#daniel willner

[rockislandadultreads]

National Reading Group Month: Book Club Picks

The Widows of Malabar Hill by Sujata Massey

Bombay, 1921: Perveen Mistry, the daughter of a respected Zoroastrian family, has just joined her father's law firm, becoming one of the first female lawyers in India. Mistry Law is handling the will of Mr. Omar Farid, a wealthy Muslim mill owner who has left three widows behind. But as Perveen goes through the papers, she notices something strange: all three have signed over their inheritance to a charity. What will they live on if they forfeit what their husband left them? Perveen tries to investigate and realizes her instincts were correct when tensions escalate to murder.

This is the first volume of the "Perveen Mistry" series.

Forty Autumns by Nina Willner

In this memoir, a former American military intelligence officer goes beyond traditional Cold War espionage tales to tell the true story of her family - of five women separated by the Iron Curtain for more than forty years, and their miraculous reunion after the fall of the Berlin Wall. Recounting her family's story, Nina takes us deep into the tumultuous and terrifying world of East Germany under Communist rule, revealing both the cruel reality her relatives endured and her own experiences as an intelligence officer.

The Woman Who Smashed Codes by Jason Fagone

In 1916, at the height of World War I, brilliant Shakespeare expert Elizebeth Smith went to work for an eccentric tycoon on his estate outside Chicago. The tycoon had close ties to the U.S. government, and he soon asked Elizebeth to apply her language skills to an exciting new venture: code-breaking. This volume chronicles Elizebeth's life and how she played an integral role in our nation's history for forty years.

The Word is Murder by Anthony Horowitz

One bright spring morning in London, Diana Cowper - the wealthy mother of a famous actor - enters a funeral parlor to plan her own service. Six hours later she is found dead, strangled with a curtain cord in her own home. Enter disgraced police detective Daniel Hawthorne, a brilliant, eccentric investigator who’s as quick with an insult as he is to crack a case. Hawthorne needs a ghost writer to document his life; a Watson to his Holmes. He chooses Anthony Horowitz. Drawn in against his will, Horowitz soon finds himself at the center of a story he cannot control.

This is the first volume of the "Hawthorne & Horowitz" series.

[mhoukkie]

that moment i figure out that daniel willner armor almost looks like the armor of house Stark in Game of Thrones never realised it alot till now.

[simonwest369]

SYD STRAW!

[popentertainmentmusic]

HALLELUJAH: LEONARD COHEN, A JOURNEY, A SONG (2022)

Featuring Brandi Carlile, Eric Church, Judy Collins, Sharon Robinson, Regina Spektor, Rufus Wainwright, Nancy Bacal, Steve Berkowitz, Adrienne Clarkson, Clive Davis, Shayne Doyle, Susan Feldman, Rabbi Mordecai Finley, Glen Hansard, Dominique Issermann, Vicky Jenson, Myles Kennedy, John Lissauer, Janine Dreyer Nichols, Amanda Palmer, Larry 'Ratso' Sloman, Joan Wasser, Hal Willner and archival footage of Leonard Cohen, John Cale, Bob Dylan and Jeff Buckley.

Directed by Daniel Geller and Dayna Goldfine.

Distributed by Sony Pictures Classics. 115 minutes. Rated PG-13.

The Documentary Hallelujah: Leonard Cohen, A Journey, A Song Celebrates The Late Singer/Songwriter’s Poetic Hit

I’ll admit it. It wasn’t until the 82-year-old Leonard Cohen had died in 2016 (November 7th) did I really start paying attention to the fantastic quality of his music and lyrics. There were songs and albums that I acknowledged but, somehow, I didn’t quite get the body and breadth of this Canadian Jewish poet. The richness of his songs and the substance of his lyrics hadn’t fully caught my attention until after his death. 

I never made it to a concert nor had an opportunity to interview him. I only encountered him tangentially. There was an interactive exhibit dedicated to Cohen’s life and career which opened on November 9, 2017, at Montreal's contemporary art museum (MAC) entitled "Leonard Cohen: Une Brèche en Toute Chose/A Crack in Everything.” The exhibit had been in the works for several years prior to the Montreal born artist’s death, part of the official program of Montreal's 375th anniversary. It broke museum's attendance records in its five-month run. Then it embarked on an international tour, opening in New York City at the Jewish Museum in April 2019 — and I saw it shortly before it left NYC spending hours there. 

Thanks to guitarist/sound stylist Gary Lucas, I came to understand Cohen’s impact on other musicians. Lucas often spoke of the late Jeff Buckley —his former collaborator and one-time band mate. They worked on some songs together that appeared on Grace, Buckley’s one full studio-produced release. And the singer/songwriter really got established posthumously through a powerful and touching rendition of “Hallelujah,” Cohen’s most enduring song. 

I had listened to Buckley’s version numerous times and, though I appreciated his heartfelt rendition, I didn't realize the huge back story to that song. Originally released on Various Positions — Cohen’s 1984 album — “Hallelujah” achieved little initial success. Then it developed a growing audience after achieving popular and critical acclaim through a version recorded by former Velvet Underground founder John Cale in 1991 for I'm Your Fan, a Cohen tribute album. That inspired Buckley to record his version of Cale's take in 1994.  

I knew of author Alan Light’s 2012 book, The Holy Or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of ‘Hallelujah.’ But it wasn’t until I recently saw ‘Hallelujah:’ Leonard Cohen, A Journey, A Song at the Walter Reade Theater (part of Film at Lincoln Center), that I came to understand what I’d been missing. Building on Light’s book, the feature doc spotlights Cohen in a way that offers a perspective on an artist who in many ways was as creatively significant as Nobel Prize winner Bob Dylan (who did a live version of the song himself and was friends with Cohen). As Light said somewhere, Cohen's "approach to language and craft felt unlike the work of anybody else. The sound was rooted in poetry and literature because he studied as a poet and a novelist first."  

Cohen kept changing the song, eventually crafting as many as 180 possible verses to choose from, recorded several iterations (some more sexually suggestive than others) and performed variations of it live. After an edited version of Cale’s take was featured in the 2001 film Shrek, it landed on the multi-platinum-selling soundtrack release. Many other arrangements of “Hallelujah” have been performed in recordings and in concert, with over 300 versions known. The song has since been used in other film and television soundtracks and televised talent contests such as American Idol. Following Cohen's death in November 2016, “Hallelujah” enjoyed renewed interest. It appeared on many international singles charts and entered the American Billboard Hot 100 for the first time. 

But the film — directed by Daniel Geller and Dayna Goldfire — is much more than simply detailing the evolution of the song and Various Positions — the album it first appeared on. Cohen’s seventh studio album was released in December 1984 (and February 1985) and marked not only his turn to a more modern sound with synthesizers, but also featured Jennifer Warnes’ harmonies and backing vocals — she’s credited equally to Cohen as vocalist on all of the tracks. 

Produced by John Lissauer, the album was a glistening display of Cohen at his basic best after having done 1977's Death of a Ladies' Man, an over-produced recording with Phil Spector (Mr. Wall of Sound). Although it featured a more contemporary approach compared with the singer's previous LPs, Columbia President Walter Yetnikoff didn’t think it was commercial enough and refused to release it in the States. That stuck in Cohen’s craw and affected his work for a long time.  

All of this and much more is effectively detailed in the film. Interviews with those who knew him well such as Judy Collins (who popularized him through her 1966 cover of “Suzanne”) pop music chronicler Larry “Ratso” Sloman, Lissauer and others help establish who Cohen was and what informed his work such as his observant Jewish roots and the many women he had been with.  

Said one of the film's co-creators in an interview, “Cohen addressed the deepest of our human concerns about longing for connection and some sort of hope, transcendence and acknowledgment of the difficulties of life." 

As docs go, this one really does the job. While focused on the song as a doorway into who Cohen was, it sets us up for a fully realized story about an important creator. 

Brad Balfour

Copyright ©2022 PopEntertainment.com. All rights reserved. Posted: July 2, 2022.

[greensparty]

Movie Review - Hallelujah: Leonard Cohen, a Journey, a Song / Thor: Love and Thunder

Got to review two films this week, one from Hollywood and one from Indiewood:

Hallelujah: Leonard Cohen, a Journey, a Song

There have been several documentaries about the late great Leonard Cohen, including 2005′s Leonard Cohen: I’m Your Man and 2019′s Marianne & Leonard: Words of Love, but now there’s a different type of doc about Cohen. Hallelujah: Leonard Cohen, a Journey, a Song is about his 1984 song “Hallelujah”. Yes, the entire documentary is about this song!?! But before you wonder how much there is for a feature-length doc, it is very much a doc about Leonard Cohen because to understand the song and its many musical interpretations, you need to understand the singer / songwriter.

movie poster

Since Cohen’s death in 2016 at age 82, I have been lucky enough to review his posthumous Thanks for the Dance. His lyrics, his sound and most of all his amazing voice made him one of the great poets to emerge out of the 60s. I was never an expert on him, but after hearing his song “Everybody Knows” on the Pump Up The Volume soundtrack, he had my attention at a young age. I own his first few albums on vinyl and his double CD The Essential Leonard Cohen has accompanied me on many car trips. I was thrilled when I attended the Leonard Cohen exhibit at the Jewish Museum in NYC in 2019 and my relative cantor Gideon Zelermyer and his choir were featured in one of the multimedia portions (they appeared on Cohen’s final album You Want It Darker). While “Everybody Knows” is very meaningful for Gen-Xers because of Pump Up the Volume, “Hallelujah” might be his most iconic song.

Before directors Daniel Geller and Dayna Goldfine get into the 1984 song that appeared on Cohen’s album Various Positions, they get into his backstory. This does not pretend to be the most comprehensive documentary about Cohen, but it’s also not trying to be either. It is giving the viewer just enough context to understand the song and its release. The album was shelved by his record label in 1984 as they thought it wasn’t good. In the U.S. the album was released on a small indie label and barely made a dent. But over time, it was noteworthy musicians who were impressed with it. Bob Dylan covered the song live in 1988. In 1991, John Cale covered the song for the I’m Your Fan tribute album Hal Willner put together. In 1994, Jeff Buckley recorded a version for his one and only studio album Grace, which is possibly the most loved version of the song. Various other covers happened as well, but it was Cale’s version that appeared in Shrek that introduced it to a whole new audience. Since the 00s, it has become a staple of singing competition shows, where singers use the song to show their vocal range. 

I really dug this doc as it is more comprehensive about the song than it is about the artist. It is a bit long and for non-Cohen fans it might be For Fans Only. There was a point around two-thirds in where I thought the movie had made its final statement and was about to end, but then it kept going for about a half hour about Cohen’s career from the 00s onward and how the song became an important part of his live shows. From an editing standpoint, I felt it could’ve been more effective if they had Cohen’s last fifteen years or so and then showed the final statement about the song as the ending. But it certainly did a lot with the archival footage, interviews and live performance footage!

Sony Picture Classics has released Hallelujah in some markets and it opens in Boston on July 15: https://www.sonyclassics.com/film/hallelujah/

3.5 out of 5 stars

Thor: Love and Thunder

Thor is not exactly my favorite Marvel super hero, but he’s also not my least favorite either. I liked his first movie, 2011′s Thor. It was a good origin story. 2013′s Thor: The Dark World was fine. His appearances in all of the Avenger movies were fine too. But it was 2017′s Thor: Ragnarok from director Taika Waititi had a sense of zaniness to it that made it feel new and fresh. Since that film, Waititi has become the toast of the town, as a director / writer / producer / actor in film and television, including an episode of The Mandalorian. What really blew me away about him was 2019′s Jojo Rabbit, for which he won a well-deserved Oscar for Best Adapted Screenplay. Waititi balanced so many heavy themes in a creative way in that WWII coming-of-age story. I included it in my Best Movies of the 2010s list. Now Waititi is returning to the MCU with Thor: Love and Thunder.

movie poster

Thor played by Chris Hemsworth has been hanging out with the Guardians of the Galaxy of late. But when his ex Jane Foster (the returning Natalie Portman) comes back as The Mighty Thor, they team up with Team Valkyrie (Tessa Thompson) and Korg (voice of Waititi) to defeat Gorr the God Butcher (played by a gaunt and haunting Christian Bale), who has taken the children of Asgard. I’m leaving a lot of stuff out of this plot summary, but trying my best to avoid spoilers too.

With this movie there are plenty of sequences that are over-the-top, zany and kind of ridiculous. The Guns N’ Roses-heavy soundtrack (and the numerous references to the band throughout the film) only add to the over-the-top-ness of the action scenes. The genius in Guardians of the Galaxy is that it is about a team that has to save the universe, but they are sarcastic and it feels like its not taking itself too seriously. In this new Thor film, Waititi is trying to have his cake and eat it too, by being self-aware of how ridiculous it is at times, but being rather serious other times (i.e. one of the characters is dealing with stage four cancer). Sometimes that balance works, other times less so. Waititi is clearly referencing 80s action romances and he’s having a ball at it. It’s the creative moments like a small theater group in Asgard performing the story of Thor for the locals, where Waititi is elevating this to be more than just another MCU movie. The cast including Portman and Bale truly made this more it was on paper too. This is also an audience movie that is best seen on the big screen and with an enthusiastic audience. In the MCU, this is the best Thor movie so far, but it has some catching up to the ranks of Guardians of the Galaxy and the recent Spider-Man movies. 

For info on Thor: Love and Thunder: https://www.marvel.com/movies/thor-love-and-thunder

3.5 out of 5 stars

[goalhofer]

2020 Olympics Venezuela Roster

Athletics

Robeilys Peinado (Caracas)

Yulimar Rojas (Barcelona)

Ahymara Espinoza (Río Chico)

Rosa Rodríguez (Acarigua)

Boxing

Nalek Korbaj (Caracas)

Yoel Finol (Santiago De Los Caballeros De Mérida)

Gabriel Maestre (Barcelona)

Irismar Cardozo (La Guaira)

Cycling

Orluis Aular (Nirgua)

Daniel Dhers (Holly Springs, North Carolina)

Diving

 Óscar Ariza (Caracas)

Fencing

José Quintero (Caracas)

Rubén Limardo (Ciudad Bolivar)

Golf

Jhonattan Vegas (Houston, Texas)

Judo

Anriquelis Barrios (Caracas)

Elvismar Rodríguez (Puerto Ordaz)

Karen León (Caracas)

Karate

Andrés Madera (Caracas)

Antonio Díaz (Caracas)

Claudymar Garcés (Caracas)

Rowing

César Amaris (Caracas)

José Güipe (Caracas)

Sailing

Andrés Lage (Valencia, California)

Shooting

Julio Iemma (Buenos Aires, Argentina)

Swimming

Alfonso Mestre (Pottstown, Pennsylvania)

Alberto Mestre; Jr. (Pottstown, Pennsylvania)

Paola Pérez (San Cristóbal)

Jeserik Pinto (Caracas)

Volleyball

Armando Velásquez (Altagracia De Orituco)

Emerson Rodríguez (Caracas)

Robert Oramas (Caracas)

Edson Valencia (Santa Barbara De Bari)

José Verdi (Aragua De Barcelona)

Eliécer Canelo (Maracay)

Luis Arias (Caracas)

Ronald Fayola (Ciudad Bolivar)

Fernando González (Caracas)

Héctor Mata (Caracas)

José Carrasco (Caracas)

Willner Rivas (Caracas)

Weightlifting

Julio Mayora (Caracas)

Keydomar Vallenilla (Caracas)

Yusleidy Figueroa (Caracas)

Naryury Pérez (Caracas)

[whquotes]

à lire : Tillion - Ravensbrück

Le stéréoscope des solitaires (Lo stereoscopio dei solitari) (1972)

La synagogue des iconoclastes (La sinagoga degli iconoclasti) (1972)

Barthes - Carnets du voyage en chine Barthes - Journal de deuil https://fr.wikipedia.org/wiki/Pirah%C3%A3_(langue)?fbclid=IwAR1U_qwgLxTqNJjDUZOBagYlvmtCFH_SceBkTUmDZP_a3nz4RsUYGp31rz4#Bibliographie Paulina 1880 de Pierre Jean Jouve

LE SYSTÈME AMAZON - UNE HISTOIRE DE NOTRE FUTUR

à écouter

1952 Sidney Bechet - La nuit est une sorcière 1953 Francis Poulenc - Les mamelles de Tirésias 1954 Emy de Pradines - Voodoo 1955 Jean Cocteau - Poèmes dits par l'auteur 1956 Henry Cowell, Charles Ives, Alan Hovhannes 1957 Edgar P. Jacobs - La marque jaune 1958 Thelonious Monk - Misterioso 1959 Michel Magne - Musique tachiste 1960 Charles Mingus - Pre Bird 1961 Léo Ferré - Les chansons d'Aragon 1962 Edgar Varèse - Arcana Déserts Offrandes 1963 Eric Dolphy - Music Matador 1964 Claude François - à l'Olympia 1965 Beatles - Help! 1966 Harry Partch - Delusion of The Fury 1967 Jimi Hendrix - Are You Experienced 1968 Mothers of Invention - We're Only In It For The Money 1969 Archie Shepp - Blasé 1970 Soft Machine - Third 1971 Carla Bley - Escalator Over The Hill 1972 Colette Magny - Répression 1973 Roland Kirk - Prepare Thyself To deal With a Miracle 1974 Robert Wyatt - Rock Bottom 1975 Birgé Gorgé Shiroc - Défense de 1976 Michael Mantler - The Hapless Child 1977 Ilhan Mimarogl? - Agitation 1978 Francis Poulenc - Mélodies 1979 Michael Jackson - Off The Wall 1980 The Residents - The Commercial Album 1981 Hal Willner - Amarcord Nino Rota 1982 Charlie Haden - The Ballad of The Fallen 1983 Tom Waits - Swordfishtrombones 1984 Giovanna Marini - Pour Pier Paolo Pasolini 1985 Lester Bowie - I Only Have Eyes For You 1986 Grieg, Mahler, Scriabine, Saint-Saëns, Reger, Ravel, Debussy, Strauss - Welte-Mignon 1987 John Zorn - Spillane 1988 Michael Mantler - Many Have No Speech 1989 Steve Reich - Different Trains 1990 Fred Frith - Step Across The Border 1991 Conlon Nancarrow - Studies for Player Pianos 1992 William Burroughs - Spare Ass Annie 1993 Frank Zappa - The Yellow Shark 1994 Kronos Quartet - Night Prayers 1995 Björk - Post 1996 Collectif - Buenaventura Durruti 1997 Wyclef Jean - The Carnival 1998 Massive Attack - The Singles Collection 1999 Arto Lindsay - Prize 2000 Bang On A Can - Lost Objects 2001 Noir Désir - Des visages des figures 2002 Joni Mitchell - Travelogue 2003 Fausto Romitelli - Professor Bad Trip 2004 Miles Davis - The Complete Jack Johnson Sessions 2005 Philippe Katerine - Robots après tout 2006 Scott Walker - The Drift 2007 René Lussier - Le trésor de la langue (coffret) 2008 Portishead - Third 2009 Das Kapital - Ballads & Barricades 2010 Kronos Quartet - Rainbow 2011 Shabazz Palaces - Shabazz Palaces 2012 Edward Perraud - Synaesthetic Trip 2013 David Lynch - The Big Dream 2014 Robert Wyatt - Different Every Time 2015 Den Sorte Skole - III 2016 Ursus Minor - What Matters Now 2017 Chinese Man - Shikantaza 2018 Ambrose Akenmusire - Origami Harvest 2019 Daniel Erdmann's Velvet Revolution - Won't Put No Flag Out 2020 Söta Sälta - Comme c'est étrange 2021 Jo Berger Myrhe - Unheimlich Manœuvre 2022 Kendrick Lamar - Mr Morale and The Big Steppers

[jeremystrele]

Emily Green’s Joyous Family Home, Filled With Local Makers’ Work

Emily Green’s Joyous Family Home, Filled With Local Makers’ Work

Homes

by Lucy Feagins, Editor

‘This mantle is like my shrine! I love to mix it around as I add to pieces to my collection,’ Emily says. Lampshade by Dale Hardiman. Fresh flowers from Georgie Boy. Top left artwork is by Jennifer Tyers. Artwork underneath is by Elizabeth Barnett. Geometric artwork on the right is by Emma Lipscombe. Large black and white vase by Iggy & Lou Lou. Loopy sculpture on coffee table by Bettina Willner-Browne. Piped vase on coffee table by Ebony Russell. Tiled coffee table by P0ly.

Ceramics on mantle from L-R: Jessilla Rogers. Yellow familia figurine by Studio Arhoj. Pink/black vase by Kirsten Perry. Checked sculpture by Anna Varendorff x Pot Head Ceramics. White lustre vase by Ebony Russell. Plate and blue vase by Leah Jackson. Mug by Danielle Maugeri. Vase by Studio Arhoj. Sculpture by Kirsten Perry. Candle holder by Ebony Russell. Vase with handles by Tessy King. Diamond vase by Esther Sandler. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli

Artwork by Emma Lipscombe. Mug by Danielle Maugeri. Vase by Studio Arhoj. S Sculpture by Kirsten Perry. Candle holder by Ebony Russell of Piped Dream Studio (‘Ebony made these pieces exclusively for us at Pinky’s – I actually studied teaching with her many years ago!’ says Emily) Vase with handles by Tessy King. Diamond vase by Esther Sandler. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli

Emily, Louis, Lotte (6); and Jens (3). Collage artwork by Emily Green. Sydney print by Ken Done. Bench by Pop & Scott. Paint colour is Dulux Opus Half. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli

Fresh flowers via Georgie Boy. Elizabeth Barnett painting on left. Geometric artwork on right by Emma Lipscombe.

Ceramics on mantle from L-R: Jessilla Rogers. Yellow familia figurine by Studio Arhoj. Pink/black vase by Kirsten Perry. Checked sculpture by Anna Varendorff x Pot Head Ceramics. White lustre vase by Ebony Russell. Plate and blue vase by Leah Jackson. Mug by Danielle Maugeri. Vase by Studio Arhoj. Sculpture by Kirsten Perry. Candle holder by Ebony Russell. Vase with handles by Tessy King. Diamond vase by Esther Sandler.

Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli.

Magpie print by Madeleine Stamer. Large black and white vase by Iggy & Lou Lou. Brass mobile by Juno + Ace. Cushion on armchair by Togetherness Design. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli

Piped vase by Ebony Russell of Piped Dream Studio. Loopy sculpture by Bettina Willner-Browne. Black vase by Esther Sandler. Tiled coffee table by P0ly. Flowers by Georgie Boy. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli.

‘We love that the kitchen window opens out onto the back deck. It’s a fun house for entertaining and for keeping an eye on the kids while they play in the garden,’ says Emily. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli.

Vintage Danish light from Grandfather’s Axe. Chairs by Dowel Jones. Flowers by Georgie Boy. Above window: Green screen-printed artwork by Gail English found at Camberwell market. Burning house wooden figure by Sandra Eterovic. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli.

Bookshelf by Like Butter. Flower artwork by Kirra Jamison. Bench in entrance by Pop & Scott. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli.

Red, orange and black vase by Iggy and Lou Lou. White vase on left by Takeawei. Brick sculpture and mug with eyes by Kirsten Perry. Dotty cup and white vessel by Leah Jackson. Lunch Lady magazines (‘Great recipes and helpful parenting advice. I refer back to these frequently!’ says Emily). Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli.

Wattle photograph by Lisa Sorgini. Poppies photograph by Skinny Wolf. Photograph by Bill Henson. Bedside lamp by Lightly. Round vase by Bettina Willner-Browne. White vase by Leah Jackson. Lazy Daisy cushion by Milly Sleeping. Quilt cover from Sage and Clare. Pillow case by Suku Home. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli.

Lotte’s bedroom. Large Fragola collage print by Emily Green. Chandelier also by Emily, which she actually made for The Design Files Open House back in the day! Black floral screenprint by Claire Nereim of Planet Planet. Ceramic moth by Esther Sandler. Bedlinen by Kip&Co and Rachel Castle of Castle and Things. Koala toy by Maiike. Vintage Flotaki rug. Paint colour is Dulux Lily Legs Half. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli

Jens’ bedroom. Vintage Ken Done bedlinen. Floor rug by Chiaozza for Ikea. Paint colour is Dulux Hindsight Quarter. Artworks L-R: Textile artwork by Shuh, with painted wooden piece on top by Leah Bartholomew. Grey spotty dog painting and ceramic circle above are both by Min Pin. Framed tea towel by Lucas Grogan from Third Drawer Down. Photo – Caitlin Mills for The Design Files. Styling – Annie Portelli.

Emily Green and Louis Turner’s lives have changed a lot since they bought their house in 2013, but their house hasn’t!

Since buying this 1930s weatherboard house back in 2013, the couple have welcomed two children into the world (Lotte, 6, and Jens, 3,), and Emily opened her Preston store Pinky’s alongside her friend Beckie Littler.

Emily’s eponymous label has also gone from strength to strength over this time, with her accessories now stocked across the globe. 

Emily and Louis house hunted for six months before finally coming across this Reservoir property. The house, with its recently renovated kitchen and bathroom, was the perfect fresh and neutral canvas for their growing family. 

‘I actually cried on our way home from the first inspection because it was so great and there was so much competition at auctions at the time that I thought we would definitely miss out on it!’ Emily says.

Fortunately the couple were successful, leaving the couple little to do but add plenty of colour! ‘Lotte’s room is a yummy pink – Dulux Lily Legs Half – and Jens’ room is a pale icy blue – Hindsight Quarter,’ says Emily. ‘I also couldn’t resist a pale lilac Opus Half feature wall in our hallway!’ 

More colour in the form of artworks, plants, and handmade pieces dotted throughout the home also provide a distinctly ‘Emily’ look and feel. ‘After being a designer/maker in Melbourne for the past 10 years or so, and from opening Pinky’s, I have become friends with a lot of other designers and makers,’ Emily says. ‘Our house is filled with the work of local makers and artists whose work I love.’ 

More recently, the family converted their garage into a multi-purpose space used for sleeping, playing, relaxing, working and exercising. 

The family of four love spending time in their big backyard and deck, which is a haven away from the home’s busy road. They’ve also enjoyed watching Reservoir evolve over the past seven years, which now sees new places to eat and drink opening regularly.

‘When you have kids you also become more connected to your area through spending lots of time walking the burbs and going to local cafes and playgrounds. We now have lots of friends and their kids who live locally, too,’ Emily says. ‘This house has always felt like our home because it is the first house we owned, and we had our kids here. It has changed and evolved with us as we have grown as a family.’

[katharinaacht]

Goupe exhibition “Sammeln Kunstschaffende Kunst?” (Do artists collect art?)  in the Vereinigung Kunstschaffender OÖ, Linz (AT).

Opening: October 2, 2017 Exhibition: October 3 to 25, 2017

25 artists show parts of their art collection: KATHARINA ACHT (Levente Bálványos, Alexander Fasekasch, Franz Stanislaus Mrkvicka, Claudia Sommer) THERESE EISENMANN (Markus Daniel, Mizrob Kholov, Mommak Kuliev, Eva-Maria Ranzenbacher) ALEXANDER FASEKASCH (Helmuth Gsöllpointner, Robert Mittringer, Josef Pausch) HERBERT FRIEDL (Robert Oltay) JUDITH MARIA GOETZLOFF (Walter Holzinger, Rolf Laven, Lisa Putz, Annerose Riedl) MARIE-JÓSE GRÖGER V. MEURS (Jose Ciuha, Paul Flora, Rudolf Hradil) DORIS HABERFELLNER (Waltraud Cooper, Therese Eisenmann, Niko Mayr, Henk Stolk) WOLFGANG HEMELMAYR (Therese Eisenmann, Koloman Leibetseder, Heimo Pachlatko, Susanne Purviance) EDGAR HOLZKNECHT (Robert Moser) ANTON KITZMÜLLER (Max Ackermann, Theo Forrer, Günter Grass, Inge Jastram) ELFE KOPLINGER (Josef Fischnaller, Annerose Riedl) BARBARA KUEBEL (Flora, Josef Keller, Jürgen Raiber, Isabelle Tuchband) GEROLD LEITNER (Margret Bilger, Hans Joachim Breustedt, Norbert Drienko, Walter Gschwandtner, Kazuko Miyamoto) VERONIKA MERL (Fredl Hofer, Ildico Jell, Klara Kohler, Helga Schager) MARKUS MIKSCH (Ed Schulz) ROBERT OLTAY (Herbert Friedl, Peter Kubovsky, Markus Miksch, Martin Staufner) SUSANNE PURVIANCE (Jonas Geise) ELFRIEDE RUPRECHT-POROD & WOLF RUPRECHT (Norbert Artner, Therese Eisenmann, Astrid Esslinger, Monika Migl-Frühling, Marie Ruprecht-Wimmer) ECKART SONNLEITNER (Renate Billensteiner, Gerhard Brandl, Robert Oltay, Herbert Stöger) ERICH SPINDLER (Osi Audu, Baird Cornell, Karl Mostböck, Martin Staufner) MARTIN STAUFNER (Margaretha Gottholmseder, Peter Kubovsky, Robert Oltay, Thomas Strobl) HENK STOLK (Rudolf Alber, Doris Haberfellner, Wolfgang Hanghofer) THOMAS STROBL (Bruno Gironcoli, Gesche Heumann, Eva Schlegel) VIOLETTA WAKOLBINGER (Elisa Andessner) ERICH WILLNER (Fritz Aigner, Alfréd Kindler, Valerij Otschejkin)

[mhoukkie]

i was bored so i made a young version of Daniel Willner cause why not.

[mithrasisgay]

Red - a Mini Fic Series

Characters: Karashien, and @mhoukkie‘s Seraph Captain, Daniel Willner

Content Warnings: Violence, slight sucide CW for the later bits

Every fight is a struggle between conflicting ideals and goals, they say. You fight for a reason - for honor, to protect someone, to save your own life, for money, for rank. There’s always a reason driving each combatant, and regardless of who is in the right, it’s always possible to at least understand why the fight in question came to happen. Not so in this case.

There was no reason behind what Karashien was doing. No goal, no idea she was defending. Her vision was tinted red, her body moved almost automatically. Violence had become as natural as breathing to her. She didn’t even have to think about it anymore.

That boy, the Seraph... She had no idea why she was fighting him. He must’ve seen her, wandering about by herself, and called out to her, inquired if she was okay. Instead of responding, she’d charged at him. So he, he had a reason. He was defending himself, following his duty to take down this very obvious danger to the common folk.

His movements were conscious, calculated. He was responding to what she did, countering, seeking out weaknesses in her defense, but Karashien kept taking him off guard. Disregarding her own physical wellbeing, she left herself open in favor of attacking, barely reacting whenever the Seraph landed a hit on her. She felt the pain, but she didn’t act accordingly.  Fighting her must’ve felt like fighting an inanimate object, a haywire Golem with no predictable moves, no programming, no sense of self-preservation.

The Seraph was expecting her to respond to him. But she didn’t. His attempts to get a somewhat normal reaction out of her, a proper response to his input, almost seemed desperate. Please answer me. Please let me understand. An attempted dialogue, but whatever he threw at her, she refused to reply.

Blood defiled the ground. Karashien had no idea how long they’d been doing this. Her body was covered in cuts and bruises, as was her opponent’s.  She saw the Seraph gritting his teeth, starting his next assault, while she expected it, her face completely devoid of expression. Again they clashed, her putrid blade dug into his left thigh, his smaller, one-handed weapon impaled her right through her abdomen. She’d seen in coming, and had made no effort to block, or evade this potentially lethal blow. There was no point to it. The filth, the curse staining her soul refused to let her off this easily. It wouldn’t let her die, so why bother avoiding injury?

The Seraph groaned in pain, and the grip in his weapon loosened. Karashien ripped her blade from his thigh, allowing him to stumble backward, clutching the wound, as if he was attempting to stop the bleeding. His sword remained where he had buried it in her.

Unable to die, but still affected by her body’s limits, Karashien felt her knees give in. It’d been days. There was nothing left in either of them.  Blood gushed from the severed artery in the Seraph’s leg; he sank to his knees as well, eyes still fixated on her. Staring, he expected her to react, to do anything a regular person would do after being stabbed, but she just knelt there, staring right back at him, 

She wasn’t human. She wasn’t mortal, he concluded for himself. A monster, an abomination. Something worth his life, his sanity, his soul.

A sliver of life returned to the Necromancer’s dead eyes, as she saw something red glisten in her opponent’s. Bloodstone. Sacrifice. She saw him clutching an item he’d pulled from his pockets, something red, something tainted. And that was when she finally responded to him.

With a primal scream, she lunged at him, forcing him to the ground, and pinning his hand with the bloodstone shard down, causing it to slip from his grip. Her eyes were wide open, almost panicked when his gaze met hers.

“Don’t,” she gapsed. “Don’t.”

To Be Continued.

[popentertainmentmusic]

HALLELUJAH: LEONARD COHEN, A JOURNEY, A SONG (2022)

Featuring Brandi Carlile, Eric Church, Judy Collins, Sharon Robinson, Regina Spektor, Rufus Wainwright, Nancy Bacal, Steve Berkowitz, Adrienne Clarkson, Clive Davis, Shayne Doyle, Susan Feldman, Rabbi Mordecai Finley, Glen Hansard, Dominique Issermann, Vicky Jenson, Myles Kennedy, John Lissauer, Janine Dreyer Nichols, Amanda Palmer, Larry 'Ratso' Sloman, Joan Wasser, Hal Willner and archival footage of Leonard Cohen, John Cale, Bob Dylan and Jeff Buckley.

Directed by Daniel Geller and Dayna Goldfine.

Distributed by Sony Pictures Classics. 115 minutes. Rated PG-13.

“It was [the] trajectory that made me interested in exploring the song. I cannot think of another song that had a comparable experience. Anything that's up in that altitude, songs like ‘Bridge Over Troubled Water’ or ‘Imagine,’ people got right away that those were important songs. They were big hits. Obviously, their meaning changed over time, but there was this huge splash and then everybody was aware of them. ‘Hallelujah,’ when Leonard turned in the album the song was on, his label rejected it. Columbia didn't put the album out. Then when it came out on an indie label a little later, nobody noticed the song. The review in Rolling Stone was a nice review, but it didn't mention ‘Hallelujah.’ So this song starts not just under the radar, but way off the radar. No one knew it was there. It's the fact that it [appeared] slowly but surely. It was never a hit. It was never one thing where everybody discovers this song. It was a gradual build of momentum that kind of snowballed, in fact, from different covers and different versions and different uses.”

This was the explanation that music journalist Alan Light gave me in 2013 when we were discussing his then-new book The Holy or the Broken: Leonard Cohen, Jeff Buckley & the Unlikely Ascent of "Hallelujah," which was an in-depth examination of the slow rise of the song to iconic status.

The new documentary Hallelujah: Leonard Cohen, A Journey, A Song was inspired by that book (Light is one of the producers of the film as well as one of the consultants about the subject), although it takes a slightly different tack than the tome. Light made a point to make the narrative about the strange journey of the song, not spending more than a chapter or two of its time specifically on the creator. (“The book could have gotten too top-heavy as a Leonard and Jeff [Buckley] co-biography,” Light explained to me at the time.)

While the film does explore the strange path that the song took to becoming a musical standard, the film is more of a straight biography of singer-songwriter Cohen which periodically swerves into different directions about other uses of the tune.

And you know what? That’s okay. Leonard Cohen’s life is endlessly fascinating. I’m all in, either way.

Which is not to say that there is not enough just in the one song. “Hallelujah” was an ongoing work in progress for years, with the songwriter tinkering with the lyrics long after he had originally recorded the song. In fact, he supposedly had written 180-some verses of the song over the years.

It seeped into the public consciousness slowly. First off, Bob Dylan took to occasionally covering the song in concert. Then former Velvet Underground member John Cale did a reworked version on a Leonard Cohen tribute album. It was that version that led to the recording which may have opened the floodgates – singer Jeff Buckley’s recording of the song on his debut album Grace was based on Cale’s version, he had never heard the Cohen original.

Since then, the song has been used in multiple different ways. Anytime there is a huge celebration someone sings it. Anytime there is a great tragedy, someone sings it. It has been used at sporting events, at weddings, at funerals. It is a staple on TV music reality competition shows. It has been recorded in dozens of holiday albums – even though other than the title and some religious imagery there is nothing even the least bit “Christmas-y” about it. It was even used in Shrek.

While it is undoubtedly Leonard Cohen’s best-known song, it is not necessarily Leonard Cohen’s best song. (And this is coming from someone who loves the song.) Therefore, the film Hallelujah does the public service of opening up significantly more of Cohen’s body of work to fans who may know only the one song.

It also gives us a fascinating ride-along on the very unusual pathway of Cohen’s career. He started as a poet and acclaimed novelist who didn’t even start in music until his 30s, at which point he was probably a little old, a little rich, and a little well-dressed for the hippy summer of love lifestyle he was entering. Still, Cohen was an unusually thoughtful and philosophical man with a sterling sense of language, a man who was able to sustain a career for over 40 years without once having a real hit single.

He was the type of man who would put his life on hold for six years just to take a spiritual retreat at a Buddhist monastery. He was a man who lived in the same home for decades, even when he could afford to move someplace much nicer. He was the kind of man who was so unworried about the material that he didn’t even notice that his manager had stolen all of his money. And he was the kind of man who when that happened, he just hit the road for the first time in decades, touring for years and not only making back all the money he lost, but also revitalizing his career to the point that when he died in 2016, he was probably more respected as an artist than he ever had been.

“Hallelujah” was a big part of the story, but it was not the whole thing. The movie Hallelujah: Leonard Cohen, A Journey, A Song tells even more of that story. After all, as the guy himself said in his song “Anthem,” “There is a crack in everything. That’s how the light gets in.” The world is a better place because this movie is letting in the light.

Jay S. Jacobs

Copyright ©2022 PopEntertainment.com. All rights reserved. Posted: July 1, 2022.

[thejacketpocket]

Rain inside when it’s sunny out

As our species continues into not-so-slow march to extinction, here are some albums that set the mood and passed the time the best for me this past year.  Bandcamp links where applicable.

15. YG- Still Brazy

This was easily the most fun album of the year and it more or less opened with a biographical song about being shot. It’s also the album that has the Fuck Donald Trump song (highly skippable after the first listen), so there’s that. I was more taken with the way his hooks and chants run wide, gleeful circles around each other and how the elastic G-funk bass made summer driving a delight.

14. Kemper Norton- Toll

Based on the 1967 crash of an oil tanker off the coast of Cornwall—the biggest oil spill in UK history—this album sounds like something dark slowly washing ashore in wave after wave. It’s put together from bits of found sounds and ambient textures that are simultaneously claustrophobic and expansive, which occasionally piece themselves together into surprisingly affecting folk music. The net effect is incredibly lonely, and at times like a Belle and Sebastian album without all of the wonderful characters; just one person in an industrial world that’s slowly turning to rust.

Bandcamp link

13. David Bowie- Blackstar

I always expect this album to be a little more unbuttoned when I hear it—and I wish that it was the case—but it’s still more layered and complex than anyone could have hoped for (and has actually made me appreciate The Next Day significantly more). It’s an affecting, first-person narration of a man taking one last look around before abandoning modern life and material possessions and slowly disappearing back into the darkness of the forest. 

12. Eluvium- False Readings On

In what is surely the most fully realized work of composer Matthew Cooper, minimalist passages of strings, woodwinds, and piano are washed over by tape hiss and white noise, and angelic, operatic human voices advance and retreat, part Greek chorus and part gasp for air. Ostensibly an album inspired by themes of cognitive dissonance in modern society, it also serves as an elegy for civilization, sounding like a boat gently sailing toward the horizon, before finally falling off the edge of the world.

Bandcamp link

11. King- We Are KING

Three women reproduce the lush aesthetic of Al B. Sure!’s “Nite and Day” and slather it across an hour’s worth of brilliant songs (if something as fully realized as “Red Eye” or “Supernatural” had been on the Frank Ocean album it would have been ubiquitous), apply it to a no-budget “get in the van” career approach that’s somewhat rare in the R&B world, and fatten the album up with a down comforter’s worth of warmth and texture.

Bandcamp link

10. The Field- The Follower

The front half of this is probably the catchiest stuff Alex Willner has ever made; it’s repetition as pop, as earworms slip in and out, bobbing and sinking in the mix, and the overall compositions become so ingrained in your listening experience that you start subconsciously shifting the sounds around yourself. This is a fairly commonplace quality of such music, lifted here by the infectious nature of the two-and-three-note melodies and the spirited use of whispery vocal samples to effectively generate a ghost in the machine.

Bandcamp link

9. Conor Oberst- Ruminations

Who knows if this guy writes biographical songs or he’s just taking the piss, but this album sounds like the work of somebody who has had his ass kissed for a decade only to have everyone turn on him—which would not be far off from what actually happened to him. It’s a delightfully bitter, nihilistic, and thoroughly lonely album that also happens to contain his loosest and most immediately engaging songs in a decade. Note the fact that the kid who was once called a “next Dylan” has now made his most-Dylan sounding record yet in terms of presentation—all sparse guitar-and-harmonica kiss-offs—as a vehicle to chuckle sardonicly at the long-ago hype.

8. Miranda Lambert- The Weight of These Wings

Maybe her best album, maybe not, but certainly the best vehicle for her singing, with production stripped back just enough to make her voice sound glorious. The album maintains a consistent tone and general wit-and-wisdom vibe across a range of influences, as she tries on Nancy Sinatra's boots ("Pink Sunglasses"), Daniel Lanois' atmospherics ("Runnin' Just in Case"), or Patsy Cline's country soul ("To Learn Her"). Like most double albums, it could be condensed into a one-disc classic (leaning far heavier on material from “The Nerve” side), but it’s not like there’s any truly duff songs on it, either.

7. A Tribe Called Quest- We Got It From Here...Thank You 4 Your Service

I've just really missed the group hip-hop album, wherein a handful of MCs pass the mic back and forth—mid-song, mid-verse, mid-line, whatever—over the course of a full album, sounding like lifelong friends rather than brief business partners. There’s something idealistic about it, even if the album's MVP is not any of the MCs but the snare drum.

6. Not Waving- Animals

This is likely my most-listened album of the year, or certainly the one that fit my mindstate and routine in 2016 the best. With its highly catchy two-note melodies and impressionistic spattering of drums, it uses an industrial/punk ethos to sound broken yet alive in a particularly bracing fashion. In a broader sense, delving into Diagonal Records was probably my favorite musical anything this year as they had a lot of releases that I really dug (Powell, Nordic Mediterranean Organization, NHK yx Koyxen, Container).

Bandcamp link

5. Brandy Clark- Big Day in a Small Town

After a debut that didn’t quite do Brandy Clark’s songwriting justice, an extra sheen of production polish brings out the highlights in her compositions, confirming her as one of the best writers working—assuming this was not already confirmed—and a top-rate singer as well. Each song is a Russian nesting doll of melodies that uncork in ways that feel both surprising and inevitable, and her lyrics are flip, casually conversational, and a joy to memorize, say, and sing.

4. Julianna Barwick- Will

This fall, there was an Agnes Martin retrospective at the Guggenheim Museum, which I found to be a profoundly moving exhibition. Many of Martin’s works in the show involve small, barely perceptible linework that assembles into patterns on white, cream, or oatmeal colored palettes. If you stand close to the work, you can see the artist’s hand, and get lost in her abstract forests of minimalist design. As you step back, these intricate patterns slowly fade to white, and the entire canvas become a single icy hue. This feeling of erasing yourself as a viewer is invigorating, and for me a much-needed sensation. That’s how I feel when I listen to this album, Barwick’s best since 2010’s masterful The Magic Place.

Bandcamp link

3. Cass McCombs- Mangy Love

This is an invertebrate album that squiggles into new shapes and colors every time you return it, wrapping itself in lush, Van Morrison-like arrangements or squirming away with Grateful Dead-like noodling. Perhaps the best lyricist working today, Cass’ oblique wordplay seemingly rearranges itself into new sentences with each listen, oscillating between storytelling and stream-of-consciousness, surreal and plainspoken, metaphorical and mundane. There’s an angry political heart if you want to hold up a stethoscope to the album, but you can also just settle into the instrumentation, the myriad details, and bits of wry, offbeat humor.

Bandcamp link

2. Solange- A Seat at the Table

I’m not the one to be adding more to what’s already been said about this album, but it’s the rare album to feel bigger than the sum of its parts, giving the impression of something other than an album: a totem of sorts. Discounting country music, “Mad” is probably the song I listened to the most. The second Lil Wayne verse is a heartbreaker every time, and the composition as a whole is therapeutic—a massage that bores deeper and deeper until it hits the spot that releases all of your tensions. The whole album is like that, really.

1. Danny Brown- Atrocity Exhibition

Danny Brown’s pitch-black worldview and performative anxiety felt more J.G. Ballard than Joy Division, but both fit the bill. No album sounded more like 2016 to me: manic, hyperventilating, lips curled into an inverted smile, arms flailing, running downhill toward the smoke and flames. It also cheered me up every time I listened to it.

[cannabisbusinessexecutive]

Missouri Commercial Hemp Farming Update

Missouri Commercial Hemp Farming Update

By Daniel E. Tranen and Neil M. Willner

There is a great deal of interest in Missouri regarding the opportunities the state offers in the commercial hemp farming business. Hemp is a burgeoning new cash crop with scores of applications from fabric to “hempcrete” to drywall to biofuel. Of course, hemp also is the source of CBD, which is sweeping the country as a health and wellness ingredient added…

[melbynews-blog]

Luja | I have no choice, I hear your voice

Neuer Beitrag veröffentlicht bei https://melby.de/luja-i-have-no-choice-i-hear-your-voice/

Luja | I have no choice, I hear your voice

Die bayrische Kreuz-Verordnung ist eine Steilvorlage für Parodie. Eine Münchner Performance führt den Nachweis

Seit dem 1. Juni muss in jedem behördlichen Dienstgebäude Bayerns ein Kreuz hängen. Wie das genau aussehen soll, ist aber nicht festgelegt. Da bleibt einiger Raum für Schabernack. Man könnte zum Beispiel einen gekreuzigten Frosch mit Ei und Bierkrug an die Wand nageln, der Skulptur Martin Kippenbergers von 1990 nachempfunden. Wer es pikanter mag, nimmt das Krucefix-Aktbild der schwedischen Fotografin Elisabeth Ohlson Wallin her, auf dem zwei sinnlich umschlungene Männer das Kruzifix nachbilden. Oder man projiziert die Kreuzigungsszene aus Monty Pythons Life of Brian an die Wand, so wie es letzte Woche das jüngst gegründete „Bündnis für Kreuzvielfalt an Bayerischen Hochschulen“ am Hauptgebäude der Ludwig-Maximilians-Universität (LMU) getan hat. Am Mittwoch vor Fronleichnam machte es performativ darauf aufmerksam, dass das Kreuz vielfältig konnotiert ist. Das war schon der vorangegangenen Kritik am Kreuzerlass anzumerken gewesen. Da hieß es, Stichwort Grundgesetz, das Kreuz hätte als religiöses Symbol in der Verwaltung eines Bundeslandes nichts zu suchen. Von Seiten der Kirche wurde moniert, Kreuze in Dienstgebäuden seien gleichbedeutend mit „theologischer Entleerung“. Was für die einen die Aufhebung des Säkularismus bedeutet, ist für andere eine Unterwanderung religiösen Sinngehalts. Und da liegt das Kernproblem: Das Kreuz hat eben nicht nur eine, sondern viele Bedeutungen. Diese Einsicht will das Bündnis für Kreuzvielfalt vermitteln.

Ja, ja, gib’s mir, Jesus!

Geärgert hätten sie sich nicht über den Erlass, sagt die Organisatorin Jenny Willner von der LMU. Man habe zunächst nur schrill aufgelacht. Und sich dann überlegt, wie das aussehen könnte, wenn man Markus Söder beim Wort nähme. Die Recherche-Ergebnisse der 300 Mitglieder starken Gruppe können sich sehen lassen.

Dabei ist zum Beispiel das Mütterchen Margit aus Herta Müllers Herztier, das ein Jesus-Kreuz (aus Blechabfall einer Fabrik gefertigt) erst küsst, dann aber aus Ärger mit Kartoffeln bewirft. Oder die Stelle aus Robert Walsers Die Rose, wo der Erzähler Scheu vor der schrecklichen Heiligkeit der Kreuzigung fordert, während er selbst genüsslich in eine saftige Orange beißt. Mit Hintergrundmusik wie Madonnas Like a Prayer und Personal Jesus von Depeche Mode kann man sich noch härtere Sachen reinziehen: William Friedkins Film Der Exorzist oder das kreuzförmige „Jackhammer Jesus“-Sex-Spielzeug, das im Online-Shop Divine Interventions erhältlich ist.

So hat das Bündnis für Kreuzvielfalt nicht gegen das, sondern mit dem Kreuz der bayrischen Regierung den Krieg erklärt. Der Poet und Romanist Daniel Graziadei kommentiert, dies sei kein historischer Einzelfall. Schon im frühen 19. Jahrhundert waren sich religiös ereifernde Tiroler Bauern mit hochgehaltenem Kreuz gegen Maximilian I. ins Feld gezogen, der mit Napoleon Bonaparte verbündet und von der säkularistischen Aufklärung ein bisschen zu angetan war. Heute ist es umgedreht, und statt der Harken und Schaufeln ist die Parodie die Waffe der Wahl. Das ist gut so, denn immerhin gibt es nur zwei Möglichkeiten, mit dem Erlass richtig umzugehen: forensische Analyse inklusive Sanktion, oder eben Verhohnepipelung. Den Verfassungsgerichten muss man Ersteres überlassen, alle anderen dürfen sich ohne Scheu lustig machen.

Agatha Frischmuth ist Doktorandin am Peter Szondi-Institut für Allgemeine und Vergleichende Literaturwissenschaft an der FU Berlin

Lesen Sie mehr in der aktuellen Ausgabe des Freitag.

der Freitag Agatha Frischmuth Quelle

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[nofomoartworld]

Art F City: Next 50 People to Buy an AFC Goth Benefit Ticket Get a Limited Edition T-Shirt!

When: April 18, 2017, 6:00 PM – 10:00 PM Where: Collapsable Hole, 55 Bethune Street, New York, NY Tickets: $75-$2000

    Good news readers! If you’re one of the next 50 people to buy a ticket to the Art F City Goth Benefit, you get a limited edition t-shirt out of the deal. This isn’t any ordinary t-shirt. We worked with designer Phillip Niemeyer to produce this design, which pairs the famous logo of the Bauhaus School of Design—later, appropriated and popularized by the goth band, Bauhaus, with the Art F City Goth Opera logo. Perfectly balanced, this design represents the brave spareness within the best Modernist work, with the courage imbued within goth culture and the art world at large. But act fast. There are only 50 t-shirts and they won’t be available for long.

Whether Bauhaus has been on your playlist since before iTunes existed or you’re a black-lipstick virgin, the April 18th Art F City Goth Benefit is an event for you. The more black you wear, the better your night.

We’re deadly serious. Those who come coupled, and in full goth garb will receive a $50 discount. Show up at the door together, and we’ll hand cuff you for an additional $25. We’re not going so far as to offer neck leashes, but anyone who has had a rib removed for better corset shaping gets in for free.

That’s important because we want the setting to be dark and romantic for Joseph Keckler, who will perform a 20 minute set of some of his greatest goth opera masterpieces. (Get your stage side table ticket for two, for the full date night experience.) It will be a show you won’t forget. While there, artist and Instagram star Sean Fader and crew will take your photo and print it out for you.

Coming to this event should feel good. It means supporting Art F City, one of New York’s most storied online publications—a brave voice in these challenging times, unafraid to take hard positions and lay out what’s at stake. And ultimately it’s this sensibility that’s driving this event. It’s not just that the goth aesthetic has taken over the art world (though it has), but that goth culture, with all its sensitivity, with all its courage, is what’s needed. Surely that’s something to celebrate.

Art F City is a 501c3 and non-profit registered in the State of New York. Your donations are 100 percent tax deductible to the fullest extent of the law.

Benefit Committee

Chair: Marisa Sage. Committee:  Robin Cembalest, Meryl Cooper, Nicholas Cueva, Matthew Deleget, Amanda Devereux, Robert Dimin, Purdy Eaton, Carla Gannis, Sarah Landreth, Matthew Leifheit, Elissa Levy, Lisa Levy, Danielle Mysliwiec, Kelani Nichole, Marsha Owett, Paul Skiff, Michelle Vitelle, Jaimie Warren, Jessica Wessel, Helena Willner.

Auction Committee

Co-chairs: Danielle Mysliwiec and Paddy Johnson. Committee: Joshua Abelow, Tim Doud, Marc Handelman, Rod Malin, David McBride, Adrianne Rubenstein, and Jessica Wessel.  

Promo image: Jaimie Warren

Graphic Design: Northern Southern

from Art F City http://ift.tt/2oaYezB via IFTTT