#Jazz Centre Society

[estellan0vella]

Epitome of Glamour and Sophistication - Satoru Gojo AU Word Count: 4.8K Content Warnings: suicide, death Masterlist for Eras AU

The Gojo mansion is aglow tonight, glittering beneath the soft light of a thousand bulbs and the silvery moon that graces the velvety sky. Jazz music floats through the air, carried by the sweet sounds of saxophones, trumpets, and the lively beat of a snare drum. You, known to all as the jewel of the Roaring Twenties, step onto the stage that is your life, ready to host yet another unforgettable soirée.

As you stand next to your husband, Satoru Gojo, you feel a sense of power and magnetism emanating from him, just as always. He looks incredibly dashing in his perfectly tailored white tuxedo, with a striking sapphire blue pocket square that coordinates flawlessly with your dazzling gown. 

Your own attire is a breathtaking ensemble of midnight blue silk, embellished with innumerable tiny diamonds that glimmer and gleam with each and every step you take. A string of pearls graces your neck, and a resplendent diamond and sapphire tiara sits elegantly upon your flawlessly styled hair.

As the night unfolds, you and Satoru move through the crowd with practised ease, greeting guests with warm smiles and sparkling laughter. Your parties are legendary, the epitome of opulence and extravagance, and everyone who is anyone in New York society is here tonight. The grand ballroom is a sea of vibrant colours and glimmering lights, filled with the sound of clinking glasses and the rustle of luxurious fabrics.

"Darling," Satoru murmurs into your ear, his voice low and intimate, "have you seen how captivated everyone is tonight? You've outdone yourself once again."

You turn to him, your eyes twinkling with mischief. "It's not just me, Satoru. Our success is a joint effort, as always."

He chuckles, his eyes crinkling at the corners with genuine amusement. "True, but your touch makes everything we do that much more enchanting."

As you both move gracefully through the bustling crowd, you stop to converse with the esteemed members of the city's elite. A senator's wife admires your exquisite dress, and you graciously acknowledge the compliment, commenting on how her emerald earrings elegantly complement her gown. Satoru is immersed in a captivating conversation with a renowned jazz musician, effortlessly enthralling the crowd with his charm and magnetic presence.

As the evening progresses, you find yourselves in the centre of the dance floor. The band strikes up a lively tune, and Satoru extends a hand to you, a mischievous grin playing on his lips. "May I have this dance, my lady?"

You curtsy playfully, taking his hand. "Why, of course, my lord."

The bond between the two of you is undeniable as you effortlessly synchronize your movements to the captivating rhythm of the music. The crowd graciously makes way for you, their attention captured by the enchanting couple who commands the centre of the jubilation. Satoru gracefully guides you into a spin, causing your dress to billow out like a celestial tapestry of stars. Your laughter fills the air, resonating with unadulterated happiness and pure delight.

In this moment, everything else fades away. It's just you and Satoru, moving gracefully under the softly twinkling chandeliers, your love for each other radiating brighter than all the diamonds and pearls in the opulent room. Every gaze from the admiring crowd only intensifies the bond between you and Satoru. 

In this timeless embrace, you both embody an undeniable allure, exuding an aura of glamour and sophistication that captivates all who are present.

After the dance, you make your way to the balcony for a moment of reprieve. The cool night air is a welcome relief from the warmth of the ballroom, and you lean against the balustrade, gazing out at the city lights below. Satoru joins you, his arm slipping around your waist as he pulls you close.

"Are you enjoying yourself?" he asks, his breath warm against your ear.

"Always," you reply, turning to face him. "But it's these quiet moments with you that I cherish the most."

He smiles, his eyes softening. "I feel the same way, my love."

For a while, you simply stand there, enjoying the peace and each other's company. The sounds of the party drift out to the balcony, a distant reminder of the world you've created together. Satoru reaches into his jacket and pulls out a small velvet box, presenting it to you with a flourish.

"What's this?" you ask, your curiosity piqued.

"Just a little something I picked up," he replies, his tone teasing. "Go on, open it."

You take the box from him, your fingers trembling slightly with anticipation. Inside, nestled on a bed of silk, is a stunning diamond bracelet, each stone perfectly cut and sparkling brilliantly.

"Oh, Satoru," you breathe, "it's exquisite."

"Not as exquisite as you," he says, taking the bracelet from the box and fastening it around your wrist. "I saw it and thought of you immediately."

You lift your wrist, admiring the way the diamonds catch the light. "Thank you, Satoru. It's perfect."

He leans in, pressing a soft kiss to your lips. "Anything for you, my love."

As you return to the party, your wrist adorned with the new bracelet, you feel a renewed sense of joy and excitement. The night is still young, and there are more memories to be made, more moments to be cherished. With Satoru by your side, you know that anything is possible.

The party continues into the early hours of the morning, the energy never waning. Guests dance and laugh, toasting to the good times and toasting to you and Satoru, the king and queen of the Jazz Age. You revel in the attention, but it's Satoru's unwavering presence that grounds you, his hand always finding yours in the crowd, his eyes always seeking you out.

As the first light of dawn begins to creep over the horizon, the party finally starts to wind down. Guests reluctantly take their leave, promising to return for the next grand event. You and Satoru see them off, your smiles never faltering, your charm never waning.

Once the last guest has departed, you and Satoru make your way back to the ballroom. The once bustling space is now quiet, the remnants of the night's festivities scattered about. You kick off your heels, sighing with relief as you sink into a plush armchair.

Satoru joins you, loosening his bowtie and sinking into the chair opposite yours. "Well, my dear, I'd say that was a success."

"A roaring success," you agree, your eyes sparkling with satisfaction. "But I couldn't have done it without you."

He reaches across the small table separating you, taking your hand in his. "And I couldn't have done it without you. We're a team, always."

You smile, squeezing his hand. "Always."

As you sit there, the first rays of sunlight streaming through the windows, you feel a profound sense of contentment. The night may be over, but the memories you've created will last a lifetime. And with Satoru by your side, you know that there are countless more adventures to come, countless more nights of laughter and love.

The Roaring Twenties may be a time of excess and extravagance, but for you and Satoru, it's also a time of deep, abiding love. Together, you shine brighter than any diamond, your bond unbreakable, your love eternal. And as the city wakes up around you, you know that whatever the future holds, you will face it together, side by side, heart to heart.

With a final glance at the glittering remnants of the night, you rise from your chair, taking Satoru's hand. "Come on, darling," you say, a smile playing on your lips. "Let's go to bed. We have a new day ahead of us."

He stands, his hand warm and reassuring in yours. "Lead the way, my love."

As you and Satoru ascend the grand staircase, the soft light of dawn filters through the tall windows, casting a gentle glow over the lavishly decorated hallway. Your steps are slow and deliberate, savouring the tranquillity that now fills the mansion, a stark contrast to the vibrant energy of the night before.

Reaching the top of the stairs, you pause to glance back at the ballroom one last time. The scene below is serene, a testament to the unforgettable soirée that had just taken place. The memory of your guests' laughter and the joyous music lingers in the air, a sweet reminder of the happiness shared by all.

In the privacy of your opulent bedroom, the sense of serenity deepens. The room is a sanctuary of luxury, adorned with plush furnishings and delicate draperies that exude timeless elegance. Satoru helps you remove your sparkling tiara, placing it carefully on the vanity. You catch his reflection in the mirror, his eyes filled with admiration and love.

"Tonight was truly magical," you say softly, turning to face him. "Thank you for making it so special."

He smiles, his hands gently cupping your face. "Every moment with you is special. I cherish each one."

As you both prepare for bed, you slip into a comfortable silk nightgown, the cool fabric a welcome contrast to the warmth of the night. Satoru changes into a simple set of pyjamas, the crisp lines of his tuxedo replaced by the soft folds of cotton. The intimacy of this routine brings a sense of comfort and closeness, a cherished ritual that strengthens your bond.

Sliding into the luxurious bed, you find solace in each other's embrace. The world outside may be ever-changing, but here, in the quiet of your bedroom, time seems to stand still. Satoru's arms around you feel like the safest place in the world, and you know that as long as you're together, nothing else matters.

The first light of morning casts a gentle glow over the room, highlighting the delicate features of your husband's face. You watch him as he drifts off to sleep, his breathing slow and steady, his expression peaceful. You feel a wave of gratitude wash over you, for the life you've built together, for the love that fills every corner of your world.

With a contented sigh, you close your eyes, letting the soothing rhythm of Satoru's heartbeat lull you into a restful sleep. 

As the days turned into weeks, a shadow began to creep over the once-vibrant life of the Gojo mansion. At first, it was subtle—a lingering cough, a slight fatigue—but soon, it became impossible to ignore. You, the jewel of the Roaring Twenties, were falling ill.

Satoru watched with growing concern as your energy waned and your laughter grew fainter. He spared no expense, calling in the best doctors money could buy, but their diagnoses only confirmed his worst fears: tuberculosis, the same cruel disease that had claimed the lives of so many before you.

You fought with all your strength, your spirit as unyielding as the diamonds that adorned your wrist. But tuberculosis cared not for wealth or status, and its relentless grip tightened with each passing day. Satoru, once the epitome of confidence and charm, was now a man consumed by fear and helplessness.

The parties ceased, the music fading into memory as the mansion became a sanctuary of quiet desperation. Satoru rarely left your side, his days and nights spent tending to your every need, his heart breaking with each laboured breath you took.

But even in the depths of despair, your love for each other remained steadfast. Satoru's touch was a lifeline, his voice a balm to your weary soul. And though the future seemed uncertain, you found solace in the knowledge that you faced it together, side by side, heart to heart.

As the disease tightened its grip, Satoru's desperation grew. He searched tirelessly for a cure, sending servants across the globe in search of hope, but everywhere he turned, he was met with despair. His once-dashing figure was now gaunt and hollow-eyed, his once-charming smile a distant memory.

But still, he refused to give up. He would move heaven and earth to save you, to keep you by his side for just a little while longer. For you were his light in the darkness, his reason for living, and he could not bear the thought of a world without you in it.

As you wheezed, your breaths rattling in your chest, you clutched your husband's hand tightly. Adoration and love still shone in your eyes no matter how ill you truly were. Satoru pressed his lips to the back of your hand as he muttered quiet prayers.

"Do not waste your breath," you murmured. "We both know I am dying, Satoru."

"I can't live without you," your husband choked out, tears streaming down his face.

"You must," you implored.

Your words hung heavy in the air, a solemn reminder of the harsh reality that you both faced. Satoru's heart ached with every breath you took, each one a painful reminder of the inevitable. But still, he could not bear to let you go.

"I don't know how," he confessed, his voice trembling with emotion. "How can I go on without you, my love?"

You reached out, gently cupping his tear-streaked face in your frail hands. "You are stronger than you know, Satoru. You have always been my rock, my guiding light. And though I may not be with you in body, my love will always be by your side."

He leaned into your touch, his eyes closing as he savoured the faint warmth of your hand against his cheek. "I love you," he whispered, the words a mantra against the darkness that threatened to consume him.

"And I love you, more than words can express," you replied, your voice barely a whisper. "Promise me, Satoru. Promise me that you will find happiness again, that you will live a life worthy of the love we shared."

"No," Satoru whispered. "I do not care that this is your dying wish. I shall never love another as I loved you."

Your breaths grew shallower, the rasping sound echoing in the quiet room as you clung to the last moments of life. Satoru held you close, his heart breaking with every laboured gasp you took.

"You must let go, my love," you murmured, your voice barely audible. "Find peace in knowing that I am with you, always."

Tears streamed down Satoru's face as he pressed his lips to your forehead, his hands trembling as he held you tight. "I cannot bear to lose you," he choked out, his voice raw with emotion.

But you smiled softly, your eyes filled with love and understanding. "Our love will never die, Satoru," you whispered. "It will live on in your heart, a beacon of light in the darkness."

And with those final words, you took your last breath, your hand slipping from Satoru's grasp as your spirit slipped away into the night. Satoru was left alone, his heart shattered into a million pieces as he cradled your lifeless body in his arms.

Two years after your death, the Gojo mansion stands as a solemn reminder of a bygone era, its once-glittering halls now shrouded in sorrow. The grand soirées have ceased, and the air is thick with a profound silence. The soft light of a thousand bulbs no longer dances through the rooms; instead, shadows whisper of memories and lost moments.

Satoru Gojo, once the dazzling figure who captured the attention of New York society, now appears as a mere shadow of his former self. The immaculate white tuxedo he once wore with pride has been replaced by sombre and dark attire, while the once striking sapphire blue pocket square now seems to embody only a distant memory of happier times. The sparkle in his eyes, which once emanated with energy and life, has now dimmed, giving way to a deep and unending sadness that seems to engulf his entire being.

Two years back, you were the unwavering source of brightness in his life, his enduring companion in moments of happiness and opulence. The stunning midnight blue silk gown you wore, adorned with sparkling diamonds, is now a poignant memory etched into his consciousness. 

The pearls that had delicately adorned your neck and the resplendent tiara that had graced your hair serve as artefacts from a bygone era, locked in a glass case, when your laughter illuminated every corner of the mansion and your mere presence brought life to every room.

Tuberculosis, the relentless thief, has taken you from him. Despite his wealth and influence, Satoru could not save you from the cruel clutches of the disease. Your final days were a mix of fading light and quiet suffering, with Satoru by your side, his heart breaking with every ragged breath you took. When you finally succumbed, his world shattered.

The parties ceased. The music died. The grand ballroom, once a sea of vibrant colours and glimmering lights, is now a silent mausoleum of memories. Satoru drifts through the days, a ghost in his own home, his soul tethered to the past by grief and despair.

The balcony, where you once shared quiet moments under the night sky, has become a place of haunting solitude. Satoru stands there often, staring out at the city that continues to move and breathe, indifferent to his pain. The diamond bracelet he gave you still glistens on your vanity, untouched since the day you wore it last.

Satoru's friends made multiple attempts to reach out to him, desperately trying to pull him back from the brink of despair. However, despite their sincere efforts, they were unable to break through to him.

Suguru Geto, who was Satoru's closest friend, stood by helplessly, watching as Satoru continued to spiral further into darkness. It was evident to Suguru that Satoru's love for you held an immensely powerful sway over him, a force that seemed irreplaceable and unforgettable.

One fateful night, unable to bear the weight of his sorrow any longer, Satoru makes his way to the balcony. The cool night air, once a welcome relief, now feels like a final embrace. He leans against the balustrade, the city lights below a blur of memories and lost dreams.

"Forgive me," he whispers into the void, his voice breaking. "I can't do this without you."

With a final, heart-wrenching breath, Satoru steps over the edge, his fall swift and silent. The world he leaves behind is plunged into mourning, the mansion a tomb of love and loss.

Satoru's eyes open, and he finds himself standing in the ballroom of the mansion, the home he once shared with you. The soft giggle that once lit up his world makes his heart soar for the first time in two years. He looks up to see you standing in the centre of the ballroom, decked in a resplendent azure blue flapper dress that matches his eyes. He finds himself in a white suit with a pocket square that perfectly matches your dress.

"You were so strong, my darling," you say, cupping his face in your hands.

Satoru's heart skips a beat as he gazes into your eyes, his breath catching in his throat at the sight of you. It's as if time has rolled back, and he's once again enveloped in the warmth of your presence.

"You're here," he whispers, his voice filled with wonder and disbelief.

You smile softly, your touch sending shivers down his spine. "I never left you, Satoru. I've been with you every step of the way."

Tears well up in his eyes as he leans into your touch, savouring the familiar sensation of your hands against his skin. "I missed you so much," he admits, his voice choked with emotion.

"I know," you murmur, brushing away his tears with gentle fingers. "But you don't have to carry this burden alone anymore. Now we have an eternity to spend dancing in each other's arms."

Satoru's heart swells with a mixture of relief and joy at your words. The weight that had burdened him for so long begins to lift, replaced by a sense of peace and contentment.

"An eternity with you," he repeats, the words feeling like a balm to his wounded soul. "I couldn't ask for anything more."

You smile, a radiant expression that fills the room with warmth. "Together, we'll create new memories, Satoru. Memories that will last forever."

With renewed hope coursing through his veins, Satoru pulls you into his embrace, holding you tightly as if afraid you might vanish once more. But you're real, tangible in his arms, and he knows that this time, nothing can tear you apart.

As the music of the Roaring Twenties fills the ballroom once more, you and Satoru dance together, your steps synchronized in perfect harmony. In each other's arms, your lips meet in a tender kiss, a sense of euphoria washing over both of you. It's a kiss filled with the depth of your love, the longing of your separation, and the promise of eternity together.

The music swells around you, wrapping you in its nostalgic embrace as you dance together, your movements fluid and graceful, as if you've been practising for centuries. Time seems to stand still as you twirl and sway, lost in the bliss of each other's presence.

In this ethereal moment, the boundaries between past and present blur, and you and Satoru are suspended in a timeless embrace. The ballroom is aglow with the radiance of your love, the echoes of your laughter mingling with the music of the past.

As you dance, you feel a profound sense of peace settle over you, knowing that you and Satoru are together once more, united in spirit and bound by an unbreakable bond. And as the music fades into the night, you both know that this is just the beginning of your eternal journey together.

"Satoru," you whisper, leaning in close, "we have so much time now. Let's make every moment count."

He nods, his eyes never leaving yours. "Tell me everything I've missed. I want to hear your voice, your laughter. I want to know you're truly here with me."

You smile, the warmth of your love shining through. "Let's sit," you suggest, leading him to a pair of plush armchairs near the grand piano. "There's so much to share."

As you settle into the chairs, Satoru holds your hand, his thumb gently caressing your fingers. "Tell me, my love. What is it like on the other side?"

You take a deep breath, your eyes shimmering with a light that transcends earthly existence. "It's beautiful, Satoru. There's no pain, no sorrow. Just peace and endless love. I've been watching over you, feeling your every emotion, sharing your every tear. I wished so much that I could comfort you."

"You did," he says softly, his eyes misting. "In my dreams, in those quiet moments, I felt you with me. It was the only thing that kept me going."

You squeeze his hand, your touch a lifeline. "And now, we can be together, just as we were meant to be. We'll create a new world, one where our love can flourish without the shadow of sorrow."

He nods, a smile breaking through his tears. "A world where we can dance every night, where we can laugh and love without end."

"And where you can heal," you add, your voice tender. "You've carried so much pain, Satoru. It's time to let it go."

He takes a deep breath, feeling the weight of his grief begin to lift. "With you by my side, I can do anything."

You lean in, your lips meeting his in a kiss that seals your eternal bond. The mansion, once a place of sorrow, now glows with the light of your love.

Suguru Geto, devastated by the loss of his dear friends, channelled his grief into writing. Night after sleepless night, he poured his heart and soul into a novel that immortalized your story—a tale of love and tragedy, of opulence and despair. His pen became a conduit for the memories that haunted him, transforming sorrow into prose.

The novel, titled "The Epitome of Glamour and Sophistication," became a literary masterpiece, capturing the essence of the Roaring Twenties and the profound love that defined it. Suguru wove vivid descriptions of the grand parties, where laughter echoed through the opulent halls of the Gojo mansion, and the quiet moments, where your love and Satoru's were as palpable as the moonlight filtering through the drapes.

He wrote of the dazzling couple who shone brighter than any diamond, whose love was as eternal as the stars, and whose tragic end left an indelible mark on all who knew them. The pages breathed life into your story, with each sentence capturing the essence of your bond and the beauty of the world you had built together.

As the novel spread far and wide, readers were captivated by the tale of love and tragedy woven within its pages. They were transported to the glittering ballrooms of the past, where you and Satoru reigned supreme, your love illuminating even the darkest corners of the world. Suguru's eloquent prose resonated deeply, and the book quickly became a sensation.

"The Epitome of Glamour and Sophistication" wasn't just a book—it became a cultural phenomenon. Readers found themselves moved by the depth of your love and the sorrow of your loss. Book clubs and literary circles buzzed with discussions about the novel, and critics hailed it as a timeless work of art. The novel inspired countless readers to cherish the beauty of love and to appreciate every fleeting moment.

The Gojo mansion, once a silent mausoleum of memories, now became a place of pilgrimage for those who sought to immerse themselves in the world of the novel. Visitors from far and wide came to pay homage to the love that once graced its halls, leaving behind tokens of admiration and reverence. The mansion was preserved meticulously, each room a testament to the splendour and the sorrow captured in Suguru's writing.

Tourists wandered through the grand ballroom, imagining the music and laughter that once filled the air. They stood on the balcony where Satoru and you had shared countless starlit moments, feeling the weight of the past mingling with the present. The glass case holding the pearls and the tiara you once wore became a shrine to enduring love.

Over time, the mansion hosted literary events and annual celebrations in honour of the novel and the love story it immortalized. Actors performed readings from the book, and musicians played the melodies of the Roaring Twenties, bringing the era to life once more. The novel's impact extended beyond the pages, influencing art, fashion, and even philosophy, as people drew inspiration from the love that transcended time.

One evening, on the anniversary of the novel's publication, Suguru stood on the very balcony where Satoru had last stood. He gazed at the city lights below, a bittersweet smile on his lips. "Your story lives on," he whispered into the night, feeling a sense of peace knowing that he had honoured your memory in the best way he could.

As the years passed, "The Epitome of Glamour and Sophistication" remained a timeless classic. In the hearts of those who read the novel, you and Satoru were immortalized, forever dancing under the twinkling chandeliers, your love a beacon of light in the darkness of the past. Suguru's words ensured that your story lived on, a testament to the beauty and fragility of love, a love that could transcend even the boundaries of life and death.

Years later, a young couple stood in the grand ballroom, clutching the novel between them. They had come to witness the place where such a profound love had blossomed and faded. The young woman turned to her partner, her eyes shining with tears. "Do you think we could ever love each other like that?" she asked softly.

He smiled, pulling her close. "I think we already do. And their story shows us that love, true love, never really dies."

The mansion continued to inspire and touch lives, proving that the legacy of love is eternal. Through Suguru's words, through the visitors who walked its halls, and through every reader who turned its pages, your love story lived on, a timeless echo of the past that continued to resonate in the present and the future.

Visitors often spoke of the strange phenomena they encountered within the mansion. Some swore they heard the light laughter of a man and a woman, and the faint strains of jazz music as if the Roaring Twenties were brought back to life. Occasionally, if they were lucky, they would catch a glimpse of a woman in an azure flapper dress with a feather headpiece, dancing gracefully with a man whose shockingly white hair matched his suit and azure pocket square. These spectral figures, seemingly unaware of the passage of time, moved in perfect harmony, their love story replaying in an eternal dance.

These ethereal sightings only deepened the allure of the Gojo mansion, solidifying its place in history not only as a site of literary and cultural significance but also as a place where the spirit of undying love was said to still dwell.

taglist - @sad-darksoul @lik0

[alldancersaretalented]

NYCDA National Outstanding Dancers 1999-2024

1999

Junior: Travis Wall (Denise Wall Dance Energy) and Megan Eisenhart (The Dance Club)

Senior: Nick Lazzarini (Studio 10) and Cindy Welik (Dance Academy USA)

2000

Junior: Robbie Fairchild (Pulse 31) and Kayla Kalbfleisch (Christine Harper's Dance West)

Teen: Danny Tidwell (Denise Wall Dance Energy) and Melissa Hough (Dance Explosion)

Senior: Manuel Herrera (Fran Sullivan School of Dance) and Janna Oberdorf (In The Spotlight)

2001

Junior: Bret Easterling (Teen Dance Co.) and Collette Chan (Teen Dance Co)

Teen: Sean Duvall (American Dance Machine) and Nicole Winhoffer (In The Spotlight)

Senior: Daniel Vaniska (La Danse School of P.A.) and Nicki Loud (Turning Pointe Dance Center)

2002

Junior: Garrett Smith (Dance Impressions) and Erica Ross (Dance Connection 2)

Teen: Anthony Lomuljo (Dance Attack Sunnyvale) and Becca Henderson (Ballet Society)

Senior: Danny Tidwell (Denise Wall Dance Energy) and Melissa Hough (Dance Explosion)

2003

Junior: David Gensheimer (American Jazz Dance Co.) and Whitney Jensen (CSPAS)

Teen: Travis Wall (Denis Wall's Dance Energy and Marilee Glazier (CSPAS)

Senior: Phillip Spaeth (Triple Threat PAC) and Carly Lang (DDK Danceworks)

2004

Mini: Corey Snide (Eleanor's School of Dance) and Christina Spinger (Dance Motion Performing Arts Co.)

Junior: Nick Young (Young Dance Academy) and Kayla Radomski (Michelle Latimer Dance Academy)

Teen: Chuck Jones (CSPAS) and Jaimie Goodwin (Denise Wall's Dance Energy)

Senior: Jon Bond (Center Stage Dance Academy) and Ellery Baum (CSPAS)

2005

Mini: Hogan Fulton (Bobbie's School of Performing Arts) and Tiara Keeno (Wasatch Dance Center)

Junior: John Manzari (Spotlight Studio of Dance) and Angelica Generosa (Dance Stop)

Teen: Garrett Smith (Odyssey II) and Dusty Button (Movin' South)

Senior: Teddy Forance (Hackworth School of Performing Arts) and Allison Holker (The Dance Club)

2006

Mini: Ross Lynch (Artistic Fusion Dance Academy) and Catherine Hurlin (Westchester Dance Academy)

Junior: Corey Snide (Eleanor's School of Dance) and Christina Spinger (Dance Connection)

Teen: Ryan Steele (Dance Dynamics) and Kirsten Wicklund (Danzmode Productions)

Senior: Christian Denice (Bobbie's School of Performing Arts) Jamie Godwin (Denis Wall's Dance Energy)

2008

Mini: Kolton Krouse (Tempe Dance Academy) and McKenna Ross (Tempe Dance Academy)

Junior: Alex Hathaway (Dance Dynamics) and Tiare Keeno (Wasatch Dance Center)

Teen: Corey Cox (Denise Wall's Dance Energy) and Taja Riley (Denise Wall's Dance Energy)

Senior: Crain Dionne (Donna Coco's Performance Plus) and Erica Ross (Tempe Dance Academy)

2009

Mini: Brandon Chang (Dance Town) and Sarah Pippin (CC&Co. Dance Complex)

Junior: Kolton Krause (Tempe Dance Academy) and Kamila Shah (Westchester Dance Academy)

Teen: Mason Manning (Dance Industry) and Tiare Keeno (Classical Ballet Academy)

Senior: Richard Villaverde (Dance Town) and Ida Saki (Dance Industry)

2010

Mini: Tade Biesinger (Dance Impressions) and Payton Johnson (Jean Leigh Academy of Dance)

Junior: Rae Srivastava (Independent) and Jayce Kalb (The Dance Centre)

Teen: Corey Snide (Eleanor's School of Dance) and Mattie Love (Dance Impressions)

Senior: Cory Barnette (Tempe Dance Academy) and Kaitlynn Edgar (Spotlight Dance Works)

2011

Mini: Travis Atwood (The Talent Factory) and Jacalyn Tatro (Inspire School of Dance)

Junior: Niko Martinez (Dance Images & Music) and Sarah Pippin (CC&Co)

Teen: Ivan Kalinan (The Dance Zone) and Madi Hicks (Academy of Dance Arts)

Senior: George Lawrence (Dancemakers of Atlanta) and Kali Grinder (The Dance Zone)

2012

Mini: Kyle Anders (Savage Dance) and Kayla Mak (Westchester)

Junior: Jack Wolff (Precision Dance Academy) and Payton Johnson (Jean Leigh Academy)

Teen: Kolton Krouse (Tempe Dance Academy) and Jordan Pelliteri (Plumb Performing Arts Center)

Senior: Joseph Davis (Draper Center) and Alexia Meyer (The Dance Club)

2013

Mini: Justice McCort (Krystie’s Dance Academy) and Jasmine Cruz (Westlake)

Junior: Jonathan Fahoury (Artistic Fusion) and Sophie Miklosovic (Faubourg School of the Ballet)

Teen: Jake Tribus (CC & Co) and Jayci Kalb (The Dance Centre)

Senior: Alex Soulliere (Spotlight Dance Works) and Alyssa Ness (Northland School of Dance)

2014

Mini: Luke Spring (Independent) and Charlee Fagan (Main Street Dance)

Junior: Matthew Spangler (Artistic Fusion) and Mackenzie Bessner (KJ Dance)

Teen: Rae Srivastava (BHumn DanceSpace) and Jacalyn Tatro (Inspire School of Dance)

Senior: Kolton Krouse (Tempe Dance Academy) and Jordan Pelliteri (Plumb Performing Arts Center)

2015

Mini: Brady Farrar (Stars) and Madison Brown (Lents Dance Company)

Junior: Parker Garrison (Stars) and Jasmine Cruz (Westlake)

Teen: Harrison Knotsman (Studio West Dance Center) and Nina Bartell (Sweatshop)

Senior: Jake Tribus (Next Generation Ballet) and Sarah Pippin – CC & Co

2016

Mini: Luke Barrett (Dance Attack) and Eden Galloway (Center Stage Dance Studio)

Junior: Jack Easton (IMPAC) and Mahalaya Tintianco-Cubales (Westlake)

Teen: Kele Roberson (Dance Institute) and Ali Deucher (The Dance Club)

Senior: Zach Manske (Woodbury) and Jacelyn Tatro (Inspire School of Dance)

2017

Mini: Hudson Silva-Costa (Spotlight Dance Center) and Phoenix Sutch (Krystie's Dance)

Junior: Mason Evans (Performance Edge 2 and Madison Brown (Lents Dance Company)

Teen: David Keingatti (Columbia) and Sydney Revennaugh (CSA's Dancers Edge)

Senior: Michael Garcia (Dance Industry) and Kaylin Maggard (Columbia)

2018

Mini: Sienna Morris (Westchester) and ???

Junior: Eden Galloway (WNC Dance) and ???

Teen: Aydin Eyikan (Kanyok Arts) and Jasmine Cruz

Senior: Harrison Knostman (Studio West Dance Center) and Jenna Meilman (Westchester)

2019

Mini: Ian Stegeman (Woodbury) and Ivana Radan (Westchester)

Junior: Justin Padilla (Infusion Dance) and Rebecca Stewart (Spotlight Studio of Dance)

Teen: Luke Spring (East Coast Edge) and Madison Brown (Lents Dance Company)

Senior: Jamaii Melvin (Miami Dance Collective) and Madison Goodman (KJ Dance)

2020

Mini: Eric Poor (CityDance) and Kynadi Crain (Jean Leigh Academy)

Junior: Jagger Effs (Miami Dance Collective) and Sienna Morris (Westchester)

Teen: Mason Evans (Performance Edge 2) and Mahalaya Tintianco-Cubales (Westlake)

Senior: Aydin Eyikan (Kanyok Arts) and Sydney Revennaugh (Performance Edge 2)

2021 (Orlando)

Mini: Spencer Parnell (Academy of the Living Arts) and Kiera Sun (Westside)

Junior: Michael Duvali (Centerstage Dance Academy) and Macie Miersh (All American Dance Factory)

Teen: Luke Biddinger (Touch of Class) and Eden Galloway (WNC Dance)

Senior: Jemoni Powe (Academy of Nevada Ballet) and Kayla Mak (Westchester)

2021 (Phoenix)

Mini: Ellis Khoundara (Tempe Dance Academy) and Skylar Wong (Woodbury)

Junior: Ian Stegeman (Woodbury) and Carolina Garcia (Miami Dance Collective)

Teen: Justin Padilla (Westside) and Erin Park (Westside)

Senior: Justice Wooden (Just Dance) and Charlee Fagan (Main Street Dance)

2022 (Orlando)

Mini: Mali Photnetrakhom (In Motion Dance Project) and Avery Gallenero (Dance Inc.)

Junior: Bryce Young (All American Dance Factory) and Eva Jimmerson (Renner Dance)

Teen: Luke Barrett (Dance Attack) and Phoenix Sutch (Krystie's Dance Academy)

Senior: Mason Evans (Performance Edge 2) and Kailey Woronstoff (Dance Universe)

2022 (Phoenix)

Mini: Levi Caicco (In Motion Dance Project) and Kensington Dressing (Evolve Dance Complex)

Junior: Avery Khoundara (Tempe Dance Academy) and Fiona Wu (Yoko's)

Teen: Keenan Kiefer (Academy of Dance Arts) and Georgie Weir (Miami Dance Collective)

Senior: Parker Rozzano-Keefe (Westlake) and Mahalaya Tintiangco-Cubales (Westlake)

2023

Mini: Jonathan Macleod (Joanne Chapman) and Hannah Fogel (Dance Institute)

Junior: Lincoln Russo (Poirer Productions) and Kiera Sun (Westside)

Teen: Hudson Silva-Costa (In the Spotlight) and Crystal Huang (The Rock)

Senior: Jonathan Paula (Canadian Dance Unit) and Abigail Weber (Dallas Conservatory)

2024 (New York)

Mini: Marko Kokovic (Draper Center for Dance Education) and Maeve Olsen (The Dallas Conservatory)

Junior: Levi Caicco (In Motion Dance Project) and Aria Du (Yoko's)

Teen: Sam Gauss (Draper Center for Dance Education) and Evee Lee (CAP The Company)

Senior: Caleb Abea (Larkin Dance Studio) and Izzy Howard (Westside)

2024 (Phoenix)

Mini: Anderson Sander (New Dimensions) and Belle Marie Arauz (Dance Town)

Junior: Ellis Khoundara (Tempe Dance Academy) and Mali Photnetrakhom (In Motion Dance Project)

Teen: Maceo Paras-Mangrobang (Westlake) and Gracelyn Weber (The Dallas Conservatory)

Senior: Cameroon Janson (Creative Conservatory of Dance and PA) and Jordyn Sarmoen (Performance Edge 2)

[figomagazine]

Heading to Meredith Music Festival 2024? These are the artists you cannot miss

Meredith Music Festival is a transcendent adventure, like a trip through the musical cosmos where genre barely exists and inclusivity and positivity are the ultimate goal.

And aside from the general vibe being one unlike any other music festival on the planet, they lineup is always top notch – every year music fans can expect an eclectic assortment of genre benders and heavy hitters, alongside must-see up and comers and the newest, hottest acts on the block.

The best part is, with only one stage, punters never have to pick because set clashes don't exist here, but the lineup is still a beast, and these are the artists you most definitely want to make your way down the front for.

Angie McMahon

Okay, we know this is almost a redundant way to start this list because of course you're going to be front and centre for the angelic, sometimes-heartbreaking-always-heartwarming sounds of Angie McMahon – but please allow us a moment to wax lyrical about Angie. The way she bottles up ferocity and raw energy with tenderness and vulnerability and pure wholesomeness already makes her live show unmissable, but then layer that with exceptional songwriting and a voice that carries as much power as it does emotion, and you have (what is sure to be) a performance ready-made for boot raising.

Angie McMahon takes the Meredith Music Festival Stage on Saturday at 7.50pm

Barkaa

There's a reason why Malyangapa Barkindji rapper Barkaa is going to need a bigger mantle to showcase all the accolades she is sure to keep receiving, she has well and truly earned her status as one of Australia's most celebrated rappers. On record she is bold, cheeky, resilient, tender, and above all else 100 percent herself – on full display, and never hiding from any part of her past or present. On stage, she is an undeniable force, whether she is shining the spotlight on society at large or right back at herself, audiences will surely be swept up in her magic. Expect bangers and celebration and hard-earned truths when the Blak matriarch takes over.

Barkaa takes the Meredith Music Festival Stage on Saturday at 6.40pm

Genesis Owusu

We mentioned genre-bending ear feasts as a hallmark of a Meredith weekend, and no one in this country is doing it better than Genesis Owusu. His 2023 album STRUGGLER is an exquisitely complex mash of sounds from raw punk to smooth R&B and a whole gamut of things we aren't going to do the disservice of trying to pindown, and on the live stage his defying of genre and musical constraints is fully realised. An electrifying perfomer, harnessing confidence and charisma with vulnerability and authenticity, if you want to witness true musical brilliance, look no further.

Genesis Owusu takes the Meredith Music Festival Stage on Friday at 12.05am

Glass Beams

Glass Beams are hands down one of the most exciting acts to come out of Australia in recent years. As mysterious and enigmatic as their music is captivating and refreshing, the live stage might just be their greatest frontier. They've spent a large chunk of 2024 (and are set to spend a huge amount of 2025) treating audiences in every corner of the globe to their hypnotic, pyschedelic fusion of spacious instrumentals, glittering synths, jazz, disco, pop, twangy guitars and traditional Indian music. Theirs is a melding of sounds, a melting pot of melody, and on the live stage it expands and grows, as if taking in breath. Prepare to be swept up in a hypnotic wonderland of "east-meets-west" brilliance.

Glass Beams take the Meredith Music Festival Stage on Friday at 10.55pm

Maple Glider

Potent, delicate, and empowering as just some of the words used to describe Maple Glider's 2023 album I Get Into Trouble. Across its 35-odd minutes, she speaks truth to power, sharing personal, often painful memories of her life and paints a picture of what it means to exist as a woman in the world. Hurting and joy collide in a glorious record, an emotional landscape that is only amplified when Tori Zietsch – the face behind the Maple Glider moniker – takes the stage, guitar in hand. The sonic palette of her performances, much like her album, is usually little more than some gently, fingerpicked guitar, maybe some piano, a gentle beat – the perfect setting for her voice to soar across the 'Sup.

Maple Glider takes the Meredith Music Festival Stage on Saturday at 11am

[only-shadows-dwell-where-we-are]

Swipe Right - Part 1

This new series comes from the pitch featured below, and is adjacent to my series Operation Valkyrie. This has been ready for a bit but I wanted to hold off before I felt I had the rest of the series more fleshed out in my mind. I hope to continue both this series and Redwood Institue in the new year.

CWs: pet whump, abduction/kidnapping, yandere whumper, non-con drugging, needles (vague)

Charlie approached the cafe, swallowing hard. His hands were sweaty, and he wiped them off on his pants and rolled his shoulders back, trying to display confidence. Then, he realised he didn't want to be too confident, lest he appear cocky, and dropped his shoulders.

Charlie sighed. This was not the first 'first date' he'd been on, and it certainly would not be the last. He'd been on many dating apps for the past year, hoping he could at last find someone who loved him for who he was. None of these dates or subsequent relationships had gone very far. Most people sooner or later 'politely' rejected him, telling him he was too socially awkward and quiet, or too absorbed in his music, reading and self-deprecating thoughts. Though rejection didn't feel good, he knew they were right. He was trying - trying to be more outward, to be caring about his dates' interests to socialise and be a more.. contributing member if society instead of a hermit.

So this date would be a test, of sorts, to see if his had efforts paid off.

"Charlie?" A voice called.

He looked up, spotting a young, deep brown-haired woman sitting at a table inside the cafe, wearing a beautiful white dress with small purple flowers, and waving to him with a big smile.

"Lacey? Hi." He rushed inside to the table and shook the hand she offered as he sat down across from her. "How... how did you know it was me?" He asked, running a hand through his constantly-tousled mousey-brown hair.

"Well, you were standing in the door like a lost puppy for a good five minutes. I figured you had to be Charlie." She laughed, a beautiful laugh that tinkled in his ears.

He went beet red. Had he really been standing there in the doorway for that long? "...Oh." He murmured.

"It's fine, Charlie." Lacey smiled broadly. "It's really nice to meet you. How are you?"

"I'm, uh, good. How- how are you?" He stammered.

"I'm excellent. It's just so wonderful to meet you in person.." She drawled, twirling a strand of her long hair around her finger.

"Oh- oh, thanks."

"Should we order?" She flashed another smile.

"Yeah. Um. Yeah." Charlie murmured.

Lacey poured over the menu for a few minutes, before passing it over to Charlie. After he closed it and slid it back into the centre of the table, Lacey waved over a waiter, and they placed their orders.

"That's better. So, tell me - what do you like to do? You said in our messages you love music, what do you play?" Lacey asked.

"Oh, I, uh. Original stuff. I play the piano and stuff." He shrugged.

"Oh really! I'd love to hear some of your music. What kind of music do you listen to?"

"I uh, I like, um, classical but also some pop and stuff. What about you?" He asked, trying to show some interest in her and her personality.

"Ooh, I quite enjoy a little bit of jazz - though I mostly listen to alternate and pop." She replied. "So you work in the industry, doing what exactly?"

"I freelance.. write my own stuff, occasionally perform.. My parents are well-off so I don't have to worry about putting food on the table." Charlie shrugged.

"Ooh! How wonderful." Lacey smiled as their food was delivered to the table. "Do you get many shows?"

"A couple throughout the week, at local bars and the like." Charlie sighed, digging into his croissant. "What did you say you do for work?" He asked her after a bite.

"Oh, a little bit of this and a little bit of that. You know, freelance stuff." She replied, vaguely. "You read too, don't you? Tell me more about what you like to read."

"I enjoy reading non-fiction - biographies about musical artists and war history, but I also like some fiction - fantasy, historical fiction.." Charlie finished his croissant off and wiped his fingers.

"This.. may be an awkward question, but can I ask- what would you say people see as your faults?" Lacey asked.

"Um, that's okay. I guess people say I'm really quiet. I'm bad at opening up, and I'm a bit of a push-over."

"Really? I wouldn't say you seem like that... People often say I'm too.. detached." Lacey raised an eyebrow.

"I guess we have that in common."

"Yeah. Hey, do you want to go for a walk? Go somewhere a bit more quiet, less.. crowded?" Lacey suggested.

They paid for their food, then she offered Charlie her arm, and he took it awkwardly, walking at her side as she gracefully strolled out of the cafe and down the street. There was an entrance to a park, and she stopped on the footpath next to the park. Cars were parked on both sides of the street, but the park and nearby areas were fairly quiet, during a tuesday morning.

Lacey leaned in, and put a hand on his shoulder, "You know, I think you're a great guy, Charlie. I personally don't feel a connection with you, but I'm sure we can make you a bit more desirable."

"What?" Charlie froze, perplexed.

It all happened so fast. One minute Lacey was beside him, the next there was a sudden sting in his arm, and then he was in her arms, swaying on his feet, and she was pulling him towards a car on the side of the road. She opened the door, and tossed him inside onto the floor between the front and back seats.

"Mmmph!" He uttered, landing flat on his face. His body betrayed him by not responding to his commands as she pulled his arms behind his back and tied them there with practiced ease, before draping a blanket on top of him.

She climbed into the front seat. "So that you can't be seen, darling. Have a nice rest now!"

And everything slipped away into darkness.

Taglist: send an ask or reply to this post asking to be tagged

[shamandrummer]

Music as a Political Act

Cree singer Sandy Scofield sees her music as a pathway for raising awareness and celebrating culture.

Sandy Scofield is a multi-award winning composer, musician, musical director, singer, songwriter and performer. She has studied classical, jazz, African, Indonesian gamelan and electro-acoustic music. Leader of the all female Cree band of singers, Iskwew, Sandy started making music before she can even remember and has played and sung in many bands over the years. From Cajun to rock, classical and folk, the foundation she had before coming into Cree Aboriginal music incorporated a wide variety of sounds and instruments. She plays piano and guitar in addition to being a singer.

Scofield came to Aboriginal music later in life, embracing her heritage through song. She says, "I went to the Banff Centre for the Arts in 1995 and did a ten-week intensive with Sadie Buck from Six Nations in Canada -- she had this residency for urban women who grew up without oral tradition and she brought in women elders from all around Turtle Island (North America) to teach them their traditions, songs, and song traditions."

When asked whether she feels that what Iskwew does is political, Sandy said, "We have many educated people holding their PhDs and working as doctors and this and that who are changing how society views First Nations people, but largely people still think of them as the drunks down on Skid Road, and that's all part of… So, in answer to your question -- Yeah."

What we're doing is politically showing people the pride in our culture. The fact that we come out and wear regalia, just to show very basic cultural teachings, we're trying to present through the songs. I have a floating group of women based on who's available that comes with me, but some of the other women who've gigged with me are just as vocal as I am onstage. It isn't like I'm leading every song and I'm talking all the time. Some of the other women get in there and talk and talk about teachings and talk about what we're wearing and talk about our role as women in our culture and how we're esteemed.

So that's what we do, and when we get to go play international festivals it's really important because, you know, one of the girls that sings with me, she went to Italy and some guy said to her, 'Where are you from?' and she said, 'Well, I'm Cree Indian from Canada,' and he was just aghast, he was saying, 'No. They were all extinct. They don't exist,' and she's going 'You're crazy!' You know?

But there's crazy ideas out there, so especially if we're on the international stage, we're trying to show the very best of who we are. And in Canada, half of our work is in what we call Indian Country, which is all of the country except dominant society doesn't see us. So we perform for other native people or we perform for dominant society, and so when we perform for dominant society, it's the same thing again. We're trying to show the really fantastic things about our cultures, our collective culture which really concerns community, egalitarianism to a certain extent, just pride, culture, the interconnectedness of all life and that we’re interconnected with one another -- things like that."

[tranthologies]

EPISODE HIGHLIGHT: THE CAPTAIN OF THE MONTE CRISTO

Today we're highlighting our 28th episode of Season 1: "The Captain of the Monte Cristo"    

it's the count of monte cristo but in spaaaaaaace!

you can find it wherever you get your podcasts! (if not, pls let us know!)

https://shows.acast.com/tranthologies/episodes/the-captain-of-monte-cristo

Image description under the cut

Slide 1: A dark purple background. In white lettering, a title reads: "THE CAPTAIN OF THE MONTE CRISTO” In the centre of the page, there is the cover art for this episode. It pictures two a planet and a spaceship. The cover art has arrows pointing away from it with text coming off them. The text coming off the arrows reads as the following: "1. Drama! 2. Retelling of a classic! 3. T4t romance! 4. It’s got jazz! 5. Happy ending! 6. Cool old timey duel! 7. It’s in SPAAAAAAAAAACE!”

Slide 2: A dark purple background. There is a design of a piece of paper in the centre of the page. On the paper, text reads: “The Count of Monte Cristo but in SPAAAAAAAAAAACE!” There are spaceships in the top right, bottom left, and bottom right corners of the page.

Slide 3: A dark purple background. Covering most of the page, there is a design of white lined paper. On the paper, an excerpt from the episode reads: “Narrator: In this time away from the world, she realizes her name is not Eden, but Esmen. It takes them over a decade to repair the Monte Cristo, but at long last, they make their escape. Upon return, Esmen spends years rebuilding themself as the Count of Monte Cristo. Their mysterious emergence and wealth draw the attention of high society, though they are never recognised as one of the galaxy’s most infamous pirates.” There is a spaceship in the bottom left corner.

Slide 4: A dark purple background. In the centre of the page, there is a design of white lined paper. On the paper, the credits read: “CREW: Written by Sylvie Keyes. Directed by Sylvie Keyes and Zoey Davis. Audio editing by Zoey Davis. Art by Sylvie Keyes. CAST: Ronan Fernsel as Esmen. Moira-Juliet Scott as Mercedes. Alex Abrahams as Fernand. Sats Di Stefano as Albert. Wes French as the Narrator. Ace as Servant on the Château de Morcerf. Shawn Tumbokon-Flowers as Renée. L M Chlohessy as Franz.” There is a planet on the left side of the page and a spaceship on the right side of the page.

[cyanidetooth]

Glittering Insects! Society Problem! Images Of Goo! Gordons! King Loser! Snapper! Jazz! Centre Negative! Nightclub! Body Double! The Weeds! Cuticles! Kraus! Terminals! Dead C! Robbie Muir! Graeme Jefferies! Peter Jefferies! Alaister Galbraith! Greco Romank! Coyote! Ov Pain! Kitchen's Floor! Birchville Cat Motel!

[musicblogwales]

Review: Lovely Ugly / Pretty Shitty (REPEAT RECORDS)

REPEAT Records are back with the 15 track compilation Lovely Ugly / Pretty Shitty. The record features current underground Swansea guitar bands, along with a couple of local legends. Upon their return to Swansea after almost 30 years away, REPEAT found it to be a more diverse, creative, vibrant and exciting place than the one they left behind. Amidst the decay of many traditional industries, imagination is running riot, with a host of venues in the city’s creative quarter continually hosting an array of artists, poets, writers and bands.

This album is a personal selection of some of the music that has inspired, enthused and excited REPEA*T since their return five years ago. The record features trailblazing upstarts including Trampolene, Monet, Swansea Sound, Rainyday Rainbow, Grey FLX and Kikker as well as boasting unreleased work from Swansea legends Helen Love, The Pooh Sticks and The DC10s.

Local legend Helen Love kicks off this mixed genre album with ‘Swansea’s Got An Our Price’, a perfect punk pop ode to former record shop Our Price. The modest queen of the Swansea indie scene talks of spending “all the money we’ve got” at the shop formerly located in Swansea town centre and how important it was to her, singing: “It was just a record shop but it changed my life. July 2nd 1985.”

The noisy, catchy and pop-punky ‘Fucked Society’ follows from Picsel, who have since evolved into Broken Fires. This track was written by accident and recorded on purpose and acts as a cathartic expression of opinion on the society we are now living in.

Baby Schillaci suddenly change the tone with ‘ULTRA HD HAPPY FACE’. It's loud, heavy and in your face, The looping drums, powerful bass and distorted guitar drive this track forward and leaves you wanting to scream out in rebellious protest. ANGHARAD takes us on a tour of her homeland with the indie pop inspired ‘Outsider’s Map of Wales’. She sings how it's “a place with funny names, but my home just the same.”

There is a more vintage and retro feel to the next few tracks. Tom Emlyn’s ‘Three Sided Coin’ is a bright, Beach Boys-like mood lifter. ‘In A Different Life’ is an organ infused jangle-pop critique of Swansea from the Heavenly and The Pooh Sticks super-group project Swansea Sound. Ian Catton’s remix of Soundwire’s ‘Degrees of Separation’ brings an ethereal mix of electronic, psychedelia and post-punk sounds. Filled with synths and echoing vocals this track is a real standout on the album.

Side two of the album starts with a bang. “I wanna go out Tory bashing, I wanna fight a fascist” are the first words of Kikker’s ‘Trash’. It's angry, visceral and inspired by injustice and inequality. Raw emotion and passion comes bursting out of the band’s vocals and music. The intensity is taken down a level with a rare 1991 single version of ‘The World is Turning On’ by 90s Swansea favourites The Pooh Sticks. The track, which featured on their 1993 album Million Seller, marks a shift away from the band’s original ‘twee’ indie-pop sound to a more American power-pop style. The BBC called The Pooh Sticks “ridiculously over-productive, stupidly catchy and archly clever.”

Swansea’s “exiled sons” Trampolene change the pace yet again with a delicate acoustic cover of Elliot Smith’s ‘Between the Bars’. Despite being a cover, the simplicity of the guitar playing and vulnerable vocals make this track another standout. ‘Thrown Hand’ is a solo recording by Egg Spectrum, soon to become a full band Rainyday Rainbow. The liquid-like soundscape created is the main feature of the track, with very little, often hard to make out vocals.

The music feels like it’s moving and is carrying you down this river of jazz and psychedelia. Grey FLX lure you in and completely surprise you with ‘Pins and Needles’. The track starts off as a quiet and intricate instrumental which rises and falls. Lyrics come in and the track builds again, getting louder before suddenly exploding with noise at the halfway mark. The screaming vocals and screeching guitars overcome everything and it is certainly a track that gets your attention.

The noise doesn’t stop there as it is Monet up next. ‘Scuff Button’ perfectly demonstrates the dichotomy of the band’s sound with elements of rhythmic post-punk to all out heavy metal. They really are one to keep an ear out for. Dead Noize are the newest band on the record and they are really making sure they’re heard. ‘Bojack Horseman’ is the third track in a row which grabs you by the throat and makes you listen. It’s noisy, distorted and energetic, fuelled by rock and metal.

Another band with cult status in Swansea, The DC10s, have the honour of closing the album with their 1980 track ‘I Can See Through Walls’. They recorded this 90 second punk pop single as teenagers and achieved a play from John Peel and an NME review before splitting up. It is a fitting conclusion to this collection of songs.

Lovely Ugly / Pretty Shitty is a 15 track love letter to Swansea music and the artists that make the city and its music scene great. There is a real blend of genres which makes the album feel a little disjointed but that is no bad thing. The compilation represents the diversity of creativity and talent that Swansea has to offer and is the perfect advert for the Swansea scene.

Two launch gigs accompany the album. The first took place on Saturday 1 June at Swansea Tangled Parrot, with Monet, ANGHARAD, and Baby Schillaci. The second will take place on Saturday 22 June at Elysium Gallery in Swansea. The show will feature Kikker, Rainyday Rainbow, Grey FLX, Soundwire, Tom Emlyn, and Dead Noize as well as sets from DJs Hue (Swansea Sound / The Pooh Sticks), Catrin (The Loves) and Peter Stone (The Sweetest Ache).

Tickets for the launch show can be found here - https://www.wegottickets.com/event/616659#tickets

The album is out now on Swansea City coloured black and white splatter vinyl, with a gatefold sleeve featuring an original painting of the city by local artist Fred Fitton.

Listen and buy here - https://repeatfanzine.bandcamp.com/album/lovely-ugly-pretty-shitty

Words: George Phillips

[detroitflights]

Houston's Top 7 Locations for Stunning Sunset Views

Famous for its bustling eateries, street art, and southern culture, Houston provides a mesmerizing skyline vista after a busy day. Because of the year-round sunshine and the popularity of the city as a travel destination, it is imperative to witness the breathtaking sunset. Discover 'Space City' by venturing through parks, rooftops, stadiums, and the bayou. Make Houston an amazing trip by booking DTW flights and taking advantage of the city's many activities and attractions.

Houston's Top Spots to Take in the Stunning Sunset

Buffalo Bayou Park: In addition to having a fantastic sunset view, Buffalo Bayou Park in downtown Houston is home to the Cistern Art Museum, The Water Works, a restaurant, and a skate park. After seeing the sunset, the park's large urban area with a charming lake and scenic surroundings make it the perfect place to check out the city's nightlife.

Twilight Epiphany Skyspace The architecturally stunning Twilight Epiphany Skyspace on the Rice University campus serves as the home of the Shepherd School of Music in Houston. There's an LED show here around sunset, and there are two viewing platforms. Although there is a view of the Houston skyline from the lower deck, it is framed and offers a less impressive perspective of the sky above.

Hermann Park's Miller Outdoor Theatre Jazz, Shakespeare, ballet, and pop concerts are all free to see at Houston's Miller Theatre, which is situated in Hermann Park. March through November. The theater, which is great for enjoying free performances and the rays of the Texan sun, is situated between Hermann Park and the Hermann Zoo. It boasts a stunning view of the sunset.

The Nature Center & Arboretum in Houston Encompassing Memorial Park, one of the biggest urban parks in the United States, for five miles, Houston's Houston Arboretum & Nature Centre is an ideal location for a peaceful haven. The center provides beautiful sunsets, animals among the wetlands, and a calm haven from the daily grind. Photographers and lovers of the outdoors should not miss this tranquil setting.

Minute Maid Park For lovers of Major League Baseball, Minute Maid Park, the home stadium of the Houston Astros in Texas, is a unique experience. The stadium provides a distinctive ambiance for afternoon or evening games with a seating capacity of over 40,000. Savor the succulent sunset beside the world-famous Texas barbecue and game tickets.

Sam Houston Park The Kellum-Noble mansion, rustic buildings, and Victorian architecture can all be seen at Sam Houston Park, a historic property managed by the Heritage Society in downtown Houston. For those who enjoy history, this park provides something special: a prime location to watch the sunset while immersed in centuries of culture and history.

Memorial Park Golf, baseball, swimming, and a running course are among the many sports and outdoor activities available at Houston's Memorial Park, the city's largest open area. It also has Buffalo Bayou-bordering pathways that are well-liked by track runners and bikers and provide a calm setting for picnics and skyline views. Take a flight from Detroit to Houston and explore Houston.

[sociologyonthemove]

A walk down the Cowbridge Road East by Linda Boyce

My sociological walk takes me through the district of Canton, down Cowbridge Road East. A down at heel high street (Puwar 2012)  in comparison to the bustling consumerism of the city centre of Cardiff less than two miles away.  An area I’ve frequented many times on trips to an orthodontist on the outskirts with my teenage daughter, but never venturing a step further. I’ve previously been intrigued by the culture and people observed in this community. The walk contrasts the disparities between green spaces and the din of the urban space. However, the main focus of my walk is on the multiculturalism of the community of Canton and how everyday multiculturism (Wise and Velayutham 2009) is played out in urban areas like shopping centres and high streets (Watson 2016).  I feel it is a place that stirs the ‘sociological imagination’ (Wright Mills 1959). A walk that allows me to get a feel for the textures and rhythm of social life in motion (Bates 2014), a place that is telling about society (Becker 2007).

I take the flaneur or rather the flaneuse approach to my sociological walk, as a straddling observer and participator, blending the reportage and poetique (Grantz 2005, p152). My true mission is to tap into urban energies, to stroll, to dawdle, a time of wasteful idling (Ferguson 1994). A floating existence in order to reveal modern urban cultures (Baudelaire 1965, pp 118-119). My walk, although a planned route, comprises of free play across the authoritarian city (Kramer and Short 2011), I find myself curious, and inquisitively heading down side streets to botanise the asphalt (Benjamin 1968) of this little place of Canton.

My walk commences around 11.05 on a Thursday in March at Cardiff University’s Glamorgan Building located near the Welsh Government building. I capture the unfolding portrait of Canton life using audio and video recording, along with taking photographs, to take the reader to where social action is going on (Back 2012). I also wrote scratch, field notes as I continued my ‘walkalong’ (Kusenbach 2003).

I head up King Edward VII Avenue and take a left turn, cutting through College Road to bring me to the crossing on North Road, directly opposite the Royal College of Music and Drama (RCMD) and its prestigious, contemporary building.  Here, as I wait at the crossing, I feel myself consciously engaging with my sensual imagination (Vanini et al 2013). The hiss of the hydraulics of passing buses, the screeching brakes, the squawking seagulls circling above, the smell of the exhaust fumes that catch me in the back of the throat and the distant sirens whirring in the distance. I am listening, sensing and feeling (Bates 2014) the multi-sensual world (Lorimer 2005, p83), trying to understand the social and how it is researchable (Lorimer 2005, p84).

I cross the road and wander through Bute Park, immediately feeling the restfulness of this green space. As I enter through the park gates, I meander the path through the park, and drift purposefully in the recommended mode (Sinclair 1997, p4).  I take some audio recordings in the park where nature is heard - away from the noisy hub of the city - and bird singing can be prominently heard over the background traffic noise. In contrast, the sound of a saxophonist playing jazz could be heard from the open windows of the RCMD behind me. My pace slows as I want to feel the textures and rhythm of social life in motion (Bates 2014). Cyclist’s dash past me, the sound of the revolving pedals, whirring of the bicycle chain and the rubber tyres on asphalt, is quite an appealing sound. This outdoor green space is a lived space with everyday life with rhythms and patterns (Lefbvre 1991).  I also notice the visibly embedded bike trails and walking routes of pedestrians in the path. I come to a little café set alongside the River Taff, a perfect pit stop for dog walkers, joggers and pram pushers. I head up over the suspension bridge that bounces with my every footstep.  I head out through a car park for the national express bus station, I can’t help but notice how even though this is in the confines of the park, a place of nature and trees, nature is being tamed, by way of an iron grating that encircles the tree in order to curtail the roots and stop them buckling paving slabs. 

As I exit the park which brings me onto the main road that leads to Canton, the place of my sociological enquiry (Beck et al 1994; Lash 1999). I am bombarded once again with exhaust fumes and the cluttering noise of traffic and come across vibrant matter (Bennett 2009) of particular grot spots of litter, (Puwar 2012) - the left-over objects of commercial consumption. I cross at the junction, and with a slight left, I head down to Cowbridge Road, East.  Passing the blue plaque outside of a Victorian townhouse signalling the birth place of Ivor Novello, a Welsh 1920s composer, better known these days for the eponymous music awards. Two older, gentlemen are strolling just in front of me as I catch with them as I pass them by. I overhear one gentleman asking the other, “I’m not too old, am I”?  Realising that I was passing just as this was being said, there was a distinct silence between the both of them. I turn to smile at the gent who must be at least 80 years of age, but very spritely. Reassuringly I say, “You’re never too old, you’re as young as you feel!” They both chuckle.  To the left are some disused offices and the St David’s Hospital.  It is at this point, where my sociological walk and the multiculturalism of Canton truly begins. 

I continue on my traverse, I pass a myriad of restaurants from global cultures such as Dubai Nights, Vivo Latino, Kimchi Korean and the famous Happy Gathering - a well-loved Cantonese restaurant. There is also cultural merging of cuisines for example with the Indo-Cymru restaurant - possibly in recognition of the proprietors’ cultural origins that they now have come to call Canton their home.  There is a fruit-and-veg van perched to the side of the row of restaurants where a queue is forming. The chatty proprietor makes friendly gestures and calls customers by their first names. Talking about a variety of things, from local misdemeanours, to the score of the last city game, “seriously though Giggs - managing Wales mun,” one guy retorted.   I motion further down the high street passing, a sex shop marketing their wares as ‘marital aids’.  Further along, are a number of hire purchase outlets, casinos and betting shops that give me a sense that this may be a deprived area. These descriptions are the urban banality (Kramer and Short 2011) of the high street but are relevant, as these local territories shape the social interactions (Kusenbach 2003) in this community. These high street outlets give vitality to the ongoing life (Back 2013) of this suburban space.  Where the actors engage with the places around them through the course of their everyday lives (Seamon 1979). As I stroll down the high street, I notice that Canton has a number of butchers, bakers and fruit-and-veg shops, along with cobblers and hardware shops that take over the space on the pavement to sell their wares. Reminiscent of the old ways of shopping, it is quite a ‘quaint’ high street with privately owned businesses and very few global retailers - an ‘everything on your doorstep’ type of high street.

I continue my journey down the road, past Shab’s, a Turkish barber’s, numerous tattoo studios and tanning outlets and multiple vaping shops, where the pungent smell of artificial  scents spill out into the street through the plumes of smoke. I also pass a number of places of worship, a Baptist church that runs toddler groups, community courses and after school clubs further down and a larger church called the Wesley, that has converted its foyer area into a café, as I pass I notice a number of older residents catching up and chatting over a cup of tea.

I eventually come to a cross roads which is at the centre of Canton. I decide to loiter around a bench that is set directly outside Tesco Express, and as I sit down, two ladies sit down next to me disgusted with the price that they have paid for their sandwiches and they both agree that they, “will never do that again”.  To the side of the bench there is a large tower, there as a sort of architecture of advertisement (Hessel 1968) that is pasted from top to bottom with a number of local events at the nearby cultural hub of Chapter and more risqué events such as the Lady Boys of Bangkok.  I feel that this is a convenient place to scribble some field notes as I observe the consumerist order (Bauman 1994, p153) of shoppers. People mingle, congregate and socialise around these pigeonpoop-covered benches. As I sit there, the bench users are joined, on the outskirts, by two mobility scooter users wishing to rest at this place to enjoy the pasty and sandwich that they have recently purchased.  I can’t help but notice that I am completely surrounded by cooing pigeons and I have to duck as they swoop over my head. I turn around to see an older lady feeding them, a complete frenzy of feathers and panicked pecking at the floor ensues. She notices me looking over and says, “Well I’m giving them their breakfast see, if I don’t do it, nobody will”. I smile back at her. “Bless her,” I think to myself. I pan around to people watch and notice the diverse social architecture (Kusenbach 2003) of the people on the high street.  Indian Ladies pass wearing brightly coloured Sarees and Muslim women in Burkas all indicate their cultural background. As they pass one another, there is a friendly recognition between them, a social bond that the people have as a result of sharing this local territory (Kusenbach 2003). Outside the Tesco Express, a young, homeless girl sits with a knitted blanket over her knees reading a book.  A number of people stop to give her money and a Muslim lady spends time chatting to her. They laugh together and they say their farewells.  Sitting adjacent to her is a Big Issue vendor, dressed in a black head covering, she also gets a warm reception from passers-by. One older lady calls across to her and asks how she is today? “I’ll be back now in a minute to buy one love, I just need to get some change,” and she heads into the shop. I veer left down a side street to stumble across a gym, called ‘Hiya’ fitness - ladies only. Next to it is a shop Munfrid Styles, selling Shalwar Kameez, a traditional Indian outfit, and Sarees. Outside I see a group of Muslim ladies ready to head inside to the gym, but as they do they stop to wait for a local lady and they all walk in together, chatting. I continue my walk further down the road just taking in more social interactions and catching the visible practices as they happen (Laurier 2014). A group of older ladies pass me with each with a front loading shopping trolley, there is a near miss with my feet as they pass but they are more intent on getting the attention of their friend further down the street. “Allo, allo, allo Gal,” as they catch up with her, “Oh, we haven’t seen you for ages, how’s your Gallstones now?” “Ah I had them blasted see” she replies. I continue my walk further and receive many smiles and hellos from all walks of life - me, a stranger, being treated as one of the locals (Kusenbach 2003). Across the road I notice another hair dressing salon/barbers and above the salon, in bold red writing, is ‘Stavros Constantinou, Welsh, British, European and the world hairdressing champion – for ladies and their gentlemen’. The place is heaving, with people in the hairdresser’s chairs and a good crowd waiting and flicking through magazines and swiping phones. It makes me wonder about the numerous narratives and gossip that they exchange whilst sitting in the chairs.  

In my reflexive turn (Emerson 2001), my initial impressions of Canton were that it was a socio-economically deprived area. However, the more familiar I became with the area, I found my attitude changed and I became quite fond of the area as I gained a feeling for its space and people (Bates 2014).  This area was a closely knitted, multi-cultural space. The butchers, barbers and fruit shops were the hub of the high street where lived experience of knowledge was exchanged, along with snippets of gossip. There were pockets of deprivation, but it was a far cry from the consumerism of the city centre. Nevertheless, there was authentic, real-lived Cowbridge Road East culture - the storytelling and the catching up in the street, over shop counters and outside betting shops whilst having a cigarette - being more than anything that could be projected in the gentrified area of Cardiff’s city centre.  The street felt alive and breathing with the same heartbeat and community spirit with feelings of friendly, neighbourly relations - unlike the multiculturalism in the realm of political discourse being portrayed as a divide in communities. This contrast may have been because a majority of the people were ‘in the same boat’, with similar circumstances and the lack of socio-economic status and materialism stunted the individualistic selfishness and greed of the city centre.  

References

Back, L., 2013. New Ethnicities and Urban Cult. Routledge. Bates, C. ed., 2014. Video methods: Social science research in motion. Routledge. BAUDELAIRE: ‘Le Peintre de la Vie moderne’, Critique d'Art, II, Paris [1965]. Bauman, Z., 1994. Alone again. Ethics after certainty. Beck, U., Giddens, A. and Lash, S., 1994. Reflexive modernization: Politics, tradition and aesthetics in the modern social order. Stanford University Press. Becker, H., 2007. Telling About Society Chicago: University of Chicago Press. Benjamin, W., 1968. Illuminations (Vol. 241, No. 2). Random House Digital, Inc.. Bennett, S., 2009. Londonland: an ethnography of labour in a world city. Libri Pub Limited. Certeau, M., 1984.  ‘Practices of Space’, in M. Blonsky (ed.) On Signs. Baltimore, MD: Johns Hopkins University Press. Emerson, R.M., 2001. Contemporary Field Research: Perspectives and Formulations, 2nd edn. Prospect Heights, IL: Waveland Press. Goffman, E., 1963. Behavior in Public Places: Notes on the Social Organization of Gatherings. New York: Free Press. Kramer, K. and Short, J.R., 2011. Flânerie and the globalizing city. City, 15(3-4), pp.322-342. Kusenbach, M., 2003. ‘Neighboring: An Ethnographic Study of Community in Urban Hollywood’, dissertation, University of California, Los Angeles. Kusenbach, M., 2003. Street phenomenology: The go-along as ethnographic research tool. Ethnography, 4(3), pp.455-485. Laurier, E., 2014. The graphic transcript: Poaching comic book grammar for inscribing the visual, spatial and temporal aspects of action. Geography Compass, 8(4), pp.235-248. Lash, S., 1999. Another modernity, a different rationality. Lefebvre, H., 1991. Critique of everyday life (Vol. 2). Verso. Lofland, L.H., 1998.  The Public Realm. New York: De Gruyter. Lorimer, H., 2005. Cultural geography: the busyness of beingmore-than-representational’. Progress in human geography, 29(1), pp.83-94. Milligan, M.J., 1998. ‘Interactional Past and Interactional Potential: The Social Construction of Place Attachment’, Symbolic Interaction 21: 1–33. Mills, C.W., 2000. The sociological imagination. Oxford University Press. Noble, G., Wise, A. and Velayutham, S., 2009. Everyday Multiculturalism Puwar, N.,  2012. Walking through the litter,  life writing projects,  Sussex University. Seamon, D., 1979. A Geography of the Lifeworld. New York: St Martin’s Press. Vannini, P., 2015. Non-representational ethnography: New ways of animating lifeworlds. cultural geographies, 22(2), pp.317-327. Watson, S., 2017. Making multiculturalism. Ethnic and Racial Studies, 40(15), pp.2635-2652.

[grad604kaywee]

W3: SDL - x5 Themes

Themes: Colour, peace, nature, green, artistic, captivating, calming, meaningful, geometric, politics, society, morals, truths, biology, tone, personality, textiles.

Truths/Nature:

I love these designs and creators who are not afraid of upsetting people. Whether it be their message, tone of voice, or language. I want to be a designer who spreads truths which can possibly be controversial. I hope any designs I put out there will have meaning and provoke discussion and debate like these would. They also promote sustainability and caring for nature and the environment I want this kind of tone and personality visible throughout my work.

BatterSea - Pentagram

Artistic/Unique meaningful design:

1. Double Trio, Book cover by Boyang Xia

2. Sons & Co. 120, Chromatic Joy.

These two designs are super unique and meaningful. Through their colour palette, and aesthetic appearance that stand out and are very memorable.

1. Has a super unique design that I have not seen before. The book itself has a printed cover that resembles a black hole. They wanted to design a book without losing the elasticity and free spirit that jazz possesses, which is a huge inspiration for the author himself, and plays a role in the structure of the book.

2. This project caught my attention because of its "behind the scenes". It shocked me that they physically created the parts of this design and put it all together like a puzzle. The attention and passion of these designers show through and inspire me to work in similar ways.

Captivating/Cool:

Scapegoats — super natural landscaping.

This brand intrigues me with the attention to detail and care in the design. They used linocuts and wood engraving to create the prints for the brand and collateral. I love this approach and passion into the project, as well as the appreciation for older techniques.

[rickchung]

Summer Daze: July 2023

Metro Vancouver Events Calendar:

Now-July 2: Vancouver International Jazz Festival

Now-July 23: Frida Kahlo: The Immersive Experience @ PNE Agrodome

Now-Aug. 6: Million Dollar Quartet @ Granville Island Stage

Now-Aug. 19: Tall Tales: The Quest is Up to You! @ The Improv Centre

Now-Aug. 31: Back to the ‘80s @ VIFF Centre

Now-Sept. 15: Shipyards Night Market (Fridays)

Now-Sept. 24: Jeremy Shaw: Phase Shifting Index @ Polygon Gallery

Now-Sept. 30: Bard on the Beach Shakespeare Festival @ Vanier Park

Now-Oct. 9: Richmond Night Market

Now-Oct. 28: Riley Park Farmers Market / Trout Lake Farmers Market / West End Farmers Market @ 1100 Comox (Saturdays)

Now-Oct. 29: Mount Pleasant Famers Market @ Dude Chilling Park / Kitsilano Farmers Market @ Kitsilano Community Centre (Sundays)

Now-Nov. 29: Downtown Farmers Market @ 750 Hornby (Wednesdays)

July 1: Steveston Salmon Festival / Seven Samurai (Open House) @ The Cinematheque

July 3-4: Le Tigre @ Commodore Ballroom

July 6-15: Dancing on the Edge Festival

July 6-16: Indian Summer Festival

July 6-Aug. 26: Theatre Under the Stars @ Malkin Bowl

July 8: Khatsahlano Street Party / Luxury & Supercar Weekend @ Richmond Olympic Oval

July 8-9: Carnival del Sol @ David Lam Park

July 9: Brewery and the Beast @ Concord Pacific Place

July 9 & 23: Ladner Village Market

July 9-Aug. 6: Music on the Plaza @ Brentwood Plaza (weekends)

July 12: Gastown Grand Prix

July 13: Tropic Thunder @ Odd Society Spirits

July 14-16: Vancouver Folk Music Festival @ Jericho Beach Park

July 15-16: Vancouver Chinatown Festival

July 16: Nuba 20th Anniversary Block Party @ Mount Pleasant

July 22: The Cup @ Hastings Racecourse

July 22-23: Create! Arts Festival @ Strathcona Park

July 25-30: Broadway Across Canada: Disney’s Aladdin @ Queen Elizabeth Theatre

July 27-Aug. 5: Early Music Summer Festival

July 28: Boygenius @ PNE Amphitheatre

July 28-30: East by Northwest (EXNW) Global Summit @ JW Marriott Parq

July 28-Aug. 6: Vancouver Pride Festival

[theoutcastrogue]

Anthropophagos ("someone who eats humans") still exists in modern greek, and it's the formal term, as well as the standard word when you're stating things matter-of-factly, without a specific load or slant.

Kanivalos is informal, occasionally humorous and primarily an insult, like when you want to say "you people are savages!". Different people will use it for VERY different targets. I've mostly heard it said or shouted against:

football hooligans

rowdy youngsters in general

uncouth people without manners or taste (or people perceived as such)

select music fans (of metal, punk, rock, rap, hip hop, trap, skyladiko or other greek music, any kind of electronic, whatever annoys the speaker basically, unless they're annoyed by soft/posh things: no one's gonna say it for jazz or classical)

immigrants, black people, minorities, entire nations

this nation

cops, and especially riot cops

the army

"You cannibals, your prisons I despise"

the state / the government

bosses / capitalism

and perhaps most often, journalists and reporters (the bad kind, those who sell sensationalism, spread moral panics, stigmatise people etc),

and those who consume the sensationalism

Personally, I remember saying it like a thousands times a few years ago, when the Minister of Health came up with a brand new way to protect public health create a spectacle for the upcoming elections, in collaboration with the prosecutor. They sicced the police to round up hundreds of sex workers from the streets of Athens, made them take an HIV test by force, arrested the 32 women that tested positive, charged them with "intentionally attempting to inflict serious bodily harm", and then had their full names and mugshots published, and plastered all over the news on tv, and newspapers and the internet. The show was sensational and lasted weeks.

At that point I felt we really hit rock bottom, as a society. (We're still down there, in case you're wondering.) And I kept thinking and quite often screaming "cannibals!", at the minister himself, and everyone else at the ministry, and the whole government, and the doctors of the Centre for Disease Control who regrettably went along with it, and the prosecutor and cops who executed it, and every single media and "journalist" that participated in the spectacle, and every spectator who ate it all up (and then indeed re-elected that fucker to parliament). Because that's fucking cannibalism. That's a society eating its own, and viciously and deliberately picking the most vulnerable to chew and spit out.

[The 32 women were eventually acquitted, but only after their lives were ruined. Almost all of them were drug addicts, which is how they ended up HIV-positive (ruining the plan to "prove" that sex work is a public health hazard – it's really not), and almost all of them were greek. I mention this because later it became clear that the minister was hoping for a spectacle of immigrant and especially black women (to his immense disappointment, there were no HIV-positive black women). He was basically attempting to push the button of every single fucked up racist and conservative instinct of the electorate at once. Can you imagine.]

Edit: I queued this many days ago, and yesterday the Strasbourg Court (the European Court of Human Rights) actually condemned greece for this, fucking finally, and ordered it to pay 70k euros for damages. Which is not much (how does one even put a price on that?), but it's something, and at least it's a recognition that human rights were grossly violated here. And then you read the decision and it's even more depressing.

All this happened in 2012. It took 14 years. Out of 32 women, 11 went to court. And out of those, 5 had died in meantime. (From what? AIDS? No one should be dying from AIDS any more! Everyone should have access to antiretrovial drugs regardless of income, but they don't, do they? Not if they've slipped through the cracks – or indeed pushed. Overdose? I don't know, there was no follow-up in the news!) Some complaints were dismissed for procedural reasons, such as time limits. And in the end, only 3 women out of 32 won the case and actually lived to see it.

This is pathetic. This is not a real consequence for the state (a drop in the budget's bucket), neither a real compensation for the applicants (sorry we ruined your life, here's 15 or 20k euros), and it most certainly isn't justice.

The word for “Cannibal” in European languages.

by geography_addicted_

[jminter]

Picks of the Week - May 3, 2023

Did those April Showers bring May Flowers? A line up of activities certainly bloomed in this picks of the week Musical:  Royal City Musical Theatre presents its 31st Season bringing the Gershwin comedy musical Crazy for You, starring Todd Talbot (Love it or List it-Vancouver) to the Massey Theatre from April 27 – May 14.

Todd Talbot in RCMT's Crazy For You Photo: Moonrider Productions, Mark Halliday Blooms: The Fraser Valley’s annual cavalcade of colour continues to bloom for the next few weeks, the 17th annual edition of the Chilliwack Tulip Festival covers acres of flowers Festival: Continuing until May 28th, Urban Ink and The Cultch welcome new works and past favourites to a free, all-digital TRANSFORM Cabaret Festival focuses on empowering Indigenous artists and encouraging collaboration with non-Indigenous artists. Legend: When an Elvis impersonator finds career troubles, he finds a new way to make ends meet, The Legend of Georgia McBride brings a banquet of fabulous outfits, fierce performances, and epic drag anthems to the Arts Club Stanley Industrial Alliance Stage until May 21st Opera: Closing out its 2022-23 season, Vancouver Opera brings Wagner’s epic opera, The Flying Dutchman with two more performances, May 4 and May 7, at the Queen Elizabeth Theatre. Improvise: The Improv Centre on Granville Island debuts its spring show, Bring Back The ‘90s!, on Fridays and Saturdays at 7:30pm until May 27 Femme: The Cultch’s continuing Femme Festival, features seven performances from women in music, theatre, dance, comedy, and circus, on its three stages with Body Parts and útszan (to make better) coming to the stage this week. Choir: Chor Leoni and its star ensemble The Leonids prepare for a busy month of music, beginning with its May 5th Schubertiad collaboration with Early Music Vancouver.  

The Leonids in The Turning (left to right):Eric Alatorre, Jacob Perry Jr., Steven Soph, Enrico Lagasca, Erick Lichte, Steven Caldicott Wilson, Dann Coakwell, Jonathan Woody, Andrew Fuchs, Sam Kreidenweis. Photo: David Cooper. Project: Pi Theatre, adds a touch of intrigue to its next production. Continuing its Provocateurs Series with the next presentation, Untitled Peter Tripp Project, running from May 4 - 6 at a secret location which will be announced to ticket holders days before the performance. Balls: Hoping to make it an unbeaten in 8 MLS matched, Whitecaps FC take the field at BC Place to host Minnesota United FC, Saturday at 7:30pm Futures: Until January 14, 2024, 25 years since the artist’s passing, the Bill Reid Gallery presents the Canadian premiere exhibition of Bright Futures, co-curated by Bill Reid Gallery Curator Beth Carter, Assistant Curator Aliya Boubard, and in consultation with Jordan Wilson (Musqueam).  Quintet: Saturday May 6th, New Westminster's Anvil Centre presents Huu Bac Quintet's, Mekong Waters, a skilful fusing of the traditional sounds of his Vietnamese and Chinese heritages with North-American jazz. Huu Bac Quartet at Anvil Centre Saturday May 6th. Photo: Johanna Katrina Comedy: Running to May 7, The Firehall Arts Centre and Savage Society present the remount of Taran Kootenhayoo’s White Noise, a comedy about two families who have dinner together for the first time during Truth and Reconciliation week. Exhibition: On display until June 11, Richmond Art Gallery, in partnership with the Richmond Public Library, presents A Small but Comfy House and Maybe a Dog the first major solo exhibition by Amy Ching-Yan Lam, guest curated by Su-Ying Lee, featuring sculptures made in collaboration with HaeAhn Woo Kwon, with objects from the collections of the Gallery and the neighbouring Richmond Public Library. Gallery: On display until May 14, Polygon Gallery presents As We Rise: Photography from the Black Atlantic Curated by Elliott Ramsey, the exhibition is organized by Aperture and features more than 100 photographs from the Wedge Collection — Canada’s largest privately owned collection committed to championing Black artists. Read the full article

[thaoworra]

I’ll be presenting at LITERARY BRIDGES, on May 7, 2023 starting at 2:00 PM at Next Chapter Booksellers, located at 38 S. Snelling Avenue, St. Paul.

“Well April snowstorms bring May?…” says Stan Kusunoki, co-host/curator of the Literary Bridges reading series. “…May poets, of course! This month’s roster promises a wide-ranging, yet interconnected group of writers. It will be fun to chase all the threads of connection—in other words, a classic Literary Bridges!”

The roster includes: Claire Wahmanholm is the author of Wilder (Milkweed Editions 2018), Redmouth (Tinderbox Editions 2019), and most recently, Meltwater (Milkweed Editions 2023). Her work has most recently appeared in, or is forthcoming from, Cream City Review, TriQuarterly, Sierra, Ninth Letter, Blackbird, Washington Square Review, Copper Nickel, and Beloit Poetry Journal. She was a 2020-2021 McKnight Writing Fellow, and her poem, “Glacier,” won the 2022 Montreal International Poetry Prize.

Lynette Reini-Grandell is the author of Wild Things: A Trans Glam Punk Rock Love Story, (Minnesota Historical Society Press, 2023) and the poetry collections Wild Verge (Holy Cow! Press, 2018); Approaching the Gate (Holy Cow! Press, 2014), winner of the 2015 Northeastern Minnesota book award for poetry. She teaches English and creative writing at Normandale Community College and the Loft and has received support for her work from the Finlandia Foundation and the Minnesota State Arts Board. A multidisciplinary collaborator, she performs at spoken word venues with the Bosso Poetry Company and the jazz collective, Sonoglyph, and her poetry is part of a permanent installation at the Carlton Arms Art Hotel in Manhattan. She lives in Minneapolis on the ancestral homeland of the Dakota people. Bryan Thao Worra presents internationally on science fiction poetry and the Southeast Asian diaspora. He has presented at the Singapore Writers Festival, the Smithsonian Asian American Literature Festival, the Library of Congress, the League of Minnesota Poets, Poets House, Kearny Street Workshop, the 2012 London Summer Games, and more. His newest collection is American Laodyssey (2023) from Sahtu Press as his community marks 50 years since the end of CIA Secret War in Laos.

Marion Gómez is a poet and teaching artist based in Minneapolis. She has been awarded grants from the Minnesota State Arts Board and the Loft Literary Center. Her work has appeared in La Bloga, Mizna, Waterstone Review, Saint Paul Almanac among others. She is a member of the Latinx spoken word collective Palabristas.

Moheb Soliman is an interdisciplinary poet from Egypt and the Midwest who’s presented work at literary, art, and public spaces in the US, Canada, and abroad with support from the Joyce Foundation, Banff Centre, Minnesota State Arts Board, and diverse other institutions. He has degrees from The New School for Social Research and University of Toronto and lives in Minneapolis, Minnesota, where he was Program Director for the Arab American lit and film organization Mizna before receiving a multi-year Tulsa Artist Fellowship and this year a Milkweed Editions fellowship. His debut poetry collection HOMES (Coffee House Press, 2021), explores nature, modernity, identity, belonging, and sublimity through the site of the Great Lakes bioregion / borderland. Moheb has been a finalist for the Minnesota Book Awards, Heartland Booksellers Award, and others, and was showcased in Ecotone’s annual indie press shortlist and the Poets & Writers annual 10 debut poets feature. See more of his work at www.mohebsoliman.info.