises. He later tells her "I want to become a horse to rub against your pussy, you'll scream "my pussy!"". Obviously the north korean people around him can't understand what he's saying and the interpretor is very uncomfortable and confused. Then he's sitting to take pictures with some people, including a korean woman, and he says "go ahead, take the picture while I touch your ass, and your little mussel that must be very hairy and already smelling like a mare." At the hospital a nurse is next to him and he makes grunting noises again. He gives his weight to the interpretor before grabbing her shoulder, she steps back but he presses on and says "that's because I don't have an erection, I weigh more with an erection". Then he's at the airport with the interpretor and he tells her in french "you're gonna go take your shower and you'll be thinking of me", she doesn't understand so he mimicks taking a shower singing and she laughs. He looks at the documentary crew and starts laughing at her and says "her little pussy" before leaving and she's left confused as to what happened. Then his interpretor tries to explain to him the architecture and tells him in french that it's all made of wood, he responds "yes, wood, like my cock" but she doesn't understand, he adds "I've got a wooden plank in my boxers right now, but..." then he looks at the documentary crew and laughs at the fact that she didn't understand again. I mean it's endless, literally any time a woman is around he talks about her genitals and what he wants to do to her using absolutely revolting language that's hard to translate in english. And the poor interpretor, she's so sweet and polite, she took the time to learn french only to be confused by a litany of misogynistic slurs and degradation by a man who tries to humiliate her on purpose.

Depardieu is currently under investigations for multiple rapes, so he wrote an open letter stating that he had never abused a woman in his life, that it would be "like kicking my mother in the stomach", yes again the "I'm not sexist I love my mom" mantra. Yet we have here several instances of sexual harassement that took place in a matter of weeks and on camera without any shame.

Yann Moix, the author of the documentary was happy with it and wanted to do another one, but in the end the documentary never came out and the footage we're seeing has been published without his consent, which made him angry. But hey, you might remember Yann Moix because he made headlines too in 2019:

Moix, the author of several prize-winning novels, added that women in their 50s were “invisible” to him. “I prefer younger women’s bodies, that’s all. End of. The body of a 25-year-old woman is extraordinary. The body of a woman of 50 is not extraordinary at all,” he said, adding that he preferred to date Asian women, particularly Koreans, Chinese and Japanese. “It’s perhaps sad and reductive for the women I go out with but the Asian type is sufficiently rich, large and infinite for me not to be ashamed.”

So, a man who has a fetish on asian girls, probably a user of prostitution, went to an asian dictatorship with a fellow rapist where they sexually harassed women and girls. I also remember Yann Moix saying on TV that Michael Jackson could not possibly have raped a kid because he was a kid himself (in his head or something).

Back to Depardieu:

The documentary also interviewed the actress Charlotte Arnould, who went to the police five years ago, accusing Depardieu of rape and sexual assault on two occasions at his home in Paris in 2018, when she was 22 and Depardieu, a friend of her father, was 70. Depardieu was placed under formal investigation for alleged rape and sexual assault in the case in December 2020. Depardieu’s lawyers have denied all allegations against him. Arnould told the documentary that she had been anorexic at the time of the alleged attack and it had been “absolute horror”. In Thursday’s documentary, the actress Sarah Brooks, who appeared in a TV series with Depardieu in 2015, alleged that one day, while the actors were standing for a photo, he had repeatedly forced his hand into her shorts, despite her repeatedly pushing him off. When she protested to those TV crew around her that Depardieu had put his hands in her shorts, she claims the star replied: “I thought you wanted to succeed in cinema,” and everyone laughed.

And let's remind ourselves that Depardieu admitted to raping girls during his youth. Yes he literally said so to a TIME reporter in 1978 "I had plenty of rapes, too many to count." Asked if he had participated in rapes, Depardieu said yes. "But it was absolutely normal in those circumstances," he added. Depardieu later denied making the statements and threatened a libel suit against TIME and any news organization that reprinted them. "It is perhaps accurate to say that I had sexual experiences at an early age," the actor said in a statement. "But rape -- never. I respect women too much." The statements were on tape so he definitely said that and that's why his threats were ignored. And in any case, he said the same thing to french men's magazine Lui: he said he participated in gang rapes: "we raped a lot of girls with my buddies, but I would always go last because I was the youngest. The girl would say "go on, let's end this I can't take this any longer."" This has all been known since the 70s. While in the USA they tried to boycott him after that, nothing happened in France. He was born in 1948 so he's been raping women and girls for around 60 years and is only now being investigated for a couple of them.

[workingclasshistory]

On this day, 28 May 1913, thousands of dockworkers in Philadelphia won their two-week strike for a pay increase and union recognition. They had recently joined the Industrial Workers of the World (IWW), chartered as Local 8. This local branch had more Black members than any other Wobbly branch, led by the African-American dockworker, Ben Fletcher (pictured). Local 8 was probably the most racially and ethnically integrated union in the United States during the WWI era. Black and Irish workers, Eastern European migrants and others all belonged. Local 8 also was among the most durable branches of the IWW, dominating the waterfront, despite massive employer and government repression, for almost a decade. We have just produced a three-part podcast miniseries about Fletcher, with the final part out today: it is a bonus episode exclusively for our supporters on patreon. You can support us and listen to it here: https://www.patreon.com/posts/e74-1-ben-bonus-83673762 https://www.facebook.com/photo.php?fbid=634160945423791&set=a.602588028581083&type=3

[djuvlipen]

A 6yo girl died of electrocution in a Romani camp in Italy last month. this is what racialized poverty looks like; children are always among the first victims. may she rest in peace

04 March 2024

The Saturday before she was due to start school, six-year-old Michelle died by electrocution in the Roma camp in Via Carrafiello di Giugliano in Naples. Despite desperate attempts to resuscitate the girl, who had brushed against exposed electrical cables, she was pronounced dead at about three p.m. on the 13 January 2024. 

Allegedly, distressed family members caused a disturbance at the hospital and were accused of attacking health care personnel and police. This ‘chaos’ quickly became the focus of local media attention, and coverage of the tragic death of a child quickly morphed into an issue of public order and security.   

Deputy Francesco Emilio Borrelli of the Alleanza Verdi Sinistra, weighed in by describing the Giugliano camp “populated by violent people whose lifestyle is many times beyond the law” as one of many “outlaw settlements where children are abandoned to degradation”; and declaring his solidarity with the emergency room doctors and the police. 

After a meeting of the committee for public order and safety, the prefect of Naples, Michele Di Bari, set the objectives for the local administration “Clean the camp from waste in the next few weeks and start the transfer of a Roma family of around 40 people, to an asset confiscated from organized crime.” 

The authorities responded with a blitz on the camp coordinated by local police, and supported by Carabinieri, military personnel and employees of the water company. Waste was removed, electrical cables made safe, vehicles seized, and the water supply was disconnected, leaving about 450 Romani people without access to water by 25 January. Behind the expressions of concern about the safety of children, the official stance is – to borrow a phrase from Matteo Salvini – one of “Legalità, ordine e rispetto prima di tutto!” (Legality, order and respect before all).

The reporter from Avvenire tells a different story, of bereaved families, wrongly accused of affray at the hospital, routinely scapegoated and repeatedly evicted. After the seventh eviction they ended up on this long-abandoned industrial site, amongst the rubble and mud, without water or electricity, except for illegal connections – an ‘informal settlement’ in officialese. In reality, a squalid and precarious site, where 200 Romani children subsist in conditions that do nothing to nurture “an atmosphere of happiness” for the “full and harmonious development of his or her personality”, envisaged in the UN Convention on the Rights of the Child.

In a submission to the UN Human Rights Council back in 2014, ERRC research revealed that Romani children raised in camps across Italy were prone to a number of severe and debilitating conditions: they suffered from high levels of anxiety, were more frequently born underweight, and became ill with respiratory disease in greater numbers. They suffered more often from poisoning, burns and accidents at home. There was a greater incidence of “diseases of poverty”, such as tuberculosis, scabies, and lice.

The roots of the crisis can be traced back to official policies in the 1990s which placed Roma in segregated ‘nomad camps’. Things worsened with Berlusconi’s illegal declaration of a State of Emergency to combat the so-called ‘Roma menace’ in 2008. This overtly racist demonisation of Romani people heralded a prolonged period of mass evictions and destruction of camps, harassment, expulsions, mob violence and pogroms against Roma communities. Up to this day, the legacy of this illegal state of exception still afflicts Roma, as successive governments have failed, or simply refused to honour the commitment to ‘get beyond the system of camps.’ 

For its part, the European Commission chose to remain silent in the face of mounting and overwhelming evidence of systemic anti-Roma discrimination, forced evictions and camp segregation. On 6 April 2017, The Financial Times reported that the European Commission had repeatedly blocked publication of a report which recommended sanctions against Italy for mistreatment of its Roma minority, in an attempt to avoid a damaging public row. Seven years later, little has changed in Brussels, and the Commission has consistently kept schtum on this issue.

On 20 May 2019, in response to an emergency case was brought before the court by Associazione 21 luglio and the ERRC, the European Court of Human Rights ordered the Italian Government to provide suitable accommodation for the 73 Romani families who were forcibly evicted from Giugliano the previous week. The court recognised the right to family unity and the need to provide adequate housing to the 450 Roma who had been evicted, and were camped in an area with no shelter, and were forced to sleep inside cars or outdoors, despite the difficult weather conditions, without access to electricity, clean water or toilets. And this is where Michelle and her friends spent the next four years.

Despite the availability of EU funds, the precarious living conditions endured by the Roma remained unresolved. On 12 January 2021, the Campania Regional Council approved the "Abramo" project worth €846,000 for a path of housing, work and social integration of the Roma populations of Giugliano in Campania. As is all too painfully evident, no tangible progress had been made on housing, and as Avvenire noted, in the aftermath of this latest tragedy “now the focus is on the reuse of houses confiscated from the Camorra.” As part of the education path of the Abramo project, “Interventions on school integration have started and yesterday Michelle would have gone to school with the apron and backpack given to her.” Instead, on that first day at school for the cohort of Romani kids, one desk remained empty.