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danielpscrapdealer · 2 months ago

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Efficient Scrap Metal Clearance in London

Scrap metal clearance is an essential service in bustling cities like London, where businesses, homeowners, and construction sites frequently generate metal waste. With limited space and increasing environmental awareness, clearing out scrap metal responsibly has become a top priority. Daniel P Scrap Dealer is your trusted partner in London, offering reliable, efficient, and eco-friendly scrap metal clearance services. Whether you’re decluttering your home or managing industrial waste, we’re here to make the process seamless and rewarding.

Why Scrap Metal Clearance is Important

Scrap metal clearance is more than just disposing of unwanted materials. It plays a critical role in sustainability, space management, and economic efficiency. Here’s why it matters:

Environmental Conservation: Recycling scrap metal reduces the need for mining raw materials, conserving natural resources and reducing environmental degradation. It also cuts down on energy consumption and greenhouse gas emissions.

Space Optimization: Accumulated scrap metal takes up valuable space. Clearing it out creates a cleaner, safer, and more organized environment.

Economic Benefits: Scrap metal has monetary value. By clearing and recycling it, you can turn waste into a source of income while supporting the circular economy.

Compliance with Regulations: Proper disposal of scrap metal ensures compliance with local waste management laws, avoiding fines or penalties.

Types of Scrap Metal We Clear

At Daniel P Scrap Dealer, we specialize in clearing a wide variety of scrap metals, including:

Ferrous Metals: Iron and steel, often found in construction materials, vehicles, and machinery.

Non-Ferrous Metals: High-value metals like copper, aluminum, brass, and stainless steel, commonly used in wiring, plumbing, and electronics.

Industrial Scrap: Materials from factories, warehouses, and construction sites, including beams, pipes, and equipment.

Household Scrap: Items like old appliances, cookware, furniture, and bicycles.

Electronic Scrap: Components from computers, phones, and other electronic devices that often contain precious metals like gold and silver.

Why Choose Daniel P Scrap Dealer?

For efficient and reliable scrap metal clearance in London, Daniel P Scrap Dealer is the name you can trust. Here’s what sets us apart:

Comprehensive Services: We handle everything from collection and sorting to recycling and disposal, ensuring a hassle-free experience.

Eco-Friendly Practices: Sustainability is at the core of our operations. We adhere to stringent environmental standards, recycling as much metal as possible to minimize waste.

Experienced Team: Our skilled professionals are equipped with the expertise and tools to handle scrap metal clearance of any scale, from small residential loads to large industrial projects.

Convenience: We offer flexible scheduling and on-site pickup services across London, making it easy for you to clear your scrap metal without any disruptions.

Competitive Pricing: We provide fair and transparent pricing, ensuring you get the best value for your scrap metal.

Customer-Centric Approach: At Daniel P Scrap Dealer, customer satisfaction is our priority. We’re committed to delivering prompt, reliable, and courteous service every time.

The Scrap Metal Clearance Process

Our process is designed to be efficient and stress-free for our clients. Here’s how it works:

Initial Consultation: Contact us to discuss your scrap metal clearance needs. Our team will provide a free quote based on the type and quantity of metal.

Scheduling: Choose a convenient time for our team to visit your location for collection.

Collection: Our professionals will arrive with the necessary tools and equipment to safely and efficiently collect your scrap metal.

Sorting and Valuation: Once collected, we sort the metals to determine their value. Non-ferrous metals are weighed and assessed separately to ensure accurate pricing.

Recycling and Disposal: We transport the scrap metal to licensed recycling facilities, where it is processed responsibly.

Payment: Receive prompt payment for your scrap metal based on its assessed value.

Tips for Preparing Your Scrap Metal

To make the clearance process even smoother, follow these tips:

Sort Your Scrap: Separate ferrous and non-ferrous metals to save time and maximize value.

Remove Non-Metal Attachments: Strip away plastic, rubber, or other non-metal components to increase the value of your scrap.

Organize the Area: Gather all scrap metal in one accessible location for easy collection.

Provide Accurate Details: Share information about the type and quantity of scrap metal during the consultation to ensure accurate quotes.

Partner with Us for a Cleaner London

Scrap metal clearance is a simple yet impactful way to contribute to a cleaner, greener London. By choosing Daniel P Scrap Dealer, you’re not only ensuring efficient and responsible disposal but also supporting sustainable practices that benefit the community and the environment.

Don’t let scrap metal clutter your space or harm the environment. Contact Daniel P Scrap Dealer today for professional scrap metal clearance services tailored to your needs. Together, we can turn waste into value and create a more sustainable future for London.

#Scrap metal removal London #Sell scrap metal London London #Scrap metal collection in london

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underthewingsofthblackeagle · 6 years ago

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The Murderess of the Grunewald (20): Secret Whitsun Holidays on Rügen (9): Sharing Joy and Suffering (6b)

“Kreidefelsen Rügen” / ”Chalk Cliffs of Rügen” by tlemens

Previously

Sunday night, Pentecost 2020, two days after Claire's release from prison

The afternoon had passed by in flight. After settling on the old tree trunk, Claire wanted to let Bismarck off the leash. But Jamie held her back.

"That's not possible, Claire."

"Why not? He does not run away from us here! "

"No, but it is forbidden to let dogs run free in a national park or in a nature reserve."

"German laws," she sighed.

"Yes, German laws," he sighed mockingly. Both started to laugh loud and heartily. Bismarck, who had been looking back and forth between them during the brief conversation, joined in yapping. Then he tried to jump onto the tree trunk where Claire and Jamie were sitting. But the trunk was round and smooth and so he slipped off again and again. Finally, Claire took pity on him. She picked him up and put him next to her. Meanwhile, Jamie had unpacked two large bottles of water from his backpack. The sandwiches they had bought at the fish market at the port of Lohme followed. Bismarck did not immediately see the rolls, but he smelled them and of course, he was no longer in his place. He jumped down from the trunk on which he eagerly had wanted to sit a few minutes ago. With a look that left no doubt that he had not received a single meal for weeks and was near starvation, he sat down right in front of his master's feet.

"The fish on this sandwich is called Bismarck herring," Jamie said, "but that does not mean it's your sandwich."

He held another sandwich in Claire's direction and looked at her questioningly. She nodded to him and took it. With the words:

"Ok, time to feed the predator!"

Jamie grabbed the backpack again and got another, but smaller, water bottle out of it. He put a drinking device for animals on it and let Bismarck drink. Then he took a bag of dry dog food from the backpack and put it down in front of the pet. It only took a few moments for Bismarck to finish his meal. Jamie let him drink again, then grabbed his sandwich and began to eat. Bismarck made another attempt to get some of Jamie's lunch, but one look from his master was enough. The dog trotted back to Claire's side and lay down at her feet. Maybe this human had a little more compassion for a starving dog and if she did not give him anything voluntarily, maybe some crumbs would accidentally fall to the ground ... But nothing happened. When both had eaten the first sandwich and drank again, Jamie took two more sandwiches out of the backpack. Bismarck watched the scene closely. Jamie finished his second sandwich with only some big bites, but none of it had fallen off for him. Claire chewed slower and took longer for the second part of her lunch. As Jamie closed his eyes and stretched out to the sun, she quickly tore off a bit of the sandwich and dropped it right in front of Bismarck's snout. Only seconds later, the piece of bread - on which to Bismarck's joy was even left a little butter and a scrap of egg - had disappeared in his long snout.

"Claire?" Jamie asked in a tone that reminded her of the character of a strict teacher in a 1950s film.

"Yes, Dr. Fraser?" she asked, putting as much innocence in the tone of her voice as possible.

Jamie opened his eyes and looked at her:

"If you secretly feed the dog, then you should stop it from smacking. He reveals himself and you."

"Dr. Fraser, do you remember? You are my lawyer, not my prosecutor."

He did not answer, but pulled her close and kissed her. Claire took Bismarck and put him back on the log next to her. Then they all reached out to the sun and enjoyed the gentle breeze of the sea.

“Hühnergott (adder stone), Fundort: Unterhalb des Königsstuhls, Insel Rügen (found on location underneath the “King’s Seat” at the island of Rügen)” byCharlie1965nrw at the German language Wikipedia [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)]

An hour later they started their way back. As they walked along the beach, Claire collected a number of little things. At first, there were adder stones, then little colorful pebbles. Bismarck, who ran before her, danced around her every time she stopped for a new find. He would have liked to sniff out every part that caught her attention. Claire would have liked to know what the little black guy was thinking in those moments. Most likely, she would never know. But one thing was obvious: Bismarck seemed very sympathetic to her behavior. Maybe he saw in her curiosity and in her "hunting instinct" a small affinity? Each time Claire's hands were full, Jamie had to turn his back so she could pack her newly found treasures, which included more and more shells, into the backpack. When she came back for the first time with some small stones that looked like amber, he held her back.

“Bernstein * Ostseeküste” / “Amber * Baltic Sea” by mixmax9999

"Claire! No! Do not do that! You can not just put that in the backpack!"

"Why can’t I have this? It's amber! Or is there a strange German law speaking against it?" she asked startled and slightly annoyed.

"You can take it with you, of course, but you have to put it in the metal box, which is in the outermost compartment of the backpack."

"Why?"

She looked at him blankly.

"Because it could also be White Phosphorus."

"White Phosphorus? But this stone is yellowish, almost brownish!"

"Yes, but when White Phosphorus weathers, it also takes on those colors and then looks a bit like Bernstein."

Jamie had put the backpack down and taken a metal box from the outermost pocket. He opened it and held it out to Claire. She put in the brown and yellowish stones she had collected. Once again she looked at him questioningly:

"I don’t understand. Why should it be here on the beach ... "

"That has something to do with the last war. On the island of Usedom, two hours by car east of here, during the last war, there was a so-called 'experimental station of the army'. It belonged to the German Wehrmacht and was under the command of the chief of the rocket department in the Army Weapons Department, a major general named Walter Dornberger. The technical management was in the hands of Wernher von Braun. I’m sure, you have heard of him before. After the war, the Americans resettled him and 120 other German specialists who worked there to the United States. His work and that of the other specialists became the basis for the later US missile and space program."

Claire's eyes widened and Jamie took this as an indication that she was interested in more information.

"British Attack Plan for Operation Hydra" Extracts from the account of the raid on Peenemunde on 17 - 18 August 1943 by Captain John Searby, the Master Bomber on the raid. (AIR 20/4040) Operation Hydra, the raid on Peenemünde. Targets shown are: Experimental station B: Factory workshops C: Power plant D: Unidentified machinery E: Experimental facilities F: Sleeping and living quarters G: Airfield * by RAF photographer [public domain] via Wikimedia

"In the military complex Peenemünde on Usedom the first functional large rocket with the name 'Aggregat 4' was developed and tested. After World War I, the Treaty of Versailles forbade Germany the construction of large canons. However, it said nothing about rockets. So they developed and built them. And von Braun succeeded in what no other human had done before. On October 3, 1942, the ballistic missile he developed completed its first successful flight, making it the first man-made object to penetrate into the outer space. That's why Peenemünde on Usedom is also known as the ‘birthplace of space travel'. The Nazis used the rocket, which they later called V2, as a so-called retaliatory weapon against Great Britain. They bombarded London and targets in southern England. Towards the end of the war, they also attacked Antwerp and Liege. On the night from the 17th to the 18th August 1943, Britain then launched the 'Operation Hydra'. Their air force bombarded Peenemünde with phosphorus bombs. At that time, an estimated 4,000 bombs were dropped. But not all bombs hit their targets ashore during this operation. Many landed in the waters of the Baltic Sea. Since then, they are corroding in the salt water. And in doing so, they release their contents, the dangerous White Phosphorus. But that's not all. After the end of the war, the Allies also decided that 85 percent of chemical weapons found in Germany should be sunk in the sea. Some time ago I saw an interview with an expert from the explosive ordnance clearance service on television. He said that it is estimated that up to 1.3 million tons of phosphorus-containing munitions are at the bottom of the North Sea and 300,000 tons in the Baltic Sea. As said, these weapons corrode and release their deadly cargo. Like amber, White Phosphorus has a low density. That's why it is flushed on the coast with the flow like amber. Here it settles down like amber, shells, adder stones or thunderbolts. White Phosphorus is highly toxic. Only 50 mg is enough to poison a human with deadly results. However, it takes a few days for that to take effect. But that is not the only danger emanating from it. Normally, it ignites when it is washed ashore at 20° C and then it burns off easily. However, if you accidentally collect White Phosphorus at lower temperatures or if it has just been washed ashore and you let it dry in the pocket of your jacket, for example, it connects with oxygen and begins to burn at a temperature of 1,300° C. You can only fight these flames with sand or a special fire extinguishers. Water is absolutely useless. The phosphorus in the firebombs was also mixed with natural rubber, creating a sticky, burning mixture that can’t be stripped off. It eats through the clothes into the body and burns the flesh down to the bone. In the past few years, there was a growing number of reports that people found old White Phosphorus during walks on the beach instead of amber. They then put the pieces in a jacket or a trouser pocket. But instead of bringing their finds home, they caught fire. Fortunately, some went without injuries. But others suffered severe burns. That's why it makes sense to transport stones that look like amber in a closed container, preferably made of metal. If necessary, you can also throw it away."

"How do you know all that?"

"Well, I've read a few books about the Baltic Sea and its islands. On the other hand, I told you that I'm a junkie when it comes to documentaries."

Claire nodded. They had already talked about Jamie's interest in TV documentaries during their car ride to Rügen.

"Today we have," Jamie looked at his smartphone, "18° C. That's not very cold, but it's still safer if we transport the stones in the metal box."

He opened the box he had taken from his backpack again and held it out to Claire. She nodded and let some more stones she had collected while they were walking and talking slip into it.

“Rügen - Muscheln” / “Rügen - Shells” by Zteven

Then they continued on their way and arrived shortly afterward at the stairs at the 'Kieler Bach'. After a short break, emptying their drinking bottles, they began the ascent. When they got back up on the mainland, they hiked to the bus stop 'Welterbeforum', drove one stop on the bus, and then got on the bus that took them to the parking lot where they had parked their car.

"Well," Jamie asked when they sat down, "do we want to go to dinner somewhere or do you want to go home?"

Claire stretched.

"The day was beautiful, Jamie," she pulled him close and kissed him on the cheek. "But I'm exhausted. Let's go back. Or don’t we have anything to eat at home?"

"Sure," he replied as he started the engine and slowly drove off the parking lot, "lots of food. The whole freezer and the fridge are full."

Fifteen minutes later, they reached their holiday home. Jamie let Claire in first and then he released Bismarck from the transport box. When Claire entered the house, Adso, who had obviously missed her, ran to her meowing. Bismarck, who ran into the house shortly thereafter, was probably not so much missed by Adso. Because he was first touched with the cat's claws and backed away. Claire went to the bathroom to freshen up. When she returned to the living room sometime later, Jamie had already ignited the fire in the fireplace. On the coffee table, some candles were burning, giving a warm glow. Next to them stood a jug of fresh tea and two cups.

"Come here, sit down and rest a little," Jamie said. He came out of the kitchen and had a bowl of biscuits in his hand. Claire poured tea into the cups and handed one to Jamie. She drank and then grabbed some biscuits.

"Are you very hungry?" he asked after she had finished the third biscuit and poured tea in his and her cup again.

"Not so much," she replied and her answer was accompanied by a hearty yawn. Slowly, she let herself glide from the vertical to the horizontal and thus to the comfortable couch. Adso, who had already left his sleeping place on the windowsill a few minutes earlier and had sat down next to the coffee table, watched her attentively.

"What would do you say," Jamie asked, "if I let you rest a little while I'm taking care of our dinner?"

"I would say that's a very good idea, Dr. Fraser. But ..."

"But?"

"But I feel a little guilty. All the time you do something for me and I just lay here lazy ..."

"Claire," he said softly as he gently stroked her hair, "you have gone through six exhausting months ..."

"Says the man who worked for me six months around the clock," she answered, rolling her eyes.

"That was my job and I got paid for it."

"Ok, Dr. Fraser. The victory in the case of 'Fraser against the conscience of Claire Beauchamp' goes to you as well. I'm just too exhausted to engage in a legal discussion."

"Good," he said with a smile. Then he got up, covered Claire with a light blanket, and headed for the kitchen. He passed Bismarck lying on his large beige dog cushion. The animal had its legs stretched out and snored audibly. Jamie smiled. The little greedy fur monster was too exhausted to follow him into the kitchen. As he quietly closed the kitchen door, Adso crept out from under the coffee table and sprang onto the sofa, slipping under the blanket at Claire's feet.

An hour later, Claire woke up. On the way to the bathroom, she saw that the dining table was already set. As she passed the kitchen door, she heard Jamie hum. She could not tell what song it was. As always, he hummed completely free of all musicality. But in her mind's eye, she could see him smiling, and once again she wondered how this man had saved himself such humor tough the many battles that his professional life had brought upon him as she had observed first hand.

One hour later, minestrone and lasagna were eaten, the table cleared and the dishes stored in the dishwasher. Claire had taken a shower while Jamie and Bismarck went for a little evening walk. Afterwards, she had put herself in pajamas and dressing gown in front of the fireplace. Adso, who had been waiting for his chance, was walking slowly towards her and then lay down on the floor right in front of Claire. The request: "Pat me!" was obvious. When Jamie, also in pajamas and dressing gown, came out of the bathroom, Claire didn’t look at him. He sat down next to her and put his arm around her. As he tried to brush a strand of her hair behind the ear, he saw it: A trickle of tears made its way down her cheeks. “Claire, mo chridhe,” he asked concerned, “what has happened?”

She looked at him, her eyes red and full of tears, unable to say a word. So he took her in his arms and rocked her softly at his chest. Later, he would not be able to say how long he had held her in his arms, stroked gently over her back and hair, whispering reassuring words in Gaelic. But it seemed to him like a little eternity. When she broke away from him and looked at him, she tried to say something, but she could only sob and again a stream of hot tears poured down her face. Carefully, Jamie dried her face with the hem of his dressing gown. Bismarck had come running when Claire started to cry. He had looked at her with wide eyes and then carefully teased her knee with his long nose. When she saw him, she started to sob again. Jamie looked at the dog and then pointed it back to his dog pillow with one hand. The animal went away but lay down on the big cushions so that he could keep an eye on what was happening in front of the fireplace. Jamie had noticed that the little body was tense. Bismarck would immediately be ready to jump up and run back to Claire to console or defend her. But as much as the dog's reaction pleased him, now it was time to focus solely on Claire. When she looked at him again, she seemed to have calmed down a bit.

"Jamie," she began, her voice still uncertain, "it was such a wonderful day. I enjoyed every minute, every moment with you. But tomorrow we have to go back and ... I'm scared ... afraid that this is just a nice dream that will burst like a bubble when we get back to Berlin."

Before he could answer, she went on:

"And I'm scared ... I'm scared that I am not good for you ..."

"What? Who says you are not good enough for me?" he asked in surprise.

"No, I said I'm afraid that I will not do you good. My whole life is like that ... so dysfunctional, so out of order, so in confusion ... your life ... is just the contrary ..."

Jamie laughed out loud and Claire looked at him in surprise.

"Oh, Claire, my life has not always been so and even now not all is in order."

He looked at her thoughtfully for a moment.

"I think it's time I tell you more about me. But not now. We will do that tomorrow. Now we go to bed and rest. Only one thing I’ll tell you: If you don’t want to go home, that's no problem. I emailed Tessa and asked if we could have the house for the rest of the week, and she said it was okay."

Claire's eyes widened and a little smile became recognizable on her face. Jamie kissed her on her forehead. Then he turned to the coffee table and blew out the candles. Claire had gotten up, but before she knew it, Jamie had taken her into his arms and carried her to the first floor. Bismarck and Adso followed

#Outlander #Outlander fan fiction #TheMurderessoftheGrunewald #Claire Beauchamp #Claire Randall #Claire Fraser #Jamie Fraser #Adso the cat #Bismarck the dachshund #Berlin #Germany #Grunewald #Rügen #Island of Rügen #Crime AU #Modern AU

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xtruss · 5 years ago

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How Suddenly-precious Cobalt that Powers ‘Teslas and iPhones’ also Fuels ‘Child Labor’ in Africa & Armed Heists in Europe

An artisanal miner carries raw ore at Tilwizembe, a former industrial copper-cobalt mine, outside of Kolwezi, the capital city of Lualaba Province in the south of the Democratic Republic of the Congo

It’s an unwanted side-effect of the world’s growing desire for environmentally friendly vehicles: rare metals that are key components of electric cars are becoming prime targets for criminals, as demand sends their values soaring.

How to steal $10 million

On a sunny July weekend in Rotterdam last year, a gang of men pull up in trucks at an unremarkable bonded warehouse situated among an industrial landscape of cranes, shipping containers and depots that sprawls 25 miles along the banks of Europe’s biggest port.

Having purloined the secure codes that give them access through the warehouse’s main gates, they make their way inside and head first to the building’s security unit, punch in the number that disables the alarms and quickly remove the recording unit for the cameras that are aimed at the doors and windows.

Satisfied they are no longer being spied on, they head to a section towards the back of the warehouse and cut the padlock on its sliding door to reveal hundreds of orange and blue drums piled four-high on pallets. All are stuffed full with the prize the men are after: cobalt, a formerly obscure, unwanted metal that, thanks to the electric vehicle revolution, has become a highly desirable commodity nicknamed “blue gold”.

Five or six hours later, the last of the pallets stowed on board their trucks, the gang drives away with 112 tonnes of cobalt, worth around US$10 million. The Dutch police who will investigate when the heist is discovered on the Monday morning spend months failing to catch anyone for the crime or recover any of the stolen goods.

A conveyor belt carries chunks of Raw cobalt after a first transformation at a plant in Lubumbash

Electrifying demand

Cobalt has become of particular interest to organised crime since its price rocketed by 250 percent between 2016 and 2018 (from about US$26,000 a tonne to more than US$90,000) thanks to demand from electric car manufacturers such as Tesla, Volvo, Ford and Volkswagen, and smartphone makers like Apple.

Its unique qualities prevent lithium-ion batteries in mobiles and electric cars from overheating and going up in flames. More than 50 percent of all cobalt demand is now for battery use, and the EU and the US both class it as a critical raw material.

As electric vehicle production gears up - manufacturers worldwide are investing US$300 billion over the next few years so as to build 35 million electric cars and trucks annually by 2030 - experts believe that the price of cobalt will rise again and make it even more attractive to criminals. According to the prediction of one American cobalt investor: “A wave of demand for copper, nickel, lithium and cobalt is coming that almost no one - miner, investor or banker alike - has anticipated or planned for.”

‘The new gasoline’ fuels abuse

The value of cobalt, which takes its name from the German kobold, or “goblin”, derives from its novel properties and relatively short supply. It is an element that does not occur in a "free" form, but is gathered during the mining of copper or nickel and needs to be chemically prised from them using acids and heat.

For hundreds of years, it was used to impart a distinctive blue tint to glass or ceramics, but in the 20th century scientists discovered it to have qualities crucial to our most advanced technologies. Combined with other metals, it produces alloys that are extremely strong, stable under high temperatures and anti-corrosive for use in aircraft engines, rockets, nuclear power stations, turbines and cutting tools.

However, it is the demand created by its critical role in batteries for electric cars that is not only producing the unwanted attention of criminals, but is also fuelling a human rights crisis involving exploited child labour in one of the world’s poorest countries in Africa.

Around 70 percent of the world’s supplies come from the Democratic Republic of Congo (DRC), which has been beset by decades of war, corruption and unrest. The country is described as being to cobalt what Saudia Arabia is to oil - Goldman Sachs, the merchant bank, has called cobalt “the new gasoline".

Every day, tens of thousands of desperate Congolese, including children as young as four, illegally mine cobalt by hand in horrendous conditions. Unicef estimates that there are 40,000 children working in mines across southern DRC, earning as little as 8p a day to crawl through discarded mines, some more than 100 meters deep, to scavenge for rocks containing cobalt in the discarded by-products.

Reports from Amnesty International and others catalogue frequent injuries and deaths, prompting television and newspaper reports detailing the dreadful human cost. One headline in a British newspaper states: “Child miners aged four living a hell on Earth so you can drive an electric car.”

Campaigners estimate that hundreds of miners die every year or have their health seriously damaged. The hazards include mine collapses such as the one in June this year that killed more than 40 miners working illegally on a site in Lualaba province in south-east DR; asphyxiation due to inadequate ventilation; and illnesses such as the respiratory disease cobalt lung, a pneumonia which can cause permanent incapacity or death.

A man digs through some mine waste searching for left over cobalt in a mine between Lubumbashi and Kolwezi

It’s feared that thousands more children will be sucked into the hellish trade, particularly now that many countries have pledged to ban the sale of new petrol and diesel cars between 2025 and 2040.

Such damaging reports and headlines have forced companies like Apple, Tesla, Volkswagen and Volvo to try to find ways to ensure that the metal they buy is not “conflict cobalt” produced using child labour. One avenue being explored is the use of blockchain technology, the cryptographic tech behind digital currencies like Bitcoin, to ensure traceability.

Thriving black market

It may be difficult to enforce. The rocks that the children find are sold on cheaply to traders, mostly Chinese middle-men who, in turn, ship the cobalt back to their country to be made untraceable; it is smelted down before joining the supply chain that feeds the needs of giant multinationals, and whets the appetite of organised crime gangs in Europe.

Another cobalt heist occurred in 2012 down the coast in Antwerp. Three containers of cobalt had been shipped to a warehouse at the Belgian port. When truckers arrived to pick them up, they discovered that two had already been “collected”; thieves had once again somehow obtained the access codes used for deliveries.

Experts believe that the robberies are being carried out by organised crime gangs who not only know the docks well, but have extensive knowledge of the metal and understand the market for it. “Cobalt is not as fungible a commodity as many believe – this makes it a difficult product to ‘fence’ without a knowledgeable middleman with routes to market,” says George Heppel, a senior cobalt analyst at London-based CRU group, which offers business intelligence on the metals and mining industries.

So what happens to the stolen cobalt? “It is highly unlikely to have made its way into the battery supply chain,” Heppel says. “My best guess is that it was probably sold into the alloy scrap and revert sector to be used in superalloys, speciality steels or diamond tools. It’s more likely to be in a jet engine than a smartphone.”

But whatever the use the black market that exists for scarce and valuable metals like cobalt is thriving. Jan Struijs, the chairman of the Dutch police union and the former head of a criminal investigation squad in Rotterdam, told the business channel Bloomberg that the warehouse robbery there was simply “the tip of the iceberg".

David Weight, the president of the UK-based Cobalt Institute, says: “If something is valuable then it becomes a target. You saw it with copper: when its price was high, people were stealing manhole covers and pulling up electrical cables from the ground - and some were killing themselves doing it. When the price is high, people do the most extraordinary things.”

— By Richard Ellis, freelance journalist in the UK, December 9, 2019

The statements, views and opinions expressed in this column are solely those of the author and do not necessarily represent those of RT.

— RT

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thegarrisonpublichouse · 7 years ago

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Business Comes First- Chapter 2

A Peaky Blinders fanfiction set around the end of season three.

Chapter 1- A Woman who Drinks // Chapter 2- Tea for my Lady // Chapter 3- Ricocheting Bullets // Chapter 4- Demons // Chapter 5 - A Country House // Chapter 6 - Numbing the Pain

Summary: Alice is a smart and savvy business woman in a male dominated world. She uses her wit and power to get what she wants but she has burdens from her past that could hinder a business transaction in Small Heath.

Word count: 2400 words

Author’s note: As always, feedback is always much appreciated! As this is a longer fiction with several parts, do let me know if you wish to be tagged in the next instalment. All replies come from @bookish-fox as this is a side account (come on Tumblr sort it out pls). With regards to this chapter, no hate intended on Lizzie!

Tagged accounts: @mariamermaid @little-miss-mischief1

Warnings: Mentions of a past trauma, language.

Chapter 2 - Tea for my Lady

You had slept poorly; dreams had woken you, sweaty, panting and crying. Instinctively, you had reached under your pillow and pulled out the small shotgun you kept there. You held it to your chest, breathing quickly. It had taken you several minutes to calm your breathing to a regular rhythm. You looked to the clock, half five in the morning. You groan.

You had enjoyed a relaxing morning despite waking up so early; you had made a pot of tea and had a leisurely breakfast whilst reading the newspaper. The relaxation almost made you forget about your pounding hangover and night terrors that left you feeling dislocated from reality.

After breakfast, you had sifted through your pile of paperwork and had found the telephone number for Shelby Company Ltd. You sat by the phone and dialled the number.

“Hello, Shelby Company Ltd., can I help you?” a woman’s voice answered the phone. Simply through the tone of her voice, you could tell that she was exceedingly bored or irritated, but you couldn’t work out which.

“Hello, I would like to arrange a meeting with Mr Shelby, please,” you state, putting on your ‘business’ voice.

“Which one? There are three of them,” the woman said sarcastically.

“Thomas.” you reply.

“Regarding?” the woman’s tone of voice was rude. Pulling a face at the phone as if she could see you, you quickly worked out the angle you would take. The question was, should you play the strictly business card, or mention last night’s rendezvous in order to get some time with Thomas? Business, Alice.

“Business.” you reply, with a tone identical to the woman on the phone.

The woman scoffs. “Right, he’s free at three thirty. Can I take a name?”

“Goodfellows.” You reply, hastily making a note of the time of your meeting on the corner of your newspaper. “Thank you.” You hang up the phone and you go back into your kitchen. You placed your kettle on the hob to make another pot of tea. You had a lot of planning to do before your meeting.

Tommy strode into the office, pushing the door violently open causing it to slam shut behind him. His head was pounding. As he walked he turned his head to look into a vacant secretary office. That woman he saw last night should be working there, he could sense that she had the skills to do it, and he, stupidly, didn’t even ask her name. Turning a corner, he strode into his personal office.

“Morning, Lizzie,” he grunted walking past her sat at his desk with the morning’s itinerary. He sat down on the other side of the desk in his chair and immediately pulled a cigarette from his pocket.

“Morning, Tommy.” Lizzie replied, curtly. Noticing her tone he looked up from his cig and made eye contact with her, lighting the butt without even looking. Raising his eyebrows he inhaled deeply, inviting Lizzie to explain her curtness.

“I didn’t see you last night.” Lizzie stated, cooly, reclining back in her chair and maintaining the eye contact.

“I was busy,” he replied, meeting her harsh stare.

“Doing who?” Lizzie broke the eye contact, looking down to watch her fingers intertwine together. Inhaling, she composed herself before continuing. “I waited up for you.”

Tommy looked at the door, the wall, the desk- anywhere but here. He didn’t need Lizzie’s scorn on him today, his schedule was full of meetings and his head was still pounding.

“Today’s schedule, please?” He quickly changed the subject.

“Meetings with various shareholders all morning, then at three thirty, you have a meeting with…” Lizzie’s brow furrowed as she struggled to remember the name. She reached a hand into the pocket of her dress, pulling out a scrap of paper. “Goodfellows?”

“Goodfellows?” Tommy’s face went pale. “Lizzie you can go now.” Lizzie abruptly stood and left the room. Tommy’s head sunk into his hands. Shit. Goodfellows. He had heard that name several times, especially on his trips to London to see Alfie Solomons. Goodfellows were kicking up quite the storm in the racing world: their horses always won. There were several rumours circulating that they fixed the races in order to get results. What business did they want in Birmingham? They were a force to be reckoned with, but the Peaky Blinders were too. A deal with them could be extremely beneficial, but Tommy had learnt the hard way about making deals with the wrong people.

You made your way to Shelby Company Ltd’s headquarters, conveniently around the corner from the Garrison. The building didn’t look like much from the outside, but once you had made your way indoors you realised how important this building was to the family business. The corridors were full of people ferrying paperwork back and forth, and it was never quiet. There was a seemingly constant buzz of chatter and shouting in the background.

You found the door with the name ‘Thomas Shelby’ engraved onto a plaque and you knock loudly with your knuckle. It wasn’t Tommy that answered the door, however. A tall woman with short dark hair answered.

“Yes?” She questioned. Her tone was the same as the woman you had spoken to on the phone earlier that day. She was significantly taller than you, and you could sense her looking down at you, scrutinising every hair on your head and every mascara coated eyelash.

“I’m here for the Goodfellows meeting, I think we spoke over the phone.” You state, calmly, offering your hand for her to shake, “Alice,”

“Lizzie,” she replied, denying your hand but opening the door wider so you could make your way inside. She led you to a chair next to another door. “Sit here, I’ll see if Mr Shelby is ready for you.” You sit, feeling the ice cold metal of your gun in its holster against your thigh, making you grit your teeth.

Lizzie went through the door into his office. “Goodfellows are here, Tommy,” she said cooly.

“Fuck,” Tommy muttered, he stood up, straightening his jacket and placed his razor studded hat on his head.

“Don’t worry, they must have sent a secretary, its a woman.” Lizzie stated. Tommy sat back down, his nerves instantly relaxed. If it was only a secretary, what’s the worst that could happen?

“Bring her through, Lizzie.”

“Mr Shelby will see you now, Alice.” Lizzie popped her head around the door. Smiling you stand and followed her through into Tommy’s large office. His desk was facing to the door, towards you and was framed by bookcases filled with files. Tommy sat at his desk, sifting through paperwork with a cigarette hung lazily out of the corner of his mouth. You walk towards the chair opposite him, well aware of the sounds of your shoes clacking against the hard wooden floor in the silent room, but Tommy never looked up. Lizzie made her way behind him and started aimlessly looking through the files on the bookcases behind him.

“Morning, Mr Shelby.” You said as you sat. His eyes darted upward, instantly recognising your voice from the night before. His eyes met yours and you could practically see the cogs turning as he tried to remember every detail about you.

“Alice Goodfellow,” you presented your hand to him, which he took with a confused expression. “I trust you slept well.” You saw Lizzie’s head dart up.

“Yes, thank you,” Tommy replied. His composure had readjusted from the initial shock of seeing you in his office- he was now calm and collected. He leant back in his chair. “Can I get you a drink?”

“Tea.” You reply quickly. Tommy signalled to Lizzie, whose expression towards you had hardened into one of almost contempt. As she walked out of the room, she made it stroked Tommy’s shoulder whilst looking you dead in the eyes. You could tell that she didn’t like you.

“Goodfellow, eh? Must admit, I didn’t see that one coming.” Tommy took a long drag from his cigarette, allowing the smoke to slowly seep out between his lips in ribbons of ashy grey. Shame, that position within the Shelby Company would have to remain vacant.

“Why? Because I’m a woman?” You contest, shifting your weight onto your other leg to relieve the pressure of the holster on your thigh.

“Not this again.” He smiled, “Why are you here?”

“We understand that your company has the licences to Cheltenham racetrack,” You pull out a pile of paperwork from your bag. “We, Goodfellows Ltd, have a proposition for you, Mr Shelby.”

He quizzically raised an eyebrow and stubbed his cigarette out in an ashtray. You were about to continue when Lizzie loudly pushed open the door to his office, dragging a trolley with a tea set behind her. As she walked, the china clattered loudly and she made no attempt to silence it. Giving you a look, she put all the china on the table loudly, earning herself an irritated look from Tommy.

“Tea for my lady.” she said mockingly, before turning around.

“Hold on Lizzie, we haven’t been properly introduced,” you start standing up to face her. You offer your hand to her, “Alice Goodfellow, from the country’s most well-regarded race horse breeders and trainers, you might have heard of us. Your boss and I met last night when he kindly escorted me home after I had far too much to drink.”

Lizzie’s face reddened as you addressed her. She smiled slightly and walked away quickly, obviously wanting to leave the room as soon as possible. You sat back down in your chair and watched Tommy run a hand through his raven coloured hair. Smiling, you poured yourself a cup of tea. Nice tea set, you took a mental note.

“Anyway, where was I?” you took a quick sip of your tea, burning your tongue on the heat. Fuck’s sake, Alice. “Ah, yes. Being a mainly Southern company, we are yet to explore the northern racetracks. We want to become a sponsor of the Cheltenham races.”

“And what would I receive from this?” Tommy asked. His eyes gave the impression that he was intrigued.

“We are willing to give Shelby Company Ltd. a horse. It will win races and therefore be a worthy investment for your bookies.” You answer. It was an offer he surely couldn’t refuse. Your horses won the races they competed in, it was a fact. By simply giving your company prominence at the race, he would be earning himself millions.

Tommy leant back in his chair, staring you straight in the eyes. The vivid blue of his irises trapped you in their gaze, and you found yourself struggling to look away. He seemed to sense the tension in the air, and broke the eye contact himself to pour a cup of tea. The tea cup looked almost miniature in his large hands, but he held it with such care and grace. His grip was steady and strong, yet gentle. You watched him intently as he poured, it seemed that making tea was almost an art form to him, he poured meticulously, and stirred a precise amount until it was exactly the right colour. Slowly, he added the milk, allowing the two liquids to merge into one in his cup.

“I wouldn’t have thought you were a tea drinking man, Mr Shelby,” you say quietly, smiling in an attempt to relieve some of the tension in the room. His eyes immediately went back to yours, locking them in their powerful grip. Carefully, but without looking, he placed his tea cup onto his saucer. Leaning back in his chair, he wrapped his hands around the back of his head and licked his full lips.

“A man can’t survive on whisky and cigarettes alone, Mrs Goodfellow.” He smiled.

“Miss Goodfellow,” you corrected him quickly. Nothing annoyed you more when people assumed that you were married. Marriage was a touchy subject for you, having come close to it before the idea of it made you feel trapped. You hadn’t had a positive experience with it in your past, and felt no need to try it again.

“Sorry, Miss Goodfellow,” Tommy smirked. You were so clever, he could see that in your eyes and the way that you held yourself in your chair. He could see that you had come into his office, and Birmingham with a purpose, and that you wouldn’t leave until you had achieved it. Tommy felt conflicted regarding the deal: certainly, should it all work out he would benefit significantly, but Goodfellows had built up a rather shifty reputation, and rumours could be damaging to his own enterprises. He ran a hand across his chin, deep in thought.

“Well, Miss Goodfellow, this kind of business deal doesn’t happen over night.” you nodded in understanding. “I will need to consult my brothers and the rest of the family and do some research before I finalise anything, but, I do see there being potential here for a business partnership.”

You smiled, you had this one in the bag. You couldn’t wait to call your brother Henry when you got home; he hadn’t stopped bragging about his negotiation success with Alfie Solomons for about a year now. It was finally your turn to pull in a big deal.

“That being said,” Tommy started, wiping the smile off your face as you felt a ‘but’ coming. “We are a family enterprise, and therefore I cannot go into any serious negotiations with you until you are acquainted with the whole family, they are much better at judging a person’s motives and character than I am.”

“Of course, Mr Shelby, that’s understandable. Our company would take similar precautions.”

“Come to the Garrison tomorrow evening at nine and meet everyone. In the meantime I’ll do some research.” Tommy stands, indicating the end of your meeting. You stand too, and stretch out your hand for him to shake. To your surprise he grasps it tightly, pulling you towards him so that he could whisper in your ear.

“I can see your gun through your dress, Miss Goodfellow,” He whispers, “you don’t seem to be as innocent as you try to make out.” He released your hand and waved you towards the door. “I look forward to doing business with you.” Your heart raced, nerves and adrenaline pumped through your veins. You smile sweetly at him, and exit the office.

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sinceileftyoublog · 7 years ago

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Live Picks: 5/11-5/20

Jess Williamson; Photo by Kari Rosenfeld

BY JORDAN MAINZER

I’ll be in London from tonight until the 19th, so I wanted to get you covered until the 20th!

5/11: Shabazz Palaces, Empty Bottle

When we saw Shabazz Palaces at Riot Fest last year, we noticed the headiness and understated nature of the set in comparison with other sets at the festival. Seeing them in a small venue, in contrast, is ideal.

Experimental hip hop band Leaf Set opens. Jill Hopkins of Vocalo Radio DJs before the show.

5/11: Kem, Anthony Hamilton, & Eric Benet, Wintrust Arena

The R&B Super Jam tonight at Wintrust Arena features a diverse lineup. There’s quiet storm artist Kem, who mixes spirituality and love on albums like Intimacy. There’s the best known, neo soul singer Eric Benet. And then there’s Anthony Hamilton, whose Back To Love remains one of the best R&B albums of the decade and who often finds himself collaborating with hip hop artists, unlike the other two. Whether they play together or alone or a mix of both, it’ll be sure to be a great show.

5/11: Loma & Jess Williamson, Schubas

Loma, the band consisting of Shearwater’s Jonathan Meiburg and Emily Cross and Dan Duszynski from Cross Record, has only their self-titled debut, which we enjoyed very much. In a headlining set, they should be able to play most or all of it. The extent to which they replicate live an album that’s loaded with effects and nature sounds is to be seen.

Jess Williamson follows up 2016′s great, stark Heart Song with something much more expansive. Cosmic Wink, out today, is her Mexican Summer debut. It’s inspired by her move from Texas to California, new love, and the death of her dog. “When I don’t know what home is, I can turn into your arms,” Williamson sings on album closer “Love On The Piano”. It’s a sweet sentiment, but the rest of the album, despite the romance, still has those Texas high and lonesome qualities--it was recorded there, after all. Opener “I See The White” recalls some of the more melancholy tracks on Angel Olsen’s My Woman, while the Rhodes-laden “Wild Rain” is desolate and emotive.

Williamson will also be doing an in-store performance and signing at Shuga Records at 5 P.M.

5/11: Bing & Ruth, Constellation

The last time we saw ambient classical collective Bing & Ruth, they put us in a trance playing their great No Home of the Mind. Sine then, they’ve released an EP, Dorsal, as well as a single, the gorgeous “Quebec (Climber)”, released as part of the upcoming Stadiums & Shrines 10th anniversary compilation Dreams.

TüTH, the industrial project of Disappears bassist Damon Carruesco, opens. Brent Heyl DJs before the show.

5/11: Meat Wave, Catapult Records & Toys

Here’s what we wrote about Meat Wave when they opened for Hot Snakes at Thalia Hall back in March:

“If you’ve read us for the past few years, you know we love the songs and shows ever-ascending local heroes Meat Wave, having covered three different sets of theirs. Their last full-length release was 2017′s The Incessant, but earlier this year, they released two new songs, one-minute stomper 'Shame' and creepy slow-burner 'Dogs At Night'. Subtle, but still just as pummeling; their set should contain a lot of the latter, and not much of the former. Be thankful for that.”

Local two-piece punk band Drilling For Blasting and UK grunge band Strange Planes open.

5/11 & 5/12: Lizzo, Aragon

I’ve been a fan of Minneapolis hip hop artist Lizzo since her 2013 debut Lizzobangers, which she followed up in 2015 with Big GRRRL Small World. The former established her as a dexterous, hyperactive MC with a feminist tilt. She showed off her singing chops on the latter. But her 2016 EP Coconut Oil and tracks she’s released recently see her going in many different directions. The title track to the former is soulful and infused with gospel, while new tracks like “Truth Hurts” and “Fitness” are some true Lizzo bangers.

Fleetwood Mac worshipers Haim headline.

5/12: Helen Money, Hungry Brain

Cellist Alison Chesley is classically trained, but that’s right where formality ended. She started Verbow with Jason Narducy and then, after Verbow broke up, was a session musician in Chicago. But it wasn’t until her first solo album Helen Money and her subsequent adoption of the moniker that she truly started pushing the cello to its limited. Fast forward to 2016, and Chesley released her magnum opus Become Zero. Featuring Neurosis’ Jason Roeder and Rachel’s Rachel Grimes, Become Zero is a true mash of genres, bending the lines between experimental noise and metal while Chesley used digital processing for the first time. It was to great effect, as she made an album as full of sorrow and empathy as harsh soundscapes.

She plays with Peter Maunu and Carol Genetti, who play an opening set of their own.

5/12: Moritz von Oswald, Smartbar

Moritz von Oswald was one of the most influential 90′s dub techno producers, having done great work with both Basic Channel and Maurizio. Over the past 10 years or so, he’s branched out under his own name, whether with Detroit pioneers Carl Craig and Juan Atkins, by himself, or with the Moritz von Oswald Trio, his project with Sun Electric and Vladislav Delay. (I’m particularly fond of their album Fetch.) The Hamburg master should give a fantastic DJ set.

Deep techno DJ Olin and TEXTURE Detroit resident and founder Soren and Jacob Park open.

5/12: Speedy Ortiz, Subterranean

In 2015, Speedy Ortiz followed up their great debut Major Arcana with the even better Foil Deer. Supporting that album, they improved tenfold as a live band. When they went to record what would become their third album Twerp Verse, the 2016 U.S. presidential election happened, and they scrapped the strictly personal stuff and went political. Sadie Dupuis and company have always been political from a social and feminist perspective, but not so outspoken as on Twerp Verse. Musically, the album is consistent with Dupuis’ solo project Sad13, embracing the synth and Dupuis’ ever-improving voice over the wiry guitars for which the band first became known.

Local hero Nnamdi Ogbonnaya and Ohio band Didi open.

5/12: Vijay Iyer Sextet, Constellation

Vijay Iyer is captivating by himself and in duo form. So performing his sextet material (last year’s great Far From Over) with a steady band (besides a set of rotating drummers) should be a captivating live show. The band includes horn players Graham Haynes, Steve Lehman and Mark Shim alongside bassist Stephan Crump and drummer Marcus Gilmore.

There are two shows: one at 8:30 P.M. and one at 10:00 P.M.

5/13: Bill MacKay & Ryley Walker, Cafe Brauer

They’ve already turned upside-down one wholesome holiday. Whose to say they won’t do it at Mother’s Day Brunch at the Lincoln Park Zoo? Over/under on Walker banter about yoga pants stands at 2 jokes.

Walker’s release shows for his new record Deafman Glance, out next Friday, are on 5/18 and 5/19. We previously wrote that Deafman Glance is “an arty record, subdued, embracing of free jazz and minimal synth music as much as folk.”

5/13: Obituary, Pallbearer, & Skeletonwitch, Metro

Obituary’s self-titled album, released last year, wasn’t just a return to form. It’s one of their best records, one that stands to refine the death metal tropes the band has been exploring from the get-go, from the swirling riffs of “Kneel Before Me” to the stomping “Lesson In Vengeance”. The songs should sit well beside the band’s catalog.

Last year, Pallbearer followed up their breakout album Foundations of Burden with the divisive Heartless. We liked but didn’t love Heartless. Either way, whatever you think of the band, they’re becoming better and better live. They just released a new single, “Drop Out”, and mini-documentary to go along with it, as part of Adult Swim Singles Program. It’s your typical track from the Arkansas band: lead singer Brett Campbell goes full-on Ozzy Osbourne, while the divide between the sky high electric guitars and guttural electric bass is larger than ever.

Despite turning over band members quite a bit, Ohio metal band Skeletonwitch is remarkably consistent, from 2011′s great Forever Abomination to 2013′s Serpents Unleashed. They release their sixth full-length Devouring Radiant Light in July and have released a single, the epic and black “Fen Of Shadows”. It showcases new vocalist Adam Clemans (who first appeared on their 2016 EP The Apothic Gloom) while reminding you why you’ve always loved the band: the dynamism between guitarists Nate Garnette and Scott Hedrick.

German thrash metal band Dust Bolt opens.

5/14: Damien Jurado & The Light, Lincoln Hall

Singer-songwriter Damien Jurado has been popping up here and there since the 90′s to release an occasionally jaw-dropping, brilliant record, like 2003′s Where Shall You Take Me? or the trilogy of Maraqopa, Brothers and Sisters of the Eternal Son, and Visions of Us on the Land. A week ago, he released his 13th studio album, the gentle The Horizon Just Laughed. While it might not have the psychedelic leanings of his best work (save for “Silver Timothy” sibling “Florence-Jean”), it’s sparse and gorgeous nonetheless.

Afro-folk singer-songwriter Naomi Wachira opens.

5/15: Justin Townes Earle & Lilly Hiatt, SPACE

Justin Townes Earle played City Winery back in February. Here’s what we wrote about him then:

“The Justin Townes Earle of 2018 may not be as exciting as the same singer-songwriter who released the mighty one-two punch of Midnight at the Movies and Harlem River Blues almost 10 years ago, but he’s got so many good songs across his discography that it’s almost better to see him live than take a deep dive into his discography. He quietly released his 7th album, Kids in the Street, in 2017, and it’s probably his best since Harlem River Blues, but you know the crowd’s gonna cheer the loudest for 'They Killed John Henry' and 'One More Night in Brooklyn'.”

Nashville singer-songwriter Lilly Hiatt recruited a new band for her third album Trinity Lane, and it’s her best record yet. With John Condit on guitar, Robert Hudson on bass, and Allen Jones on drums and production by Michael Trent of Shovels & Rope, Hiatt has found the perfect sound for sad stories like “The Night David Bowie Died” and honky tonk jams like “See Ya Later” alike.

5/16: Asking Alexandria, The Forge

Back in January, Asking Alexandria co-headlined the Riviera with Black Veil Brides. They co-headline The Forge with Black Veil Brides this time. Here’s what we wrote about them then:

“British metalcore band Asking Alexandria perhaps peaked with 2016’s The Black. While their new self-titled album, released last month, is an interesting departure in their sound, opting for more straightforward, melodic hard rock, it makes you miss the band’s louder moments.”

Scottsdale metalcore band Blessthefall open.

5/16: Rival Consoles, Empty Bottle

Persona, the latest album by Rival Consoles, is purportedly inspired by the Ingmar Bergman film of the same name. What’s more obvious is its obsession with perception, space, light, and darkness. His use of analogue-heavy synths, acoustic and electric instruments, and effect pedals creates a sonic world that travels faster than the speed of light between beauty and ugly. Songs titled like “Unfolding” do what their title suggests, slowly developing into a beat. The title track skitters, “Memory Arc” attacks like a monster, and “Phantom Grip” loops ominously. And then there’s Nils Frahm collaboration “Be Kind”, a truly light moment on a record, and one that exemplifies the spirit of shared label Erased Tapes.

Local experimental acid house project Africans With Mainframes opens.

5/16: Jean-Michel Blais, Constellation

Quebec composer and pianist Jean-Michel Blais has been slowly rising over the past few years. His debut album II was followed by an especially inspired collaboration with CFCF on last year’s Cascades EP, four tracks of original material and one John Cage rework. Today, he releases his second solo effort Dans ma main, which sees him combine his usual piano-led intimacy with synthesizer textures.

5/16: Power Trip & Sheer Mag, Reggie’s

Dallas thrash metal band Power Trip just released a collection of their earliest non-LP recorded material, showing the raw areas from where they came. 2013′s Manifest Decimation was their debut, but it was last year’s Nightmare Logic that brought them beyond the metal spheres to spots like a co-headlining tour with Sheer Mag.

As a live band, Sheer Mag stood out even before they released their best songs. Now that they’ve released the tracks, they’re on top of the world. Last year’s proper debut Need To Feel Your Love was an effective juxtaposition of 70′s radio rock with radical politics, accessible and loud enough to land on our top albums of the year list.

Orange County hardcore band FURY and DC punks Red Death open. The same bill plays Empty Bottle on 5/19.

5/17: Prong, Bottom Lounge

Groove metal legends Prong are still going strong. Albums like the excellent Carved Into Stone and last year’s Zero Days show that the band is still capable of telling a musical story from start to finish while making room for meaty riffs and complex arrangements, holding up alongside their 80′s and 90′s work.

New York alt metal band Helmet co-headlines.

5/17: Josh Rouse, SPACE

Josh Rouse’s best record is 1972, which combined 70′s songwriting and production techniques with personal, political songwriter. Love in the Modern Age is the 80′s equivalent. Is it as successful? Of course not. But the similarity between the two albums makes me think Rouse will play lots of 1972 favorites.

Synth pop singer-songwriter Deanna Devore opens.

5/17: Marc Ribot, Art Institute of Chicago

Marc Ribot is one of the most creative guitarists around. I’ve seen him do a one-man score to Charlie Chaplin’s The Kid, play with his Ceramic Dog band, and jam with Los Lobos’ David Hidalgo. This time around, he’s doing an in-gallery solo performance at the Art Institute of Chicago in response to the paintings of Ivan Albright, presented in association with the exhibition Flesh: Ivan Albright at the Art Institute of Chicago.

5/17: Wye Oak, Thalia Hall

The Louder I Call, the Faster It Runs completes Wye Oak’s transition from raw, guitar-and-drums folk band to expansive synth rockers. Front woman Jenn Wasner’s pop project Dungeonesse and solo project Flock of Dimes as well as Wye Oak’s previous two albums, Shriek and Tween, are clear predecessors to the new record, the band’s best since Civilian. Natural and unbridled, it shows the least restrained version of Wasner and percussionist Andy Stack. The title track’s interweaving arpeggio synths and squawking guitars are the perfect soundtrack to a song poking fun at those trying to find order within chaos. The vocal-driven, cinematic “My Signal” and layered, washy “You Of All People” round out the album’s highlights.

Philadelphia indie rockers Palm open.

5/17: Charly Bliss, Empty Bottle

Charly Bliss frontwoman Eva Hendricks told us regarding the band’s live show, “Our live show is probably the most important aspect of making music for us, so we always want our shows to be as satisfying and fun as possible!” Their debut album Guppy (one of our favorites of 2017) was already fun and continues to satisfy well into 2018. There’s a reason this show is sold out.

Punk band Skating Polly opens.

5/18: Objekt, Smartbar

We haven’t heard much from avant techno genius Objekt since his great 2014 debut Flatland--apart from a few singles here and there. Maybe he has new material. What better place to debut it than Smartbar? Mixes of his old material works, too.

Pre-party for the Movement festival in Detroit. Stripped-down techno DJ Helena Hauff headlines. Local busy and prolific DJ Justin Aulis Long opens.

5/18: Raekwon the Chef, Promontory

Raekwon is responsible for some of the best rap albums ever, whether as a member of the Wu-Tang Clan or solo. Next Friday, he’ll be playing solo hits and Wu Tang Clan songs with the Mo Fitz Band backing him up. Though he may start with tracks from his most recent album The Wild, he should eventually delve into 36 Chambers and Cuban Linx classics, perhaps even performing for other Wu-Tang members, dead or alive.

Raekwon also is somehow playing another set this night at Bourbon on Division. DJ Ryan Ross opens that one.

5/18: Fever Ray, Metro

A Fever Ray show is not to be taken lightly, since Karen Dreijer doesn’t play very often, either as a part of The Knife or with her solo project. Plunge, last year’s follow-up to 2009′s self-titled album, was a stunning achievement. It was one of our favorite albums of last year due to its outspoken politics, frank sexuality, and chaotic beats. She revealed her live band members in a video for standout “IDK About You”.

There are two shows: one at 6:00 P.M. and one at 10:00 P.M.

5/19: TesseracT, Metro

British band TesseracT prove that djent prog metal can actually be tasteful in addition to good. Their masterpiece, 2013′s Altered State, was cohesive and actually beautiful at times, particularly thanks to vocalist Ashe O’Hara. Over the past two albums, including last month’s Sonder, the band has reunited with old vocalist Daniel Tompkins. While his vocals are more cliche whiny than O’Hara’s, the band’s instrumentation remains vital.

Australian metal guitarist Plini and rockers Astronoid open.

5/19: Pig Destroyer, 3 Floyds

Alexandria grindcore masters Pig Destroyer last left us in 2012 with their opus Book Burner. It was fast, violent, and truly dangerous-sounding. Next Saturday, they’re one of many bands playing 3 Floyds’ Dark Lord Day, which we’ve covered twice. To a drunk crowd wanting to hear favorites, expect them to...well...bounce all over the place.

Death metal band Dying Fetus headlines. The abrasive Revocation, blackened thrashers All Hell, jazz-metal outfit Brain Tentacles, and blackened doom two-piece Canyon of the Skull also play.

5/19: Elizabeth Cook, City Winery

Two years ago, we caught singer-songwriter Elizabeth Cook admirably perform songs from her latest release Exodus of Venus, an album inspired by death and tragedy. Over the past year or so, however, she’s been performing lots of new songs that should be out on a new record this fall. She should pepper them into her back catalog next Saturday.

Singer-songwriter Caleb Caudle opens.

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Kitchen and Dining Room Renovation

Sometimes we live in the perfect house, in the perfect neighborhood, but with the wrong kitchen. Does this sounds familiar? It does to many people! The years go by and the more we look at our cabinets and the kitchen layout, the more we wish we could tear it all down and start all over again. With interiors by Amy Tausk of Swoon Interiors and with cabinet and architectural design by Stephanie Frees of Plain and Posh, this home’s owners finally had all of their wishes come true! Their old kitchen felt too traditional with an odd layout and the tile flooring was terrible – it was hard to keep it clean with their deep grout lines. A nightmare for any cook!

Here, Stephanie Frees explains more about the configuration of the space: “When I was brought in to the project, the homeowners wanted to be able to get more light in to the space. It faces East and North and there is a covered patio outside the large north windows that blocks most of that light. As the space was so large, we opted to open up two doorways from the kitchen into the dining room to allow the south facing window light to stream in to the kitchen.”

Take notes on the sources shared by the designer and get ready to pin! I am sure you will feel inspired by this kitchen and dining room renovation.

Kitchen and Dining Room Renovation

The foyer opens directly to a newly renovated dining room.

The hardwood flooring was existent to the house.

Dining Room

“We wanted a light and soothing color scheme and the design all started with this gorgeous green-gray grasscloth wallpaper. My clients wanted it to feel elegant but not too fussy or formal. I think we achieved that with the lighter wood tones and the more casual side chairs.” – Amy Tausk of Swoon Interiors.

Sideboard

This two-toned sideboard is from One Kings Lane.

Mirror

A round mirror creates some balance and reflects the natural light in this dining room.

Beautiful Round Mirrors: Here, Here & Here.

Table Lamps

Similar Crystal Base with Linen Shade Lamps: Here.

Chandelier

Dining room chandelier is Arteriors.

Chairs

Dining Table and Chairs: Ellen DeGeneres for Walter E Smithe – similar here.

Beautiful Dining Tables: Here & Here.

Beautiful Dining Chairs: Here.

Rug

Rug: Loloi Rugs Ellen Degeneres Trousdale. See more beautiful rugs here (sale) here & here.

Wallpaper

Wallpaper is Thibaut Wallcoverings Grasscloth – similar here & here.

Sconces

Sconces are from Visual Comfort.

Draperies

The custom draperies are by Mimsie O’Hara in a pretty sheer fabric with metallic threads running through – Similar Draperies: here & here – Similar Hardware: here.

Similar London Map: here, here, here, here, here (vintage) & here.

Shop the Look:

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Connection

The dining room opens to the newly-renovated kitchen.

Butler’s Pantry

The blue-grey butler’s pantry, painted in Benjamin Moore Solitude AF545, features beverage and wine refrigerators and beautiful glass front cabinetry. Wood shiplap backsplash is Knotty Alder with a custom stain.

According to the designer, the warm wood planks were stained to coordinate with the island and wood beam above the stove niche.

Lighting: Rejuvenation

Hardware: Rejuvenation – Pulls – Appliance Pulls – Knobs.

Cabinetry – Plain & Posh Custom Collection

Pantry Doors

The pantry doors feature fluted glass and brass knobs.

Pantry

“The new plan called for breaking through that pantry wall into the former Butler’s Pantry and creating a functional yet lovely walk through pantry that could be accessed from either side of the kitchen.” – Amy Tausk.

Similar Runner: here

Pantry

Another set of doors open to the kitchen.

Kitchen Renovation

Kitchen Renovation Details: “We opened up the wall on either side of the range to create two entrances to the dining room and flood the kitchen with it’s beautiful light. Gorgeous cabinetry designed by Plain & Posh is more streamlined and functional and includes a deeper island in a custom wood-stain to warm up all the space.” – Amy Tausk.

Countertop

The countertops are Silestone Quartz in Pearl Jasmine from their Eternal Collection.

Hardware

Cabinet Hardware: Knobs – Pulls – in satin nickel finish.

Kitchen Faucet

Kitchen faucet is Waterstone Model 5200 in Satin Nickel finish.

Similar Prep-Sink: Here & Here.

Shiplap Kitchen Hood

The custom hood area features shiplap painted in Benjamin Moore White Dove and a custom distressed beam for the mantel.

Backsplash

The back wall of the range niche features Silestone Quartz in Pearl Jasmine from their Eternal Collection.

Range: Wolf 48” range – similar here & here.

Similar Spice Jar Set: Here – Spices: Here.

Spice It Up

The kitchen hood also features integrated spice shelves at each end.

Utensil Holder (used as small planter): Here.

Fresh Kitchen Decor:

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Window

The window trim were painted in Benjamin Moore Kendall Charcoal.

Dishwashers: Bosch

Cabinet Paint Color

The perimeter cabinetry and walk in pantry are Maple painted Benjamin Moore OC-23 Classic Gray. They are a custom designed door style in captured inset and are from the Plain & Posh Custom Collection.

Apron Sink: Kohler 36” in Sea Salt finish – it works perfectly with the grey cabinets.

Kitchen Runner: Rejuvenation

Trim

Trim is also painted in Classic Gray by Benjamin Moore.

Fridge & Freezer

Paneled Appliances: Sub-Zero column fridge and freezer – similar here (paneled-ready) & here (not paneled-ready).

Coffee Station

The coffee station features a Miele built-in coffee system – similar here, here & here.

Beautiful Wooden Bowls: here, here, here & here.

Built-in Coffee Machine

Stephanie at Plain & Posh has such a knack for designing functional little details like this.

Island Dimensions

Kitchen Island Dimensions – 94” x 65”

Wall Paint Color

Wall paint color is Benjamin Moore OC-17 White Dove – classic choice!

Pantry Backsplash

Backsplash tile is Masia by Soho Studio Subway Tile – similar here & here.

Similar White Oak Floating Shelves: Here.

Similar Baskets: Here & Here.

Microwave: Sharp.

Island Details

Kitchen Island Cabinetry – Plain & Posh custom collection in stained Alder with some hand scrapped detail and a custom stain. The end posts have brushed nickel foot applied.

Dining Area Chandelier: Visual Comfort.

Shop the Look:

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Kitchen Lighting

Pendants: Sorenson 18 Lantern – Remains Lighting – similar here, here, here & here.

Counterstools

The leather counterstools are Jamy counterstool from MadeGoods.

Flooring

Flooring: Paris Ceramics Limestone tile 24” square

Mudroom

The designers also renovated this beautiful grey mudroom with blue-grey cabinetry and natural stone sink.

Reclaimed Wood Bench: Here.

Paint Color

The blue-gray cabinet paint color is Benjamin Moore Boothbay Gray.

Hardware: Knobs – Pulls

Welcome Home

“You belong here. Welcome home” sign: here.

Grey Stone

The mudroom features a Soapstone sink and backsplash.

Similar Runner: Here & Here.

Sink

Isn’t this Soapstone sink stunning?

Similar Faucet: Here & Here

Flooring

Durable Mudroom Flooring: Exquisite Surfaces – similar here, here & here.

Similar Lighting: Here & Here.

Shop the Look:

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Interiors: Swoon Interiors (@swooninteriors – facebook). Architectural & Cabinet Design: Plain and Posh (@plainandposh – facebook)

Photography: Picture Perfect House.

This Month’s Best Deals

Wayfair: Up to 70% OFF – Tax Refund Event!!

Serena & Lily: Enjoy 20% OFF EVERYTHING! Use Code: NEWIDEAS! New Summer Collection!

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Joss & Main: Outdoor Entertaining Sale – Up to 65% Off!

Posts of the Week:

New Interior Design Ideas.

Grey Kitchen Paint Colors.

Colorful Coastal Home.

Interior Design Ideas.

Black Home Exterior Design Ideas.

Beautiful Homes of Instagram.

Interior Design Ideas: Modern Farmhouse Interiors.

Newest Interior Design Ideas.

Interior Design Ideas: Coastal Interiors.

New-construction Farmhouse with Front Porch.

You can follow my pins here: Pinterest/HomeBunch

See more Inspiring Interior Design Ideas in my Archives.

Popular Paint Color Posts: The Best Benjamin Moore Paint Colors

2016 Paint Color Ideas for your Home

Interior Paint Color and Color Palette Pictures

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Interior Ideas: Paint Color

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“Dear God,

If I am wrong, right me. If I am lost, guide me. If I start to give-up, keep me going.

Lead me in Light and Love”.

Have a wonderful day, my friends and we’ll talk again tomorrow.”

with Love,

Luciane from HomeBunch.com

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danielpscrapdealer · 4 months ago

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Streamline Your Cleanup with Efficient Scrap Metal Collection in London

In a city as vibrant and busy as London, accumulating scrap metal is common for homeowners, businesses, and construction sites alike. With ongoing renovations, technological upgrades, and general cleanouts, it’s easy for scrap metal to build up, leading to cluttered spaces and potential safety hazards. However, thanks to professional scrap metal collection services, this waste can be removed efficiently and responsibly, promoting environmental sustainability and tidiness. Here, we’ll explore the importance of scrap metal collection in London, how it works, and why it’s a valuable service for both the community and the environment.

What is Scrap Metal Collection?

Scrap metal collection involves the removal and processing of unwanted metal materials from various sources, such as households, offices, construction sites, and industrial facilities. These metals include items like aluminum, copper, steel, iron, brass, and other alloys found in appliances, old furniture, building materials, and even car parts. Professional collection services pick up and transport these materials to recycling facilities, where they are sorted, processed, and eventually repurposed.

Why Scrap Metal Collection is Essential in London

With a high population density and a mix of residential, commercial, and industrial activities, London produces significant amounts of scrap metal. Whether it’s the result of an office renovation, a home cleanout, or a building demolition, disposing of scrap metal responsibly is essential for multiple reasons:

Environmental Benefits: Recycling scrap metal significantly reduces the demand for raw materials, preserving natural resources and reducing energy consumption. Metal recycling requires less energy than mining and processing new materials, thus helping reduce the city’s overall carbon footprint.

Reducing Landfill Waste: Scrap metal is non-biodegradable, meaning it won’t break down naturally over time. If discarded in landfills, it takes up valuable space and can potentially leach toxic chemicals into the soil and groundwater. Scrap metal collection helps prevent metal waste from accumulating in landfills, contributing to a cleaner, more sustainable environment.

Clutter-Free Living and Working Spaces: Accumulated metal waste can take up valuable space, creating disorganized areas in homes, offices, or construction sites. Professional scrap metal collection services free up space, allowing for a cleaner and safer environment.

Economic Value: Metal has intrinsic value, and recycling facilities often compensate for certain types of metals like copper and aluminum. Professional collectors know how to sort and identify metals for optimal recycling value, benefiting both clients and the economy.

How Scrap Metal Collection Works

Professional scrap metal collection services in London follow a systematic approach to ensure efficiency and proper disposal. Here’s a breakdown of the typical process:

Assessment and Quote: After contacting a scrap metal collection service, clients receive an assessment, either over the phone or through an on-site visit. This step helps determine the type, volume, and condition of the scrap metal, allowing the company to provide a fair and accurate quote.

Collection and Removal: Once the terms are agreed upon, a team of professionals arrives to collect the scrap metal. With specialized equipment and vehicles, they ensure safe handling and transportation of items, including bulky or hazardous materials.

Sorting and Processing: After collection, the scrap metal is taken to a recycling facility, where it is sorted according to type and quality. Proper sorting is crucial, as different metals require different recycling processes. For instance, aluminum, copper, and steel each have unique melting points and recycling techniques.

Recycling and Repurposing: Once sorted, the metal is processed for recycling. At this stage, the scrap metal is cleaned, melted down, and reshaped for reuse. This recycled metal can then be used to manufacture new products, minimizing the need for new raw materials.

Types of Scrap Metal Commonly Collected in London

Scrap metal collection services in London typically handle a wide range of materials. Here are some common types of scrap metal they collect:

Ferrous Metals: Including iron and steel, which are common in construction materials, appliances, and automotive parts.

Non-Ferrous Metals: Such as aluminum, copper, and brass. These metals are found in everything from wiring and electronics to pipes and household items.

Precious Metals: While less common in everyday collections, some services handle precious metals like gold and silver, often found in electronic components and specialty items.

Each metal type has its own recycling process, with non-ferrous metals like copper and aluminum being highly valuable due to their durability and versatility in new manufacturing.

Benefits of Using a Professional Scrap Metal Collection Service

Choosing a professional scrap metal collection service in London offers many advantages:

Convenience and Efficiency: Handling scrap metal can be time-consuming and physically demanding. A professional service manages all aspects of collection, including heavy lifting, transportation, and cleanup.

Proper Disposal and Recycling: Scrap metal collectors have established partnerships with recycling facilities, ensuring that all materials are recycled responsibly. This ensures that clients comply with environmental standards and avoid fines associated with improper disposal.

Safety: Scrap metal can be hazardous, especially sharp or heavy items. Professional collectors are equipped to handle these risks safely, protecting both clients and their property.

Maximizing Recycling Value: Experienced collection services know how to sort metals for optimal recycling value. By identifying valuable materials like copper and aluminum, they can often offer competitive compensation or offset collection costs.

Eco-Friendly Practices: Reliable scrap metal collection companies follow strict environmental practices, contributing to sustainable waste management in London and supporting the city’s commitment to reducing its ecological footprint.

Choosing the Right Scrap Metal Collection Service in London

When selecting a scrap metal collection service, it’s essential to consider factors such as reliability, environmental practices, and experience. Here’s what to look for:

Reputation and Reviews: Choose a service with a strong reputation and positive reviews. Companies with a proven track record are more likely to provide efficient and trustworthy service.

Transparent Pricing: Look for a company that offers clear, upfront pricing, so you know what to expect from the start.

Commitment to Sustainability: Select a provider that prioritizes eco-friendly practices, including partnerships with certified recycling facilities and responsible waste management.

Professionalism: Opt for a service that employs trained professionals with the proper equipment to ensure safe and efficient scrap metal removal.

Final Thoughts

Scrap metal collection in London plays an essential role in maintaining clean, safe, and sustainable spaces. By choosing professional services, residents and businesses can declutter their properties, support environmental initiatives, and contribute to the city’s recycling efforts. With companies like Daniel P Scrap Dealer, scrap metal collection has become a convenient and responsible choice, making it easy to dispose of unwanted metal items while protecting London’s environment. Whether for a one-time cleanout or ongoing collection needs, professional scrap metal services ensure efficient, eco-conscious disposal for the modern urban landscape.

#Scrap metal collector London #Sell scrap metal London London #Scrap metal removal London

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thearistocratsblog · 4 years ago

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John Fare you well Presently I am researching my thesis and badly require information on `John Fahey' the American sculptor/performer who died knowingly as a fan of his work, as I understand it to be: and all this is hearsay: together with an Italian cybernetic sculptor, Fahey built a computer-controlled machine that performed amputations. Fahey was the patient — the computer functioned in a completely random way. The performances were advertised and tickets sold at £5 a throw. These performances take place in England. In total there were 6 amputations on Fahey by the machine. The final one being his head. Do you have any information about these performances (they took place two years ago, the death of John Fahey was mid-November 1970), John Fahey, his life and/or his work? Failing this could you please let me know of anyone whom you think may have ? Failing that could you please print my request in your magazine asking for any known material on Fahey to be sent to me at the address given ? I do hope you may be able to help. GRAHAM BROWN 4 Cricketers Terrace Leeds I2

Tim Craig writes : The Editor of Studio International has been kind enough to call my attention to a letter lately received from Mr Graham Brown of 4 Cricketers Terrace, Leeds I2. Mr Brown in his letter seeks information touching the life, work, and performances of 'John Fahey, the American sculptor/performer who … together with an Italian cybernetic sculptor, built a computer-controlled machine that performed amputations upon Fahey himself.' Questionless, Mr Brown has confused John Fahey, an American guitarist of surpassing technical skill, with the only person who could represent the real target of his interest: John Fare, Art's Gingerbread Man or, if you like, the Stepin Fetchit of self-slaughter. (Strange to say, each of Fahey's long-playing records has included the word death in its title.)

John Charles Fare was born in 1936 in Toronto, Ontario. These exciting facts were always made available to members of his audience, for whose benefit Fare's birth certificate was always displayed under glass at the entrance to each of the theatres where, over the years, he conducted his 'appearances'. Portions of this document have been blatantly deleted, a circumstance which, in fight of Fare's own highly edited state, I find very suggestive. It is more than simple tidiness, I think. As a theatre programme, it seems quite perfect. It says: 'I went fishing once, but tonight I cannot do an that.'

Fare attended Forest Hill Collegiate in Toronto, and in 1959 came to London, where for a time he remained as an imperfect student at the Bartlett School of Architecture. Disappointed, he left London for Copenhagen. Owing to his financial independence, a condition from which he was never perfectly relieved, he was free to spawn novelties, including the first of his 'appearances'. The notable events of his tirocinium are perhaps less well known than they ought to be. Nor are facts concerning this or any other period of Fare's career as generously imparted as one might be led to expect by an organization calling itself the John Fare Vital Information Bureau, West 56 Street, New York. A vital telephone call which I put through to them early this morning yielded nothing beyond the swirly gobblings of a certain 'Jenkins' who, possibly owing to the distance, resembled a ventriloquist in a Waring Blender, and an unidentified preadamite whose continual laughter sounded like pieces of iron thrown in a bathtub. As publicity agents, they are just one step ahead of the Tarbaby.

I have nevertheless been told by others that Fare's earliest 'appearance' gestures consisted in the public removal of his clothing, accompanied at times by such trimmings as the pressing of 'his bare arse' against the street-level windows of particularly genteel restaurants. These high deeds nearly always led to his arrest and/or hospitalization, if only because it never, apparently, occurred to him to avoid consequences, however predictable or unpleasant. One might almost fancy that in these stunts, however amusing or informal, it is not impossible to discern a tinge of masochism as well as the slightly feminine tendencies to discard things and extort medical attention. (Any woman, for example, will throw away an arrowhead collection, and a survey conducted in 1968 indicated that in Harley Street 91 per cent of the customers are women.)

After a brief spell in the bughouse, Fare was again arrested when, early one morning, a frightfully Danish police constable found it impossible to ignore Fare's curious treatment of a parked motorcar. Fare had in fact already spent several hours fastening random objects to the vehicle in question with epoxy resin. These included: golf balls, milk bottles, brooms, unopened tins of food, one dead cat, his own clothes, old gramophone records, dozens of biros, and over a hundred forks and spoons. While Fare sat quietly in the local stationhouse, the police officer waited patiently for the owner of the car to arrive so that it could be explained that a known lunatic had unfortunately made him the target of vandalism, but had been apprehended and would be charged as soon as the victimized motorist would be good enough to sign a formal charge. However, when the owner did turn up after hour or so, he appeared not to notice anything. When pressed by the astonished officer, he suddenly declared that he thought that there was something different and appeared to be highly entertained. He immediately arranged Fare's release and introduced himself: Golni Czervath, who was a cybernetic inventor, electronics wizard, and an accomplished musician. Together they began, almost at once, to develop a robotic operating table, consisting of two robots (each with two flexible hands), attached to the table, beneath which was located a power source and an ingeniously controlled programming system. Assisted by the painter Gilbert Andoff, they worked out a series of programmed 'appearances', which, if nothing else, ensured a very settled career for Fare and an end to the sort of trifling which had so far coloured his life and which parents so often find vexing. The series of amputations thus planned was still, of course, a kind of strip show; yet the difference between it and Fare's earlier disrobings is the difference between sculpture and election posters.

The first operation, a lobotomy, was presented in June, 1964, in Copenhagen. The time and day 8.30pm, Friday – never varied in subsequent appearances. His mind thus abridged, Fare was more or less proof against any doubts concerning his vastation which he might otherwise have entertained. By the time I was last invited to attend one of Fare's appearances – at the Isaacs Gallery in Toronto,17 September 1968 – Fare was short one thumb, two fingers, eight toes, one eye, both testicles, and several random patches of skin. Each of these scraps had been replaced by a bizarre metal or plastic facsimile, so that when he entered the gallery – a man who, in purely fleshly terms, was so small and faint that, thus refurnished, he seemed to beggar the customary initial enquiry in the game Twenty Questions – several memories were coaxed forward all at once: brass monkeys in winter, 'A Rebours'. the whittling of Dr Moreau, the final condition of Bonny Parker, Nathanael West's curtailed heroes, a bird cage in Bradbury, 'Captain Carpenter', 'Johnny, I Hardly Knew You'. and in the instance of the thumb, an eloquent rejoinder to Nazi bad taste in the field of interior decoration.

That night in Toronto, his entire right hand, previously unmolested, was scheduled to run out of luck. The gallery was hung with Andoff's huge, faintly Transylvanian murals. Andoff and Czervath assembled the operating table and its adjuncts in front of the audience, putting the whole thing together 'from scratch'. Fare stood perfectly still in one spot, smiling vacantly while lazy blonde spotlights grazed slowly about the ceiling, as if in response to reports of leftover Messerschmitts, harmless in their old age, ever so ample to catch. At length, Fare lay him (sic-RH) down upon the assembled table, and his two assistants strapped a number of tiny microphones up and down his flesh, so that the highly amplified sound of his pulse, breathing, and mutilation, could be laid on at will. At first, before the robots began the actual surgery, it sounded like whale music. Andoff and Czervath stepped into another room, and, as the four hands of the robots began all at once to move very energetically above the weird table and its stylized cargo, I was reminded for a moment of a xylophone recital I and a girl named Nellie had gone to about ten years earlier on the planet Neptune. Her last name was something like Fisher, only it wasn't Fisher.

One metal hand gave Fare an injection, paused, and began in concert with the other three to perform exactly as one imagines a competent surgeon and an assistant would. Alarmingly coloured lights began now to emanate from the robots themselves as they continued the job. Plague shades flooded the room, lurid crash pigments, a filthy Dallas crimson, shabby leper mud, a kind of frayed porky one, and a truly horrifying yellow that Winsor & Newton knew nothing about. The absurdly amplified noise of the bone-saw resembled huge panting elephant death yells played backward on too many tape recorders. People blacked out here and there, a few more during the sutures.

The operation over, one metal claw abruptly raised the hand and wagged it about horribly for a few seconds, as one would a found purse everyone had been searching for in a large field. It then placed the hand in a jar of alchohol, which Andoff, reappearing with the houselights, carefully labelled and placed on a table next to the birth certificate. 'What larks!' a pretty girl of about seventeen said. Fare was wheeled into another room and three days later travelled by rail to New York. 'Dying is an art like everything else.' Since the evening I have described, Fare has made six appearances in various cities. Much of his audience has from the very start consisted of a hard core of mainly professional, mainly middle-aged people waiting patiently for the masterstroke. The date of that event has always been kept very secret.

They'll applaud until their tickets tear up the ushers.

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micaramel · 5 years ago

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Artist: Max Hooper Schneider

Venue: Hammer Museum, Los Angeles

Date: September 21 – February 2, 2020

Click here to view slideshow

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

Images:

Images courtesy of High Art, Paris and Maureen Paley, London. Photos by Jeff McLane.

Press Release:

While for the moment, the fates of human and non-human beings are inextricably entangled, the power of humans is waning. We arrived late on the planet and are likely to exit early.

—Max Hooper Schneider

A mad scientist, magician, alchemist, trash master, doomsday predictor, and borderline hoarder, Max Hooper Schneider has spent the past decade developing a taxonomy of living things, dead technology, and refuse, transforming grotesque souvenirs of everyday life into exquisite objects and environments. His passions for the nonhuman world and marine biology fuel his explorations of the often tragic results of humanity’s interference with the natural world. The results are visceral scenarios reflecting on the nature of existence and environmental crises. Ostranenie—the artistic technique of presenting common things in an unfamiliar or strange way in order to enhance perception of the familiar—and techne—the ancient precept of material making—anchor Hooper Schneider’s approach to art making.

Hooper Schneider studied landscape architecture and marine biology in college, which provided access to facilities and labs where he could blow things up, cultivate glowing algae, and explore the habits and habitats of a plethora of specimens and exotic materials. Accordingly, research is central to his process, and his overflowing studio— Little Shop of Horrors meets a secondhand shop��functions like a laboratory where he can conduct off-label experiments and develop bootleg ecosystems. He is an incessant scavenger, trolling dumpsters, the beach, scrap-metal yards, anatomical replica companies, and the coffers of deceased relatives for discarded treasures. His vast collection of raw materials includes neon, bones (real and fake), scrap metal, sea creatures (also both real and fabricated), vintage toys, mannequins, junk jewelry, real and artificial plants, candy, fossils, death metal cassettes, discarded furniture, movie props, and more. He was, and still is, fascinated by tide pools and spent most of his free time observing these discrete worlds, which for the artist “represented something larger than myself . . . that exceeded my anthropocentric, postulatory thumbings at the ‘natural world.’ . . . One could witness this multidimensional play of habitat creation and destruction, mutualistic partnerships, sieges of elemental forces, and peer into a phantasmagorical, subplanar vista of tube feet, stinging tentacles, and regenerated limbs.”1

One might not immediately associate Hooper Schneider with Marcel Duchamp, the godfather of postmodern art. His primary medium, however, is in fact found objects. He transforms and redigests existing materials (and occasionally organisms), or in his words, “my day job is to package gore.”2 For Aral Spring Trolley (2014), he turned a classic popcorn trolley into an aquarium for popcorn- shaped snails, and for Antemortem Sirenian (2018), the artist sliced open an animatronic manatee, exposing the fictive guts—sinewy wires and electrical cables. Hooper Schneider doesn’t just recontextualize found materials and objects; he treats them as ingredients in a recipe in which he creates something entirely new without concealing their original use or function. He humanizes (or more accurately animalizes) machines and human-made objects, exposing distinct biological characteristics. And as Barbara Hooper observes, “his worlds do not represent nature: They are nature. . . . Of course, lobsters, fish, seahorses, spiny urchins. But boots, bullet casings, plastic chains? The works, if they are functioning as the artist would like them to, have opened at least this one small aporia, an aporia being, literally, something that stops you in your tracks.”

While the subjects of Hooper Schneider’s works can be somewhat dismal, every doomsday diorama features elements of delight and wonder. His poignant and magical assemblages never fail to seduce and mesmerize. An early piece titled The Last Caucasian War (2014), for example, comprises his mother’s laptop submerged in muddy water, with tiny fiddler crabs crawling over it. This captivating scenario encapsulates the real and urgent crises of environmental degradation and climate change.

Hooper Schneider is probably best known for his Trans-Habitats, aquarium tanks teeming with an array of materials culled from his various collections in the studio or those sourced from the field, which he considers “worlds that materialize and dramatize in diverse ways nature conceived in a specifically monist mode—i.e., as a process of ceaseless morphogenic modulation, a relentless onslaught in which bodies, as formed matters, are continuously created, transformed, and destroyed. . . . My sculptures and systems deploy a set of conditions involving perceptual shift, interactivity, mutation, juxtaposition, containment, openness, life, death.”

For example, each of the thirteen terraria in the Pet Semiosis series—such as Pet Semiosis 11: Leprosy (Hebrew) (2016), Pet Semiosis 5: Lethal Injection (Burmese) (2015), and Pet Semiosis 9: Coprolalia (Arabic) (2016)— displays a neon sign in a different language and alphabet, referencing a disease, symptom, or cause of death. More recently, he has produced the series Planetary Vitrines, larger-scale Trans-Habitats that grew out of his 2017 maritime expedition (supported by the BMW Art Journey initiative) to seven coral ecosystems in varying states of growth and decay—including White Island, New Zealand; Cocos Keeling, Indian Ocean; and Zighy Bay, Oman. Each reef biotope he visited suffered from a form of human interference followed by either efforts at damage control or total neglect. Hooper Schneider buried empty vitrines at two of the reef sites, leaving them to transform organically into “Trans-Habitats, co-created by artist, reef, and other natural and human participants in the process.”

Continuing this narrative, Hooper Schneider’s Hammer Projects exhibition explores “climax communities,” which represent “the final stage of succession, remaining relatively unchanged until destroyed by a disaster or event caused by humans or other destructive forces, such as earthquakes, tsunamis, or large perturbations in the atmosphere,” inevitably leading to another precondition of succession. The artist argues that nature, in this exact way, exists in an ongoing state of climax and molecular flux. Circling back to his scavenging rituals, he has transmuted objects and materials that he has amassed over the years—burning, chopping, combining, and solidifying in a layer of marine epoxy and primordial ooze—into a landfill cascading into a reservoir of yet more stuff. It’s at once horrifying and intoxicating, seductive and foreboding.

Baby dolls, plastic fruit, bullet shells, shopping carts, chains, air plants, a dollhouse, a suitcase, a pay phone, freeze-dried food, cables, car parts, wire hangers, plastic vines, a life-size plastic alligator, and more were combined into islands of debris, mini dumps within an archipelago, and baked in the New Mexico sun. Hybrid creatures—part human, part marine organism—reside within the cacophony, the sole survivors and inheritors of this new world. Like a walk-in diorama, the gallery becomes one of Hooper Schneider’s Trans-Habitats, where visitors experience a biosphere of a seemingly inevitable future. Every aspect of the installation is deliberate and considered, including the lighting, which replicates the sun’s transit, and the audio, an original soundtrack recorded with marine invertebrates and electric fish and produced in collaboration with the musician Jorge Elbrecht. With this immersive installation, Hooper Schneider provides a glimpse into his weird and wonderful mind, letting us see how he engages with the world and its inhabitants.

—Ali Subotnick

Link: Max Hooper Schneider at Hammer Museum

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2R5aQXE

#micaramel

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coweatman · 6 years ago

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there are good photos in the original, but, y’know, paywall.

Genesis P-Orridge Has Always Been a Provocateur of the Body. Now She’s at Its Mercy.

By John Leland

Neil Andrew Megson discovered Max Ernst when he was 15 years old, and it set a course for his life. The book was called “The Hundred Headless Woman,” surrealistic collages of human and animal forms. It presented the body as fluid and mutable, and the self as open to negotiation. It was the mid-1960s, and to a British schoolboy who felt he didn’t fit in — into his school, his gender, his body — this was freedom.

In the half-century since, Megson — better known as the musician and visual artist Genesis Breyer P-Orridge — has steadily probed at the boundaries of the body, both literally and figuratively, evolving from art provocateur to founder of the influential British bands Throbbing Gristle and Psychic TV to semi-established fine artist with archives at the Tate Britain. As P-Orridge now considers retiring from live music, Throbbing Gristle’s albums from the 1970s and early 1980s are newly available in deluxe reissues on Mute.

At 68, P-Orridge lives on the Lower East Side neighborhood of Manhattan in a body racked by chronic myelomonocytic leukemia.

“I’m stable right now, my blood counts are close to normal,” P-Orridge said on a recent afternoon at home, flanked by a snoring Pekingese named Musty Dagger. “But at some point it will finally flare up and become terminal, and there’s no way to know when that might be. Optimistically, two years. Less optimistically, a year, maybe six months. And then I’m on the downward slope to death.”

The artist at home: working-class English accent, Rogaine in the bathroom, black T-shirt reading “Thank God for Abortion.” Breast implants and a mouth full of metal teeth, an idea P-Orridge got from watching the movie “Belle de Jour” on LSD. Shelves full of books and artwork, mostly by P-Orridge, including various fetish objects and a wooden rabbit dotted in blood, the residue of hundreds of ketamine injections.

Since a series of operations with Jacqueline Breyer P-Orridge, P-Orridge’s wife, who died in 2007, P-Orridge prefers genderless pronouns, usually first person plural, but is O.K. with female pronouns. Her life, she said, was an experiment that was still playing out.

“We know that Neil Andrew Megson decided to create an artist, Genesis P-Orridge, and insert it into the culture,” she said. “Some people take their lives and turn them into the equivalent of a work of art. So we invented Genesis, but Gen forgot Neil, really. Does that person still exist somewhere, or did Genesis gobble him up? We don’t know the answer. But thank you, Neil.”

It has been a provocative run. P-Orridge first came into being with a Dadaist performance collective called COUM Transmissions, whose shows included whipping, masturbation and live sex; “Prostitution,” their 1976 retrospective at the Institute of Contemporary Arts in London, included nudity and bloody tampons and scandalized the British public.

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When P-Orridge and others branched off that year to form Throbbing Gristle, they added assaultive industrial noise and Nazi imagery to the mix.

“In terms of being shocking, punk was pretty tame in comparison,” said Simon Reynolds, the author of “Rip It Up and Start Again: Postpunk 1978-1984.” “They were writing songs about serial killers and cutting themselves onstage.”

In 1981, P-Orridge reversed course in the gently trippy Psychic TV, whose danceable songs echoed the occult writings of Aleister Crowley and Austin Osman Spare, and included a tribute to Brian Jones of the Rolling Stones called “Godstar.” P-Orridge imagined the band as the center of a global consciousness raising, and recruited fans to join Thee Temple ov Psychick Youth, a cross between a fan club and a cult, whose members donned paramilitary gear and submitted bodily fluids as part of their initiation.

In 1995, after a recording session with the band Love and Rockets in the Los Angeles home of the producer Rick Rubin, P-Orridge woke up to a massive electrical fire there and jumped from a second-story window, shattering her arm and suffering post-traumatic stress disorder. Psychic TV went on hiatus, but returned in the late ’90s and again with a new lineup in 2003.

But all the time she was making collages and other visual art, including a solo show at the Rubin Museum of Art that made The New York Times’s roundup of the Best Art of 2016. And she was writing books, including, most recently, “His Name Was Master,” a collection of interviews with Brion Gysin, whose “Cut-Up” literary experiments with William S. Burroughs — splicing and recombining texts to unlock meanings — have been a driving aesthetic in P-Orridge’s work and life.

It takes a moment in the apartment to realize that the two naked blondes in a wall-sized photograph, identical of breast and chin, are P-Orridge and Lady Jaye, Jacqueline’s nickname. In the bedroom are photos of their California wedding, June 1995, Friday the 13th. Genesis was the bride. Lady Jaye wore a mustache, tight leather pants and a leather vest, nothing underneath.

Stay on top of the latest in pop and jazz with reviews, interviews, podcasts and more from The New York Times music critics.

Their marriage — they met at an S & M dungeon in New York, where Lady Jaye worked — began a new creative phase, this one a partnership, in which their main medium was their bodies.

Lady Jaye was both a registered nurse and a dominatrix, a delightful combination. P-Orridge sometimes worked with her at the dungeon, as the domineering Lady Sarah. The pay wasn’t bad — maybe $200 an hour for what was called a “tribute” — but the work wasn’t steady, she said. They had money from a lawsuit after the fire, and an idea: What if they altered their bodies to become a third entity, neither male nor female, but free from the binary framework that they saw as destructive?

They called their project the pandrogyne, the fusing of two persons into a third that only existed when they were together. P-Orridge had been an early proponent of piercing and ritual cutting or scarring. The pandrogyne was their way of applying Burroughs’s and Gysin’s “Cut-Up” technique to their own flesh.

P-Orridge, the father of two daughters from a previous marriage — she attended PTA meetings in a miniskirt and thigh-high boots — remembered calling up her daughter Genesse, saying, “‘There’s something you ought to know. Lady Jaye and myself, we got matching breast implants last week.’ And Genesse just said, ‘What? You got breast implants when you could have bought me a new car?’ That was 2003. She was about 19.”

“My daughters adore me still, despite everything that’s been unorthodox,” she added. “They don’t bat an eye. They call me Papa Gen-Gen.”

Lady Jaye had surgery on her chin and nose to match her mate’s. The couple took hormones but didn’t like them; they took ketamine, daily, and liked it so much that they often went to sleep with full syringes on their night stands, so that whoever woke up first could inject the other partner in mid-slumber.

The French filmmaker Marie Losier documented their relationship in the 2012 documentary “The Ballad of Genesis and Lady Jaye,” which ran at the Museum of Modern Art earlier this month.

The writer Douglas Rushkoff, who briefly played in Psychic TV, recalled nights in the city with Gen and Jackie, as he called the Breyer P-Orridges (like other old friends, Rushkoff refers to P-Orridge by masculine pronouns).

“He and Jackie were our most normal friends,” he said. “We’d just go to the Indian restaurant. He had weird teeth or took weird drugs or had weird art, but we would talk about what to do with savings, or how to deal with air conditioning. Just normal, mundane stuff.”

Then in 2007, Lady Jaye died of an acute heart arrhythmia. Her death left P-Orridge alone, one half of an art project that no longer had a second half.

“It became really tricky,” Rushkoff said. “To make that level of commitment, not just in marriage and love, but to do this thing to your body that doesn’t quite make sense anymore without the other half, that’s rough.”

When P-Orridge developed leukemia, Rushkoff organized a GoFundMe crowdfunding campaign that has raised almost $55,000 for her medical bills.

“We realized for the first time in a tangible way how much people care for me,” P-Orridge said. “That was really beautiful to discover. See, I’m getting teary already. That’s a good feeling, that that many people want you to stay.”

The prankishness of P-Orridge’s work sometimes distracts people from the art itself, said Jarrett Earnest, 31, an art critic and curator who met her at a performance piece by Leigha Mason called “Spit Banquet,” in which people sat at a table and spat into empty vessels.

“What she’s done as a thinker and as a maker, this has not been understood in the wider art world,” Earnest said. “People in the music world know her in a specific way. But her writing and her ideas about culture and the relationship of life to art are so profound.”

Earnest added: “She does a lot to play the part of the cartoon, because there’s a part of her that’s really silly. She is those things, but at the same time this sweet, profound, authentic person. It’s not just someone with weird teeth who looks like a cult leader.”

On another afternoon in October, P-Orridge wore a T-shirt that read “Cult Leader.” She was recovering from pneumonia, preparing to travel to Europe for two concerts, the last two dates in an otherwise scrapped tour. After that, she said, she did not expect to tour again, because her health was too unpredictable.

And she was in love, with a woman she’d met in Granada a few years back.

“We certainly didn’t expect it, at our age,” she said. “What a beautiful surprise it was to be in love again. She’s 28. It’s ridiculous, but what can you do, man?”

In the last year, an old bandmate and girlfriend, known as Cosey Fanni Tutti, accused P-Orridge in a memoir of being physically and emotionally abusive. P-Orridge said she had not seen the book, but denied the allegations. “Whatever sells a book sells a book,” she said.

And she was busy, preparing two volumes of her notebooks from the 1960s and a graphic novel called “Man Into Wolf,” whose title comes from a 1948 book about sadism, masochism and werewolves. Museums, she said, were calling about new and old work.

“Derek Jarman said, ‘Gen, when they know you’ve got a terminal illness, they start liking what you do,’” she said, referring to the director and author. “‘You wait and see.’ And now people want the art in art exhibitions.”

If there is a next chapter, P-Orridge hopes it will be to form a collective community, with people sharing resources but having more privacy than in a commune. The ‘60s dream still drives her.

“When you’ve got a terminal illness, you think about what your legacy might be,” she said. “My only answer is, we would hope that it would inspire people to see that they can do a life totally as they would like it to unfold. Live your life every day like a page in your book of life, and make that page as interesting as you can. Whenever you have a choice, say: Which is the better page in my book?”

She said she was not afraid of death. “I’d like to stay, because it’s fascinating here,” she said. “But as far as we can tell, having a physical body is a luxury we don’t often get, and too many people squander that luxury.”

She smiled, a mouthful of gleaming metal. “We’ve not squandered it,” she said. “We’ve utilized it to the maximum we could.”

A version of this article appears in print on Nov. 11, 2018, on Page AR19 of the New York edition with the headline: Provocateur of the Body, Now at Its Mercy.

#psychic tv #throbbing gristle #genesis p-orridge

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fashiontrendin-blog · 7 years ago

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Thinking about going plastic-free? This eco warrior's daily diary is all the inspo you need

http://fashion-trendin.com/thinking-about-going-plastic-free-this-eco-warriors-daily-diary-is-all-the-inspo-you-need/

Thinking about going plastic-free? This eco warrior's daily diary is all the inspo you need

If you care about the planet but have no idea how to help, you’re not alone.

New research from SodaStream revealed that 95% of Brits now believe they can personally make a difference to the plight of the planet, compared to just 36% in March 2017. Despite this, 6.2 million still haven’t made any effort to reduce their single-use plastic intake.

Legal & General Investment Management’s ‘Own Your World’ campaign reveals an impressive nine out of ten (92%) of the 18 to 55 year-olds surveyed said that minimising their impact on the environment is important, with 27% of under 35s saying it is *very* important.

Over half have pledged to buy less plastic bottles than this time last year and one third carry a reusable water bottle daily – in a bid to reduce the 19.2 million disposable bottles dumped in landfill every day *gasps*. We’re not just bottling it, as 79% are cutting down on supermarket 5p bags and half are saying no to plastic straws.

This is why you need to get behind World Oceans Day – and what we discovered will shock you

So if you’re hoping to jump on the plastic-free bandwagon, we’ve enlisted eco campaigner and zero waste advocate, Kate Arnell, to share a day in her plastic-free life in the hope that it will inspire you to do the same.

Plastic Free Guide

9 am – I enjoy reading a chapter or two of a book with a cup of coffee in bed for an hour. I work from home so I’m lucky I can set my own schedule. I brush my teeth using my wooden toothbrush and use a sprinkle of bicarbonate of soda bought from bulk (loose!) instead of toothpaste.

9:15 am – Breakfast time! I either have a bowl of organic oats with full fat organic milk that is delivered by my milkman in returnable glass bottles, or two organic fried eggs on toast. And I love coffee, so I buy the beans loose and grind them in my blender and enjoy a french press. No wasteful coffee pods!

11am – Shower up. I know, I have a weird routine, but I like showering mid-morning! I use a bar of soap instead of shower gel, a reusable stainless steel safety razor to shave and a shampoo bar to wash my hair. I’m obsessed with Beauty Kubes at the moment – plastic-free shampoo “kubes” that are made in Cornwall and work so well! To condition my hair I rinse with diluted apple cider vinegar… I know it sounds really hippie and I never thought I’d be someone who uses vinegar on my hair, but it works.

I trialled an eco-friendly shampoo bar and here’s what happened…

For deodorant I pat on some bicarbonate of soda. Some people have a reaction to this, like my husband, so he uses a bicarb-free deodorant that we buy in a compostable cardboard tube by Meow Meow Tweet. I also use an organic body butter that comes in a compostable cardboard container. Some people love to DIY their own beauty products – I’ve tried but it’s not my skill set, so instead, I use a few simple kitchen cupboard swaps and buy the rest. Acalaonline.com is a new site selling plastic-free beauty, which I love.

Makeup was one of the hardest things to find low-waste or plastic-free. I started out by simplifying and considered what I truly need: foundation, mascara, eyeliner, lipstick and bronzer. I managed to find an eye kohl by Fat & The Moon that works as both a mascara and an eyeliner and comes in a recyclable metal tin. I love it when a product is multi-purpose! The foundation I use is non-toxic and comes in a metal tin and I use cocoa powder as a bronzer, which I buy from bulk. The only product that comes with a bit of plastic is the lipstick I use but so far, I can’t find an alternative and only use it when I’m filming or at events. I look for brands that use a lot of organic ingredients and minimal plastic-free packaging.

Your ultimate guide to the difference between vegan, natural, organic, clean and fair trade beauty

11:30am – At this point, I’ll either continue with some work at the computer or sit down to film a video for my YouTube channel. I used to work as a TV presenter but after 10 years, work was getting scarce and I had recently discovered the Zero Waste Lifestyle. I wanted to share my experience via YouTube, especially as there weren’t many people in the UK talking about it a few years ago.

1:30pm – Lunch time. I eat something at home most days, and usually rustle up a stir fry using leftover chicken and veggies or some other random concoction. If I’m out and about, I always carry a small reusable cloth bag with me and can easily find an unpackaged sandwich to go straight in from a bakery or deli. And yes, I eat meat. I was vegetarian for 13 years and it made me really ill. The more I read about meat, the more I appreciate the crucial role animals play in regenerating our environment, fighting climate change and nourishing our bodies. Not all meat is created equal, so I only buy local, organic meat, unpackaged!

Sometimes I’ll catch up with a friend for lunch and we’ll go to a nearby café. When eating out, I request no straw in my drink and return the unused paper napkin to the waiter to reuse – I don’t need it.

3pm – I shop for groceries once a week and then top up with store cupboard staples once every few weeks. If I’m doing the weekly shop, I take a few reusable metal tins with me and some cloth bags and an empty egg carton and walk 10 minutes to a local shop, where all of their produce is organic and loose. The butcher puts any meat straight into the containers (and deducts the weight of the container!), and I use cloth bags for bread and soft items like tomatoes and berries, but everything else just goes loose into the basket and then I carry it home in my larger reusable bags.

This incredible woman encouraged 100,000 people to join her in ending period product waste

If I’m stocking up on dry goods, I’ll visit one of the many bulk shops popping up across the country. London now has several locations to shop plastic-free (there’s a list on my blog!). I can also get beer, wine and oil refills, too. I simply weigh the containers and the shop deducts the weight at the checkout. Sounds odd, I know, but I’ve been grocery shopping this way for five years now and it feels totally normal.

My weekly grocery shop takes 30 minutes, including walking, but for those who are really stuck for time, there are now online stores now selling dry goods without plastic, try plasticfreepantry.co.uk or zero-waste-club.com and for veggies, the organicdeliverycompany.co.uk has a plastic-free veg box delivery.

4:30pm – Time for a cuppa! I make tea using loose leaf and a reusable metal tea ball strainer – a bit like a tea bag but reusable and no plastic. Yep, most teabags still contain plastic!

6:30pm – Let’s get cooking! Before adopting a Zero Waste Lifestyle, I wasn’t a fan of cooking. Now, I LOVE it. In the early days, it was difficult to find things like pasta from bulk, so I learned to make my own. Now it’s really easy to find, so I buy it loose, but I’m pleased I learned a new skill. I mostly buy British produce, so it’s seasonal and I just go with the flow in the kitchen. I rarely follow recipes, except when I’m making bread pudding (from leftover bread), homemade custard or homemade tortillas as I need a recipe for those.

We compost food scraps in our small worm bin on the balcony but some things like citrus peels, cooked meat and fats cannot go in there so for now, those get thrown away in a small paper bag. I’m constantly bothering my council to start offering a food waste collection service and they have just started to trial it in a small area. Fingers crossed it comes our way soon.

Celebrate World Environment Day with these eco-friendly sustainable beauty buys

7:30pm – My husband and I are real foodies and enjoy a good chat over our evening meal. To drink, we’ll either enjoy a bit of organic wine (from a refill) or a glass of sparkling water from my SodaStream Crystal, which comes with a glass bottle and turns tap water into sparkling in a few seconds. The gas canisters are returnable, too.

10pm – I’m definitely a night owl, and if I have a deadline, I will happily start working on it from 10pm until 2am. I’ve tried to fight it for years, but have come to realise I am most productive and efficient working at night. My husband is the complete opposite, so I try to go to bed early with him most nights. He’s been really great at embracing the Zero Waste Lifestyle, although his initial reaction was, “I’m going to fight you on this” when I tried to take away his beloved cleaning products and replace them with vinegar and reusable cloth rags! Since then, he’s seen the benefits: improved health and spending less (especially on cleaning products!) and he’s realised just how unnecessary and destructive plastic has become.

He’s now the first to start talking about it when people ask about zero waste and friends now send him pictures of their reusable coffee cups. If I had any advice for encouraging friends and family to start reducing plastic, it’s this: don’t preach and lead by example. Guilting people into doing something is the worst. Make it fun, laugh when things go wrong and leave perfection at the door. You do you, and hopefully others will feel inspired.

Ready to get started? Here are our picks of the best shampoo bars to get your ball rolling…

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