#James Sarno

[amphtaminedreams]

Mid-year Fashion Update for 2024 in (Mostly) A-Z Format: RTW, Pre-fall, & a Little Haute Couture Plus my Top 25 (Part 3)

-clockwise l-r: Petar Petrov RTW F/W24, Pressiat “, Private Policy “, Puppets and Puppets “-

-top to bottom: Philosophy di Lorenzo Serafini RTW F/W24, Prada “, Preen by “, Thornton Bregazzi “-

-clockwise l-r: Plan C RTW F/W24, R13 “, Rahul Mishra haute couture S/S24, RTW F/W24, Rave Review “-

-top to bottom: Prabal Gurung RTW F/W24, Atelier Prabal Gurung RTW F/W24-

-top to bottom: Proenza Schouler RTW F/W24, Rabanne “, Retrofête “-

-clockwise l-r: Ralph Lauren RTW F/W24, Renaissance Renaissance “, Self-Portrait pre-fall 2024, RTW F/W24, STAND STUDIO “, Simon Miller “, Regina Pyo “-

-clockwise l-r: Reem Acra RTW F/W24, Reverie by Caroline Hú “, Rick Owens “, Rochas “-

-clockwise l-r: Richard Quinn RTW F/W24, Roberto Cavalli “, Rokh “-

-clockwise l-r: Róisín Pierce RTW F/W24, Roksanda “, Roland Mouret “, Rui Built “-

-top to bottom: Sacai pre-fall 2024, RTW F/W24, Sandy Liang “-

-clockwise l-r: Saks Potts RTW F/W24, Sea “, Shuting Qiu “, Schiaparelli haute couture S/S24, RTW F/W24, Sinéad O'Dwyer “-

-top to bottom: Shiatzy Chen RTW F/W24, Simone Rocha “, Sportmax “-

-clockwise l-r: Steve O Smith RTW F/W24, Stine Goya “, Sunnei “, The Row resort 2025, Theory RTW F/W24, TIME “, The Garment “, Supriya Lele “-

-top to bottom: Thom Browne RTW F/W24, Tom Ford “, Tommy Hilfiger “-

-clockwise l-r: TOGA RTW F/W24, Tokyo James “, Tolu Coker “, Uma Wang “-

-clockwise l-r: Susan Fang RTW F/W24, Talia Byre “, Tamara Ralph haute couture S/S24, Samuel Guì Yang RTW F/W24, ShuShu/Tong “, Tanya Taylor “-

-top to bottom: Tory Burch RTW F/W24, Ulla Johnson “, Versace “-

-Valentino RTW F/W24-

-clockwise l-r: Valentino haute coutre S/S24, Undercover RTW F/W24, Vaquera “-

-top to bottom: Vetements RTW F/W24, Victoria Beckham “, Florentina Leitner “ (saved image under Victoria not Florentina…oops) -

-top to bottom: Vivetta RTW F/W24, Vivienne Tam “, Y/Project “-

-clockwise l-r: Vivienne Westwood RTW F/W24, Viviano “, Weinsanto “, Yirantian “, Wiederhoeft “, Viktor & Rolf “-

-clockwise l-r: XULY.Bët RTW F/W24, Windowsen “, Yohei Ohno “, Zimmerman “, Zuhair Murad “, Yohji Yamamoto “-

-clockwise l-r: Saint Laurent RTW F/W24, Yuhan Wang “, Ujoh “, William Fan “-

The Best of the Year (So Far)

So…this is the second time I’ve included a brief quick summary of my top 25 collections in one of these posts. I used to write my thoughts on everrryyy single collection and the whole process took me a fucking millennia every time, to the point that once I finally got round to posting, 2 seasons worth of collections had come out in the meantime. Sticking entirely to photo posts feels kind of pointless to me because these end up feeling completely impersonal. Like yeah, I only pick my favourite looks from a collection for the final post but there seems to be sooOooO many bloody brands out there these days that including brief notes to emphasise my faves throughout would be like dropping needles in a haystack and expecting them to catch somebody’s eye.

To round off the posts with my top 25 feels like a good middle ground to plant my roots in, so I guess this is going to be tradition from now on? On which note, in no particular order, let’s get into my 25 standout collections of 2024 thus far:-)

I promise I will ACTUALLY make it snappy. Mostly, anyway.

-clockwise l-r: Gucci RTW F/W24, MarkGong “, Armani Privè Haute Couture S/S24, Rokh RTW F/W24-

1. Gucci RTW F/W24, creative dir. Sabato De Sarno: Every and I mean every Gucci collection that has, and will be, debuted over the next couple of years counts rn. We get it, you hero worship Alessandro Michele, I hear anybody who has had the patience to sit through any of my previous fashion posts crying. But regardless of whether I was an Alessandro devotee or not, the first couple of years following the departure of a well-established and imo! Visionary! creative director is crucial for their successor, as it establishes the direction they’ll be taking the brand going forwards.

The first Gucci collection we saw under de Sarno had me worried, I can’t lie. It was such a stark departure from what I’d come to expect from Gucci that I thought, well, that’s it folks. Gucci’s done. It was safe, minimalistic, yeah expensive looking, but ultimately just really bloody boring. All that being said, with the benefit of hindsight, I suppose I see that debut show as de Sarno’s way of signalling Gucci’s renewed commercial viability. Bland looks are nothing if not versatile, and versatility of course increases the widespread appeal of a brand. Some of Alessandro’s looks were out there, which I can imagine made it exciting for the detached onlooker (myself), but probably not great for the brand’s shareholders. After all, the goal is to make money. Yep, it’s the worst isn’t it? How profit so often is prioritised at the cost of art! 

I think what this collection showed me is that just because de Sarno seems on a mission to promote the brand’s accessibility, essentially one of toning things down in favour of broadening the target market, that doesn’t mean all I’ve loved about Gucci over the last decade is lost.

Far from de Sarno’s S/S24 collection, there were a number of similarities between this one and the Gucci I came to know and love under Alessandro. Though it still lacks Alessandro’s eclecticism, it is reassuring that even in these early days, more of the character the former creative director infused is beginning to shine through. 

I can’t fully say Gucci is BACK! But what I will say is that PARTS of what I love about Alessandro’s Gucci is back. All I wanted from the last collection was a bit of EDGE for Christ’s sake, OPULENCE, dark romanticism, gothic touches. Ultimately, S/S24 lacked a sense of power, like the quiet ferocity and intimidating, yet mystical presence that defined the best looks we saw on Alessandro’s runway; in my mind, this signalled the character he brought to the brand was being forced back into the box. On the contrary, de Sarno’s F/W24 collection played homage to the legend in many ways. The inclusion of deathly platform heels, black lace and faux leather, for example, indicates de Sarno is more inspired by Alessandro’s abandonment of the “quiet luxury” ideal, a bigger admirer of his carefully curated undercurrent of danger and disruption, than I previously thought. To say de Sarno fully leaned into the witchy glamour Alessandro brought to the table is a stretch but this collection did have hints of that aura, with the opulent jewell toned fabrics, snake print and sequins littered throughout a promising acknowledgement of that other-worldly, underground cabaret vibe Alessandro channelled when he was at his best.

If everything I’ve said about this collection so far sounds critical, it’s only because I’m holding de Sarno’s early work, upon which I’m sure the burden of ensuring commercial viability weighs heavy, to Alessandro. We’re talking someone who had been creative director for long enough to likely be entrusted with far greater creative license. So comparison aside, in a vacuum, I can say I do adore this collection. Gucci RTW F/W24 has been a major relief because it seems the new team spearheading the brand don’t intend to abandon Alessandro’s vision completely.

2. MarkGong RTW F/W24, creative dir. Mark Gong: obviously, I had a lot to say about Gucci, I’m highly invested, but I can sum up why I was so fond of most of the other collections on this list much more succinctly, don’t worry, lmao. When it comes to MarkGong for example, it kind of felt like a manifestation of how y2k would interpret the 90s (as was the case in actuality with the 2000’s ‘70s resurgence), with the best elements taken from both and combined in one collection. Though the ‘90s grunge influences, reminiscent in many ways of Marc Jacobs’ famous Perry Ellis collection, were more obvious, I like how a bit of the old y2k sleaze was brought into the picture too. It kinda felt like a tour through the wardrobe of a Cali from the Valley party girl who’s going through her rebellious phase, iygm. Either way, I get me, and that’s why MarkGong is on this list because yeah, it’s a cute collection.

3. Armani Privè Haute Couture S/S24, creative dir. Giorgio Armani: I never thought I’d see the day an Armani collection in any form would make it onto this list, because my general feeling is that more often than not, I find it a little saccharine, aggressively prim and proper, you know. The stying usually has those models looking like a cross between a 2000’s era Barbie doll and the kind of outfit your rich grandma would try to force you into. I mean, with context of Giorgio being an 89 year old man, it makes sense. So I’ve got to say it, I was truly taken aback by how much this collection actually worked for me. It’s not like it was jarringly different to what I’d expect, the head to toe looks are still, for the most part, youthful and girlish, it’s more that they fully committed to the dress-up fantasy, consequently, this feels a lot less uptight than the image I’ve come to associate with the brand. Instead of pedestrianising the princess look, Armani leaned in, to a dreamy, candy coated effect.

4. Rokh RTW F/W24, creative dir. Rok Hwang: Rokh is a firm fixture in my seasonal favourites list by now, and whilst this collection stayed true to Hwang’s formulaic balance between elegance and edge, I really appreciate the subtle bohemian touches, and the nomadic feel this collection has. It broaches into new territory for the designer, and one I find quite mesmerising at that. Whilst Hwang’s collections typically feel sleek, distinctly modern, this one is more free-spirited and earthy. Though I get a bit of a Pride and Prejudice vibe, the modern day tailoring and signature deconstructed feel of the looks, along with current street style rooted silhouettes, ensure this collection, whilst a departure from the expected, remains true to the brand’s identity.

-clockwise l-r: Dilara Fındıkoğlu RTW F/W24, Courrèges “, Khaite “, Vivetta “-

5. Dilara Fındıkoğlu RTW F/W24, creative dir.“: Dilara stayed true to form with her F/W24 collection. As ever, her designs give the wearer an imposing, battle-worn aura, without ever compromising the ethereal, other-worldly beauty of the garments. The end result is that this particular collection felt like a darkly mesmerising visual tale of a kind of fallen angel on earth, who excels so highly at navigating the depravity of a Victorian era criminal underworld she ends up in that even once she descends to hell to reign as the Bella Hadid adjacent it-girl of the underworld, her fleeting, vampiric presence on earth spawns many an urban legend in her wake. If that isn’t an excellent proposition for a new Netflix original series (since I know they seem to love throwing money around left, right and centre at new shows these days), I don’t know what is. I would like to state for the record here that if Netflix want to take me up on that offer I’ll forgive them for prematurely cancelling Mindhunter whilst continually renewing Riverdale and subjecting us to Cole Sprouse as a result:-) 

6. Courrèges RTW F/W24, creative dir. Nicolas Di Felice: I’m not usually a minimalism girl but Courrèges does it in a way which feels uniquely futuristic. Like if the Tesla man had half the brain cells he thinks he does and managed to actually do something significant in space, head-to-toe Courrèges would be an incredible outfit choice for the rope cutting of an intergalactic nightclub. Unfortunately, even if Teslatubby wasn’t so full of shit, and actually possessed the level of genius he wants to convince us of, he is clearly too busy fine tuning the Twitter algorithm into subconsciously red pilling everyone to be building bars in space. As a sad result, Courrèges can wait, I say, as if I can afford their stuff anyway…as if the 75% increase in the price of a large bag of Cadbury’s chocolate buttons in less than 2 years doesn’t have me in a tailspin.

7. Khaite RTW F/W24, creative dir. Catherine Holstein: I don’t have all that much to say about Khaite except that I think it’s very cool, lol. A very lame descriptor, ik. I know I trash minimalism all the time and it could be argued that Khaite’s collections are pretty stripped back but I think in this instance, I like that, because it feels like it hasn’t come straight from a drawing board of neutrals, rather an exercise in restraint of the darker, grungier aesthetic. Rather than going down the deconstructed, oft-unfinished look you’d typically associate with that style, Khaite seems a re-imagining of trends under the alternative umbrella in line with the tailoring, simplicity and functionality associated with prestige fashion houses. Whilst working for a hedge fund management company in London sounds like a fucking nightmare, in this parallel universe where I do end up in one of those nonsense jobs, Khaite would be right up my alley. Not only in terms of what I’d look to for inspiration if I had to don the uniform of a rush hour briefcase wanker, lol, but also because I’d definitely reach for their designs, being the staple pieces they are, on a low-key day too. In true British fashion, I did of course mentally envision the corresponding briefcase wanker Inbetweeners scene as I typed those words. Forgive me, the appreciation for that show is just one of a very limited number of things which unites Britain as a country.

8. Vivetta RTW F/W24, creative dir. Vivetta Ponti: Vivetta’s F/W24 is giving “I’m not a regular crazy cat lady, I’m that bitch kind of a crazy cat lady”. So, you know, in other words, it’s kinda twee, but also kinda provocative, and the balance feels correct. Not to celebrate adultery in any way but this for me, is all girl-next-door, Jess from new girl vibes on the surface, with a undercurrent of this bitch could steal your menzes running strong underneath. The whole collection feels like something Marina would have worn during her Electra Heart era.

-top to bottom: David Koma pre-fall 2024, RTW F/W24-

9. David Koma pre-fall 2024, creative dir.”: so, although I’ve included David’s RTW collection, my adoration goes to his divine pre-fall collection this year. I just included 4 looks from his RTW collection as my new tradition dictates is the protocol when I’m listing my top 25, which is to include 4 of my favourites looks from every collection listed. If I do a whole 8, I’m just repeating what I’ve already done when I originally included said brand in the post, ygm? Anyways, what I’m trying to say is that I was unexpectedly disappointed in Koma’s RTW collection, a rare occurrence mind you, so I just chose 4 of the best looks from it for continuity to go along with pre-fall. On that note, let’s talk about this pre-fall collection: it was perfection! There’s a lot of references to the hyper-girlish coquette and ballet-core aesthetics we’ve seen become widespread fashion crazes, but whereas the trend (ordinarily, I suppose it depends on how you style the pierces) is ordinarily quite demure, casual, and semi-virginal at times, Koma adds high glamour and sex appeal. There are plenty of bows, whites and pastels, but the loose linen, cheesecloth, and babydoll silhouettes are gone and replaced with svelte body-con dresses, plunging necklines and daring cut outs, as well as plenty of black and bold reds throughout. I can’t work out if it all leans more into a dominatrix vibe or it’s giving me Dita Von Teese, but what I do know is this collection has SPICE. It’s seems fit for the same fallen angel type I just wrote about Dilara’s collection reminding me of, with the difference being that in this scenario, god (…or his angels…or whoever it is that takes care of the banishing from heaven stuff if you’re so inclined to that way of thinking) drops her into a crowd of Y2K party girls rather than 19th century Britain. I am hyper aware of how niche my analogy is here, so I apologise that I need to be this pretentious and self-referential, but…I’m just fully aware I’m not capable of holding anybody’s attention for long enough for them to otherwise know what I’m going on about, lol! A vivid, easily stimulated imagination is a blessing and a curse, play your tiny violins for me:-)

-clockwise l-r: Chloé RTW F/W24, Tom Ford “, Burberry “, Oude Waag “-

10. Chloé RTW F/W24, creative dir. Chemena Kamali: This collection was SOOOO GORGEOUS, I HAVE NO WORDS. This is the wardrobe of modernised 70s goddess come to life-soft, decadent, ethereal, just ARGH! Perfection in every way. I am so excited for everything Chemena Kamali is going to do with Chloé if this is anything to go by.

11. Tom Ford RTW F/W24, creative dir. Peter Hawkings: I’ve never really expected anything from Tom Ford. Like when I think of Tom Ford, I usually think of perfume? Expensive perfume but perfume, nonetheless. But you know what, this kind of ate? IDK what was in the water with these designers when RTW F/W24 collections were being put to paper, but once again, this collection was very reminiscent of the Studio 54 era. It seems a minimalist yet luxuriant kind of modern spin on the colours, shapes and fabrics of late 70s bohemian rock, only in a way where the end results are tailored towards the competitors at every decadent invitation-only party’s unspoken best dressed contest. If the brief is expensive, eye-catching, bold, something which moulds the wearer into being the “you either want to be her or be with her” cliche then any number of the pieces from this Tom Ford collection would hit all the criteria.

12. Burberry RTW F/W24, creative dir. Daniel Lee: Burberry is so hit or miss for me, but this was a dramatic yet practical, luxurious, at-times punk influenced hit. Am I saying that because there’s a bit of tartan? Perhaps. But what I am sure of is that I would commit crimes for some of these coats honestly. Speaking of, I might be way off but the fur pieces are a bit mob-wife if my understanding of that vibe is anywhere near accurate. I feel increasingly out of touch with the internet so I don’t actually know, but if I’m right, this is the kind of thing I’d be alright with mafia money paying for. Reassuringly, when envisioning what I’d wear with a knock-off outerwear piece inspired by this Burberry collection, I did not once start to feel like I was veering into the RHONJ cast cosplay zone so I feel like despite the excess, these hopefully faux (though probably not) furs pass the sophistication test. Regardless, it’s okay, I’m not getting anywhere near purchasing the real thing anyway, lol.

13. Oude Waag RTW F/W24, creative dir. Jingwei Yin: Courrèges with a sprinkle of ‘90s grunge and a hint of Morticia Adams. That is to say that I loved the Courrèges F/W24 collection but I love this even more.

-clockwise l-r: Cecilie Bahnsen RTW F/W24, Marni “ Ottolinger “, Moncler Grenoble “-

14. Cecilie Bahnsen RTW F/W24, creative dir.”: a somewhat utilitarian repurposing of her signature dainty, whimsical approach to womenswear, Cecilie’s F/W collection found itself in alignment with the widespread appreciation of softness, delicacy, and innocence that’s been a prominent theme of this year’s F/W24 collections. But this is no case of Cecilie jumping on the bandwagon. Cecilie has excelled at this kind of thing for years, and I’ve pretty much always a fan of her vision. She’s never aggressively chaste or child like in her designs, and does it in a way that’s subtle enough to set her apart from the many, many designers who tried their hand at going all cottagecore this year. Mostly, Cecilie relies on gentle silhouettes and playful yet elegant fabrics to evoke a sense of both fragility and mischief fuelled allure, which in turn creates a sprite-like feel to her looks. All that being said, her work is multidimensional, equally grounded in and hardened by reality, suitable for a jaded 21st century woman. In this sense, as much as I see Cecilie’s collection is not dissimilar from a lot of the others that debuted this season, it is also quietly confident that the pivot towards this wistful, semi-angelic vibe is best when it’s done in a low-key way, and balanced out by a sullen sartorial armour of grungy utilitarianism: I like to follow the guidance of my Google image archive of Courtney Love 90’s style when I envision an outfit, so when it comes to Cecilie’s instinct to finish off a tulle dress with a clunky shoe as RTW F/W proved she knows how and when to do with tact, my appreciation for her work each time feels driven by a force of habit.

15. Marni RTW F/W24, creative dir. Francesco Risso: The FUR COATS!!! Yeah that’s ART.

16. Ottolinger RTW F/W24, creative dir(s). Christa Bösch and Cosima Gadient:  Impromptu after-hours metal concert at the corporate office? Wild end of financial quarter orgy? Apocalypse hits the Conde Nast HQ? The stealth wealth Pinterest girlies find themselves contestants in a Battle Royale type situation? We’ll never know exactly what the starting point was for this Ottolinger collection but it feels like the visual devolution of the high-powered professional, a deconstruction of that idea of what’s tasteful, sophisticated, intelligent, into something that’s liberated, futuristic, a lot more punk, and generally much more suited to joining a biker gang than sitting in a boardroom negotiating the value of a 2 page Dior (bleurgh) spread. It’s a very hot and very cool collection, I know that much anyway!

17. Moncler Grenoble RTW F/W24, creative dir. Reno Ruffini: Cosy but cunty? Yeah, I’m on board. And I say this despite the probability of me ever going on the kind of holiday which necessitates I own anything like this being slim to none. Not only because such trips are the kind of things that I can only see the appeal of to rich people, who get to go on so many “vacations” a year they don’t see a skiing trip as sacrifice of what could’ve been a week spent spent sun soaking by the pool in an all-inclusive Spanish resort (because I’m not hitting the necessary vitamin D threshold any time soon without this kind of get away, let’s be real) but also because I find skateboarding difficult enough without adding snow into the mix and the risk of death for some as inherently incapable of keeping my balance for more than about 20 seconds at a time as I am is very high.

-clockwise l-r: Alaïa RTW F/W24, Alberta Ferretti “, Alexis Mabille Haute Couture S/S24, Yuhan Wang RTW F/W24, Etro “, Roberto Cavalli “, Zimmerman “, Altuzarra “-

18. Alaïa RTW F/W24, creative dir. Pieter Mulier: Now having my expectations set high by Cher Horowitz spending her potential last moments at the hands of a dangerous criminal pleading her Alaïa dress be spared like a mother would her firstborn child, when the brand returned to being a fashion week fixture, I was disappointed. It was nice but nothing breathtaking. This collection, though? Stunnnnning. I too would take affront at a mugger’s rough-handedness with my clothing more so than the mugging in itself if these pieces were collateral damage. Would kinda feel like at work when people fill up our baskets with wine and run out. Like you want to steal, I’m laissez-faire on the matter, but how dare you take our baskets in the process? Bring a tote bag, losers!

19. Alberta Feretti RTW F/W24, creative dir.“: not sure exactly why but Alberta Feretti is often interchangeable with Ermanno Scervino for me. Maybe it’s because they both have names I would sound like a FOOL pronouncing, but they also have a similar aesthetic. Neither are out here shaking the status quo but I always love their collections. This year Alberta edged it for me. Not unlike Scervino, the choice of an earthy, subdued colour palette for the season felt like an intentional choice to contextualise the F/W24 collection’s existence as a companion to the S/S24 line, with rich, moody hues positioning the garments as the sensual night time follow up to the daywear collection.  It is clear where Ferretti going with the S/S garments; they captured the essence of what I imagine an idyllic summer spent lovestruck in Lake Como would be perfectly, and there were some divine pieces. The F/W collection, however, had a lot more drama to it, going beyond the free-flowing, ornate style Ferretti is known for and adding a little androgyny, and at times gothic mystery. If the S/S24 collection was giving me a bit of a goddess off-duty in the human realm vibe, the F/W24 outfits bounced between signalling an effortless yet imposing sophistication in the face of a unexpectedly harsh winter in the city, and a plethora of dresses which would be just the right choice for a moonlight red carpet against the backdrop of the Italian lakes. In both instances, the clothes lend themselves to a wearer who catches every eye on the room but remains aloof, unattainable, like they have much more important places to be. I almost wrote that the dresses would be a good fit for the Cannes film festival before I remembered that Cannes is in the South of France, which doesn’t speak to the distinctly Mediterranean feel I get from a lot of this collection. I can see a lot of the casual looks in Paris, for sure, and I am perhaps making my judgement based on the prominence of the olive tones throughout the collection, lol, but I just don’t feel like the deep Jewell tones and the silks are fit for a city which I’ve always known to be pretty much climatically similar to London. The dresses which closed this collection need SHIMMER and SUNLIGHT, overcast would kill the magic. It’s not just the olives!

20. Alexis Mabille Haute Couture S/S24, creative dir.”: there’s always going to be at least one pretty dress collection in my top 25, and this Alexis Mabille Haute Couture offering is this year’s offering of choice. It’s very modern Disney Princess I think!

21. Yuhan Wang RTW F/W24, creative dir.”: since the day I first stumbled on a Yuhan Wang collection, each one that’s followed has been consistently flawless. It’s almost like seeing the fully-realised version of my personal style, in this reality where I could afford it ofc, come to life. It’s that magical balance of cutesy, feminine and flirtatious with a dark, slightly gothic force which toughens the former up and adds just the right amount of messiness to hint at a streak of rebellion and dare I say it (because it’s a phrase a LOT of people are probably sick to death of, understandably so since Taylor Swift used it to characterise Reputation for FUCK’S sake) but…female rage? I’M SORRY. It’s a little bit punk, but just…punk for the girly girls, you know!

22. Etro RTW F/W24 creative dir. Marco De Vincenzo: As is likely the case for many of the brands I’ve listed in my top 25, it’s highly unexciting of me to include Etro, one of my fail safes in this again. For that same reason, I feel like a fraudulent fan for not even realising Marco De Vincenzo took over the creative director position in 2022. That makes a LOT of sense to me now, because the vibe HAS changed a little bit over the past few years. I think I mentioned before how I’d noticed Etro becoming increasingly explicit with their branding in the last couple of collections, and though it’s easy to say I’m drawing the comparison because both use a crocodile in their logo, I really did think it was looking a bit…Lacoste? A lot safer, more laid-back, bright, breezy, if you get me. But this collection felt like a promising return to form!

23. Roberto Cavalli RTW F/W24, creative dir. Fausto Puglisi: Was this collection a bit tacky at times? Totally. But at its best it felt like a meeting of the early 2000’s socialite look (I’m talking about the stumbling out of the club dresses, obviously), Coachella fashion at the height of its significance in the mid 2010s, and a Studio 54 vibe. When you’ve got such great ingredients, you can never fuck up THAT badly and when you succeed, you get this deliciousness. 

24. Zimmerman RTW F/W24, creative dir. Nicky Zimmerman: Super predictable of me to include Zimmerman in my top 25 but this collection was as elegant, romantic, and catered to the free-spirits amongst us as I’ve come to expect Nicky Zimmerman’s work to be to be.

25. Altuzarra RTW F/W24, creative dir. Joseph Altuzarra: Altuzarra’s F/W24 collection was stamped in my memory for all the right reasons. It was a playfully, modern take on classic silhouettes and tailoring, with a vibrancy about it emerging from a quality beyond the relatively subdued colour palette. Whether it stems from the checkerboard prints, the whimsical head wear, or dramatic ruffles, there’s wit and a lightness of spirit about the collection, which is neutralised by by oversized, androgynous silhouettes and harsh graphic prints. I think for me, Altuzarra’s RTW F/W collection was a great example of how to pull off ditsy, childlike details in a way that transcends the innocence and naivety underlying a kid’s choice of clothing, instead evoking confidence and maturity without losing touch with the charm and nostalgia associated with childhood.

So that’s it’s for now girlies:-)

But on a serious note…I know I previously stated I wanted to start every post by driving home what the Israeli government are continuing to do in Gaza, which in plain terms is nothing short of ethnic cleansing, but for the format of this post, it didn’t fit to do that until now, so I want to reiterate it here: THIS IS STILL. FUCKING. HAPPENING. WHAT. THE. FUCK.

A couple of days ago, the IDF again struck the supposed “safe zone” of Rafah, which they had claimed was a haven for refugees. Their actions continue to be as morally abhorrent as ever. Let us PLEASE not buy Israel’s clear-as-day BULLSHIT explanation of this being a “tragic” accident. You do NOT FUCKING “ACCIDENTALLY” bomb a refugee camp, AN ENTIRE REGION. THAT DOES NOT HAPPEN. I cannot BELIEVE this is still occurring, and that President Joe Biden, in amongst a chorus of Israel’s other defenders, is only now beginning to make vague mentions of a ceasefire. A CEASEFIRE IS NOT FUCKING GOOD ENOUGH. A “TWO STATE SOLUTION” IS NOT FUCKING GOOD ENOUGH. Let’s be clear Hamas have been proposing ceasefires since this entire IDF campaign started. All they have asked for is that Israel stop the attacks, and that they will give up Israeli hostages in return. Netanyahu has TURNED THIS DOWN, because he has no intention of stopping in forcing Palestinians out of the region all together, be it through their slaughter or permanent displacement. The Israeli hostages mean NOTHING to him.

Palestinians deserve to return to their homes, they deserve Israel and every other complicit nation’s investment in rebuilding their communities, reparations, self-determination, and reclamation of the ancestral homelands they have been  continually forced out of for the last 50 years. Maybe we have turned a corner and a ceasefire might finally come but it has NOTHING to do with the Israeli government’s cooperation, and it’s not a just resolution to the damage, destruction and slaughter Israelis and their allies have encouraged and facilitated in any way.

The death toll today, by conservative estimations, nears the 40,000 mark. A report conducted by Euro-Med Monitor, published on reliefweb.int proposes this number exceeds that. According to this source: “The Israeli army has killed 42,510 Palestinians over the course of its 200-day attack, 38,621 of whom were civilians, including 10,091 women and 15,780 children. The bodies of several thousand are still stuck under the rubble, while thousands remain missing and are presumed dead. These statistics include the killing of 137 journalists, 356 medical personnel, and 42 civil defence personnel.” Numbers only do so much, and fail to convey the horror of what every one of those individuals and their families have suffered through. Palestinians are being murdered at a rate of roughly 250 citizens per day, according to a report published by Oxfam in January of this year. If, and when, a ceasefire comes, this isn’t enough, and should be just the start of a push to hold Israel responsible for the destruction of Palestinian people and their culture. That’s what we ought to be reiterating now that these “ceasefire” talks are beginning, as well as the fact that these talks have absolutely NOTHING to do with Israeli leaders developing a conscience. All I can speculate is that as the US presidential election looms, Biden is realising how detrimental his revolting apathy to Palestinian suffering could be to voters. He cannot get away with this half-arsed U-turn nor can any of the ministers who have backed and facilitated Israel’s genocide over the last 8 months. WE HAVE A GENERAL ELECTION APPROACHING IN THE UK! And though it seems likely the Conservatives will be out, Labour do NOT deserve a sweep. The best outcome we can hope for is they end up as the minority governing party, so that even if they win, they know many of us are equally disgusted with their actions.

THIS IS NOT THE TIME TO TONE DOWN OUR DISSENT. Politicians careers are on the line right now, and the incentive for them to listen to what we will not stand for going forward I’m sure weighs more heavy on their consciences (if they have them) than EVER.

AROUND 40,000 PALESTINIANS ARE DEAD. THEIR HOMELAND HAS BEEN DESTROYED. WE NEED TO KEEP THE FUCKING MOMENTUM GOING. KEEP BOYCOTTING, PROTESTING, POSTING, THINK CAREFULLY ABOUT YOUR VOTE. WE DO NOT HAVE A 2 PARTY SYSTEM HOWEVER MUCH STARMER, SUNAK, AND THE TABLOIDS WANT US TO THINK. LOCAL POLITICS REALLY FUCKING MATTER RIGHT NOW!

The fashion is fun and all, but I couldn’t finish this post without reiterating where we’re at right now when it comes to the most pressing concerns we ought to be focussing on. 

With all that being said, thanks for reading if you did! On the mid-year fashion update front, it’s over and out from me! Hope this was somewhat enjoyable, and if nothing else, you enjoyed the pretty pictures-and fingers crossed, I’m echoing the common sentiment with what I included about Palestine.

ONCE MORE FOR THE PEOPLE IN THE BACK: FROM THE RIVER TO THE SEA, PALESTINE WILL BE FREE.

Lauren x

[southjerseyweb]

10 Philadelphia area restaurants named semifinalists for James Beard Awards - 6ABC

The restaurant is one of 10 in Philadelphia and South Jersey nominated for the prestigious award. "It's humbling," said AJ Sarno of Isgro Pastries …

[marianoaa2]

Burning - Lee Chang-Dong ✅

Happy Together - Wong Kar Wai ✅

La vie de bohème - Aki Kaurismäki ✅

Dead Pigs - Cathy Yan ✅

Notturno - Gianfranco Rosi ✅

Only Lovers Left Alive - Jim Jarmusch ✅

Fallen Leaves - Aki Kaurismäki ✅

Copie conforme - Abbas Kiarostami ✅

Les parapluies de Cherbourg - Jacques Demy ✅

À mon Seúl désir - Lucie Borleteau ✅

Mire varilla menneisyyttä - Aki Kaurismäki ✅

Perfect Days - Wim Wenders ✅

The Immigrant - James Gray ✅

Hamlet Iiikermaailmassa - Aki Kaurismäki ✅

Frances Ha - Noah Baumbach ✅

27 - Flóra Anna Buda ✅

Die Reise nach Lyon - Claudia Con ✅

El esqueleto de la señora Morales - Rogelio A. González ✅

Yannick - Quentin Dupieux ✅

Eraserhead - David Lynch ✅

Close - Lukas Dhont ✅

Dogtooth - Yorgos Lanthimos ✅

Crocus - Suzan Pitt ✅

Los Angeles Plays Itself - Thom Andersen ✅

Mariana, Mariana - Alberto Isaac ✅

Who is Sabato de Sarno? A Gucci Story ✅

Wings of Desire - Wim Wenders ✅

La práctica - Martin Rejtman ✅

Crossing - Levan Akin ✅

Sometimes I think about dying - Rachel Lambert ✅

Le Bonheur - Agnès Barda ✅

One More Time With Feeling - Andrew Dominik ✅

Control - Anton Corbijn ✅

Los Huesos - Cristóbal León ✅

Joy Street - Suzan Pitt ✅

The Gold Rush - Charles Chaplin ✅

[theloniousbach]

BACK TO THE COUCH (TOUR) I: SONG AND DANCE, REALLY

CALEB TEICHER and VERONICA SWIFT with James Sarno, Troy Roberts, Steven Feifke, Ben Tiberio, and Brian Viglione

Not my normal gig—a vocalist (albeit one I met via a Smoke Stream with the venerable George Cables whom I saw at the Sheldon last November and the daughter of Hod O’Brien and Stephanie Nakasian) and, even farther afield, a tap dancer and swinger dancer—but thoroughly wonderful.

I love my rut—extended instrumental virtuosity, sure often based on standards. But said standard tunes are usually show tunes meant to be sung and sold. VERONICA SWIFT is so solid and jazz-y. She has a rich voice and not that mannered. But she knows how to sell a song with an expressive face and gestures. There’s drama in this material and Swift is appealing in this aspect as she is scatting/vocalese-ing on Four early and Moanin’ at the end. Other proper jazz was the Mary Lou Williams tune for Dizzy Gillespie, The Land of OobLaDi and the James P Johnson Guess Who’s In Town that Ethel Waters sang.

But it was theatrical. She was even rather costumed, a bowler and a striped shirt with a short tie and danced a bit. But CALEB TEICHER came out in a striped loose fitting jump suit early to tap to Four (and there was a Tap A Capella which had a percussive William Tell Overture) and he and his company swingdanced to Getting To Know You.

Dance was essential to the program and that’s an art form I don’t know at all. I have questions, like: in tap, what’s the mix of the percussive and the physicality? Clearly, the motion matters that makes it more than seated foot percussion, but how does that motion contribute to the percussion? He had a short section in Tap A Capella where he just shuffled his right foot that was, even so, pretty impressive. As for the swing dance performance, I’m impressed by the athleticism as I think I’m supposed to be, but what are the other aesthetics? Then, overall, I’m intrigued, but not to the point of succumbing to musical theater or opera (as I think of it, it’s that the stories are too telescoped and some of that gets sacrificed because other important things are going on) at the synergies among the art forms. But, alas, I think I want my stories rich, so let me read ‘em, and my musicians to stretch out. Dance will likely be a very occasional seasoning. But this was a wonderful taste.

Teicher sat at the piano and capably played and sang a Barry Harris tune for an un produced production about a can and sock. He sang the can song and Swift took the sock song.

I was so glad to see Ari Hoenig’s usual bass player Ben Tiberio in the band playing big and fat (and, okay, how is Hoenig’s multidimensional drumming like Teicher’s tap dancing?). The drummer was Brian Viglione who was so important to the Sheldon show. Steven Feifke’s piano was important as were both James Sarno’s trumpet and Troy Roberts’ tenor (he came out to Clarence Clemons with Teicher’s Springsteen during Moanin’).

But this was about song and dance. Jazz to be sure, but wonderfully different than my usual fare.

[thevictorianghost]

TITANIC NON/DISNEY ALTERNATE UNIVERSE

“You’re still my best girl, Cora!”

Tag list: @darkcrowprincess @lotustiled @heavensweetheart @harharj @cynical-mystic @heyitsvivaldi @embersjanuary​ @dayas​ @juldooz-atla​ @bigoverflow​ @kakikoo​ @superspecialsumer12​ @pascalbatched @thenamelessdoll​ @raspberrybirdie @dank-meme-legend​

Anastasia “Anya” Romanov (from Anastasia 1997) as Rose Dewitt Bukater

Dimitri (from Anastasia 1997) as Jack Dawson

Alice (from Alice in Wonderland 1951) as Cora

Prince Derek (from Swan Princess 1994) as Tommy Ryan

Tulio (from The Road to El Dorado 2000) as Fabrizio Rossi

Cinderella (from Cinderella III: A Twist in Time 2007) as Helga

(This line is so sweet! I firmly believe Jack would have been the best Dad. By the way, time and life got away from me and I ran out of time. It’s why this is a week late. I hope you don’t mind! I love the warmth, the music, the lighting in this scene and the way Rose absolutely cannot deal being this close to Jack lol. Also drawing more characters was super fun!)

Materials used under the cut

(From Anastasia 1997)

(From Alice in Wonderland 1051)

(From The Swan Princess 1994)

(From Cinderella III: A Twist in Time 2007)

(From The Road to El Dorado 2000)

(From The Little Mermaid 1989)

(From Beauty and the Beast 1991)

[laresearchette]

Friday, July 15, 2022 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES?: THE REHEARSAL (HBO Canada) 11:00pm WHAT IS NOT PREMIERING IN CANADA TONIGHT THE WRONG MURDER (TBD - Lifetime Canada)

NEW TO AMAZON PRIME CANADA/CBC GEM/CRAVE TV/DISNEY + STAR/NETFLIX CANADA:

AMAZON PRIME CANADA DON’T MAKE ME GO FOREVER SUMMER: HAMPTONS   HOUSE OF GUCCI JAMES MAY: OUR MAN IN...ITALY (Season 2) SPIDER-MAN: NO WAY HOME

CBC GEM A BROTHER’S LOVE RBG THE DARK HEART (MÖRKT HJÄRTA) (Season 1) SKYMASTER DOWN

CRAVE TV BLUE BAYOU THE GIRL NEXT DOOR THE KING’S MAN L.A. CONFIDENTIAL THE REHEARSAL (Season 1, Episode 1) REPUBLIC OF DOYLE (Seasons 1-6)

DISNEY + STAR BROTHERS IN EXILE THE DAY THE SERIES STOPPED DEION’S DOUBLE PLAY DISNEYLAND AROUND THE SENSORS DOC & DARRYL FERNANDO NATION FOUR DAYS IN OCTOBER KING OF COKE: LIVING THE HIGH LIFE MAFIA CONFIDENTIAL LONG GONE SUMMER THE PERFECT ADVENTURE SILLY LITTLE GAME STAR-WARS: GALAXY’S EDGE-ADVENTURE AWAITS ZOMBIES 3

NETFLIX CANADA ALBA COUNTRY QUEEN FARZAR LOVE GOALS (JAADUGAR) MOM, DON’T DO THAT! PERSUASION REMARRIAGE & DESIRES

CALGARY STAMPEDE (SN/SN1) 3:30pm: Rodeo - Day 8 (SN1) 10:30pm: Rangeland Derby - Day 8

NBA SUMMER LEAGUE (TSN5) 5:00pm: Clippers vs. Jazz (SN Now) 7:00pm: Thunder vs. Warriors (TSN2) 10:00pm: Heat vs. Raptors (SN Now) 11:00pm: Lakers vs. Pelicans

MLB BASEBALL (SN) 7:00pm: Royals vs. Jays (SN Now) 7:00pm: Red Sox vs. Yankees

BULL'S EYE (APTN) 7:00pm: Tune in to this episode of Bull's Eye to sharpen your knowledge of show business and pop culture! Indigenous youth must face off to test their skills through a series of fun and clever challenges.

THE 48TH AFI LIFE ACHIEVEMENT AWARD: A TRIBUTE TO JULIE ANDREWS (TCM)  8:00pm: A celebration of Julie Andrews from the Dolby Theatre in Los Angeles.

CFL FOOTBALL (TSN/TSN3/TSN4/TSN5) 8:30pm: Stamps vs. Blue Bombers

CBC WINNIPEG COMEDY FESTIVAL (CBC) 9:00pm:  Animals:  Hosted by Sterling Scott; performances from Larke Miller, Leonard Chan, Matt Falk, Amy Bugg, Charlie Demers, Ted Morris.

HOLMES FAMILY RESCUE (CTV) 9:00pm: A motorcycle racer is waving the white flag after an intimidating contractor scared her off of renovations; in order to help, the Holmes family must contend with dangerous gas leaks, shoddy workmanship and a main floor that's stuck in the '80s.

BLUE BAYOU (Crave) 9:00pm:  Struggling to make a better life for his family in the Louisiana bayou, a Korean adoptee must confront the ghosts of his past after learning that he could be deported from the only country he's ever called home.

MOONHAVEN (AMC Canada) 10:00pm (SERIES PREMIERE): A murder on Moonhaven puts Earth's last hope in jeopardy; during what should be a routine cargo loop to the moon, pilot Bella Sway finds herself the subject of detective Paul Sarno's investigation.

GAME OF SHARKS (Nat Geo Canada) 10:00pm: Sharks face off in the ultimate species competition. In 10 nail-biting competitions, we'll prove once and for all which shark is the MVP of the open sea. The great white is favored, but an underdog might just swim into first place.

CRIME BEAT (Global) 10:00pm: Forbidden Love: The Murder of Jassi Sidhu:  While visiting India, a young newlywed from British Columbia was attacked, kidnapped, and her lifeless body discovered in a canal the next day.

[fabioferreiraroc]

Todos os filmes em que as cenas de sexo foram para valer

A Bula reuniu em uma lista todos os filmes da história do cinema nos quais os atores se envolvem em atos sexuais reais, não simulados. A diferença entre esses longas e a pornografia é que, embora possam ser considerados eróticos, a trama deles não é meramente pornográfica. Ao todo, a lista conta com 264 títulos.

A Bula reuniu em uma lista todos os filmes da história do cinema nos quais os atores se envolvem em atos sexuais reais, não simulados. Nos Estados Unidos, esse tipo de cena era proibido no cinema convencional, mas a partir dos Anos 1960 os cineastas começaram a ultrapassar os limites. A diferença entre esses longas e a pornografia é que, embora possam ser considerados eróticos, a trama deles não é meramente pornográfica. A maioria deles foi lançada nos anos 1970 e 80, com predominância de dois diretores: o espanhol Jesús Franco e o italiano Joe D’Amato. Por repetidas vezes, também aparecem os nomes de cineastas consagrados atualmente, como Lars von Trier, Gaspar Noé e Yorgos Lanthimos.

1 — Gift (1966), Knud Leif Thomsen

2 — They Call Us Misfits (1968), Stefan Jarl

3 — F*uck (1969), Andy Warhol

4 — 99 Mulheres (1969), Stefen Thrower

5 — Double Face (1969), Riccardo Freda

6 — Quiet Days in Clichy (1970), Jens Jørgen Thorsen

7 — Groupie Girl (1970), Drek Ford

8 — The Deviates (1970), Eduardo Cemano

9 — Bacchanale (1970), John Amero

10 — Kama Sutra ’71 (1970), Raj Devi

11 — Cry Uncle! (1971), John G. Avildsen

12 — Slaughter Hotel (1971), Fernando Di Leo

13 — Uma Lagartixa num Corpo de Mulher (1971), Lucio Fulci

14 — Luminous Procuress (1971), Steven F. Arnold

15 — Secret Rites (1971), Drek Ford

16 —A Clockwork Blue (1972), Eric Jeffrey Haims

17 — Pink Flamingos (1972), John Waters

18 — Who Killed the Prosecutor and Why? (1972), Giuseppe Vari

19 — La Verità Secondo Satana (1972), Ronato Polselli

20 — So Sweet, So Dead (1972), Rose et Val

21 — The Red Headed Corpse (1972), Renzo Russo

22 — Commuter Husbands (1972), Derek Ford

23 — Delirium (1972), Renato Polselli

24 — Christina, the Devil Nun (1972), Sergio Bergonzelli

25 — Danish Pastries (1973), Finn Karlsson

26 — Ingrid the Streetwalker (1973), Brunello Rondi

27 — Thriller – Um Filme Cruel (1973), Bo Arne Vibenius

28 — Revelations of a Psychiatrist on the World of Sexual Perversion (1973), Renato Polselli

29 — A Scream in the Streets (1973), Carl Monson

30 — The Devil In Miss Jones (1973), Gerard Damiano

31 — Fleshpot on 42nd Street (1973), Andy Milligan

32 — The Other Side of the Mirror (1973), Jess Franco

33 — Diary of a Nynphomaniac (1973), Jesús Franco

34 — A Virgem e os Mortos (1973), Jesús Franco

35 — O Reduto dos Monstros (1973), Vidal Raski

36 — The Devil’s Plaything (1973), Joseph W. Sarno

37 — Anita (1973), Torgny Wickman

38 — The Sex Thief (1973), Martin Campbell

39 — The Porn Brokers (1973), John Lindsay

40 — Emmanuelle (1974), Just Jaeckin

41 — The Eerie Midnight Horror Show (1974), Mario Gariazzo

42 — Zelda (1974), Alberto Cavallone

43 — I Tyrens Tegn (1974), Werner Hedman

44 — Score (1974), Radley Metzger

45 — Riot on a Women’s Prison (1974), Brunello Rondi

46 — The Girls of Kamare (1974), René Viénet

47 — La Bonzesse (1974), François Jouffa

48 — Sweet Movie (1974), Dušan Makavejev

49 — Fiossie (1974), Marie Forsa

50 — Contos Imorais (1974), Walerian Borowczyk

51 — Lorna: O Exorcista (1974), Jesús Franco

52 — Countess Perverse (1974), Jesús Franco

53 — Carnal Revenge (1974), Alfredo Rizzo

54 — Keep It Up, Jack! (1974), Derek Ford

55 — The Hot Girls (1974), John Lindsay

56 — Voodoo Sexy (1974), Osvaldo Civirani

57 — Nude for Satan (1974), Luigi Batzella

58 — In the Sign of the Gemini (1974), Werner Hadman

59 — Come To My Bedside (1975), John Hillbard

60 — The Image (1975), Radley Metzger

61 — Número Dois (1975), Jean-Luc Godard

62 — The Teenage Prostitution Racket (1975), Carlo Lizzani

63 — Emanuelle Nera (1975), Bitto Albertini

64 — Emanuelle’s Revenge (1975), Joe D’Amato

65 — Felicia (1975), Max Pécas

66 — But Who Raped Linda? (1975), Jesús Franco

67 — A Maldição da Vampira (1975), Jesús Franco

68 — Les Chatouilleuses (1975), Jesús Franco

69 — L’Éventreur de Notre-Dame (1975), Jesús Franco

70 — Justine e Juliette (1975), Mac Ahlberg

71 — The Bloodsucker Leads the Dance (1975), Alfredo Rizzo

72 — Lábios de Sangue (1975), Jean Rollin

73 — Rêves Pornos (1975), Max Pécas

74 — Wham! Bam! Thank You, Spaceman! (1975), William A. Levey

75 — Breaking Point (1975), Bo Arne Vibenius

76 — Rolls-Royce Baby (1975), Erwin C. Dietrich

77 — Girls Come First (1975), Joseph McGrath

78 — The Sexplorer (1975), Derek Ford

79 — Le Sexe qui Parle (1975), Claude Mulot

80 — Barbie Wire Dolls (1975), Jesús Franco

81 — Emanuelle em Bangkok (1975), Joe D’Amato

82 — Lust (1976), Max Pécas

83 — The Opening of Misty Beethoven (1976), Radley Metzger

84 — Alice in Wonderland: An X-Rated Musical Fantasy (1976), Bud Townsend

85 — Bedside Sailors (1976), John Hillbard

86 — In The Sign of the Lion (1976), Werner Hedman

87 — O Império dos Sentidos (1976), Nagisa Oshima

88 —Through the Looking Glasses (1976), Jonas Middleton

89 — A Real Young Girl (1976), Catherine Breillat

90 — Die Marquise von Sade (1976), Jesús Franco

91 — Girls in the Night Traffic (1976), Jesús Franco

92 — The French Governess (1976), Demofilo Fidani

93 — Inhibition (1976), Paolo Poetti

94 — Around the World in 80 Beds (1976), Jesús Franco

95 — Sex Express (1976), Derek Ford

96 — Keep It Up Downstairs (1976), Robert Young

97 — Secrets of a Superstud (1976), Morton L Lewis

98 — The Office Party (1976), David Grant

99 — The Angel and The Woman (1976), Gilles Carle

100 — Agent 69 in the Sign of Scorpio (1977), Werner Hedman

101 — Shining Sex (1977), Werner Hedman

102 — Fate la nanna coscine di pollo (1977), Amasi Damiani

103 — Blue Rita (1977), Jesús Franco

104 — Emanuelle na América (1977), Joe D’Amato

105 — Emanuelle Around the World (1977), Joe D’Amato

106 — Sister Emanuelle (1977), Giuseppe Vari

107 — Nazi Love Camp 27 (1977), Mario Caiano

108 — Under The Bed (1977), David Grant

109 — The Mark (1977), Ilias Mylonakos

110 — The Cerimony (1977), Omiros Efstratiadis

111 — Monsieur Sade (1977), Jacques Robin

112 — Caligula’s Hot Nights (1977), Roberto Bianchi

113 — Agent 69 Jensen in the Sign of Sagittarius (1978), Werner Hedman

114 — Behind Convent Walls (1978), Walerian Borowczyk

115 — Blue Movie (1978), Alberto Cavallone

116 — Sister of Ursula (1978), Enzo Milloni

117 — The Coming of Sin (1978), José Ramón Larraz

118 — Pleasure Shop on the Avenue (1978), Joe D’Amato

119 — You’re Driving Me Crazy (1978), David Grant

120 — Immoral Women (1979), Walerian Borowczyk

121 — Caligula (1979), Bob Guccione

122 — Images In a Convent (1979), Joe D’Amato

123 — Play Model (1979), Mario Gariazzo

124 — Giallo a Venezia (1979), Mario Landi

125 — Malabimba (1979), Andrea Bianchi

126 — A Prisão (1980), Oswaldo de Oliveira

127 — Beast in Space (1980), Alfonso Brescia

128 — Blow Job (1980), Alberto Cavallone

129 — La Gemella Erotica (1980), Alberto Cavallone

130 — Erotic Nights of the Living Dead (1980), Joe D’Amato

131 — Orgasmo Nero (1980), Joe D’Amato

132 — Flying Sex (1980), Joe D’Amato

133 — Libidomania (1980), Bruno Mattei

134 — When love is obscenity (1980), Roberto Polselli

135 — Hard Sensation (1980), Joe D’Amato

136 — Hotel Paradise (1980), Edoardo Mulargia

137 — Sex and Black Magic (1980), Joe D’Amato

138 — Porno Esotic Love (1980), Joe D’Amato

139 — The Porno Killers (1980), Roberto Mauri

140 — Sem Controle (1980), Paul Verhoeven

141 — Táxi para o Banheiro (1980), Frank Ripploh

142 — Os Frutos da Paixão (1981), Shuji Terayama

143 — Emmanuelle in Soho (1981), David Hughes

144 — Porno Holocaust (1981), Joe D’Amato

145 — Calígula: A História que Não Foi Contada (1982), Joe D’Amato

146 — Scandale (1982), George Mihalka

147 — Apocalipsis Sexual (1982), Carlos Aured

148 — Aphrodite (1982), Robert Fuest

149 — Il Nano Erotico (1982), Alberto Cavallone

150 — My Nights With Messalina (1982), Jaime J. Puig

151 — The Virgin for Caligula (1982), Jaime J. Puig

152 — Luz del Fuego (1982), David Neves

153 — Perdida em Sodoma (1982), Nilton Nascimento

154 — Killing of the Flesh (1983), Cesari Canevari

155 — Satan’s Baby Doll (1983), Mario Bianchi

156 — Taking Tiger Mountain (1983), Tom Huckabee

157 — Emmanuelle 4 (1984), Francis Leroi

158 — Lilian, The Perverted Virgin (1984), Jesús Franco

159 — Alcova (1985), Joe D’Amato

160 — James Joyce’s Women (1985), Michael Pearce

161 — Diabo no Corpo (1986), Marco Bellocchio

162 — Emmanuelle 5 (1987), Walerian Borowczyk

163 — Emmanuelle 6 (1988), Bruno Zincone

164 — Hotel St. Pauli (1988), Svend Wan

165 — Kindergarten (1989), Jorge Polaco

166 — Kinski Paganini (1989), Klaus Kinski

167 — Tokyo Decadence (1992), Ryu Murakami

168 — The Soft Kill (1994), Eli Cohen

169 — A Vida de Jesus (1997), Bruno Dumont

170 — Os Idiotas (1998), Lars von Trier

171 — O Tédio (1998), Cédric Kahn

172 — Fiona (1998), Amos Kollek

173 — Jesus is a Palestinian (1999), Lodewijk Crijns

174 — Romance (1999), Catherine Breillat

175 — Pola X (1999), Leos Carax

176 — The Man-Eater (1999), Aurelio Grimaldi

177 — Olhe por Mim (1999), Davide Ferrario

178 — Vampire Strangler (1999), William Hellfire

179 — Baise-moi (2000), Virginie Despentes

180 — Scrapbook (2000), Eric Stanze

181 — Intimacy (2001), Patrice Chéreau

182 — O Pornógrafo (2001), Bertrand Bonello

183 — Lucia e o Sexo (2001), Julio Medem

184 — Dias de Cão (2001), Ulrich Seidl

185 — O Centro do Mundo (2001), Wayne Wang

186 — La Novia de Lázaro (2002), Fernando Merinero

187 — Le loup de la côte Ouest (2002), Hugo Santiago

188 — Eternamente Sua (2002), Apichatpong Weerasethakul

189 — Coisas Secretas (2002), Jean-Claude Brisseau

190 — Ken Park (2002), Larry Clark

191 — Brown Bunny (2003), Vincent Gallo

192 — Faça Isto (2003), Tinto Brass

193 — Rossa Venezia (2003), Andreas Bethmann

194 — The Principles of Lust (2003), Penny Woolcock

195 — Anatomia do Inferno (2004), Catherine Breillat

196 — 9 Canções (2004), Michael Winterbottom

197 — Story of The Eye (2004), Georges Bataille

198 — Kärlekens språk (2004), Anders Lennberg

199 — Garotinho Bobo (2004), Lionel Baier

200 — All About Anna (2005), Jessica Nilsson

201 — 8mm 2 (2005), J. S. Cardone

202 — Beijando na Boca (2005), Joe Swanberg

203 — O Sabor da Melancia (2005), Tsai Ming-Liang

204 — Princesas (2005), Fernando Léon de Aranoa

205 — Deite Comigo (2005), Clement Virgo

206 — Destricted (2006), Gaspar Noé e outros

207 — Shortbus (2006), John Cameron Mitchell

208 — Taxidermia (2006), Gyorgy Pálfi

209 — Os Anjos Exterminadores (2006), Jean-Claude Brisseau

210 — Amour Fou (2007), Felicitas Korn

211 — Ex Drummer (2007), Koen Mortier

212 — Its Fine. Everything is Fine! (2007), David Brothers

213 — The Story of Richard O (2007), Damien Odoul

214 — Import Export (2007), Ulrich Seidl

215 — Serviço (2008), Brillante Mendoza

216 — Tropical Manila (2008), Sang-woo Lee

217 — Otto, ou Viva Gente Morta (2008), Bruce LaBruce

218 — À l’aventure (2008), Jean-Claude Brisseau

219 — Amateur Porn Star Killer 2 (2008), Shane Ryan

220 — Gutterballs (2008), Ryan Nicholson

221 — House of Flesh Mannequins (2009), Domiziano Cristopharo

222 — Anticristo (2009), Lars von Trier

223 — Viagem Alucinante (2009), Gaspar Noé

224 — The Band (2009), Anna Brownfield

225 — Canino (2009), Yorgos Lanthimos

226 — Angels With Dirty Wings (2009), Roland Reber

227 — Now & Later (2009), Philippe Diaz

228 — Bedways (2010), Rolf Peter Kahl

229 — Rio Sex Comedy (2010), Jonathan Nossiter

230 — The Bunny Game (2010), Adam Rehmeier

231 — Ano Bissexto (2010), Michael Rowe

232 — Gandu (2010), Qaushiq Mukherjee

233 — LelleBelle (2011), Mischa Kamp

234 — Desire (2011), Laurent Bouhnik

235 — O Amor é um Saco! (2011), Scud

236 — Caged (2011), Stephan Brenninkmeijer

237 — Léa (2011), Bruno Rolland

238 — The Wrong Ferrari (2011), Adam Green

239 — Clip (2011), Maja Milos

240 — Uma Estranha Amizade (2012), Sean S. Baker

241 — Paradise: Faith (2012), Ulrich Seidl

242 —And They Call It Summer (2012), Paolo Franchi

243 — I Want Your Love (2012), Travis Mathews

244 — Crônicas Sexuais de Uma Família Francesa (2012), Pascal Arnold

245 — Azul é a Cor Mais Quente (2013), Abdellatif Kechiche

246 — Ninfomaníaca (2013), Lars von Trier

247 — Pornopung (2013), Johan Kaos

248 — O Desconhecido do Lago (2013), Alain Guiraudie

249 — Zonas Úmidas (2013), David Wnendt

250 — Pasolini (2014), Abel Ferrara

251 — Diet of Sex (2014), Borja Brun

252 — Angry Painter (2015), Kyu-hwan Jeon

253 — Love (2015), Gaspar Noé

254 — Muito Amadas (2015), Nabil Ayouch

255 —Theo e Hugo (2016), Olivier Ducastel

256 — Tenemos la Carne (2016), Emiliano Rocha Minter

257 — Needle Boy (2016), Alexander Bak Sagmo

258 — Love Machine (2016), Pavel Ruminov

259 — A Noite (2016), Edgardo Castro

260 — A Thought of Ecstasy (2017), Rolf Peter Kahl

261 — Ana, Meu Amor (2017), Calin Peter Netzer

262 — Picture of Beauty (2017), Maxim Ford

263 — Marfa Girl 2 (2018), Larry Clark

264 — Mektoub, My Love: Intermezzo (2018), Abdellatif Kechiche

Todos os filmes em que as cenas de sexo foram para valer Publicado primeiro em https://www.revistabula.com

[artpipo]

 Medina Wasl: Connecting Town 16mm film transferred to video, 2018, color, sound, 31 min

Artist: Gelare Khoshgozaran

As a film project, Medina Wasl: Connecting Town glances at the history of orientalist traditions, landscapes and imagination, as it has developed and persisted over time in the California Mojave desert, and as the lineage of today’s militarization of the Middle East. The introduction of date palm to the US around 1902, led to the Indio Date Festivals of the 1940s-1980s—a tradition continued today as “The Riverside County Fair and Date Festival” with Sahara Trails, Caravansaries, Camel and Ostrich Races, and Arabian Night Pageants. Only a short drive from Indio are several simulacra of Middle Eastern towns at U.S. military training centers. Through the lens of Said’s Orientalism, the project studies the role and history of fiction and speculation in the constructs of the Middle East, and the continued violence enacted through conflating languages, landscapes, cultures and geographical territories in relation to the War on Terror. Medina Wasl: Connecting Town was shot in the small towns of Mecca and Thermal, CA, as well as US the Fort Irwin National Military Training Center or “The Box.” Also known as “Little Afghanistan” or “Medina Wasl,” The Box houses multiple Middle Eastern combat towns, providing simulated battlefields in a climate resembling that of Iraq’s. Originally build during the invasion of Afghanistan, “Medina Wasl” is a “Middle Eastern” town donning the Afghan flag on its multiple buildings, whose name desperately translates to “Connecting Town” in Arabic. Dressed as an Iranian soldier from the war with Iraq, I documented the areas in the California Desert that have been historically built to resemble the Middle East for industrial, militarized and entertainment purposes, while all three inseparable, overlapping and interwoven. The footage is overlaid with oral interviews I have conducted with U.S. war veterans about their memories of the landscape in the different parts of the Middle East where they were deployed. In this way, the film is intended to blend fiction and reality, dream and waking life as testimony to continued violence. It creates a surreal collage connecting the two regions across the decades through war and colonialism, while the palm tree continues to link my visual memories of the war-torn Shatt al-Arab (during the Iran-Iraq war) to the militarized Southern California desert.

Credits Written and edited by: Gelare Khoshgozaran Additional camera operator: Dicky Bahto Field recording and sound design: Jimena Sarno Voice recording and mixing: Christopher Cole Colorist: Caitlin Díaz Film processing and digital transfer: FOTOKEM Music for dream sequence: Omid Walizadeh Music for dance sequence: “Ahvaz” by Makan Ashgvari Voice-over excerpts selected from interviews with Iraq and Afghanistan war veterans: River Rainbow O’Mahoney Hagg, Lou, Kasey, Julien Bellin, James, Eddie Voices: Devin Clark, Tyler Connaghan, Sally Glass, Derek Sasco Thanks to: Gosia Herc-Balaszek, Hillary Mushkin, Perry Supa, Eliot Yasumura, The Echo Park Film Center, The Foundation for Contemporary Arts Emergency Grant and The Hammer Museum Further research and writing: Terrorientalist Landscapes Between You and Me: a Conversation with Dan Bustillo

Image Credit: Gelare Khoshgozaran, installation view, Made in L.A. 2018, June 3 – September 2, 2018, Hammer Museum, Los Angeles. Photos: Brian Forrest Medina Wasl: Connecting Town, stills. Courtesy Gelare Khoshgozaran

Source: https://gelarekhoshgozaran.com/VISUAL/Medina-Wasl-Connecting-Town

[grigori77]

Hidden Gem #14

THE WAY OF THE GUN

Dir./Wri. CHRISTOPHER McQUARRIE; Music. JOE KRAEMER; Starring. RYAN PHILLIPPE, BENICIO DEL TORO, JULIETTE LEWIS, JAMES CAAN, TAYE DIGGS, NICKY KATT, GEOFFREY LEWIS, DYLAN KUSSMAN, SCOTT WILSON, KRISTIN LEHMAN, SARAH SILVERMAN; R.T. 119 mins; 2000, USA

WHAT IT’S ABOUT:  Parker (Phillippe) and Longbaugh (Del Toro) are a pair of mercenary criminal lowlifes who’ll do absolutely anything to get by in life, so when they hear about an opportunity to make some SERIOUS cash with a spot of light kidnapping, they can’t pass it up.  Their target for a $15 million is Robin (Lewis), a surrogate mother carrying the baby of Mob money launderer Hale Chidduck (Wilson) and his cold trophy wife Francesca (Lehman), but the moment they grab her they become targets for a lethal assortment of professional killers, chief among them Chidduck’s veteran right-hand “bag man” Joe Sarno (Caan).

WHY IT’S AWESOME:  Chris McQuarrie is a LEGEND in Hollywood – winning an Academy Award for his breakthrough screenplay on landmark thriller The Usual Suspects earned him the instant respect of his peers and he has since become a heavyweight writer-director with an impressive track-record of deservedly acclaimed and massively successful features like the first Jack Reacher film and the two most recent Mission: Impossibles – but his feature debut behind the camera had a very difficult birth and came close to being stillborn on release.  Nobody wanted to know about it when he shopped it around, and when he finally got it out into cinemas it barely scraped through any profit and was met with mixed reviews.  Time has told, however, and the film has become a much-deserved cult classic – for me, this remains his best work, my favourite thing he ever did, and one of the absolute DEFINITIVE screen thrillers around.  McQuarrie was firing on all cylinders the whole time, from the writing of the exquisitely tight, razor sharp screenplay to handling the cast of top-shelf talent and executing a series of blinding action sequences. Ryan Phillippe and Benicio Del Toro are both exceptional as the deliciously amoral heart of the film, a pair of pretty despicable thugs with zero redeeming features that, paradoxically, you can’t help rooting for – they’re genuinely bad men, but ultimately become the story’s de-facto (anti)heroes simply by virtue of the fact that the people hunting them are definitely even worse excuses for human beings than they are (none more so than Taye Diggs and Nicky Katt as Parker and Longbaugh’s slick-but-soulless opposite numbers Jeffers and Obecks).  James Caan comes close to stealing the film out from under them though, the bona fide screen titan delivering one of the finest performances of his career (seriously, I think this is on a par with his work in The Godfather and Misery) as the broken-down, world-weary old warhorse who still has one real fight left in him; there are also spectacular supporting turns from Juliette Lewis as a once-reluctant mother who’s starting to have some pretty desperate second thoughts, The Walking Dead’s Scott Wilson, Dead Poets Society’s Dylan Kussman and one of Clint Eastwood’s favourite character actor collaborators, Geoffrey Lewis, as Sarno’s laconically nihilistic former partner Abner.  Even the minor characters are written with intelligence and brought to vivid life, and the script is alive with enviably rich observational detail and endlessly quotable dialogue, while the plot is intricately woven and chock-full of obsessively neat twists and unexpected turns.  McQuarrie has become a true master of action over the years, but right from the start he showed impressively singular talent, here crafting some thrilling and fiendishly ingenious set pieces which, like everything else in the film, are frequently flavoured with a gleefully dark sense of humour.  From its playfully non-PC opening to its unapologetically non-Hollywood ending, this film is a pure edgy joy, the perfect treat for any true cinema fan who loves their entertainment raw and unfiltered.  A spectacular debut from one of today’s true movie masters.

[theloniousbach]

VERONICA SWIFT, SHELDON CONCERT HALL, 5 NOVEMBER 2022

Having seen VERONICA SWIFT with then new favorite George Cables on a stream from Smoke Jazz Club, I was more than willing to widen my appreciation of singers with Cecile McLorin Savant on the agenda soon. True to form though, I didn’t dig into her latest Bitter Earth where she did songs like He Hit Me (and Made It Feel Like A Kiss) and You’ve Got to Be Carefully Taught both ironically and unironically. That marked her as extending her jazz singer chops.

I should have anticipated some sort of evolution as she’s just 28 even as she is the child of Hod O’Brien and Stephanie Nakasian with jazz in her blood. But I went in wondering/hoping that we might see Emmet Cohen who is another brilliant rising star and on the schedule later in the season.

Nope.

The stage had a piano but also a keyboard next to it. Acoustic and electric guitar and bass. Drums with plexiglass around it. Three music stands for horns.

Okay?

She opened with Bitter Earth’s solemnity. Her perfectly controlled voice was fragile and vulnerable one second and powerful the next. The die was cast. She also showed how she inhabits lyrics with gesture, expression, and stance to further tell the story. So a bit of cabaret with jazz which continued with How Lovely To Be A Woman (more straight up and irony), A Little Taste (?) with big horns arranged by trumpeter James Sarno who took a sold with plunger mute, Mel Torme’s A Lonesome Feeling To Go Back Home (also a story she made personal) into I Don’t Want To Cry Anymore where she scatted with the horns. Then another Bitter Earth dual tune, You’re The Dangerous Type.

So far, plenty of room for improvisation and interplay. Matisse Picard had some piano solo space on a could of tunes; Ben Williams had an acoustic bass solo; and not only Sarno but trombonist Javier Nero had a solo to which Swift scatted along. She was bright eyed, in the moment, equally engaged with the music as music and as story. Not the set I saw at Smoke, but recognizable.

Then it turns out things shifted. But Blood Sweat and Tears’ You Make Me So Very Happy seemed innocent enough; it was the transition to the genre-defying second half. Williams was over on electric bass and her mother’s guitarist Chris Wagner came out. Rocker More and More followed with electric bass solo and the horn section, four pieces counting Swift, wailed.

Then we were fully off on the adventure which makes up her next album project. Do Nothing Til You Hear From Me really was Duke Ellington meets Jimi Hendrix with elegant horns but soaring guitar and Swift singing through another mic with a fuzz pedal. The band cleared for a duet of Swift and Wagner on acoustic guitar that was a Brazilian flavored take on a Puccini melody with the Turnadot-ic title Severed Heads. Then she throttled back up with Nine Inch Nails’ Closer a la James Brown where she scatted with tenor saxophonist Anibal Rojas with the band properly powerful behind them. Then they did Sing from drummer Brian Viglione’s duo the Dresden Dolls which, I read, is dark Cabaret, so more genre crossing. Viglione was strong all night long but also striking in a bowler and black and white striped shirt evoking Marcel Marceau.

The encore was Queen’s song Keep Yourself Alive with Swift consciously evoking Janis Joplin. She’s now lived longer than Joplin so there’s more un/irony. I get the feeling she’s going to keep making quite alive music.

Altogether stunning, all the more so because our Sheldon seats are quite close. This time Row C, dead center for more intensity from a smart and powerful singer and artist.

[halas1]

הרמוניה פרהיסטורית- תוכנית רדיו על מוסיקה, אקוסטיקה, אקולוגיה וקוסמולוגיה

תוכנית מס. 1

8 הרץ מתחת לאדמה: על אדמה ודברים נמוכים אחרים

Prehistoric Harmony- a radio show about music, acoustics, ecology and cosmology

ep01_8Hz Under: on ground and other low things

Playlist:

-Intro tune: All The Tuning Forks I Have So Far by Maayan Tsadka

-7.8Hz generated sine wave

-20hz +28Hz generated sine wave

-91+99hz generated sine wave

-How We Hear from The science of sound, 1958 smithsonian folkways records

-Seismic sounds: Earthquake; Inferred Harmonic Tremor; Submarine Volcanic Eruption (Whistle) recorded PMEL at NOAA

-Redoubt volcano harmonic tremor (NPR recording)

-Redoubt volcano harmonic tremor- slowed down by 68%

-Beast  by James Tenney from Postal Pieces, New World Records

-from Catalog of Earthquake-Related Sounds Compiled by Karl V. Steinbrugge:

earthquake sounds 18-15_October_1979_El_Centro-CA-1

- the 'hum' created by Terrence Averkamp based on measurement  by Junkee Rhie and Barbara Romanowicz

-SONO-CHOREOGRAPHIC COLLECTIVE (Kerstin Ergenzinger, Bnaya Halperin-Kaddari and Kiran Kumar): Broken Cymbal Song; Epoxy18

-from Catalog of Earthquake-Related Sounds Compiled by Karl V. Steinbrugge:

09-29_July_Caracas-Venezuela

-The sound of Earth's magnetic field by BepiColombo

-Earth’s Magnetic Field by Charles Dodge, Columbia-Princeton Electronic Music Center 1961-1973

-from Catalog of Earthquake-Related Sounds Compiled by Karl V. Steinbrugge:

earthquake sounds 16-06_May_1976_Friuli-Italy

-Recordings from the Dead Sea(by Maayan Tsadka) interview: Michael Lazar Beverly Goodman Chernov; Sinkhole pools hydrophone recording; Tuning forks (54, 62hz inside a salt rock and a spur-winged lapwing bird)

-Lonesome road sang by Tim Storms (youtube video conversion)

-Sounds of Forest Elephants; Greeting Rumbles; Forest Elephant Vocal Greeting.

Recordings by The Elephant Listening Project

-The Songs Of Two Sand Dunes, recorded by Simon Dagois-Bohy

-Blue Veils and Golden Sands  by Delia Derbishier

-Steppe Kargiraa by Fedor Tau; Kargiraa “Artii-Sayir” by Vasili Chazir. From Tuva: Voices From The Center of Asia

-Ngbanda playing the ngbindi earth bow (Central African Republic) recorded by Louis Sarno. The Louis Sarno collection is curated by the Pitt Rivers Museum

[vm4vm0]

GREEN DAY "OH YEAH" from Malia James on Vimeo.

Director: Malia James Producer: Hanna Walicki Executive Producers: Ben Piety & Nathan Scherrer for FREENJOY Inc. Director Rep: Lark Creative DP: Drew Bienemann Editor: Matt Sklar VFX: Les Umberger @ Mod Creations Colorist: Kaitlyn Battistelli @ Ethos Production Designer: Gina Canavan Wardrobe: Jardine Hammond Casting: Espirit Casting Comissioner: Devin Sarno

[westernmanews]

SPRINGFIELD — Beginning a business at any time is taking a leap of faith, but for Christina Raschi, starting a business during a pandemic could be considered something much bigger.

Her journey toward owning her own bakery — a new business in downtown Springfield called 413 Café — began when she attended Longmeadow High School and the Lower Pioneer Valley Career and Technical Education Center in West Springfield and studied culinary arts. She graduated in June 2010 and decided to take a gap year following graduation.

In anticipation of wanting to own her own business, Raschi selected Asnuntuck Community College (ACC) for her postsecondary education, majoring in business administration.

ACC Professor James Wilkinson noted that “Christina always expressed herself with an exceptional business thought process. She understood business courses and terminology. She will be a success.”

After graduating from Asnuntuck in 2012, Raschi spent the next few years gaining skills by working in food service and most recently working in Alzheimer’s caregiving. Charlie Johnson, whose family owned the iconic Johnson’s Bookstore in Springfield, became her business mentor — and the location of the former bookstore is the location of the 413 Café that Christina opened this summer. Springfield Mayor Domenic Sarno led a ribbon cutting for the bakery on Aug. 11, five months after Raschi had hoped to open her doors. “I chose 413 Café as my business name,” she said, “because 413 is and always will be home.”

Raschi has brought personal touches to the business. As a granddaughter of a Boston police officer, she is offering law enforcement and veterans a 10% discount at her shop. She serves Cape Cod Coffee, an homage to the location where her parents met. And she supports a local business by serving Tandem bagels, cookies, and cream cheese. She will also be offering classes that will change seasonally.

“ACC is very proud of Christina, and we wish 413 Café future success,” Asnuntuck CEO Michelle Coach said. “We love seeing her business degree being put into action.”

413 Café is located at the rear of 1383 Main St. in Springfield, at the Shops at Marketplace, directly behind FedEx.

The post Asnuntuck Graduate Opens 413 Café in Downtown Springfield appeared first on BusinessWest.

[tarditardi]

VINYLOVE: Musica per chi si ama. Fiera del Disco e del Cd, a Napoli

15 e 16 Febbraio 2020

Sabato ore 16.00 – 21.00 Domenica ore 10.00 - 20.00

Palapartenope Via Barbagallo, 115 - Napoli

San Valentino continua a Vinylove: musica, amore e passione!

“Ama la musica, regala un vinile”, con questo claim DiscoDays organizza e promuove VinyLove, Fiera del Disco e del Cd che si svolgerà sabato 15 e domenica 16 febbraio al Palapartenope di Napoli.

Con la partecipazione di oltre 30 espositori selezionati da tutta Italia, Vinylove si conferma appuntamento imprescindibile per gli appassionati musicali, anche grazie ad una programmazione variegata che vedrà l’esibizione di 13 dj-set, rigorosamente su vinile, la presentazione di 3 libri e di una nuova Label discografica e la mostra artistica di SDU Stencil Art, con i vinili a fare da tela a ritratti di miti musicali e personaggi che hanno dato lustro alla Napoletanità.

Ma non finisce qui: per celebrare l’amore Vinylove mette in palio un soggiorno per due persone, infatti con l’acquisto di un vinile o di un CD si avrà la possibilità di partecipare all’estrazione di un week end!

Vinylove è un viaggio tra le note del cuore: musica per ricordare, musica da scoprire, musica da condividere.

SDU stencil art a Vinylove! Sabato 15 e Domenica 16 febbraio ospiteremo una mostra interamente su Vinili ad opera di SDU, divisa in 3 categorie: Miti musicali, Napoletanità, Dj. La street art, arte democratica, trasversale, ribelle ed illegale, arte di sovversione e di critica, trova nel supporto vinilico di SDU una collocazione più house e meno street. Il vinile diventa strumento di comunicazione del pensiero e dei miti dell'artista. DJ-Set Vinilico a cura di FACENIGHT.

La due giorni di VinyLove ospiterà anche la Facenight Convention, che per l’occasione vedrà alternarsi in una speciale consolle - realizzata da Xelyus Service rigorosamente con piatti Tecnichs 1210 - vari dj che negli anni hanno preso parte all’Oscar della Notte “Facenight”. Tra questi: Redo Desyo, Lino di Meglio, Pen, Francesco Miele, Gennaro De Sarno, L.u.c.i.a.n.o., Carmine Nappi, Dj Uncino, Enzo Vox Molino, Giulia Pezzulo, Sara Scarabino, Frank Virgilio e Young T.

Saranno inoltre distribuite gratuitamente Facenight map con calendario. Un cadeau tascabile in “limited edition” da tenere sempre con sé, che vede da un lato l’autentico calendario 2020 con fasi lunari e dall’altro, una glamour map messa a punto dagli organizzatori dell’Oscar del by night, che segnala e localizza in modo dettagliato i migliori winter e summer club, lounge e wine bar, live club e food point di Napoli e provincia.

VinyLove in uno scatto.

Continua il grande legame tra la musica e la fotografia. Davide Visca immortalerà i vostri sorrisi e potrete conservare un ricordo della giornata trascorsa insieme, all'insegna dell'amore per la musica.

Ecco il programma completo:

Sabato 15 Febbraio

ore 17.00 presentazione libro "Vinile. Istruzioni per l'uso" con l'autore Antonio Saluzzi

ore 18.00 preview libro: "007 operazione suono. Solo per le tue orecchie: canzoni e colonne sonore al servizio segreto di James Bond" con l'autore Michelangelo Iossa

ore 19.00 presentazione label: #evergreen . Musica senza tempo con il producer Ennio Mirra ed il cantautore Mikele Buonocore che illustreranno il progetto discografico insieme a: il prof. Lello Savonardo dell'Università Federico II di Napoli; l'Avv. Ferdinando Tozzi esperto di diritti di autore e presidente del Campania Music Commission e la giornalista Anna Stromillo.

Domenica 16 Febbraio

ore 12.00 presentazione libro: "I suoni del Sud. La musica tra i vicoli di Napoli" di Antonio G.D’ Errico e Peppe Ponti. Presenta il giornalista Carmine Aymone, relatore il produttore discografico e autore RAI Gino Aveta. Interverranno oltre all'autore Peppe Ponti: Claudio Nicola, Ciccio Merolla, Donix, Alma Partenopea ed altri artisti.

Fb Event:  https://www.facebook.com/events/1226509717559133/

I possessori di Fidelity Card che acquisteranno il biglietto il sabato (5 euro , gratis sino a 12 anni) potranno entrare gratis la domenica.

[garibaydavalos]

"Sharpest Edges" Gallant from Bennett Johnson on Vimeo.

Directed by Bennett Johnson

Executive Producers: Evan Brown & Jesy Odio Production Company: Dreambear Producer: Jesy Odio Choreographer: DZ Maciel DP: Josh Mckie 1st AD: Matt Sanchez Steadicam: Alex Van Putten 1st AC: Matthew Borek 2nd AC: Jordan Sakai Cam PA: Michelle Alanis Gaffer: Ant Boyd Grip: Travis Becker Grooming: Mariah Johnson Gallant's Stylist: Aaron Tucker Talent Stylist: Keyla Marquez PAs: Francesco Camuffo, Matt Rogers

Editor: Matt Carter @ Final Cut NY Colorist: James Tillett @ MPC VFX: Rafatoon, Peter Olivier, Eduardo Rios, Kyle Zemborain Titles: Phillip Brooks Sound Design: Sam Costello

Sharply-heeled Guest: Nayilah Antoine

Director's Rep: Emily Sanders @ Reveur

Commissioner: Devin Sarno

Shot on 3-perf Kodak 5279

[grantreidproperties]

sarno our new shit Jame - You have to try my new site https://t.co/nMhPwZQIFJ Norforsythhomes #grantreidhomes

sarno our new shit Jame - You have to try my new site https://t.co/nMhPwZQIFJ Norforsythhomes #grantreidhomes

— North Forsyth Houses (@Norforsythhomes) July 3, 2019

from Twitter https://twitter.com/Norforsythhomes