#building materials price online

[metrials]

Purchase construction materials online at the most competitive prices in Hyderabad.

Welcome to BuildersMART, your one-stop destination for purchasing construction materials online in Hyderabad. With our user-friendly platform, we aim to revolutionize the way you procure materials for your construction projects, offering convenience, affordability, and quality all in one place.

We know that buying construction materials can be challenging and complicated. That's why we've made it easy for you to find and purchase products from your home or office. Whether you're a contractor, builder, or DIY enthusiast, we have everything you need to do the job right.

Our catalog has a wide selection of construction materials, including cement, steel, bricks, tiles, sand, and more. We work with reliable suppliers and brands to make sure you get high-quality products for your projects.

For more information, please visit our site

[sitesupply]

The Ultimate Guide to White Cement: Features, Uses, and Benefits

White cement is an essential material in the construction and design industry, renowned for its purity, smooth finish, and aesthetic appeal. At Site Supply, we provide high-quality white cement tailored to meet the demands of modern construction projects. This guide delves into the unique properties, applications, and benefits of white cement, helping you make an informed decision for your next project.

White cement is a specialized type of cement manufactured to achieve a white color and smooth texture. Its composition differs slightly from ordinary Portland cement (OPC), as it contains minimal amounts of iron and magnesium, which are responsible for the gray color in OPC.

Visit Website - https://sitesupply.in/product-details/jk-white-cement25kg

[snehasharmathumbler]

Buy best quality building material at wholesale prices from SpaceMantra. Select from a wide range of materials and brands to renovate your new home or office. Check now- https://spacemantra.com/building-materials.html

[reasonsforhope]

"Shopping for clothes is already intimidating. There are so many options and styles to consider, as well as factors like sustainability and ethics.

But for people in fat, disabled, or queer and gender-nonconforming bodies, it’s even more arduous.

Nico Herzetty, Emma K. Clark, and Paul Herzetty wondered: What if there was a way people could shop — not necessarily by color or size — but by measurements, materials, and ethics?

So they set off to create their website: Phoria. 

Here, shoppers can set up a free profile, add their body measurements (and “typical fit challenges”) and peruse over 270 brands. Once these data points are entered, users can personalize their pages with “saved,” “recommended,” or “hidden” brands. 

Pages can be totally private, or shared with the community to connect over styles and brands.

Aside from fit, brands in the Phoria database (which claims to be “the largest database of plus-friendly brands”) can also be filtered as “gender-neutral,” “woman-run,” “small business,” or “natural fibers.” Users can also filter for price, preferred styles, and more.

Pictured: A screenshot of the "Fit Challenges" feature on a Phoria user's profile.

Some brands include popular names like Athleta, Levi’s, and Patagonia. Others are small businesses, like Beefcake Swimwear, or Hey Peach.

“For so many people, it feels too damn hard to find and keep clothing that fits in all the ways that really matter. So we’re doing something about it,” the Phoria website reads.

“Unlike most online shopping experiences, we center the needs of plus-size women, nonbinary, and trans people, and prioritize supporting clothing brands focused on sustainability, ethics, and inclusion.” ...

That team — made up of Clark, and Nico and Paul Herzetty — calls themselves “fat, disabled, and very, very queer.” 

“These are some of the main ways we identify, and they’re qualities that have directly impacted our ability to get dressed every day in a way that feels good,” the Phoria team introduces themselves on the website.

Pictured: A screenshot of Phoria's plus-size clothing brand database.

In addition to catering the user experience to women, non-binary, and trans people, Phoria is also a benefit corporation, or a B corp.

“We’ve legally required ourselves to consider the interests of all our stakeholders — customers, employees, the planet, and our shareholders,” the Phoria website explains.

“Our specific public benefit purpose is to reduce people’s dependence on buying mass-produced items made in unsustainable ways and to use human-centered business models to boldly challenge economic systems of inequity.” 

Right now, in the early stages of the company’s business, it doesn’t make any money.

“We’re focused on building something that genuinely solves plus-size people’s challenges around clothes shopping and supports smaller and more sustainable brands,” Phoria’s website states.

So, spreading the word seems to be of utmost importance...

Additionally, TikTok creators @couplagoofs (a queer couple named Morgan and Phoebe), recently shared a video in which they discovered Phoria. They met the website’s creators at a fat liberation event in their city and were introduced to the tool.

Quickly, commenters responded with gratitude and excitement.

“It is so disappointing to sort through pages of plus size clothes that aren’t even plus size,” a TikTok user commented. “This is gonna be such a good tool!” 

Some even shared emotional responses, speaking to the need at the heart of Phoria’s mission. 

“I’m… gonna cry,” another commenter wrote. “I’ve needed this my whole life.”"

-via Goodgoodgood, November 20, 2023

[gabrielleragusi]

For Artists: My Experience with Commission Platforms and Illustration Agencies

Hi there! I’ve been wanting to compile a list of commission platforms that I’ve personally used for the longest time, and I finally did it! I’ve highlighted the still-active commission platforms in bold and struck those that don't exist anymore so you can jump to the sections that interest you without needing to read my entire story.

Let me start by briefly introducing myself.

I’m Gabrielle, a fantasy illustrator. Since 2014, I’ve been working on book covers and illustrations for publishers, authors, and book subscription boxes. Early on, work wasn’t as frequent as it is now. I had to search for opportunities myself, and even small private commissions were important for building my portfolio and earning some money, which I’d spend on materials, books, and online courses. Like many other artists, I started out by trying my luck with the biggest art community available at the time.

DeviantArt

2009-2018

Once upon a time, there was a virtual haven called DeviantArt. To my teenage self, it was a magical place. I signed up in 2009 and thought I’d never leave!

At first, I created an account just to share my work and learn. I didn’t even think about commissions for four or five years. But when that first inquiry finally landed in my inbox, things took off! My mum swears she remembers my excitement when I got my first commission, but for some reason, I’ve completely forgotten about it. I can't remember what it was or how much it paid. It might have been a portrait of a fantasy character.

Commissions on DeviantArt were fairly frequent, especially considering my cheap prices at the time. I used to offer discounts and post my rates in my DeviantArt journal, or in Commission groups that featured artists either monthly or weekly. After checking out my profile, a client could simply send me a private message and from there, we’d discuss payment, deadlines, and other details, and the platform didn’t take any fees, much like how ArtStation works today. Everything happened through private messages or email, with direct contact between artist and client.

The downside of this process was that there was no dispute resolution system on the platform. I had to handle all issues myself, and unfortunately, problems did arise sometimes: there were clients changing their minds about commissions, asking for refunds after work was delivered, refusing to pay, or just ghosting me. These issues didn’t happen because clients were evil, but rather because I was inexperienced and allowed some to take advantage of my naivety.

However, all that frustration helped me develop my commission process through trial and error (mostly error). And despite the challenges, I can say with satisfaction that most of the commissions I received through my DeviantArt profile were positive experiences.

DeviantArt eventually introduced a commission feature for Core (Premium) users, which came with a platform fee, but I didn’t use it much, and I’m not sure if it still exists.

The real beauty of dA, though, was the connections I made. I was able to meet people, both artists and clients, that I’m still in contact with today, and some of whom I still collaborate with.

I closed my account in 2018 or 2019, but by that time, I hadn’t really used it for a couple of years. The new user interface was a bit of a turn-off for me. I had always loved the geeky, and dare I say cozy, look of the old green and grey aesthetic, with its customisable panels that you could move around and personalise with HTML code... But I digress.

Artists and Clients

2013-2016

While taking small commissions on DeviantArt, I discovered Artists & Clients. It was a nice platform for clients to get things like their D&D characters or groups illustrated for relatively cheap. I think my highest price was $50 for a single character portrait, with the platform taking a 15% cut. I used it for about two or three years before the platform started to change.

As more artists with hentai art styles flooded in, the homepage shifted, and so did the clientele. There’s nothing wrong with drawing naked anime girls, of course, but you can understand that if a client is looking for a fantasy, semi-realistic painting of their female orc character, or a realistic portrait of their spouse, it's more than likely that they won't bother sifting through a sea of anime girls to find the style they want, imagining it isn't here. Let's just say that, at the time, the website took a definite direction that wasn't in line with my genre, but this direction didn't make the different, more realistic art styles stand out either.

Soon, commissions slowed down for me, so I closed my account, but by then I was already working elsewhere.

That said, this platform could still be a useful tool if you’re looking to take on smaller commissions.

DreamUp

2014-2015

DreamUp wasn’t an AI generator back then. It was actually a subsidiary of DeviantArt, where clients could post projects and artists could apply. It was a competitive platform that offered well-paid work–very well-paid. I remember seeing jobs posted that ranged from $300 to $1,200. DreamUp was a very professional platform for clients with a mid to high budget.

I believe I landed my very first book cover commission through this website when I was in my last year of high school. I remember getting the job and going to school the next morning, excited to share the news with my classmates. Everyone was super thrilled for me (we were a really close-knit class!), and I felt like I was walking on air.

Unfortunately, as far as I know, that book was never released, but it didn’t matter because I was moving forward, and fast.

I’m not sure when DreamUp was shut down, but I do know that DeviantArt held onto the copyrighted name, assigning it to something so anti-old DreamUp that it still boggles my mind.

ArtCorgi

Now Artistree

2014-2019

When I received an invitation to join ArtCorgi from its founder, I already had a somewhat consistent portfolio. I was painting portraits and fantasy illustrations, and the clients on this platform were looking for both–your typical wedding and pet portraits, as well as book covers, which were what really interested me. To get to the latter, I had to do the former. Over the years, I’ve painted so many realistic portraits that now I have a strict rule for my own sanity not to do them any more. I have great respect for portrait artists, but it’s just not me.

When I first submitted my prices to the person I was in contact with, she kindly suggested that I raise them... a lot. That was a major step forward in my professional career. I went from charging $50 to $100/$200 overnight. And to my surprise, people actually wanted to commission me at those prices!

From 2014 to 2019, I took nearly every commission that came my way. I never spoke directly with the clients; all instructions and feedback went through my point of contact, which helped maintain a level of professionalism, although now that I’m used to working directly with clients, I’m not sure I’d want to go back to having an intermediary.

Sadly, as with all good things, this chapter came to an end. My point of contact eventually left communication in the hands of someone else, and shortly after, the commission fee changed to, I believe, 30%.

Simply put, 30% is an unrealistic cut for a website like this. For an agent that gets you all kinds of big work in the publishing industry, sure, but since this was not the case I had to stop taking commissions. Despite that, my overall experience with ArtCorgi was very positive.

Today, ArtCorgi joined another platform, Artistree. As far as I can tell, Artistree doesn’t take any fees from artists, with clients covering a small cost instead.

Sketchmob (?)

2016-2020

This was probably the platform I used the most. I’ve lost count of how many commissions I received through Sketchmob. Many. Enough to generate a steady income at the time. With reasonable fees and a variety of art styles available, clients contacted me almost daily. Communication was direct between artists and clients, and payments could be split. The review system also worked very well… for a while.

Once I raised my prices, requests became fewer and farther apart. But by then, I was already working with my own clients.

Is this platform still active? Who knows. The website is still up and the chat feature works, but I’ve seen users complain that money available for withdrawal never arrived via PayPal (the only payment method the platform accepted, if I remember correctly). Personally, I wouldn’t risk completing a job through Sketchmob right now, at least not until they release an update.

If you’ve used the platform recently and successfully received payment within the last six months, please let me know, and I’d be happy to update this section!

Upwork

2017-2019

In 2017, I was determined to break into the book publishing industry. After trying out Fiverr and Freelancer.com with no success (the competition was too fierce for someone just starting out), I decided to give Upwork a shot. The platform looked very professional, and while the process sounded a bit complicated, I wanted to land the interesting projects I saw featured in my category. I really wanted to work with a big client… but big clients didn’t seem to want me, despite having the Rising Talent badge.

In two years of bidding for jobs and submitting proposals, I only landed two projects: a small commission from a private client who actually reached out to me, and another project that I bid on.

Don’t get me wrong, I was ecstatic at the time and truly appreciated every opportunity that came my way. But looking back, I can see why Upwork didn’t work out for me. The platform just wasn’t the right fit for my style and niche, which is fantasy illustration. Graphic design, however, was (and still is) in much higher demand.

The commission process on Upwork wasn’t as simple as on other platforms. For instance, at the time, costs were calculated hourly, which was a challenge for someone like me who prefers working with flat fees (having already calculated my average hours spent on an illustration). From what I’ve seen, this has since changed.

One positive aspect of Upwork is its current 10% cut on what artists earn. I don’t recall if this has changed over the years, but 10% is quite reasonable in my experience. Of course, 0% would be even better, but for a platform as large as Upwork, 10% is fair.

Illustration Agency

2019-2021

By 2019, I had built a solid, consistent portfolio thanks to my personal work and commissions. I had a simple website in place, my Instagram following was growing… I was steadily working toward my goal of illustrating covers for big publishers (which didn't happen until two years ago).

So, when an illustration agency reached out to me one day, I was over the moon. I had always heard that artists were the ones who had to approach agencies, not the other way around.

Well, that should have been my first red flag.

I won’t name this agency because, unfortunately, I have nothing positive to say about it. In fact, the word “nothing” perfectly describes my involvement with them. Nothing came of this barely there experience.

The agency invited me to sign up, not on an exclusive basis, but they assured me they’d get me work. That work never came. Once in a while, I’d receive messages saying they were trying to pitch my portfolio to a French publisher or another client, but... nothing.

Please understand that meanwhile I was already working directly with shops and authors, so I don’t believe my portfolio was the problem. The real issue was something I didn’t realise at the time: some agencies do this. They feature talented artists in their catalogue without having actual clients lined up, just to appear more professional and credible to potential clients. Did this strategy work for them? Maybe. I’ll never know.

In 2021, I politely asked them to remove my portfolio from their website, and that was the end of it.

After that, I never actively sought out an agent again. By the time my portfolio was strong enough to approach a serious agency, I just didn’t need representation anymore.

Hireillo

2019-2022

My experience with Hire an Illustrator, or Hireillo, is mixed. At the time, Hireillo was a platform that hosted artists' portfolios, featured artist-submitted news, provided useful articles, resources, and directories of artists and agents. I joined the site hoping to catch the eye of publishers, but I was mostly contacted by authors and one fellow artist for a graphic novel.

Unfortunately, most inquiries didn’t go beyond the first couple of messages due to budget constraints. I did, however, have fun sharing news about my painting process and projects I landed on my own, which were often featured by the website. Additionally, if I had questions about 'complicated' things like copyright, or just needed advice, I could ask the website’s owner and that was incredibly helpful.

Despite these benefits, I didn’t see any real results, which was a little disappointing. The subscription fee was also... odd, for lack of a better word. $5 per week. In the end I just couldn’t justify the cost, so I stopped using the website altogether.

Reedsy

2019-2022

Finally, we come to the turning point.

I remember stumbling upon Reedsy randomly. It wasn’t very well known at the time, and I think it still isn’t. I was nervous when I submitted my portfolio because their catalogue features the best of the best: designers who’ve created covers for bestsellers, THE bestsellers, people who’ve worked on Stephen King covers, or George R.R. Martin's. Designers, editors, and marketers who are veterans. I didn’t have high hopes for my application. So, I was in shock when it got accepted.

I had an introductory Skype call with a representative from Reedsy, who explained how everything worked. Before the call ended, I remember asking if there was a good chance I’d get work through the platform. The rep laughed and said, “Yes.”

A few weeks in, I understood that laugh.

Reedsy has an overwhelming demand for book covers and commercial projects. For every designer there are many more clients. In peak seasons, I was getting requests almost every day. I’m not exaggerating.

Reedsy transformed my portfolio and my pricing structure. Thanks to the income I earned through the platform, I was finally able not to take everything that came my way but be selective and choose only the projects that really interested me.

The commission process is simple: artists pretty much decide how to split payments, what to include in agreements, and the best part, the most beautiful and helpful feature of all, they can request and adjust deadlines. For someone like me who's terrible with deadlines, this feature was a lifesaver. The admins are also very kind and responsive, available via email or chat.

Unfortunately (this is my last 'unfortunately', I promise), my time on Reedsy came to an end for personal reasons. I’ll explain since it’s no secret.

All my images on Reedsy were watermarked with my signature (my full name), which apparently violated the platform’s rules. Why? Because if a client saw my last name, they could contact me directly and bypass Reedsy, which meant the platform lost potential fees. I’ll admit this did happen a few times, but I had the good sense to redirect the client back to Reedsy.

After three years, an admin finally noticed and asked me to remove my full name from the watermark and any text on my profile. It was a simple and reasonable request, but here’s where the problem started. Profiles on Reedsy are public, and images appear in search engines like Google Images, meaning anyone could download my work and use it without permission. Sure, watermarks can be removed, but uploading my work without one in the first place felt like a bad idea. Btw, not only do I use watermarks, but I also use Glaze to protect my illustrations before sharing them online.

Anyway, for this reason, and also because I couldn’t get over the fact that full names were public at the time, something I won’t get into because, believe me, I tried over email, and my reasons went into the void (now, last names are just initialised, like Gabrielle R. Okay. Sure.), I had to close my account–they would have done it anyway because it was already 'flagged'.

Overall, if you’re willing to overlook the last name conundrum, I can’t recommend Reedsy enough. If you have a killer, solid portfolio and a love for books and editorial projects, go for it!

--------------------------------------------

I hope you'll find this useful! If you have any questions, please don't hesitate to ask (: Oh, and here's an old article I wrote in 2020, titled:

Tips to freelance illustrators to avoid being screwed over

Who knows, maybe I'll write another 'article' post in four years!

Instagram  - ArtStation - Website - Inprnt - Etsy - TikTok

[germiyahu]

Actually don't listen to me. I'm an impulse buyer with credit cards. You want a nice looking pitcher and basin to perform the hand washing mitzvot? That's an excellent opportunity to go thrifting! You might even find Judaica there, like a Chanukkiyya perhaps?

You don't want to wait 8 years for Shabbat candles to arrive from Israel? Ask your rabbi! When I asked her if you can reuse a Havdalah candle, she sensed I was worried about the cost of buying all these candles and said her shul has tons of extras.

You absolutely do need a Chumash, a Tanakh, and probably a study Bible too... but Sefaria has all that and more! Especially the Talmud and other Rabbinic sources! It literally blows my mind that this site exists and is free.

But what about all the books on Jewish history and philosophy? What about textbooks for Modern and Biblical Hebrew? See if there are scanned versions online, or go to your local library. Invest in notecards, you're going to want to write down prayers and such, this will especially help if you don't own the books you're studying from.

It's a good idea to have a Siddur, but your shul will most definitely have their own, and as others have told me, you can ask your Rabbi if you can borrow one to take home (make sure to treat it with reverence).

If you want to start baking Challah and are living on your own, or maybe in a dorm room, see if there are community cooking spaces so you don't have to buy your own materials, or just ask your parents if they can gift you some kitchenware because "You want to get into baking."

You literally don't need anything other than a cup that you think is pretty and has meaning to you for the Kiddush. And don't splurge, I've seen hundreds of very attractive Kiddush sets and candle holders and all that for modest prices.

And take it slowly! Don't buy everything at once. We're nowhere near close to Chanukka right now, so don't even put that in your mind. If you want to acquire holiday items, focus on Pesach and worry about other festivals in their due time, let your wallet recover a little. This also goes for Shabbat! You don't need a pristine set of everything all at once, I'm just an idiot. You can slowly build up your perfect beautiful intricate table as the months go by.

[rjzimmerman]

Interesting story about the challenges to the mining of lithium in the Ash Meadows region of Nevada. Interesting for the substance, plus interesting because I've known Patrick Donnelly, the guy who has been combatting the mining interests in Ash Meadows for a long time. The story focuses on Patrick and his fiancé in their long battle to protect Ash Meadows and the Amargosa Valley.

Excerpt from this New York Times story:

Few Americans follow the nation’s lithium-mining industry as closely as Patrick Donnelly. Since 2021, he has set up 30 or so Google Alerts for variations on the word “lithium,” and he uses the findings to populate an online map of projects across the West. It is so useful that one industry insider has referred to it as “an investor’s handbook.”

This is paradoxical: Donnelly, who works at an environmental nonprofit called the Center for Biological Diversity, is one of the industry’s most vigilant watchdogs. The true spirit of his monitoring and mapping efforts comes through in a Twitter exchange he had with one mining firm, Rover Critical Minerals, a few years ago. In November 2022, he noticed an alert for a Rover project in southern Nevada, but he couldn’t find any information about its location. He decided to message Rover on Twitter. “In all of your materials, you never actually state where your Let’s Go Lithium project is located,” he wrote. “I’d like to add it to my lithium tracker map.”

The proposed mine, the company replied, would be in Pahrump, Nev., a town where Donnelly did his grocery shopping. But a month passed before a different alert revealed the project’s precise location: the edge of Ash Meadows National Wildlife Refuge, a beloved and biodiverse wetland not far from where Donnelly lived.

He messaged the company again. “Just saw your map,” the message began. “I would abandon that project right now, because you stand zero, and I mean zero, chance of getting it permitted.” He ended, “No chance that mine moves forward.”

The company wrote back. “We believe otherwise. We are well outside any area of environmental concern.”

On Christmas Eve, Donnelly wrote one last time, calling Rover clueless. “Your mine is sitting on a vast carbonate aquifer system which sustains literally dozens of aquatic, endemic species protected under the Endangered Species Act. You won’t even make it to permitting. The agencies will laugh in your face. And if they don’t, we will bury you with litigation. If you think Ioneer has had a hard time with us,” he continued — referring to the Australian company whose proposed lithium mine triggered litigation over its potential threat to a species of buckwheat — “you ain’t seen nothing yet. This is my home.”

The company never responded.

[konansock]

Small Mod: Purchase Jewelry on Phones

Intro

The jewelry crafting in Crystal Creations is top-tier design! Nowadays, Sims can choose jewelry as a birthday or baby shower gift, and even propose with them! Sadly, you can't purchase them on Plopsy. In order to allow non-creative Sims to be able to gift jewelry, this mod comes to life.

Requirements

This mod requires Lot51 Core Library to work properly!

Features

1.Browse Online Jewelry Store

An online jewelry store that refreshes every day

The jewelry in this store use all kinds of metals or gems, as long as they're not Rare materials. You can learn about what metal or gem each item is made from the description.

The prices are calculated by the retail price as well as the material used.

2. 'Customize a Jewelry'

You can pick and choose your design, and what metal or gem you desire to use.

You can purchase metals or crystals from the store directly (Rare metals not available), or you can add a personal touch to the final product by using material in your own inventory (You can use Rare materials this way!)

The cost here is only the crafting fee. However, the prices are HIGH. However, the final product will become more valuable if you use Rare materials though!

Time to propose! Good luck, Li!

Credits

Tools：S4S(Sims4Studio)

Great thanks to @missyhissysims for debugging and feedback!

Thanks to @ayanekosims for the build! Find this build in the screenshot on the Gallery!

For more details, and DOWNLOAD HERE.

[earlycuntsets]

"your star

MY CHEMICAL ROMANCE

The Black Parade is Dead!

At this point, MCR needs no introduction. The band led by Gerard Way is an icon of current punk-rock and every day thousands of fans around the world join their "carnival". The good news is that the quintet will release The Black Parade is Dead! this month and we will invite you to its launch!

BY: XABIERA SAN MIGUEL B.

When My Chemical Romance visited South America with their world tour last February and we learned that Chile and Argentina were included in the tour, we perfectly understood that thousands of fans would fulfill their dream of seeing their favorite band live, however, not all of them could attend the event, and for that reason, when we found out that the CD+DVD The Black Parade is Dead! would be arriving in record stores on July 5th, we got our act together and got ex-clusive tickets for the launch. Yes, just as you read it, we will invite you to the premiere of My Chemical's new material…, but first things first, you should first know what all the musical fuss is about.

Why not miss The Black Parade is Dead!

To begin with, this is the second live DVD in the career of the quintet from New Jersey, which began its history in the winter of 2001. The first was Life on the Murder Scene and was released in 2006.

The dual-format material includes completely live images and sounds, and compiles two concerts from The Black Parade World Tour, but they are two completely different concerts from each other.

MY CHEMICAL ROMANCE

DEAD

The tour, which began in February 2007 and ended on May 9 at New York's Madison Square Garden, included 138 dates of electrifying concerts, in which Gerard Way, Ray Toro, Bob Bryar, Frank Lero and Mikey Way

they gave their best.

On the one hand there is the CD with the complete recording of the show that the band offered last October 7 at the Palacio de

www.theblackparadeisdead.com"

[next page]

The boys performed on October 24, 2007 at Maxwell's Club in Hoboken, New Jersey, in front of about 200 people.

The DVD was directed by Adam Rothlein, an expert in the field, who had already worked on DVDs for Green Day, System of a Down, All-American Rejects and Disturbed.

As this is a limited and collectible edition, edited especially for fans, the material comes in a digipack (cardboard box with two compartments, one for each disc) and includes a booklet.

20 pages with exclusive photos from both concerts.

The second envelope of the packaging includes a sheet printed on both sides, with thanks from the group and photos of the merchandising available online.

Mexico City Sports. On this occasion, MCR reviewed its entire album The Black Parade.

The album will be available at the Record Fair the first week of July and its reference price is $15,000. Both materials will not be sold separately.

On the other hand, there is the DVD that rescues the very intimate concert that

If you were one of those who attended the show that MCR offered in Santiago de Chile, you probably remember that on that occasion, unfortunately Frank Iero, the band's guitarist, could not be present. Well, this is your chance to see it in all its dimensions.

We invite you to the launch of The Black Parade is Dead!

For the only time in history, Warner Music has organised a DVD Avant Premiere as a DVD release, so you can watch the concert on the big screen! So pay attention and come get your tickets. Tú Magazine and Warner Music invite you to the DVD Avant Premiere

The Black Parade is Dead!

To attend the Avant Première, redeem

Free! This coupon for an invitation

for two people in our office,

Located at: Rosario Norte 555, 18th Floor.

Neruda Building. Las Condes, Santiago.

The function will take place on Tuesday

July 8, 2008, 7:00 p.m.

at Cinemark Alto Las Condes (Kennedy Avenue 9001, Las Condes. Santiago, Chile).

Don't be left out: We have 40

double invitations.

We will be open between 10:00 a.m. and 6:00 p.m.

Promotion valid until Friday, July 7, 2008, or while supplies last

invitations.

On the day of the event, The Black Parade is Dead! will be sold prior to the performance."

tu mexico 06/2008

link to the black parade is dead full show with the mentioned maxwells hoboken nj 10/28/2007 show

[sitesupply]

Civil Contractor and Construction Solutions in Lucknow with Site Supply

The city of Lucknow, known for its heritage and architectural elegance, is rapidly evolving with modern infrastructure and housing projects. For anyone planning to build or renovate a home, finding the right civil contractor in Lucknow and construction company is crucial. Site Supply, a trusted name in construction materials and services, offers expert solutions tailored to meet the diverse needs of homeowners and builders in Lucknow.

Whether you're looking for a house construction company for a new project or a partner for material supplies, Site Supply delivers quality and reliability. Here’s how they can assist with your construction needs.

Visit Us - https://sitesupply.in/services/construction-company-in-lucknow

[creations-by-chaosfay]

The Perfect Quilter Gift: Subscription Box

If you would like to give a quilter a fantastic and perfect gift, a subscription box may be just the thing. How do these work? Every month, a box with mystery materials is shipped out. These boxes will contain fabric, tools and notions (thread, ruler, seam ripper, etc), at least one free pattern, and a few other goodies. The prices vary depending on brand. If you'd like to surprise a quilter in your life with a monthly gift, these are an excellent option. Each box is also less expensive than purchasing each of the products independently. Example? A single subscription box may be $29.95/month, but it has around $100 worth of products inside it. I've seen boxes that cost just $35/monthly but contain as much as $300 worth of products, coupons, and gift cards.

Some of these options are for a single product, such as just a stack fat quarters or just a few charm packs. If the quilter you want to surprise has a lot of tools/notions, these may be a better option. It'll help them build up their stash of fabric rather than creating clutter with a bunch of new rulers they may neither need nor want. A few have trials you can choose from and others are monthly. Make sure you cancel any subscription you don't want renewed!

Cotton Cuts - This has a variety of subscription options, and at least one comes with all the fabric already cut and ready to go.

Fat Quarter Shop quilt clubs - These are strictly for one single product, including stacks of fat quarters. This link has several options, but each is a monthly payment. It's $0.99 to join each any of these, then you're charged on the first of every month, start at around $17.

Fat Quarter Shop sew sampler monthly - This comes with a lot of goodies, so keep that in mind if the person you want to gift it to doesn't have many supplies. Rulers, pins, measuring tape, as well as fabric, and a few bonuses (stationary, pens, etc).

Bramble Patch - They have a couple monthly subscriptions, and as far as I can tell they ship only in the UK.

Ginger Quilter Box Monthly - This is one of the more expensive subscriptions, but it comes with a significant number of goodies every month.

Axholme Quilting Company - This is another UK company. They've closed their physical store, but their online shop is still open. It's also a subscription box with only fabrics, no tools/notions.

Keepsake Quilting club subscriptions - These range from just fabrics to a box with all sorts of goodies. They also ship internationally. The Pineapple Slice subscription is the most expensive on the list, but it comes with tools/notions, as well as patterns, and several other goodies.

Crate Joy - This has subscriptions for nearly every interest. This particular link is for the craft subscriptions. There are hundreds of different subscriptions on this website.

Darn Good Yarn Club - If you would like to surprise someone with artisan quality yarn every month, this may be just what you're looking for!

Artisan Quilt Company Quilting Box - This is one of the few that offers trials as an option. It's also strictly fabric, but they do mention there will occasionally be a little gift added as well.

Precuts Quilt Box - They offer two different box options, one has fabric and many extra goodies and the other has fabric and patterns with no extra goodies. There's also the option of a one-time purchase, monthly, and every three months subscription option.

Open Gate Quilts subscription box - This subscription includes a pattern, fabric for that pattern, thread, a notion, and a few other goodies. Each of the projects is small and can be made in less than a week.

Mrs. Quilting Subscription Box - This has trial options as well as a monthly option. It's also packed with all sorts of goodies.

I'm a quilter, and I can tell you right now I would squeal with delight if anyone purchased any of these subscriptions for me. Whatever clutter I have, such as extra rulers I don't need, is sold to a local thrift arts & crafts store located in my area, wasting nothing.

Disclosure: I share this information because I can. There isn't a single brand or product that pays me to provide you with the information regarding anything I post, aka I have no sponsors.

[fatehbaz]

They’ve built a “Great Wheel” on the Seattle waterfront [...].

The small timber village became a military outpost in the Puget Sound War [...], [and] soon evolved into a trade gateway, with timber tailings and other industrial trash from Henry Yesler’s mill used to fill in the marshlands [...], atop which migrant laborers raised tents and shanties [...] now working to feed raw materials into the furnaces of the Second Industrial Revolution burning in the East. [...] The first nationwide strike ripped across the country’s railways in 1877, but in Seattle the unrest took on a grim character, as thousands of unemployed white workers rioted against their Chinese counterparts [...]. Meanwhile, [...] local elites rebuilt [...] downtown [...] from scratch, hosting the tallest building on the West Coast alongside other new constructs [fueled] with money gleaned from the supply chains linking eastern capital to Alaskan gold. [...] Today the city - again rebuilt [...] - is seen as one of the primary beneficiaries of the “Fifth” Industrial Revolution in information technology, outshone only by California’s Silicon Valley. [...] The digital was increasingly thought of as somehow "immaterial," sustained by intellectual labor more than physical toil [...].

Silicon Valley myths of [...] "immaterial" labor disguise a more gruesome dynamic in which growing segments of the global labor force are being deprived even of the basic brutality of the wage, instead forced out into growing rings of slums, prisons, and global wastelands. [...]

---

Perched alongside a downtown business corridor [...], Seattle's Great Wheel seems to peer out over [...] [the] prophesied “cooperative commons,” an infotech metropolis abutting the beauty of an evergreen arcadia. But travel below Seattle’s cluster of infotech industries and the image appears much the same as that of a hundred years prior - a trade gateway, squeezing value from supply chains by selling transport and logistical support. The southern stretch of the metropolis bears little resemblance to the revitalized urban core of the city proper. Instead of the “cognitive labor” of Microsoft, it is defined instead by the cold calculation of companies like UPS, founded in Seattle when the city was one link in a colonial supply chain built first for timber, then Alaskan gold, then World War. [...]

In south Seattle, this logistics empire takes the form of faceless warehouses, food processing facilities, container trucks, rail yards, and industrial parks concentrated between two seaports, an international airport, three major interstates, and railroads traveling in all directions. Meanwhile, the poor have been priced out of the old inner city, moving southward [...]. [T]hey can be found staffing the airport and the rail yards, hauling cargo in and out of two the major seaports, loading boxes in warehouses [...]. And, beyond them, the shadow stretches out to Washington’s rural hinterlands where migrant laborers staff a new boom in agriculture and raw materials [...] - and further still into America’s long-depressed interior, where the Great Wheel meets its opposite: Memphis, the FedEx logistics city, watched over by a great black pyramid [the infamous Bass Pro Shop pyramid]. [...]

Every Seattle is capable of creating an eco-friendly, “cooperative commonwealth” tended by apps and algorithms only insofar as there is a Memphis that can provide human workers to sort the packages, a Shanghai to build the containers that carry them, and a Shenzhen to solder together the circuits of the machines that govern it all.

---

All text above by: Phil A. Neel. "The Great Wheel". Brooklyn Rail. April 2015. Published online at: brooklynrail.org/2015/04/field-notes/the-great-wheel. [Bold emphasis and some paragraph breaks/contractions added by me. Text within brackets added by me for clarity. Presented here for commentary, teaching, personal use, criticism purposes.]

[lunarw0rks]

professor!price 🫦…you gotta write something about this now that you’ve mentioned it omg I’m a sucker for prof!price gosh

anyway I love your work/writings !! they’re freaking amazing💆🏻‍♀️

a/n: this was supposed to be a full fic, but i physically could not finish it for months. but rather than deleting all this work entirely, i decided i would release what i had! just to give you guys something. i hope these mere crumbs are sufficient as a kind of soft launch back into this blog...

─── ꒦꒷ MAIN MASTERLIST ꒷꒦ PRICE MASTERLIST ꒦꒷

PROFESSOR!PRICE

synopsis: you catch the eye of your supportive, but firm literature professor. warning(s): SFW, BUT 18+ MDNI, professor/student dynamics, hint of dom!price, fem!reader, no use of y/n, not edited

Just your luck, being late on the first day of the semester.

It truly wasn't your fault. Your schedule was in shambles, and you had the administration to thank for that. Not to mention, your literature course was in an entirely different building; one you had yet to step foot in earlier in the year.

It was like starting kindergarten; eyes wide with nerves, knees trembling, searching for the correct classroom with a crumbled schedule in your hands.

Only today, those hands were grown and holding your phone screen, examining the digital schedule you'd been sent after the ordeal at the scheduling office. Still, that same troubled look in your eyes, no matter how far you'd advanced into adulthood.

But it wasn't a colorful large print displaying the three-digit class number like it had been when you were small.

It was a bland monospace font displaying your next stop;

┃ Classic Literature - Prof. John Price, Rm 1026

You were late by a few minutes, not an entirely catastrophic start to your first day, was it?

Internally, you were crossing your fingers that this professor wouldn’t be a complete hardass. That would be the taunting cherry on top of an already stressful mid-morning.

From behind the door, you could hear the gentle drone of what you assumed to be the professor's voice.

Gruff and sophisticated — that much you could tell before walking in.

"The syllabus is available—" his introductory speech interrupted when you opened the door slowly, causing an echo through the classroom when the hinges ground. His eyes met yours, staying on you as you shuffled along, for too long.

He broke himself out quickly, continuing on, "—available online or on the table beside the door. Paper or digital, it's your decision. Study it, learn it, and follow it."

Your new professor is intensely intimidating, despite not being outwardly threatening. Perhaps it was his aplomb when he spoke to the class, or maybe it was the gaze bordering on a glare he gave you.

Following, you made even more of an effort to blend in with the rest of the class. To sink lower into your seat, keep any and all attention on him, as if to undo the unfortunate first impression.

It was hard to focus, and not because of his teaching.

The following week, you made your best attempts to keep up. He wasn't assigning too much work or especially rude to the students. His gentle intimidation made it troublesome, despite not speaking one word to you yet.

There you were again.

Watching intently as he spoke in that soothing voice. White button down, or sometimes gray, exposing just a bit of his chest. Wispy dirty blonde hairs, just barely poking through, more so when he'd lean down to change his presentation slides.

Shit. He'd announced a test you had spaced completely, when you were too occupied with your other courses.

He reaches into a folder and holds it up. "This assessment is on paper. I want you all to do your very best; think back to the material we read in Chapter twenty-three."

23? What material? You were completely fucked, with not even a half-chance at earning a grade passing on this. You hear the rustling of paper, and then see all your seatmates passing the packets. With a widened expression, you shuffle the stack to the next person over, finally taking a gander at the paper below you.

Minutes passed, spent either chewing on your pencil or doing your best at bullshitting answer; analyzing a literature piece you hadn’t read a word of. He knew it, too. A sharp gaze whenever you’d happen to look up, jolting you back into fake focus.

This was bad, and you were running out of ways to define the feeling.

You weren’t even sure fucked would suffice.

Twenty-three percent — etched on the top of the exam. Surely, the only reason there was any sum at all was because you spelled your name correctly and scribbled the date.

It might as well have been a zero.

Beside the humiliating score, SEE ME was bolded in red ink, as if he’d murdered a sharpie to emphasize his disappointment. Fortunately, you snagged the graded paper exams from a box outside the room, saving you the heat of looking into his eyes.

Now, the real nail-bitter was going in to see him after hours. By no means was he an intimidator, nor callous, but he had power. The authority to tarnish your transcript forever. Whether he would or wouldn’t isn’t important — that scenario is still startling.

At least you had yourself to thank for not being careless in class; those students that huff or mutter curses when addressed directly. He always noticed their snide attitudes, whether they knew it or not.

But you weren’t them; you were attentive and reserved during his lectures, no matter how under stimulating their contents were. Though, the professor had a way of making anything feel profound or educative.

That’s what you told yourself when you knocked on the door. After hours, nothing but a dim light through the frosted glass next to the door. “Come in.” His gruff voice muffled back.

The cold metal fo the doorknob did little to soothe your nerves. Neither did the sight of him — and only him. No other students here to sort out a grade? Not a slacker begging for extra credit? A fellow teacher making boring small talk?

None of the above.

It's only you shuffling inside awkwardly and him at his desk. A small reading lamp illuminated only his workspace and not much more, leaving the rest of the lecture hall pitch black. He's writing fast with a fancy pen, one that's surely worth a pretty penny. When you've failed to make the first move, he glances up with a scowl.

Price curls his finger into a 'come here' motion, earning a gulp from you. You'd swear that bricks were tied to your ankles, and it was any wonder you didn't stumble the closer you got.

As if failing an exam wasn't humiliating enough; now you were alone with the stern professor behind the mark.

You trekked closer to the large desk, peering at the copy of your failed exam he brought forward. As if you needed another reminder. He brought out a felt tip pen as red as blood.

“Want you to be honest with me, save us the grief. Did you study for this exam?” Price asked, followed by an stone expression.

For a moment, you thought about lying. Muttering some pathetic yes and hoping for the best. Until you kept looking at him, how his stillness made you gulp and rethink.

“No, sir.” You sigh, suddenly having a parched throat.

For a moment, he went still — as firm as the glances he always through your way. When you were tempted to wave a hand in his face, he composed himself again, straightening and adjusting himself in his desk chair.

As if ignoring you, he resumed grading the assignments neatly stacked in front of him. Every glide of the crimson tip against the milky paper struck a nerve in you. You leaned on a hip in impatience, clearing your throat softly to regain his attention. After all — he was the one who called you here, wasn’t he? And now he’s treating you like you’ve faded out of existence.

You balled your fists, digging your nails into your palms to gather courage.

“Is there something I can do about this score? Or have you called me in here for no reason? Sir?” You’ll be the first to admit that the words came out brattier than intended.

But, to you, they were justified. And you most definitely didn’t want to spend the rest of the semester despising one of your professors.

His head raised slowly, placing the pen down at a slow speed. Leaning back with his legs spread, his hand dropped to his inner thigh. “Adding Sir won’t make this any easier on me you, darling.”

You got the attention you wanted. But not in the way you expected. At all.

As if breaking a record for speed, you were flush and shifting around awkwardly, unable to spit out a rebuttal. Who could? Especially when your opponent had the power to frame an expulsion, or flunk you purposefully. However, Professor Price wasn’t the malicious type — and that made this so much worse.

It was all genuine. Those glances, the stern tone, his want — no, need — to want better for you. Even if the methods were the definition of questionable.

“Don’t act meek around me. What is it you’re trying to say?” He inquired nonchalantly, blinking as he waited patiently for you to catch your breath. But you never did; you remained utterly stunned.

After what seemed like forever, but was really only a few seconds, John realized that this meet was going nowhere. Clearly, being direct was the only way to get through to someone as clueless as you.

His tone is firmer whilst assuming a lower volume — as if afraid someone would hear. But he wasn't. If there was the slightest chance of getting caught, he would've directed you to an extra credit sheet and sent you on your way.

Price curled his fingers. "C'mere."

⊹。°˖➴ SECOND NOTE: should i release more of my forgotten WIPs? | divider cred. - cafekitsune ༉‧₊˚.

[virromanus]

Where Can I Learn Latin Online?

Here are the various avenues you can go to learn Latin online.

Latin Derivatives. Find over 1750 Latin derivatives, along with definitions and usage in sentences.

Conjuguemos. Teachers and students can use this site to learn Latin (among other languages) through games and activities, which are automatically graded. They request a small payment, but will waive the fee if you cannot afford it.

Linney's Latin Class.com. William E. Linney literally wrote the book on teaching Latin and shares lessons for self-learners and homeschoolers here that include pages from his text, lectures, and homework.

Latin Language Builds Powerful English Vocabulary. Get an overview of Latin and tips for learning it easily along with links to helpful resources.

Latin: The Language of Rome Fun Worksheet #1. For $1 you can download this Latin worksheet to use personally or in the classroom. This teacher also has other versions of Latin worksheets available for the same price.

Learn Latin Quickly. This website is run by an individual as a hobby, but provides tons of information on Latin and learning Latin.

KET Distance Learning – Latin 1. Go through the lessons here in your own time, then move up to Latin 2 and Latin 3 after completing this class.

Beginners' Latin. This online tutorial doesn't require you know any Latin and steps you through the basics with twelve lessons, reference material, activities, and more.

Latin Grammar. A great resource for learning Latin, this site provides information on the five noun declensions and the four verb conjugations as well as several irregularities.

Latinitium. An online website to start learning Latin with a free e‑mail course from Latin teacher and speaker Daniel Pettersson, M.A.

Polymathy/ScorpioMartianus. A Youtube channel by Latin speaker Luke Ranieri, who teaches Latin for beginners hosted live on his YouTube Channel.

[transformativeworksandcultures]

CFP: Disability

 Special Issue CFP for TWC: Disability

Robert McRuer writes in Crip Theory that at some point in every person’s life, if they live long enough, they will be disabled. Yet, while disablement is an extremely common experience and ableism a hegemonic form of marginalization, disability is largely understudied across fields (Minich 2016, Ellcessor 2018). Fan studies has neglected to consistently explore disability or acknowledge the presence of ableism, resulting in a dearth of peer-reviewed publications on this intersection and a silencing of crip critique from disabled fans and scholars.

Disability studies formed in critique of the medical model of disability, which views disability as a problem to be solved. Most of the field’s critical work historically centers the social model, which frames disability not as a medical condition but as a social process discursively situated in histories of power (Siebers 2008). Contemporary disability scholarship more frequently works from Kafer’s (2013) political-relational model of disability, which clarifies that disability and impairment are both socially constructed, while also making explicit room for material realities of disablement, such as chronic pain and fatigue, and the inextricable mental-physical experiences of the bodymind, such as aging and neurodivergence (Price 2015). Approaching disability across the humanities has produced diverse modes of analyzing disability as identity (Shakespeare 1997), community (Clare 2017), and mediated representation (Garland-Thomson 1997), leading to crip theories exploring disability intersectionality to critique the ideology of ability (Samuels 2003, McRuer 2006). Disability studies especially draws from queer theory, building on the concept of compulsory heterosexuality—the hegemonic framework which renders heterosexuality the only thinkable option—to propose compulsory able-bodiedness, the requirement that disabled bodies perform as able and desire ability, highlighting homophobia and ableism as intersecting oppressions (McRuer 2006, Clare 2017). Further intersectional crip critique comes from Puar (2017) and other postcolonial and antiracist scholars (Schalk 2018), who describe how the violence of ableism is inequitably applied across multiply marginalized populations, illustrating how disability is not only missing from many intersectional theories of identity, but intersectionality has been lacking in disability theories.

We, as the editors of this issue, understand disability within the framework of the intersectional political-relational model, and believe that fan studies is well situated to contribute to discussions of disability. For example, Sterne and Mills (2017) propose “dismediation” as one mode of aligning media and disability studies’ often divergent goals through recognizing disability and media as co-constitutive—media concepts are awash with metaphors of disablement, and disabilities are so often figured against the cultural narratives and technological specifications of media. Further, fan studies’ continued claims to fandom’s transformative capacity and attention to “bodies in space” (Coppa 2014) desperately require the incorporation of disability critique. Fan studies has not entirely neglected disability as a marginalized identity, as fan scholars have begun to explore the accessibility of online fandom (Ellcessor 2018), examine the disability implications of fanfic as care labor (Leetal 2019), and advocate for thinking with disability to become a “default setting” in our field (Howell 2019). However, the disciplinary lacuna between these two fields has made it difficult for these conversations to develop a strong institutional foothold. By centering disability in fan studies’ discussions, this special issue can foster an encouraging environment for emerging dialogue between the fields to develop, as well as a supportive space for marginalized scholars and fans who do not see themselves represented in media, fan communities, or scholarship spaces.

We encourage submissions from scholars writing about disability from a fan studies perspective, as well as disability scholars writing about topics intersecting with fans/audiences/reception practices. We especially welcome intersectional perspectives that engage with disability as it operates in relation to intersecting identities such as race, gender, sexuality, class, and nationality (Bell 2016). Pieces for this special issue may explore questions of disability and fandom from an embodied, textual, or discursive perspective, for instance: What are the experiences of various disabled fans in fandom? What discourses of disability are circulated, perpetuated, and/or critiqued in fan spaces? How do fans negotiate portrayals of disability in their subjects of fandom, from movies to podcasts to celebrities? How has disability accessibility figured in various fandoms and fan spaces? How do rhetorics of disability, illness, and health affect fan communities and discussions? How does disability identity intersect with fan identity, and/or other marginalized identities?

Submissions may involve but are not limited to:

Fans/fandom and…

Dis/ability

Impairment

Neurodivergence

Chronic pain and/or illness

Mental illness and/or Mad perspectives

Bodyminds

Health

Bodily norms/Normativity

Discourses/narratives/representations of any of the above topics

Accessibility, in digital spaces (Tumblr, Dreamwidth, etc.) and/or physical spaces (conventions, industry, etc.)

Fan mediums with particular relationships to disability, such as cosplay or podfic

Submission Guidelines

Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) is an international peer-reviewed online Diamond Open Access publication of the nonprofit Organization for Transformative Works, copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and promotes dialogue between academic and fan communities. TWC accommodates academic articles of varying scope as well as other forms, such as multimedia, that embrace the technical possibilities of the internet and test the limits of the genre of academic writing.

Submit final papers directly to Transformative Works and Cultures by January 1, 2025.

Articles: Peer review. Maximum 8,000 words.

Symposium: Editorial review. Maximum 4,000 words.

Please visit TWC's website (https://journal.transformativeworks.org/) for complete submission guidelines, or email the TWC Editor (editor@transformativeworks.org). 

Contact—Contact guest editors Olivia Johnston Riley and Lauren Rouse with any questions before or after the due date DisabilityFandomTWC@gmail.com. 

Works Cited

Bell, Chris. 2016. “Is Disability Studies Actually White Disability Studies?” In The Disability Studies Reader edited by Lennard Davis, 406-425. New York: Routledge.

Clare, Eli. 2017. Brilliant Imperfection: Grappling with Cure. Durham: Duke University Press.

Coppa, Francesca. 2014. “Writing Bodies in Space: Media Fan Fiction as Theatrical Performance.” In The Fan Fiction Studies Reader, edited by Karen Hellekson and Kristina Busse, 218-238. Iowa City: University of Iowa Press.

Davis, Lennard. 1995. “Introduction: Disability, the Missing Term in the Race, Class, Gender Triad.” In Enforcing Normalcy: Disability, Deafness, and the Body, 23-49. London and New York: Verso.

Ellcessor, Elizabeth. 2018. “Accessing Fan Cultures: Disability, Digital Media, and Dreamwidth” in The Routledge Companion to Media Fandom, edited by Melissa A. Click and Suzanne Scott, 202-211. New York: Routledge.

Garland-Thomson, Rosemarie. 1997. Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature. New York: Columbia University Press.

Howell, Katherine Anderson. 2019. “Human Activity: Fan Studies, Fandom, Disability and the Classroom.” Journal of Fandom Studies 7(1). https://doi.org/10.1386/jfs.7.1.3_2 

Kafer, Alison. 2013. Feminist, Queer, Crip. Bloomington and Indianapolis: Indiana University Press.

Leetal, Dean Barnes. 2019. “Those Crazy Fangirls on the Internet: Activism of Care, Disability and Fan Fiction.” Canadian Journal of Disability Studies 8 (2). https://cjds.uwaterloo.ca/index.php/cjds/article/view/491  

McRuer, Robert. 2006. Crip Theory: Cultural Signs of Queerness and Disability. New York and London: New York University Press.

Minich, Julie Avril. 2016. “Enabling Whom? Critical Disability Studies Now.” Lateral: Journal of the Cultural Studies Association, 5.1. https://csalateral.org/issue/5-1/forum-alt-humanities-critical-disability-studies-now-minich/.

Price, Margaret. 2015. "The Bodymind Problem and the Possibilities of Pain." Hypatia 30, no. 1: 268-284.

Puar, Jasbir. 2017. The Right to Maim: Debility, Capacity, Disability. Durham and London: Duke University Press.

Samuels, Ellen. 2003. “My Body, My Closet: Invisible Disability and the Limits of Coming Out Discourse.” GLQ 9, no.1-2: 233-255.

Schalk, Sami. 2018. Bodyminds Reimagined. Durham and London: Duke University Press.

Shakespeare, Tom. 1996. “Disability, Identity and Difference.” Exploring the Divide, edited by Colin Barnes and Geof Mercer:  94-113.

Siebers, Tobin. 2008. Disability Theory. Ann Arbor: The University of Michigan Press.

Sterne, Jonathan and Mara Mills. 2017. “Dismediation: Three Proposals, Six Tactics.” In Disability Media Studies, edited by Elizabeth Ellcessor and Bill Kirkpatrick. New York: NYU Press.

[pocketvenuslux]

I'm doing another lingerie history throwback post, this time about the short lived diffusion line, L'Agent by Agent Provocateur.

L'Agent launched in 2013, when diffusion lines for luxury labels had become the norm in the fashion industry. These younger sibling brands offered goods at more accessible - though still expensive! -price points that allowed luxury brands to court aspirational shoppers without damaging the perception of exclusivity for their main lines. L'Agent followed this same strategy, with prices that were roughly 50% cheaper than AP.

Although many diffusion lines were eventually phased out, I think there were other reasons for L'Agent's doomed history, including the fact that it was such a latecomer to the diffusion game. Most popular diffusion lines at the time had launched more than a decade earlier and at this point, were considering shuttering operations. D&G closed in 2011, Marc by Marc Jacobs in 2015, Burberry Brit in 2016. While diffusion lines allowed luxury brands to build a larger, younger customer base, they also demanded more administrative and marketing resources and for many brands, they failed to differentiate themselves enough from main lines, dragging down that perceived luxury prestige.

Which brings me to my next point. A number of L'Agent's designs were clearly reworked versions of AP's designs. Obviously they were not exactly the same and the materials were different - but the latter is not something you can really appreciate when you're shopping online. Although AP digitally isolated L'Agent into an entirely different website, which it did not do with Soirée*, I feel its own designs were so distinctive, that didn't matter. At certain angles, I can't even tell the difference between L'Agent's Danita and AP's classic, Nikita.

While L'Agent was meant to be more youthful than AP, its early collections, especially the sets that did not crib from beloved AP designs, lacked a strong, cohesive voice. Despite this, L'Agent expanded rapidly, opening its own stores with what must have been a considerable outlay of capital. Here's an image of L'Agent's fourth store, which opened in Montreal in 2015.

Honestly, this Victoria's Secret-esque retail environment, nothing like the lush, boudoir-vibes of AP boutiques and their shop girls in their pink Westwood uniforms, strikes me as less fun and cheeky and more cheap and tacky - which is a shame because their lingerie was much better than what you could pick up at a VS.

While I didn't feel compelled to purchase a L'Agent set, I did pick up a pair of Idalia knickers for prosperity's sake. You can see the top photo of this post for the whole set. The panty has a number of costlier details such as picot edging, hidden seams, i.e. no gusset "pocket", and a two-toned lace. The stitches on the narrow elastics are actually three-point zigzags so they're tiny. However, the materials are a huge step down from AP. The lace feels stiffer and rougher and while the picot is cute, it irritates my skin a little.

You can still see many examples of other L'Agent sets online. I'll link to a few examples below.

Screenshots of the original website provided by its design agency

2013

SS 2014

AW 2014

AW 2015

SS 2016

AW 2016

SS 2017

In contrast to L'Agent, diffusion lines that were more successful were those that meaningfully created a "conversation" with the main line while having its own distinct voice. For example, I could always recognize a McQ piece, even if it was more editorial. They often repurposed elements you'd see on the Alexander McQueen runway into more streamlined, streetwear inspired pieces such that you'd never mistake a McQ piece for an Alexander McQueen RTW piece. McQ persisted through the 2010s and it was only in 2022 that the line was "suspended."

In addition to struggling to find its own voice, financial troubles at AP, which would eventually lead to the company's bankruptcy, proved to be the final nail in L'Agent's coffin. By late 2016, AP announced that it would be downsizing both stores and staff at its headquarters by a brutal 30% and L'Agent was definitely in the cross-hairs. L'Agent bit the dust the following year - it held a final sale for the 2017 post-holiday season and by February 2018, it was all over.

Despite this, I feel like L'Agent lives on. Current AP lines like Fia, Laily, Whinette and Yara all have a L'Agent vibe to me. Which is to say, the luxurious details I associated with older AP sets have increased in price at AP while L'Agent-ish sets that have simpler designs and cheaper materials have created a lower tier to AP's lingerie without actually being cheaper than the cheapest AP sets back in the day. In this way, the inflation of AP's prices are better hidden from the consumer. Can you tell from the photos below which model is wearing L'Agent and which is wearing AP's Fia?

In 2021, AP tried its hand again at the diffusion game with its "All Hours" line. This one was much shorter lived and you can read an analysis about its failure on The Lingerie Addict. Only the Lucky line survives in an "Anytime" collection.

Interestingly enough, in 2024, we are starting to see the return of the diffusion line. Society has not emerged from the pandemic unscathed and the cost of living crisis as well as punitive measures against workers have crushed the spending power of aspirational shoppers. Meanwhile, capitalists have only gotten richer. As a result, prices in the luxury sector have rocketed skyward as brands zero in on their rosters of VICs (Very Important Clients) with specialized services and double down on exclusivity. But it seems like younger brands like Aries, that may lack the rolodex and capital of more established houses, are once again, returning to the diffusion line while older lines like Comme des Garcons' Play appear to be selling well.

Personally, I'm not sure if we'll ever see a diffusion line from AP again. Because AP's brand is already youthful, playful and cheeky and no one wants expensive basics from a brand like AP, there is nowhere for an AP diffusion line to go. But the fallout of the decimation of the middle class is still playing out. And we will see if AP has what it takes to respond to this tread of increasing income inequality and financial precarity.

* While brands were launching diffusion lines, some also launched higher-tier "demi-couture" lines like Burberry Prorsum that featured more expensive and experimental materials and fashion forward, editorial designs - AP pursued this tactic as well with its Soirée line which launched earlier than L'Agent in 2009.