#high cut magazine september 2019 issue

[rippedstitch-s]

TIMELINE - ASA HOLLAND

Below is an in-depth timeline of Asa Holland's life from birth (October 24, 1978) until now (end of July 2023).

Please be aware of all Trigger Warnings under the cut.

TW // Homophobia, Abuse, Medical Malpractice, Murder, Drugs

BORN: October 24, 1978

Born in Swords, Ireland to Conor & Shauna Holland

A strict but unremarkable early childhood

Asa worked small jobs at nearby churches, walked to school & lived with his devoutly Catholic mother & father

Younger sister born ( current WC, any time from 1980 - 1993 ) 

Strictness beginning to form in household due to religion and father’s growing influence & money

Early 1993 - Asa is in high school & doing poorly. He’s rebellious as many teens are. After an argument, his father finds a stash of magazines and letters from a secret boyfriend. 

Late 1993 - After unsuccessful church counseling with Pastor Frederick in nearby Ballyboughal, Conor sends his son to a troubled teens’ home in Portrane. 

October 1996 - Asa turns 18 and is allowed to leave the ‘group home’. His father encourages (forces) him to join the army to make him a ‘real man’.

October 1997 - Asa leaves the military. Asa’s father ‘worries’ for his sanity, has him inspected by a dubious doctor, committed, and sent off to Gardner Hill Sanatorium. Here he is started on a medication regiment that keeps him out of it and confused. 

November 1999 - Conor Holland becomes Minister for Finance of the Irish cabinet. He uses his son’s ‘medical issues’ to garner sympathy. 

December 1999 - Gardner Hill Sanatorium undergoes major renovations and Asa’s file is reviewed. His father is called and arrangements are made to send him to Beauford Cross Psychiatric Hospital.

May 2001 - Asa receives one of the only letters he will ever get from his mother, wishing him well. She sends him a small leather-bound notebook with nice pens. He sends a letter back, but does not receive any response.

September 2003 - Beauford Cross files for bankruptcy, relocates patients throughout other hospitals in Ireland and Wales due to overcrowding and underfunding.

November 2003 - Asa arrives in Llangadog Coed Hospital in Wales. A nurse has a back and forth with his father on the reasoning for his being committed. 

February 2008 - After 5 years at Llangadog, Asa’s file is yet again reviewed. With doctors getting suspicious, his father uses his influence to once more send him off. This time, to St. Irene in Brentwood, outside of London. 

April 2008 - Asa is introduced to Electro-Convulsive Therapy by Dr. Hartley, in addition to several other unmonitored practices going on behind the scenes of St. Irene. 

Late 2012 - Citing overcrowding and lack of resources, Asa is released to his father and mother after more than 4 years at St. Irene’s. 

Early 2013 - After hearing his fathers’ plans of where to put him next, Asa steals a sum of money and flees to the US. 

Mid 2013 - Asa uses whatever money he has to get a shitty apartment on a month-to-month basis. He meets Hal, next door neighbor at the time. Asa endures seizures due to the ECT and other malpractice issues. Hal takes care of him, and they spend quite a bit of time together.

2014 - Hal disappears. Realizing his demons will never leave until his father is dealt with, Asa flies back to Ireland and bludgeons his father to death with a hammer. While at his father’s estate, he grabs any information about the institutions he was placed in, especially from St. Irene’s. He stays in London briefly to avoid suspicion, and flies back to the US after.

2017 - While working several jobs to make ends meet, Asa begins creating the case to close down St. Irene’s, starting correspondence with other old patients, fired nurses, and anyone else who has information as to the place’s illegal activities. 

2019 - Asa presents his case to court with damning evidence to the corrupt practices of St. Irene’s, including medical malpractice, purposeful neglect, and misuse of medical equipment. Dr. Hartley and other such medical 'professionals' were incarcerated, Asa won a huge settlement, and St. Irene’s was shut down. 

2020 - Asa happens upon an injured Syndicate member and covertly cleans them up. His name is brought up to higher ups in the Syndicate and when researched, his father’s mysterious death and his incredibly large settlement appear. 

Later 2020 - Asa is brought in as a medic to the Syndicate, given a small ‘office’ and is usually on-call for any medical emergencies.  

December 2021 - Asa’s first children’s book, ‘Sunless’, is published. He doesn’t have many people to tell about it, so this goes mostly under the radar.

September 2022 - Asa’s second children’s book, ‘Moonless’, a sequel to his first, is published. 

Early 2023 - With his money and being able to work comfortably as an illustrator, Asa moves to Manhattan and settles there with his 5 cats. 

October 29, 2023 - Asa kills Dr. Philip Hartley, his 2nd victim.

October 31, 2023 - Asa fights Andrea Galan shortly before her murder. He also fights JJ Baptiste, and breaks his tooth.

November 2023 - Seizures return.

[fuckyeahjoonmyun]

High Cut Magazine Sept 2019 issue - Interview with Suho

It's been a year since you met High Cut for the <Student A> photoshoot, what have you been busy with recently? 

“It's already been a year? Haha. Although I'm still busy as usual, recently I have been focusing on EXO's concert and album but even then, I feel like my body and heart are more relaxed.”

You recently attended the Jecheon International Music & Film Festival and was awarded the New Discovery award for your role in <Student A>. It seems that your time in Jecheon must have been special. 

“Unfortunately I had to go to Hong Kong for a concert but I managed to eat ddeok galbi (grilled rib patty) and greeted the other senior actors and directors. I also met SNSD Sooyoung-noona. It's been over 10 years since we knew each other and we were thrilled to be able to win this award together. It was a short, sweet, and meaningful time.”

Recently you were also appointed as ambassador for Daegu International Music Festival and Suncheon Animal Film Festival. It feels like you are doing activities as a "professional ambassador" and that you really like what you do. 

“I really like movies and musicals. It was something that I would definitely do if I had the chance and time do do so. For the last 2 years I couldn't match my schedule with theirs so I couldn't do it. If I can help out even with just a bit I will be glad to let people know of these good movie and musical festivals (through being the ambassador).“

We know that you like movies and musicals. It also seems that you love animals.

“Honestly, I think the environment and animals are more important than people. Even though it's important to take care of those around you, it's even more important to take care of the environment. Nowadays it seems like people think too easily of the environment and animals to the point that they are harming them.“

You have a pet too, a Yorkshire Terrier called Byulie. How is she doing? 

“Haha. She's our house pet, so in the past although we spent a lot of time together, nowadays I don’t really get to see her...”

You are gradually expanding your "territories". Taking on the role of EXO's leader well, you are also working hard for acting, musicals, and now even being an ambassador. It seems like you are slowly expanding your spectrum.

“It can be put that way, but I feel that it's even more important to connect all these activities together. Rather than doing well in only one area, it's interesting that all these areas are helping each other. Although I like them all, I also like taking photos as a hobby and I'm interested in paintings but I can't draw at all... even though people tell me to try, I don't think I can do it at all haha.”

Instead of drawing (since you can't draw), why don't you upload some photos that you took yourself instead? 

“I would like to do that but I really have no time haha. I'm busy enough with my main job... It's hard enough to take care of my Instagram account, phew!”

Fans definitely know all about Suho's charms, but the general public may see Suho as someone who is goodnatured, upright with a model student image. If we look at Suho closely we may see that he is a someone who has desire to do a lot.

“Should I say that it's due to this model image that has influenced my impression? In reality I have a lot of desire about the things I like and I lead a rather intense life. I'm challenging different genres with EXO activities, and with each new experience I discover a new side to myself, and it seems that the more I (do this) the more greed I have, oh no haha.”

What do you do to unleash this greed and desire?

“Even though it's a rather obvious method, I will plan everything from small goals to big goals, and execute them out calmly and orderly. When I complete a small goal I get a sense of accomplishment and I get a sense of faith and the strength to move towards my big goals. Actually, there's nothing grand about plans. For example, the goal of "I want to get a good figure so that I can show off a cool image for the concert” can make you exercise for one hour everyday. And when you see your body get better each day you will get a sense of accomplishment. After that it becomes 2 months, and when the concert comes you will be able to achieve it. This makes me have a bigger goal of filming an action movie, and it's because of the small goal of exercising everyday that I'm able to have this big goal. If I have to film an action movie right now I'm able to do it because my body is ready. I tend to be someone who makes plans bit by bit so that I can grab the opportunity when it comes.”

In that case, on what do you express the most greed/desire? 

“No matter what it's EXO of course. I have been doing movies, musicals, and other works in parallel so that I can concentrate wholly with the members on preparing for the concert/album.”

With D.O. and Xiumin's enlistment, EXO must have felt changes. As the leader you probably must have felt amazed with how things have changed.

“Our maknae Sehun debuted in his teens and is already 25yo (western age), that's how much time has passed. The members have all aged and because of that, we are able to express the maturity well on stage. Also, the members are able to do the music/acting that they want to do, by using their own ways, and I feel proud of that.”

How did you (EXO) fill up the gaps left by the members who enlisted? 

“The members have felt as much responsibility as the spaces left by the friends who aren't here, and are doing a good job filling them up. It's to the point where Xiumin, who watched our concert performance from the audience, said "I feel very relieved and that you guys are dependable".”

When is their absence most felt then? 

“I think it's when we get together and the number of people seem small. I keep thinking "is everyone here? So strange..." haha. It feels strange and empty.”

We're curious as to what the members said to each other when the two of them enlisted.

“Truthfully we didn't say anything 'deep' nor serious. We just kept telling each other to be healthy. Being healthy is the best.”

GLORY DAY, STUDENT A, RICH MAN, etc, from tainted(?) youth story, coming of age story to romantic comedy, you have acted in a variety of works. Have you thought about what image of Actor Suho to show? 

“I haven’t really thought of it. It will be nice if I could tell a story about someone's life. A story about the people we see around us everyday, or a story about an ordinary person whom people just pass by, I think that would be interesting.”

When do you find acting the most fun? 

“Probably when I match well with the other actor. It's an experience that you can't get from the stage. There are certain things that can only be seen if you match well with your partner, unlike if you read your script alone. I also find ad-libs and reactions very fascinating and interesting.”

You've done 2 musicals, <The Man Who Laughs> and <The Last Kiss>. Musicals must have another kind of fun then. 

“For musicals, because everything is scripted, you have to follow the script. The acting is repetitive, so if you change it and the other party gets flustered, you could become a nuisance. But if you plan and do everything as promised, you can present something different each time. That's a special kind of fun.”

Are you someone who searches online for feedback from the public? If you are, do you pay more attention to the singing or acting activities?

“I tend to look for feedback on both. If I were to say the difference between the two, it would be that since in EXO there are the other members and we are seen as a team, I don't know if I'm doing well, and even if I make a mistake it can get covered. We depend on each other and have great synergy, but on the other hand for acting, I'm 100% seen alone. It's more burdensome no matter I get praised or criticised because their focus is on me.”

You're spending the last few years of your 20s. What do you talk about with your friends? You probably talk about how the front digit of your age is changing, like any other youths? 

“Because I started school early, most of my friends are already 30 this year. Which is why I feel like I'm already 30, and I don't feel any burden about my age. Rather, I think because of our jobs we talk about acting or our works. Also, because we all love to travel around, "this place is good", "this is exotic", we tend to talk a lot about such places. Because we don't really have time to go play together, we will send each other photos that we took, and talk about it together.”

Even then, you probably must have talked about how you're ageing. 

“We keep dreaming about something, executing it, and keep doing something innovative and creative. If we do this I don't think age will matter. Honestly because everyone is taking good care of themselves be it looks or the mind, everyone is getting younger overall. Now people tend to live longer past the age of 100. But if there's one thing I'm worried about, it's the fact that I can't catch up with youtube...”

Seems like you're not a "youtube human"? 

“Haha honestly I can't see what's fun about it, and compared to reading words, you can skip parts of videos. But I get this weird worry(?) that I will miss out something important if I skip the video. I also don't like the fact that time seems to fly when you watch youtube videos. I have to watch movies, dramas, and do many other things... which is why I can't get interested in it haha.”

You have an analogue side too I see. Is this why you previously told us that you will definitely make time to watch movies? At that time, you recommended <Three Billboards Outside Ebbing, Missouri> and <The Shape of Water>. Is there any recent movie that you want to recommend?

“Recently I've been watching at least 3 movies per week regardless of genre haha. If it's a new recommendation I want to recommend <Park Hwayoung> and <Delta Boys>. They are movies that reflect the current reality well. <Park Hwayoung> is something that made me feel hurt badly. <Delta Boys> is a movie that I think will give good energy to ordinary people. It's an interesting movie that makes you smile. Even though both have been released for some time, if you haven't watched it I recommend you to do so.”

Summer is almost over. What kind of autumn does Suho hope it will be? 

“Hmmm (trying to think of an original expression)... it'll be nice if the pretty colours, as red and yellow as maple leaves, could dye me gently. Also, it would be great if I could become even more matured, that would be a really fruitful autumn.”

(trans. cr.: myeonmehmeh)

[mahoneysuga]

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LIVE:

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Anan No 2057 June 2017

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TEN Star Special - BTS 2000 Days Journey 2018

DICON Behind BTS 2018

CanCam August 2019

DICON BTS Vol. 10 BTS Goes On 2020

Rolling Stone Korea 2021 Issue 2.

Burdock Issue 2: SOUND (BTS Cover) 2021

Vogue x GQ January 2022

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[gagosiangallery]

Titus Kaphar at Gagosian West 21st Street, New York

September 22, 2020

TITUS KAPHAR From a Tropical Space October 1–December 19, 2020 522 West 21st Street, New York __________ Gagosian is pleased to present From a Tropical Space, an exhibition of new paintings by Titus Kaphar. This is Kaphar’s first exhibition with the gallery and inaugurates his representation. A painter, sculptor, filmmaker, and installation artist, Kaphar reexamines American history by deconstructing existing representations and styles through his own formal innovations. His practice seeks to dislodge history from its status as “past” in order to understand its continuing impact on the present. Using materials including tar, glass, and rusted nails—together with highly refined oil painting—and employing techniques such as cutting, shredding, stitching, binding, and erasing, he reworks canonical art historical codes and conventions. And by uncovering the conceptual and narrative underpinnings of certain source images, he explores the manipulation of cultural and personal identity as a central thematic concern while inventing new narratives. While much of Kaphar’s work begins with an exhaustive study of pre-twentieth-century master painting techniques, From a Tropical Space sees him wield these various methods to create an emotionally saturated visual landscape that is entirely contemporary. Just as artists, through time, have translated the fraught and mercurial sociopolitical contexts in which they operate into new and often radical aesthetic modes, so do the pervasive social and cultural anxieties of the world in which we find ourselves resonate throughout Kaphar’s new work.

In From a Tropical Space, Kaphar presents a haunting narrative of Black motherhood wherein collective fear and trauma crescendo in the disappearance of children, literalized through the physical excision of their images from the canvases themselves. The absence of each juvenile figure—whether seated in a stroller or held in a woman’s arms—reveals only the blank gallery wall beneath. The intense coloration of the suburban environments in which the figures are set only heightens a pervasive tension—these are images for uncertain times. Included in the exhibition is Analagous Colors (2020). Demonstrating further the broader resonance of Kaphar’s recent work, the painting was featured on the cover of the June 15 issue of Time magazine, which included a report on the protests sparked by George Floyd’s killing at the hands of Minneapolis police. Kaphar’s work and practice reflect on the experience and perception of historically underrepresented and marginalized groups, including the African American community. Key to Gagosian’s representation of the artist is the gallery’s substantive ongoing support for NXTHVN (Next Haven), a new national arts model established by Titus Kaphar with cofounder and chairman of the board Jason Price and cofounder Jonathan Brand in 2015. Located in the Dixwell neighborhood of New Haven, Connecticut, NXTHVN nurtures creative talent within and beyond the local community, offering fellowships, residencies, and other professional development opportunities to artists, curators, and local high school students. NXTHVN is housed in two repurposed factory buildings designed by Deborah Berke Partners, where it maintains exhibition and performance spaces in addition to studio and co-working facilities. Titus Kaphar was born in 1976 in Kalamazoo, Michigan, and lives and works in New Haven, Connecticut. Collections include the Museum of Modern Art, New York; Brooklyn Museum, New York; Studio Museum in Harlem, New York; Pérez Art Museum Miami; Seattle Art Museum; and National Gallery of Victoria, Melbourne, Australia. Exhibitions include Selections from Asphalt and Chalk, MoMA PS1, New York (2015); UnSeen: Our Past in a New Light, National Portrait Gallery, Washington, DC (2018–19); Knockout, Legacy Museum, Tuskegee University, AL (2019–20); Redaction, MoMA PS1, New York (2019); and Suffering from Realness, MASS MoCA, North Adams, MA (2019–20). Kaphar is the recipient of awards including the Gwendolyn Knight and Jacob Lawrence Fellowship (2009), Rappaport Prize (2018), and MacArthur Fellowship (2018). _____ Titus Kaphar, Twins, 2020, oil on canvas, 83 3/4 × 68 inches (212.7 × 172.7 cm) © Titus Kaphar. Photo: Alexander Harding

[jennamiller8601]

American conceptual artist: Hank Willis Thomas

Presently in the development time of his profession, American craftsman Hank Willis Thomas keeps on mixing discussion around race, sex, and corporate greed. His photos and mixed media works are expected to incite questions as opposed to respond to them. That has consistently been a purposeful objective for the craftsman, who accepts that "the most progressive thing an individual can do is be available to change."

 Strings of upheaval go through large numbers of his works, especially regarding the Black Panthers, the Black Lives Matter development, and the social progressions of the twentieth century.

 The child of two picture takers, Thomas was constantly attracted to craftsmanship. In the wake of procuring his BFA from New York University and his MFA from the California College of the Arts, Thomas officially entered the American workmanship scene in the mid-2000s. His advancement accompanied a photographic arrangement that compared pictures of subjugation and discipline with elite athletics. Ball and Chain (2003), for instance, show a jumping pair of shoes tied to a b-ball at the lower part of the casing. Photographs of a cotton picker across the yard line from a football player and an uncovered head marked with the Nike swoosh likewise supported his notoriety. These photographs are perceived as the beginning stage of the craftsman's vocation and now reliably perform at sell-off. For instance, Christie's sold a print of Basketball and Chain for USD 30,000 a year ago. Yet there are many more such auctions to be held know all this information beforehand from the auction news of auctiondaily.

 Over the long run, Thomas started to ponder more the historical backdrop of dissent and opposition inside his work. He started portraying bronze arms brought up in fortitude and afro picks finished off with a grasped clenched hand. Thomas has kept a promise to remarking on race in America, particularly unloading mass imprisonment and the enduring impacts of servitude.

 Talking about his works, the Portland Art Museum's Julia Dolan said, "They challenge watchers to recognize chronicles of battle and the harming traditions of abusive frameworks without dismissing the expect important change… [His art] additionally cutting edges his conviction that facing and recognizing our aggregate past can help push us ahead in productive and community ways."

 A 2019 cast glass mold from Thomas will show up in Wright's impending Art and Design occasion. It shows a high contrast hand making the gesture of goodwill. The parcel is offered with a gauge of $5,000 to $7,000. "The gesture of goodwill has been a component of dark force… it's a dire public craftsmanship piece filling in as an image of solidarity, pride, strength, diligence, equity, and having a place," Thomas said about the model. "I needed to feature this thought of the Black Power development as continually being a harmony development."

 Thomas has likewise invested energy investigating current utilization, found in his joking reimaginings of brand names, logos, and commercials. A 2013 artwork differentiating the titles of Jet and People magazines sold for $75,000 in late 2018. The sled cost was one of the craftsman's most elevated hitherto and very much surpassed the high gauge of $20,000. Four screenprints created around a similar time have additionally entered the market as of late. Offered as a set, each print shows a trademark without its item. Expressions like "The most recent in joy" and "Where the flavor is" are set against a grainy foundation, pointing out the watchers ' importance and social ramifications. This set came to $10,000 in a new Christie's deal.

 Thomas keeps on being dynamic in political and social issues. Prior in September, Thomas resuscitated his 2014 The Writing on the Wall establishment to uncover the encounters of detained people during the COVID-19 emergency. He is teaming up with Baz Dreisinger of the Incarceration Nations Network to extend the expressions of the detained onto the Brooklyn Public Library. The establishment is set to proceed through the month's end.

 Thomas has additionally coordinated spring-up execution craftsmanship occasions respecting the Wide Awakes, a lobbyist gathering of the 1860s who battled for liberation. At the point when he isn't facilitating these generally motivated conventions, Thomas is composing and talking about the requirement for change in America.

 "It's our obligation in the 21st century, when we have unfathomable admittance to data, to comprehend that there will never be going to be one adequate method of telling history," he wrote in a CNN piece requiring another way to deal with public landmarks. "It's truly through accepting subtlety that we can gain from an earlier time."

 Media Source: Auctiondaily

[wutbju]

1. Engage in Vigilant Self-Awareness

People who are white or perceived as white have more privilege and fewer barriers to resources than Black people and other people of color. If we do not know our power, we can abuse it unintentionally or fail to leverage it toward antiracism. Constant self-reflection enhances our ability to disrupt white privilege when we see or enact it. Some questions to ask yourself include

How does your identity provide or prevent access to necessary resources?

How does your power and privilege show up in your work with students, take up space, or silence others?

What single narratives are you telling yourself about students, and how does that affect grading, behavior management, and other interactions?

Do you and the academic materials you use uphold whiteness or lift up the voices and experiences of people of color?

Studies show that Eurocentric values and content dominate U.S. schooling, so these reflection questions are also relevant to educators of color who may have internalized negative messages about Black or Brown people.

                 2. Acknowledge Racism and the Ideology of White Supremacy

When we let our discomfort or ignorance shield us from recognizing our country's racist history and present, we are part of the problem. Failing to acknowledge racism not only erases histories, cultures, and identities, but also ignores ongoing differential treatment based on race. For example, U.S. Secretary of Education Betsy DeVos ignored three decades of research showing students of color are disciplined more harshly than white students when she decided to rescind Obama-era guidelines aimed at discipline equity. In addition, schools and districts have spoon-fed lessons on grit to mostly students of color, suggesting that we must "fix" them by making them grittier so that they can adapt to—rather than disrupt—racism and inequality in schools.

Acknowledging the social construct of race and racism and the ideology of white supremacy recognizes the problem so that we are not harmful in our ignorance and so that, together, we can strive for solutions. For educators of color, the work means continuing to call out racism and recruiting white coconspirators to join in antiracist work.

3. Study and Teach Representative History

No matter what subject you teach, history (including African American history, which is U.S. history) is important. Knowing our country's whole history helps us make sense of how our current education system perpetuates inequity.

For too long, we have taught U.S. history devoid of a true depiction of Black excellence and have focused on erasing the truth of racial oppression and uplifting whiteness. Our curriculum superficially talks about slavery and civil rights (notably, textbook provider McGraw-Hill called enslaved Africans "immigrants" and "workers"), and teaching practices risk traumatizing Black students by enacting mock slave auctions, slave games, and underground railroad games. Alternately, resources such as Henry Louis Gates Jr.'s PBS documentary series on Reconstruction or The New York Times Magazine's 1619 Project provide a comprehensive opportunity to learn and discuss history and race with colleagues and students. The Zinn Education Project and Rethinking Schools also have teaching materials that explore topics like the Tulsa race riots and colonization.

4. Talk About Race with Students

The educators I work with are mostly white (which matches the lack of teacher diversity on a national level) and often share that they do not feel comfortable talking about race. But when we shy away from open conversations about race with young people, we sow the seeds of prejudice by inadvertently sending the message that something is wrong with people from another race.

To open up conversations with young people, use stories from history and literature as a starting point, and ask students to take on the perspective of a character about whom they are reading. Reading literature and role-playing enhance empathy and other social cognitive skills. Teaching Tolerance's resource, "Let's Talk: Discussing Race, Racism, and Other Difficult Topics," includes suggestions for working through discomfort. The Educational Leadership article "Helping Students Discuss Race Openly" also has a great list of steps to begin the conversation. (And the September 2019 issue of this newsletter includes guidance from educator Liz Kleinrock on how to lead students through challenging topics like race.)

5. When You See Racism, Do Something

We have to fight against racism—and other isms and phobias. All students deserve to live and learn in the comfort of their own skin. To combat racism, consider how the academic resources, policies, admissions, hiring, grading, and behavior management practices at your school might be racist. Whom do the practices and policies benefit and whom do they disadvantage? Are Black people and other people of color disproportionately affected negatively by disciplinary, pedagogical, and administrative practices? For example, what hours are family-teacher conferences held? Which families are excluded from these hours? Which students are most disciplined based on dress code or physical appearance? In 2018, a high school wrestler was forced to cut his locks because the referee argued that his hair was not compliant with regulations. Ask yourself whether a particular "rule" is applied to all people or just to some. Engage in vigilant awareness of your implicit bias to ensure that you are not part of the problem, too.

Most important, when we see racism—whether at the individual or policy level—we must have the courage to act. White Fragility author Robin DiAngelo provides guidance for engaging in gentle but firm conversations with offenders that prevents the defensiveness that race conversations inspire. Share data on specific practices and use stories to humanize the data. Build partnerships with racial-justice organizations in your communities to integrate their work in teaching and learning. Form a taskforce to assess data, policies, and practices with an antiracist lens to disrupt systemic decisions that historically have disenfranchised people of color. Be mindful that these efforts should not be carried solely by the people of color in your school, who are living and struggling with racism on a daily basis.

[blackkudos]

Lionel Hampton

Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, and bandleader. Hampton worked with jazz musicians from Teddy Wilson, Benny Goodman, and Buddy Rich to Charlie Parker, Charles Mingus, and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame, and was awarded the National Medal of Arts in 1996.

Biography

Early life

Lionel Hampton was born in 1908 in Louisville, Kentucky, and was raised by his mother. Shortly after he was born, he and his mother moved to her hometown of Birmingham, Alabama. He spent his early childhood in Kenosha, Wisconsin, before he and his family moved to Chicago, Illinois, in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America, which was off-limits because of racial segregation. During the 1920s, while still a teenager, Hampton took xylophone lessons from Jimmy Bertrand and began to play drums. Hampton was raised Roman Catholic, and started out playing fife and drum at the Holy Rosary Academy near Chicago.

Early career

Lionel Hampton began his career playing drums for the Chicago Defender Newsboys' Band (led by Major N. Clark Smith) while still a teenager in Chicago. He moved to California in 1927 or 1928, playing drums for the Dixieland Blues-Blowers. He made his recording debut with The Quality Serenaders led by Paul Howard, then left for Culver City and drummed for the Les Hite band at Sebastian's Cotton Club. One of his trademarks as a drummer was his ability to do stunts with multiple pairs of sticks such as twirling and juggling without missing a beat. During this period he began practicing on the vibraphone. In 1930 Louis Armstrong came to California and hired the Les Hite band, asking Hampton if he would play vibes on two songs. So began his career as a vibraphonist, popularizing the use of the instrument in the process. Invented ten years earlier, the vibraphone is essentially a xylophone with metal bars, a sustain pedal, and resonators equipped with electric-powered fans that add tremolo.

While working with the Les Hite band, Hampton also occasionally did some performing with Nat Shilkret and his orchestra. During the early 1930s, he studied music at the University of Southern California. In 1934 he led his own orchestra, and then appeared in the Bing Crosby film Pennies From Heaven (1936) alongside Louis Armstrong (wearing a mask in a scene while playing drums).

With Benny Goodman

Also in November 1936, the Benny Goodman Orchestra came to Los Angeles to play the Palomar Ballroom. When John Hammond brought Goodman to see Hampton perform, Goodman invited him to join his trio, which soon became the Benny Goodman Quartet with Teddy Wilson and Gene Krupa completing the lineup. The Trio and Quartet were among the first racially integrated jazz groups to perform before audiences, and were a leading small-group of the day.

Lionel Hampton Orchestra

While Hampton worked for Goodman in New York, he recorded with several different small groups known as the Lionel Hampton Orchestra, as well as assorted small groups within the Goodman band. In 1940 Hampton left the Goodman organization under amicable circumstances to form his own big band.

Hampton's orchestra developed a high-profile during the 1940s and early 1950s. His third recording with them in 1942 produced the version of "Flying Home", featuring a solo by Illinois Jacquet that anticipated rhythm & blues. Although Hampton first recorded "Flying Home" under his own name with a small group in 1940 for Victor, the best known version is the big band version recorded for Decca on May 26, 1942, in a new arrangement by Hampton's pianist Milt Buckner. The 78pm disc became successful enough for Hampton to record "Flyin' Home #2" in 1944, this time a feature for Arnett Cobb. The song went on to become the theme song for all three men. Guitarist Billy Mackel first joined Hampton in 1944, and would perform and record with him almost continuously through to the late 1970s. In 1947, Hamp performed "Stardust" at a "Just Jazz" concert for producer Gene Norman, also featuring Charlie Shavers and Slam Stewart; the recording was issued by Decca. Later, Norman's GNP Crescendo label issued the remaining tracks from the concert.

Hampton was a featured artist at numerous Cavalcade of Jazz concerts held at Wrigley Field in Los Angeles and produced by Leon Hefflin Sr. His first performance was at the second Cavalcade of Jazz concert held on October 12, 1946 and also featured Jack McVea, Slim Gaillard, T-Bone Walker, the Honeydrippers and Louis Armstrong. The fifth Cavalcade of Jazz concert was held in two locations, Wrigley Field in Los Angeles and Lane Field in San Diego, July 10, 1949 and September 3, 1949 respectively. Betty Carter, Jimmy Witherspoon, Buddy Banks, Smiley Turner and Big Jay McNeely also played with Hampton. It was at the sixth Cavalcade of Jazz, June 25, 1950 that precipitated the closest thing to a riot in the show’s eventful history. Lionel and his band paraded around the ball park’s infield playing ‘Flying High’.  The huge crowd, around 14,000 went berserk, tossed cushions, coats, hats, programs, and just about anything else they could lay hands on and swarmed on the field. Dinah Washington, Roy Milton, PeeWee Crayton, Lillie Greenwood, Tiny Davis an Her Hell Divers were also featured. His final Cavalcade of Jazz concert held on July 24, 1955 (Eleventh) also featured Big Jay McNeely, The Medallions, The Penguins and James Moody and his Orchestra.

From the mid-1940s until the early 1950s, Hampton led a lively rhythm & blues band whose Decca Records recordings included numerous young performers who later had significant careers. They included bassist Charles Mingus, saxophonist Johnny Griffin, guitarist Wes Montgomery, and vocalist Dinah Washington. Other noteworthy band members were trumpeters Dizzy Gillespie, Cat Anderson, Kenny Dorham, and Snooky Young; trombonist Jimmy Cleveland, and saxophonists Jerome Richardson and Curtis Lowe.

The Hampton orchestra that toured Europe in 1953 included Clifford Brown, Gigi Gryce, Anthony Ortega, Monk Montgomery, George Wallington, Art Farmer, Quincy Jones, and singer Annie Ross. Hampton continued to record with small groups and jam sessions during the 1940s and 1950s, with Oscar Peterson, Buddy DeFranco, and others. In 1955, while in California working on The Benny Goodman Story he recorded with Stan Getz and made two albums with Art Tatum for Norman Granz as well as with his own big band.

Hampton performed with Louis Armstrong and Italian singer Lara Saint Paul at the 1968 Sanremo Music Festival in Italy. The performance created a sensation with Italian audiences, as it broke into a real jazz session. That same year, Hampton received a Papal Medal from Pope Paul VI.

Later career

During the 1960s, Hampton's groups were in decline; he was still performing what had succeeded for him earlier in his career. He did not fare much better in the 1970s, though he recorded actively for his Who's Who in Jazz record label, which he founded in 1977/1978.

Beginning in February 1984, Hampton and his band played at the University of Idaho's annual jazz festival, which was renamed the Lionel Hampton Jazz Festival the following year. In 1987 the UI's school of music was renamed for Hampton, the first university music school named for a jazz musician.

Hampton remained active until a stroke in Paris in 1991 led to a collapse on stage. That incident, combined with years of chronic arthritis, forced him to cut back drastically on performances. However, he did play at the Smithsonian National Museum of American History in 2001 shortly before his death.

Hampton died from congestive heart failure at Mount Sinai Hospital, New York City, on August 31, 2002. He was interred at the Woodlawn Cemetery, Bronx, New York. His funeral was held on September 7, 2002, and featured a performance by Wynton Marsalis and David Ostwald's Gully Low Jazz Band at Riverside Church in Manhattan; the procession began at The Cotton Club in Harlem.

Personal life

On November 11, 1936, in Yuma, Arizona, Lionel Hampton married Gladys Riddle (1913–1971). Gladys was Lionel's business manager throughout much of his career. Many musicians recall that Lionel ran the music and Gladys ran the business.

During the 1950s he had a strong interest in Judaism and raised money for Israel. In 1953 he composed a King David suite and performed it in Israel with the Boston Pops Orchestra. Later in life Hampton became a Christian Scientist. Hampton was also a Thirty-third degree Prince Hall freemason. In January 1997, his apartment caught fire and destroyed his awards and belongings; Hampton escaped uninjured.

On June 25, 2019, The New York Times Magazine listed Lionel Hampton among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Charity

Hampton was deeply involved in the construction of various public housing projects, and founded the Lionel Hampton Development Corporation. Construction began with the Lionel Hampton Houses in Harlem, New York in the 1960s, with the help of then Republican governor Nelson Rockefeller. Hampton's wife, Gladys Hampton, also was involved in construction of a housing project in her name, the Gladys Hampton Houses. Gladys died in 1971. In the 1980s, Hampton built another housing project called Hampton Hills in Newark, New Jersey.

Hampton was a staunch Republican and served as a delegate to several Republican National Conventions. He served as Vice-Chairman of the New York Republican County Committee for some years and also was a member of the New York City Human Rights Commission. Hampton donated almost $300,000 to Republican campaigns and committees throughout his lifetime.

Awards

2001 – Harlem Jazz and Music Festival's Legend Award

1996 – International Jazz Hall of Fame Induction and Award (performed "Flying Home" with Illinois Jacquet and the Count Basie Orchestra)

1996 – National Medal of Arts presented by President Bill Clinton

1995 – Honorary Commissioner of Civil Rights by George Pataki

1995 – Honorary Doctorate from the New England Conservatory of Music

1993 – Honorary Doctorate from the University of Maryland Eastern Shore

1992 – Inducted into the Alabama Jazz Hall of Fame

1992 - "Contributions To The Cultural Life of the Nation" award from John F. Kennedy Center for the Performing Arts

1988 – The National Endowment for the Arts Jazz Masters Fellowship

1988 – The National Association of Jazz Educators Hall of Fame Award

1987 – Honorary Doctorate of Humanities from the University of Idaho – UI's School of Music renamed "Lionel Hampton School of Music."

1987 – The Roy Wilkins Memorial Award from the NAACP

1986 – The "One of a Kind" Award from Broadcast Music, Inc.

1984 – Jazz Hall of Fame Award from the Institute of Jazz Studies

1984 – Honorary Doctorate of Music from USC

1983 – The International Film and Television Festival of New York City Award

1983 – Honorary Doctorate of Humane Letters from the State University of New York

1982 – Hollywood Walk of Fame Star

1981 – Honorary Doctorate of Humanities from Glassboro State College

1979 – Honorary Doctorate of Music from Howard University

1978 – Bronze Medallion from New York City

1976 – Honorary Doctorate of Humanities from Daniel Hale Williams University

1975 – Honorary Doctorate of Music from Xavier University of Louisiana

1974 – Honorary Doctorate of Fine Arts from Pepperdine University

1968 – Papal Medal from Pope Paul VI

1966 – Handel Medallion

1957 – American Goodwill Ambassador by President Dwight D. Eisenhower

1954 – Israel's Statehood Award

Discography

Compilations of noteThe Chronological ... Classics series

note: every recording by Lionel Hampton & His Orchestra is included in this 12 volume series from the CLASSICS reissue label ...

The Chronological Lionel Hampton & His Orchestra 1937–1938 (#524) - RCA Victor recordings

The Chronological Lionel Hampton & His Orchestra 1938–1939 (#534) - RCA Victor recordings

The Chronological Lionel Hampton & His Orchestra 1939–1940 (#562) - RCA Victor recordings

The Chronological Lionel Hampton & His Orchestra 1940–1941 (#624) - RCA Victor recordings; first Decca session

The Chronological Lionel Hampton & His Orchestra 1942–1944 (#803) - Decca recordings

The Chronological Lionel Hampton & His Orchestra 1945–1946 (#922) - Decca recordings

The Chronological Lionel Hampton & His Orchestra 1946 (#946) - Decca recordings

The Chronological Lionel Hampton & His Orchestra 1947 (#994) - Decca recordings

The Chronological Lionel Hampton & His Orchestra 1949–1950 (#1161) - Decca recordings

The Chronological Lionel Hampton & His Orchestra 1950 (#1193) - Decca recordings

The Chronological Lionel Hampton & His Orchestra 1950–1951 (#1262) - last two Decca sessions; MGM recordings

The Chronological Lionel Hampton & His Orchestra 1951–1953 (#1429) - includes Hamp's first Norman Granz-produced quartet session (September 2, 1953) with Oscar Peterson, Ray Brown, and Buddy Rich.

Glad-Hamp Records

GHLP-1001 (1961) The Many Sides Of Hamp

GHLP-3050 (1962) All That Twist'n Jazz

GHLP-1003 (1962) The Exciting Hamp In Europe

GHLP-1004 (1963) Bossa Nova Jazz

GHLP-1005 (1963) Recorded Live On Tour

GHLP-1006 (1964) Hamp In Japan/Live

GHLP-1007 (1965) East Meets West (Introducing Miyoko Hoshino)

GHLP-1009 (1965) A Taste Of Hamp

GHS-1011 (1967) Hamp Stamps [includes "Greasy Greens"]

GHS-1012 (1966) Hamp's Portrait Of A Woman

GHS-1020 (1979) Hamp's Big Band Live!

GHS-1021 (1980) Chameleon

GHS-1022 (1982) Outrageous

GHS-1023 (1983) Live In Japan

GHS-1024 (1984) Ambassador At Large

GHS-1025 (1985) Sentimental Journey (Featuring Sylvia Bennett)

GHS-1026 (1988) One Of A Kind

GHS-1027 (1987) Midnight Blues - with Dexter Gordon

GHCD-1028 (1990) Cookin' In The Kitchen

As sidemanWith Frank Sinatra

L.A. Is My Lady (Qwest/Warner Bros., 1984)

Filmography

Hampton appeared as himself in the films listed below.

[mywindowslookwriting]

A Partial A24 Ranking

A24 is an American production company, known for creating indie megahits like Midsommar, Moonlight, and The Spectacular Now. Unfortunately, I haven’t seen any of those. But irregardless, here is my (partial) A24 ranking, of just the ones I’ve seen.

10. Mid90s (2018) dir. Jonah Hill

The directorial debut from actor Jonah Hill is a ‘slice-of-life’ look at teen skateboarders, with some nice cinematography, 90s nostalgia, but also unfortunately a huge helping of toxic masculinity and lack of consequences. The main characters toss around slurs casually, and they cheer when the thirteen-year-old boy protagonist has his first sexual experience with a much older girl – who was possibly 22-23 at the time of filming. Drug use is romanticized, and the ending finds characters still static and without consequences for their bad choices. Honestly, if you like skateboarding movies, just watch Skate Kitchen.

9. The Bling Ring (2013) dir. Sofia Coppola

The true story of a group of wealthy L.A. teens who robbed various celebrities like Paris Hilton and Lindsay Lohan is turned into a surface-level enjoyable film. I enjoy Sofia Coppola’s work, and the film takes the viewer on a wild ride of privilege and celebrity, but it has a tendency to feel like the viewer is being given the keys themselves, with Coppola not really having anything to say about their actions. It’s not necessarily a bad thing, but it leads to a film that feels a little devoid of meaning.

8. Eighth Grade (2018) dir. Bo Burnham

A surprising directorial debut from a comedian, Eight Grade looks at, well, the last week of eighth grade as a socially awkward girl tries to survive until high school. As a movie, it’s so deeply apt it’s insane, and features some great acting from Elsie Fisher as the protagonist, but the only reason I couldn’t rank it higher is because there was so much second-hand embarrassment – as anyone who used to be a child now thinking about everything they did as a kid understands – that it was hard to watch. That being said, I still definitely recommend it.

7. The Florida Project (2017) dir. Sean Baker

In the shadow of Disneyland, kids living in motels play, go on adventures, and get into trouble while the adults in their lives struggle with money and hard choices. The contrast plunges the viewer back into childhood, but makes the adult issues blindingly clear in a moving snapshot that feels like hot summer on your skin as it moves from slow-moving happiness to fear to frustration to anger, and finally, maybe, hope.

6. Room (2015) dir. Lenny Abrahamson

Based on a book, a woman (Brie Larson) kidnapped and trying to raise her son (Jacob Tremblay) in a single room. It’s emotionally devastating, with superb acting – Brie Larson won an Oscar for her role -, and although it cut a lot and isn’t entirely faithful to the source material, but that’s okay because it’s such a moving and eventually heartwarming drama film.

5. Never Goin’ Back (2018) dir. Augustine Frizzell

In the hot Texan world of Never Goin’ Back, poverty is a given. So why shouldn’t two best friends celebrate one of their birthdays at the beach, even if it means spending their rent money? The movie is funny, many of the girls’ antics are hilarious, and a beautiful celebration of the many forms – and frankly, insanely homoerotic in this case – of female friendship. It has its flaws, putting it lower on the list, but Never Goin’ Back makes it easy to laugh, or to give opportunities to look deeper into its meaning.

4. The Farewell (2019) dir. Lulu Wang How far would you go for family? Would you lie to them about having terminal cancer so they are happy for their last few months? For families in the western world, this question is unfamiliar, something no one would consider doing, but the film’s look at a Chinese family reuniting under the pretense of a wedding in order to spend time with the protagonist’s grandmother for the last time is intensely relatable because it is about family. Whether laughing or crying, the Farewell deftly tackles messy family lives, and all you can learn from others just by listening.

3. 20th Century Women (2016) dir. Mike Mills

In the rapidly-changing landscape of late 70s California, an older single woman is struggling to raise her teenaged son, so she enlists the help of his best friend and a punk artist boarding in their house. The cinematography and structure takes risks, with colour pouring out of highway scenes, and the future lives of characters being revealed, but it’s not artsy and inaccessible. It’s surprising that a male director could have represented different types of women and their struggles, but he did it, and he did it well.  

2. American Honey (2016) dir. Andrea Arnold

Lead actress Sasha Lane was discovered on a beach with her friends during spring break. Her character is invited to travel through America selling magazines with other misfit teens in a grocery store parking lot. The almost three-hour long movie is as sprawling as the sky in the south and midwest of America. It’s a hot summer day that feels refreshing, not stifling. It’s young love and lingering closeup shots. It’s the American dream, updated. American Honey is almost three hours long, freeform and calm, beautiful and frantic. It’s a languid summer day, and the cool glass of water you inhale afterwards. Simply, it is American Honey.

1. Lady Bird (2017) dir. Greta Gerwig

Trying to escape your hometown. Arguing with your parents. Falling in love, or maybe not. Dancing at prom with your best friend. Moments of universal high school feelings add up to a superb directorial debut from writer and actress Greta Gerwig of one seventeen-year-old girl in her last year of high school. Appearing on the surface as a straight-forward coming-of-age film, the focus on the women of the film that rarely finds time to stray to love interest characters makes it feel fresh, especially helped by wonderful acting from Saoirse Ronan and Laurie Metcalf. It’s an alternative glimpse of life packaged into a mainstream tale of relatability that makes it A24’s best film.  

-written by sagan, september 4th 2019

[bountyofbeads]

Prince Andrew was seen getting foot massage from young woman at Epstein's apartment – report

https://www.theguardian.com/uk-news/2019/aug/22/prince-andrew-epstein-foot-massage?CMP=Share_AndroidApp_Post_to_Tumblr

Prince Andrew was seen getting foot massage from young woman at Epstein's apartment – report

Incident was recounted in an email exchange between a prominent US literary agent and author Evgeny Morozov

Edward Helmore in New York and Kevin Rawlinson in London | Published:16:55 Thu August 22, 2019 | The Guardian | Posted August 22, 2019 5:58 PM ET |

Prince Andrew was seen inside the New York apartment of disgraced financier Jeffrey Epstein getting a foot massage from a young woman, according to an email exchange between a prominent US literary agent and author and writer Evgeny Morozov.

In the exchange, published in the New Republic magazine, agent John Brockman recommends to writer Morozov (who he represents as literary agent) that he meet with Epstein, calling him a “billionaire science philanthropist” who has “been extremely generous in funding projects of many of our friends and clients”.

Epstein, 66, killed himself on 10 August in New York while awaiting trial on federal sex trafficking charges. He was accused of abusing underage girls and reportedly making some of them pleasure several of his rich and powerful friends.

In the piece in the New Republic Morozov explains that he is on the point of cutting ties with Brockman on account of the agent’s continuing silence over his connections to Epstein.. “John has been in the news because of his troubling connections to Jeffrey Epstein,” writes Morozov.

He then cites an email exchange between himself and Brockman from 2013 which includes references to Prince Andrew’s foot massage: “It’s been more than a month since Epstein was arrested on the latest charges. Still, no word on the issue. And, now that I’ve found that old email he sent me, I cannot believe that he knew absolutely nothing of Epstein’s wild sexual escapades.”

Having detailed the contents of the email exchange Morozov concludes, “ I am ready to pull the plug on my association with Brockman’s agency until and unless he clarifies the relationship between him … and Epstein.” The Guardian wrote about Epstein’s friendships with a host of renowned scientists, some of whom were introduced by Brockman.

The Guardian has reached out to Brockman and not yet received a reply. Brockman also declined to respond to Morozov’s request for comment in the New Republic.

In the emails between Morozov (a regular contributor to the Guardian) and Brockman, dated 12 September 2013, the literary agent recounts visiting Epstein at his Manhattan house.

He writes: “Last time I visited his house (the largest private residence in NYC), I walked in to find him in a sweatsuit and a British guy in a suit with suspenders [braces], getting foot massages from two young well-dressed Russian women.”

“After grilling me for a while about cyber-security, the Brit, named Andy, was commenting on the Swedish authorities and the charges against Julian Assange. We think they’re liberal in Sweden, but its more like Northern England as opposed to Southern Europe,” Brockman reports “Andy” as saying.

Brockman writes that Andrew then complained about his public profile. “In Monaco, Albert works 12 hours a day but at 9pm, when he goes out, he does whatever he wants, and nobody cares. But, if I do it, I’m in big trouble,” the emails describe him saying.

At that point, Brockman writes: “I realized that the recipient of Irina’s foot massage was his Royal Highness, Prince Andrew, the Duke of York.”

Buckingham Palace has previously said Andrew was appalled by recent revelations about Epstein. The palace declined to comment on the contents of the email on Thursday night but reiterated its previous statement: “Any suggestion of impropriety with underage minors is categorically untrue.”

Brockman concludes the email by writing that a week later “on a slow news day the cover of the NYPost had a full-page photo of Jeffrey and Andrew walking in Central Park under the headline: ‘The Prince and the Perv.’ (That was the end of Andrew’s role at the UK trade ambassador.)”

The email exchange – which the New Republic posted online in full – took place almost three years after Prince Andrew, who has strenuously denied any involvement in Epstein’s alleged sex trafficking crimes, was photographed walking in New York’s Central Park with Epstein.

A video taken a day later, on 10 December 2010, showed the duke waving goodbye to a dark-haired woman, identified in media reports as Katherine Keating, daughter of the former Australian prime minister Paul Keating.

Brockman is a literary agent who has represented famous science authors. He also heads the Edge Foundation which seeks to spark debate and conversations between scientists, artists and intellectuals.

Ultimately Morozov says he declined Brockman’s invitation to meet with Epstein.

Buckingham Palace has strenously denied any allegations of wrongdoing linked to his relationship with Epstein.

In a statement released on Sunday, Buckingham Palace said Andrew was “appalled by the recent reports of Jeffrey Epstein’s alleged crimes”. It said he “deplores the exploitation of any human being and the suggestion he would condone, participate in or encourage any such behaviour is abhorrent”.

Andrew reportedly met Epstein in the late 1990s, after being introduced by Epstein’s then girlfriend Ghislaine Maxwell, the daughter of the press baron Robert Maxwell.

Ghislaine Maxwell, whose whereabouts are currently unknown, has previously denied any wrongdoing.

It was in Maxwell’s London home that a photograph was taken in 2001 capturing Andrew his arm around Virginia Giuffre – a 17-year-old, then known as Virginia Roberts, who has alleged in court documents that Epstein coerced her into “sexual relations” with Andrew in London, New York and on Epstein’s private island in the US Virgin Islands.

When they emerged those allegations also prompted a forceful denial from Buckingham Palace, which vehemently denied there was “any form of sexual contact or relationship” between Andrew and Giuffre. “The allegations made are false and without any foundation,” the statement said. The allegations were later found to be immaterial and impertinent by the judge overseeing the case and struck out of the claim.

Prince Andrew was seen getting foot massage from young woman at Epstein's apartment – report

Incident was recounted in an email exchange between a prominent US literary agent and author Evgeny Morozov

Prince Andrew was seen inside the New York apartment of disgraced financier Jeffrey Epstein getting a foot massage from a young woman, according to an email exchange between a prominent US literary agent and author and writer Evgeny Morozov.

In the exchange, published in the New Republic magazine, agent John Brockman recommends to writer Morozov (who he represents as literary agent) that he meet with Epstein, calling him a “billionaire science philanthropist” who has “been extremely generous in funding projects of many of our friends and clients”.

Epstein, 66, killed himself on 10 August in New York while awaiting trial on federal sex trafficking charges. He was accused of abusing underage girls and reportedly making some of them pleasure several of his rich and powerful friends.

In the piece in the New Republic Morozov explains that he is on the point of cutting ties with Brockman on account of the agent’s continuing silence over his connections to Epstein.. “John has been in the news because of his troubling connections to Jeffrey Epstein,” writes Morozov.

He then cites an email exchange between himself and Brockman from 2013 which includes references to Prince Andrew’s foot massage: “It’s been more than a month since Epstein was arrested on the latest charges. Still, no word on the issue. And, now that I’ve found that old email he sent me, I cannot believe that he knew absolutely nothing of Epstein’s wild sexual escapades.”

Having detailed the contents of the email exchange Morozov concludes, “ I am ready to pull the plug on my association with Brockman’s agency until and unless he clarifies the relationship between him … and Epstein.” The Guardian wrote about Epstein’s friendships with a host of renowned scientists, some of whom were introduced by Brockman.

The Guardian has reached out to Brockman and not yet received a reply. Brockman also declined to respond to Morozov’s request for comment in the New Republic.

In the emails between Morozov (a regular contributor to the Guardian) and Brockman, dated 12 September 2013, the literary agent recounts visiting Epstein at his Manhattan house.

He writes: “Last time I visited his house (the largest private residence in NYC), I walked in to find him in a sweatsuit and a British guy in a suit with suspenders [braces], getting foot massages from two young well-dressed Russian women.”

“After grilling me for a while about cyber-security, the Brit, named Andy, was commenting on the Swedish authorities and the charges against Julian Assange. We think they’re liberal in Sweden, but its more like Northern England as opposed to Southern Europe,” Brockman reports “Andy” as saying.

Brockman writes that Andrew then complained about his public profile. “In Monaco, Albert works 12 hours a day but at 9pm, when he goes out, he does whatever he wants, and nobody cares. But, if I do it, I’m in big trouble,” the emails describe him saying.

At that point, Brockman writes: “I realized that the recipient of Irina’s foot massage was his Royal Highness, Prince Andrew, the Duke of York.”

Buckingham Palace has previously said Andrew was appalled by recent revelations about Epstein. The palace declined to comment on the contents of the email on Thursday night but reiterated its previous statement: “Any suggestion of impropriety with underage minors is categorically untrue.”

Brockman concludes the email by writing that a week later “on a slow news day the cover of the NYPost had a full-page photo of Jeffrey and Andrew walking in Central Park under the headline: ‘The Prince and the Perv.’ (That was the end of Andrew’s role at the UK trade ambassador.)”

The email exchange – which the New Republic posted online in full – took place almost three years after Prince Andrew, who has strenuously denied any involvement in Epstein’s alleged sex trafficking crimes, was photographed walking in New York’s Central Park with Epstein.

A video taken a day later, on 10 December 2010, showed the duke waving goodbye to a dark-haired woman, identified in media reports as Katherine Keating, daughter of the former Australian prime minister Paul Keating.

Brockman is a literary agent who has represented famous science authors. He also heads the Edge Foundation which seeks to spark debate and conversations between scientists, artists and intellectuals.

Ultimately Morozov says he declined Brockman’s invitation to meet with Epstein.

Buckingham Palace has strenously denied any allegations of wrongdoing linked to his relationship with Epstein.

In a statement released on Sunday, Buckingham Palace said Andrew was “appalled by the recent reports of Jeffrey Epstein’s alleged crimes”. It said he “deplores the exploitation of any human being and the suggestion he would condone, participate in or encourage any such behaviour is abhorrent”.

Andrew reportedly met Epstein in the late 1990s, after being introduced by Epstein’s then girlfriend Ghislaine Maxwell, the daughter of the press baron Robert Maxwell.

Ghislaine Maxwell, whose whereabouts are currently unknown, has previously denied any wrongdoing.

It was in Maxwell’s London home that a photograph was taken in 2001 capturing Andrew his arm around Virginia Giuffre – a 17-year-old, then known as Virginia Roberts, who has alleged in court documents that Epstein coerced her into “sexual relations” with Andrew in London, New York and on Epstein’s private island in the US Virgin Islands.

When they emerged those allegations also prompted a forceful denial from Buckingham Palace, which vehemently denied there was “any form of sexual contact or relationship” between Andrew and Giuffre. “The allegations made are false and without any foundation,” the statement said. The allegations were later found to be immaterial and impertinent by the judge overseeing the case and struck out of the claim.

[falaqi]

Acrylic Calendar | Minimalist Horizontal Clear Dry Erase Calendar | Landscape calendar | 2021 Calendar | office wall calendar | planner https://amzn.to/3JZOf8c This beautiful minimalist acrylic calendar, which was featured in HGTV's Home Magazine 2019 September issue, is a beautiful minimalist acrylic calendar that will look great in any room! Who says home decor can't be useful?! Hang something in your home that not only is eye-catching, but super functional! When I custom make your acrylic wall calendar, it's professionally printed on the back...aka it's not a vinyl / sticker :) It will last forever and never rub off! Perfect for adding a modern and chic feel to any room. These dry erase calendars are a memorable gift too! PRODUCT DETAILS - Acrylic is a high quality, guaranteed defect free, 1/4" thick acrylic - 23" x 18.5", 31" x 23" and 38" x 26" sizes available (Please note that for the 23x31 and 26x38 size, the calendar days will be wider than pictured.) Calendar day squares size: - 18.5" x 23" Calendar Size - approx 4" W x 3.3" H - 23" x 31" Calendar Size - approx 4.1” W x 3.3” H - 26" x 38" Calendar Size - 5.1" W x 3.8" H PLEASE NOTE- Every calendar ships with a clear protective film. It is completely normal for this protective film to have some scratches on it as we handle cutting you calendar and printing on it in our shop. After hanging, you will remove the film and the calendar will look perfect. #writers #writercommunity #book #BookBoost #Reading #writerslift #readingcommunity #thoughts #TrendingNow #novels #viralpost #viralvideos #followme #lifestyle #life #new #trending #viral #love #explorepage #explore #fashion #follow #tiktok #like #likeforlikes #followforfollowback #photography #trend https://www.instagram.com/p/ChUH6sSr3Yh/?igshid=NGJjMDIxMWI=

[ikonis]

iKON PHOTOSHOOTS:

2014

GQ KOREA (2014/BOBBY/NO SUBS)

2015

HIGH CUT (2015)

HIGH CUT 2 (2015)

2016

W KOREA (2016/BOBBY)

W KOREA MOBILE (2016/BOBBY)

W KOREA PROMO (2016/BOBBY)

STAR1 (2016)

VOGUEME (2016)

HARPER’S BAZAAR (2016)

VOGUEME Behind The Scenes

VOGUE (2017)

DAZED KOREA MAY 2016 MAKING FILM VER 1 (Jinhwan, Hanbin, Yunhyeong, Bobby only)

DAZED KOREA MAY 2016 MAKING FILM VER 2 (Jinhwan, Hanbin, Yunhyeong, Bobby only)

HEROES OF THE REMIX (2016)

REEBOK KOREA (MOBB/2016)

REEBOK KOREA 2 (MOBB/2016)

1ST LOOK (MOBB/2016)

2017

DAZED X iKON (2017)

DAZED X YUNHYEONG (2017)

DAZED X BOBBY (2017)

DAZED X CHANWOO (2017)

DAZED X JINHWAN (2017)

DAZED X B.I (2017)

DAZED X DONGHYUK (2018/was part of the 2017 series)

DAZED X JUNE (2018/was part of the 2017 series)

HIGH CUT (2017)

HIGH CUT 2 (2017)

2018

STAR1 (2018)

Mini Magazine (2018)

HARPER’S BAZAAR (2018)

iKON for JJ9 (Japan) Magazine (September 2018 Issue) Making Movie Photoshoot (OT7/2018)

JJ9 Magazine - Making Movie B.I (2018)

JJ9 Magazine - Making Movie Donghyuk (2018)

JJ9 Magazine - Making Movie Chanwoo (2018)

JJ9 Magazine - Making Movie Jinhwan (2018)

JJ9 Magazine - Making Movie Yunhyeong (2018)

JJ9 Magazine - Making Movie June (2018)

JJ9 Magazine - Making Movie Bobby (2018)

Jinhwan & Hanbin GLITTER MAGAZINE UPDATE (2018)

Hanbin for Arena Homme (2018)

Hanbin for Arena Homme 2 (2018)

Bobby for Elle Korea (2018) + Bobby for Elle Korea 2 (2018)

iKON for  shogakukanOggi (2018)

Yunhyeong for Nylon Korea (2018)

iKON for H:CONNECT (2018)

Hanbin for H:CONNECT (2018)

Jinhwan for H:CONNECT (2018)

Chanwoo for H:CONNECT (2018)

June for H:CONNECT (2018)

Yunhyeong for H:CONNECT (2018)

Donghyuk for H:CONNECT (2018)

Bobby for H:CONNECT (2018)

iKON for H:CONNECT 2 (2018)

2019 

iKON for ARENAHOMME+ A Awards (iKON Cut)

iKON for ARENAHOMME+ A Awards (full)

iKON for ARENAHOMME+ (shots only) 

iKON for ARENAHOMME+ (magazine only)

iKON for NYLON  + alternative link

[blackkudos]

George Benson

George Benson (born March 22, 1943) is an American guitarist, singer, and songwriter. He began his professional career at the age of 21 as a jazz guitarist. Benson uses a rest-stroke picking technique similar to that of gypsy jazz players such as Django Reinhardt.

A former child prodigy, Benson first came to prominence in the 1960s, playing soul jazz with Jack McDuff and others. He then launched a successful solo career, alternating between jazz, pop, R&B singing, and scat singing. His album Breezin' was certified triple-platinum, hitting no. 1 on the Billboard album chart in 1976. His concerts were well attended through the 1980s, and he still has a large following. Benson has been honored with a star on the Hollywood Walk of Fame.

Biography

Early career

Benson was born and raised in the Hill District in Pittsburgh, Pennsylvania. At the age of seven, he first played the ukulele in a corner drug store, for which he was paid a few dollars. At the age of eight, he played guitar in an unlicensed nightclub on Friday and Saturday nights, but the police soon closed the club down. At the age of 9, he started to record. Out of the four sides he cut, two were released: "She Makes Me Mad" backed with "It Should Have Been Me", with RCA-Victor in New York; although one source indicates this record was released under the name "Little Georgie", the 45rpm label is printed with the name George Benson. The single was produced by Leroy Kirkland for RCA's rhythm and blues label, Groove Records. As he has stated in an interview, Benson's introduction to showbusiness had an effect on his schooling. When this was discovered (tied with the failure of his single) his guitar was impounded. Luckily, after he spent time in a juvenile detention centre his stepfather made him a new guitar.

Benson attended and graduated from Schenley High School. As a youth he learned how to play straight-ahead instrumental jazz during a relationship performing for several years with organist Jack McDuff. One of his many early guitar heroes was country-jazz guitarist Hank Garland. At the age of 21, he recorded his first album as leader, The New Boss Guitar, featuring McDuff. Benson's next recording was It's Uptown with the George Benson Quartet, including Lonnie Smith on organ and Ronnie Cuber on baritone saxophone. Benson followed it up with The George Benson Cookbook, also with Lonnie Smith and Ronnie Cuber on baritone and drummer Marion Booker. Miles Davis employed Benson in the mid-1960s, featuring his guitar on "Paraphernalia" on his 1968 Columbia release, Miles in the Sky before going to Verve Records.

Benson then signed with Creed Taylor's jazz label CTI Records, where he recorded several albums, with jazz heavyweights guesting, to some success, mainly in the jazz field. His 1974 release, Bad Benson, climbed to the top spot in the Billboard jazz chart, while the follow-ups, Good King Bad (#51 Pop album) and Benson and Farrell (with Joe Farrell), both reached the jazz top-three sellers. Benson also did a version of The Beatles's 1969 album Abbey Road called The Other Side of Abbey Road, also released in 1969, and a version of "White Rabbit", originally written and recorded by San Francisco rock group Great Society, and made famous by Jefferson Airplane. Benson played on numerous sessions for other CTI artists during this time, including Freddie Hubbard and Stanley Turrentine, notably on the latter's acclaimed album Sugar.

1970s and 1980s

By the mid-to-late 1970s, as he recorded for Warner Bros. Records, a whole new audience began to discover Benson. With the 1976 release Breezin', Benson sang a lead vocal on the track "This Masquerade" (notable also for the lush, romantic piano intro and solo by Jorge Dalto), which became a huge pop hit and won a Grammy Award for Record of the Year. (He had sung vocals infrequently on albums earlier in his career, notably his rendition of "Here Comes the Sun" on the Other Side of Abbey Road album.) The rest of the album is instrumental, including his rendition of the 1975 Jose Feliciano composition "Affirmation".

In 1976, Benson toured with soul singer Minnie Riperton, who had been diagnosed with terminal breast cancer earlier that year and, in addition, appeared as a guitarist and backup vocalist on Stevie Wonder's song "Another Star" from Wonder's album Songs in the Key of Life.

During the same year, 1976, the top selling album 'Breezin' was released on the Warner Brothers label featuring the Bobby Womack penned title track and the Leon Russell penned This Masquerade which is now a jazz standard. Both tracks won Grammy awards that year and the LP put Benson into the musical limelight both in the USA and in Europe. Ironically, Benson had been discouraged up until this time, from using his singing skills, mainly as the company decision makers felt he wasn't competent enough vocally, and he should stick to playing the guitar. It was here that he clearly proved them wrong.

He also recorded the original version of "The Greatest Love of All" for the 1977 Muhammad Ali bio-pic, The Greatest, which was later covered by Whitney Houston as "Greatest Love of All". During this time Benson recorded with the German conductor Claus Ogerman. The live take of "On Broadway", recorded a few months later from the 1978 release Weekend in L.A., also won a Grammy. He has worked with Freddie Hubbard on a number of his albums throughout the 1960s, 1970s and 1980s.

The Qwest record label (a subsidiary of Warner Bros., run by Quincy Jones) released Benson's breakthrough pop album Give Me The Night, produced by Jones. Benson made it into the pop and R&B top ten with the song "Give Me the Night" (written by former Heatwave keyboardist Rod Temperton). He had many hit singles such as "Love All the Hurt Away", "Turn Your Love Around", "Inside Love", "Lady Love Me", "20/20", "Shiver", "Kisses in the Moonlight". More importantly, Quincy Jones encouraged Benson to search his roots for further vocal inspiration, and he rediscovered his love for Nat Cole, Ray Charles and Donny Hathaway in the process, influencing a string of further vocal albums into the 1990s. Despite returning to his jazz and guitar playing most recently, this theme was reflected again much later in Benson's 2000 release Absolute Benson, featuring a cover of one of Hathaway's most notable songs, "The Ghetto". Benson accumulated three other platinum LPs and two gold albums.

1990s to present

In 1990, Benson was awarded an Honorary Doctorate of Music from the Berklee College of Music.

To commemorate the long relationship between Benson and Ibanez and to celebrate 30 years of collaboration on the GB Signature Models, Ibanez created the GB30TH, a limited-edition model with a gold-foil finish inspired by the traditional Japanese Garahaku art form. In 2009, Benson was recognized by the National Endowment of the Arts as a Jazz Master, the nation's highest honor in jazz. Benson performed at the 49th issue of the Ohrid Summer Festival in North Macedonia on July 25, 2009, and his tribute show to Nat King Cole An Unforgettable Tribute to Nat King Cole as part of the Istanbul International Jazz Festival in Turkey on July 27. In the fall of 2009, Benson finished recording an album entitled Songs and Stories with Marcus Miller, producer John Burk, and session musicians David Paich and Steve Lukather. As a part of the promotion for his album Songs and Stories, Benson has appeared or performed on The Tavis Smiley Show, Jimmy Kimmel Live! and Late Night with Jimmy Fallon.

He performed at the Java Jazz Festival March 4–6, 2011. In 2011, Benson released the album Guitar Man, revisiting his 1960s/early-1970s guitar-playing roots with a 12-song collection of covers of both jazz and pop standards produced by John Burk.

In June 2013, Benson released his fourth album for Concord, Inspiration: A Tribute to Nat King Cole, which included Wynton Marsalis, Idina Menzel, Till Brönner, and Judith Hill. In September, he returned to perform at Rock in Rio festival, in Rio de Janeiro, 35 years after his first performance at this festival, which was then the inaugural one.

In July 2016, Benson participated as a mentor in the Sky Arts program Guitar Star in the search for the UK and Republic of Ireland's most talented guitarist.

In May 2018, Benson was featured on the Gorillaz single "Humility".

On July 12, 2018, it was announced that Benson had signed to Mascot Label Group.

On June 25, 2019, The New York Times Magazine listed George Benson among hundreds of musicians whose material was destroyed in the 2008 Universal fire.

Personal life

Benson has been married to Johnnie Lee since 1965 and has seven children. Benson describes his music as focusing more on love and romance, and eschewing overt sexuality, due to his commitment to his family and religious practices, with Benson serving as one of Jehovah's Witnesses. Benson has been a resident of Englewood, New Jersey.

[webmarket01]

5 Bad Weight Loss Tips You Should Stop Following Today

New Post has been published on https://weightlosshtiw.com/5-bad-weight-loss-tips-you-should-stop-following-today/

5 Bad Weight Loss Tips You Should Stop Following Today

Pick up any consumer magazine or health-related website and you’ll almost certainly see an article or two about how to lose weight. The drawback is not all of the weight loss advice you read online or hear from other people is backed by science. Plus, much of the weight loss advice you get isn’t practical or sustainable.

Just look at some of the previous dieting and weight loss fiascos. Remember the cabbage soup diet? Believe it not, one diet fad called the cotton ball diet made its rounds a few years ago. Advocates of this diet advocated soaking cotton balls in orange juice and eating them to reduce hunger. Not only would it not be effective, but it could also be dangerous!  In fact, most extreme diet advice doesn’t hold up to scrutiny and is more likely to cause a nutritional deficiency than significant weight loss. Let’s look at some other less than scientific or practical weight loss advice.

Bad Weight Loss Tip #1: Eat a Low-Fat Diet to Lose Weight

Low-fat diets were popular two decades ago, but the popularity of this approach is dwindling. Fat isn’t the enemy! Your body needs a certain amount of dietary fat to make two essential fatty acids: linolenic acid and linoleic acid. Plus, fat aids in the absorption of fat-soluble vitamins and is important for brain health and healthy skin.

What about low-fat packaged foods? Manufacturers reduce the fat content of these offerings, so the calorie content is lower, but the lack of fat also makes the product less tasty and the texture less appealing. Therefore, manufacturers add fillers and sugar to boost the taste and texture. Low-fat products are also often high in refined carbohydrates, and that won’t help your waistline. In fact, refined carbohydrates cause insulin spikes that make it easier to gain weight and harder to lose it. Fat, because it slows gastric emptying, also has a satiety factor that make it more satisfying. Therefore, you might feel less satisfied and eat more if a food lacks fat.

Better Option:

Skip the packaged, low-fat products and eat more whole foods in their unaltered state. Choose healthy fat sources, like nuts, seeds, avocado, and wild-caught fish. Reduce the amount of sugar in your diet instead and don’t be fat-phobic.

Bad Weight Loss Tip #2: Exercise and You Won’t Have to Watch Your Diet

Exercise is an ally when it comes to weight control, as it helps prevent weight regain and it helps preserve muscle when you’re dieting. Yet studies show that exercise alone isn’t the best tool for losing weight and even the most consistent exercise plan by itself won’t lead to significant weight loss. One reason exercise alone falls short is because people tend to overestimate the calories they burn during a workout and eat more because they believe they burned off “X” calories. Plus, studies show exercise can have varying effects on appetite. Some types of exercise may increase appetite, for example, swimming.

Better Option:

Watch what you eat and be more active. Exercise will improve your health and body composition but it’s not a license to overindulge. You still need to make smart dietary selections. Be sure you have a balanced workout program too. Aerobic exercise burns more calories, but resistance training builds metabolically active muscle and that helps with weight control long term.

Bad Weight Loss Tip #3: Count Calories Obsessively

Obsessive calorie counting can do more harm than good. In fact, tracking calories can trigger eating disorders for some people. If you focus too much on calories over nutrients, you run the risk of nutritional deficiencies. Food is more than just energy in the form of calories. It’s also a source of vitamins and minerals your body needs to function its best. Food isn’t something to fear, but calorie counting can make it seem like it is. The composition of the calories you take in can have differing effects on hormones that control hunger and metabolism. For example, eating 300 calories of broccoli impacts your body and body weight differently than 300 calories of brownies.

Better Option:

Rather than eating less, focus on making what you eat high quality and nutrient-rich. Choose more nutrient-dense fruits and vegetables and lean protein sources. Skip sugar and refined carbohydrates that offer your body little in terms of nutrition and make what you eat count!

Bad Weight Loss Tip #4: A Ketogenic Diet is the Key to Weight Loss

One of the newest diet fads is a very low-carb ketogenic diet. Ketogenic diets reduce carbs to the point that your body breaks down fat to produce ketone bodies. The purpose of making ketone bodies from fat is to supply the brain with energy. When you first start a ketogenic diet, you usually eat only 20 grams of carbs daily for a few weeks and then switch to 50 grams of carbs during the maintenance phase. To make up the difference you consume large quantities of fat and moderate protein.

Does it work? Weight loss is faster initially with a ketogenic diet, but some of the weight loss is due to loss of fluid and glycogen from your muscles. Most studies show that the weight loss isn’t significantly greater after a year on a ketogenic diet than it is with a more balanced, weight loss diet that’s higher in carbs. Plus, ketogenic diets can have side effects. Some people experience flu-like symptoms during the week on such a carb-restricted diet. This usually lessens after a few weeks, but some people don’t feel their best even after their body adapts. Plus, we don’t yet know what the long-term health effects are of a ketogenic diet.

Better Option:

Focus on upgrading the quality of the carbohydrates you eat rather than drastically reducing them. Skip the refined carbs and sugar and choose more fiber-rich sources of carbohydrates from sources such as non-starchy vegetables, fruits, whole grains, legumes, nuts, and seeds.

Bad Weight Loss Tip #5: Detox Can Help You Lose Weight

Detox diets are designed to “cleanse” the body and help with weight loss. These diet plans are often restrictive and involve drinking only liquids or sipping a special dietary concoction that is supposed to remove impurities from your body. People who use this approach are often gratified by the initial weight loss, but the weight they shed is often fluid and glycogen. Plus, if you buy a commercial detox product, you don’t know whether the ingredients are safe. Your liver and kidneys are your best detox organs. Keeping them healthy is the key to removing impurities that a detox cleanses supposedly do.

Better Option:

Skip the detox plans and eat a balanced, healthy nutrient-rich diet. If you eat healthy most of the time it supports the health of your liver and kidneys, and they help your body detox naturally.

The Bottom Line?

Ignore bad diet advice and tips!  As tantalizing as it might seem, there’s no fast track to weight loss.

References:

The American Journal of Clinical Nutrition, Volume 110, Issue 3, September 2019, Pages 540-541, https://doi.org/10.1093/ajcn/nqz070.

HealthLine.com. “4 Ways the Cotton Ball Diet Could Kill You”

Harvard T.H. Chan School of Public Health. “Diet Review: Ketogenic Diet for Weight Loss”

ClinicalCorrelations.org. “Diet vs. Exercise: Which is Superior for Weight Loss?”

5 Things That Happen When You Drastically Cut Calories

Is Crash Dieting Harmful to Your Heart?

Why It’s Time to Take a Break from Dieting

Metabolic Adaptations – 3 Ways Your Body Tries To Keep You From Losing Weight

What is Metabolic Compensation & How Does It Keep You From Losing Weight?

This content was originally published here.

[cardsvistas]

Ten Unconventional Knowledge About Visa Bulletin September 10 That You Can’t Learn From Books | visa bulletin september 10

Visa Bulletin is an electronic news magazine for the travel industry. It features all sorts of news and information about international travel, including information on special discounts, business travel, and the latest in air travel.

The September issue of Visa Bulletin will focus on the upcoming Visa Bulletin Travel Outlook. This report will highlight the latest developments and issues related to the Visa Bulletin, including special offers, travel trends and discounts, airline deals, and other details. It will be published in September of next year.

The travel industry is a highly competitive business, and a major part of its strategy is developing new ways to attract customers. The Bureau of Economic Analysis has released reports in recent months, which indicates that the cost of airfare, accommodations, and car rentals have continued to rise, while consumer spending on entertainment and other leisure activities continues to decline.

This is likely one of the reasons why the travel sector has been struggling so much over the past few years. Travelers are simply becoming more price conscious when it comes to traveling. They are not willing to spend too much money on travel when they are already paying too much for lodging and entertainment, or even eating out at restaurants.

With these trends in mind, it is likely that the United States government will offer some sort of special discounts to visitors during the month of September. The airlines are likely to offer some kind of airline-specific travel deals during this time as well. Some hotels may also offer special packages, which will allow guests to pay for less than what they would pay in their home country.

There will likely be a lot of speculation as to which airlines and hotels will offer the best Visa Bulletin Travel Deals. In fact, if you are willing to do some research online you will find a large amount of speculation. There is no way to know how much or how little the discounts offered by these companies will be, but you can bet that there will be plenty of competition between them.

Certain airline carriers may offer special deals in September of next year. These are likely to be the low cost carriers that will have a lot of empty seats, as many people are choosing to fly during this time. It is a good idea to check with your favorite airline and make sure that they offer any special deals that they might have for September. If they don't, you may want to check with the other airline carriers to see what kind of deals they might have.

The next issue of the Visa Bulletin Travel Outlook will be for the month of November. This is another important month in which to look at for the airlines and hotels. If you are willing to spend some time looking online, you will probably be able to find the best rates possible for November travel.

The October issue of the Visa Bulletin is one that you really need to stay away from, because of the very high competition that you are likely to encounter for the low cost airlines. Even if you are able to get a great deal on airfare and hotel costs during this month, you should stay on top of the competition and make sure that you have plenty of time to plan and prepare.

Visa Bulletin: Final Action Date, Cut Off and Predictions – visa bulletin september 2019 | visa bulletin september 2019

Visa Bulletin and Adjustment of Status for September 10 PAN – visa bulletin september 2019 | visa bulletin september 2019

F10 – India: Visa Bulletin Predictions – visa bulletin september 2019 | visa bulletin september 2019

Visa Bulletin for October 10 interviews released ~ BritSimonSays | visa bulletin september 2019

September 10 Visa Bulletin:India & China Severely Impacted – visa bulletin september 2019 | visa bulletin september 2019

September 10 Visa Bulletin: Immediate Temporary Retrogression – visa bulletin september 2019 | visa bulletin september 2019

September 10 Visa Bulletin Reveals Advanced Final Action Dates – visa bulletin september 2019 | visa bulletin september 2019

EB-10 Visa Bulletin For September 10 – EB-10 Daily – visa bulletin september 2019 | visa bulletin september 2019

US Department of State Releases September 10 Visa Bulletin – visa bulletin september 2019 | visa bulletin september 2019

September 10 Visa Bulletin Landau, Hess, Simon, Choi & Doebley – visa bulletin september 2019 | visa bulletin september 2019

The post Ten Unconventional Knowledge About Visa Bulletin September 10 That You Can’t Learn From Books | visa bulletin september 10 appeared first on Cards Vista.

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[lit--bitch]

Jeremy Dixon’s ‘In Retail’ (2019)

(Disclosure: I don’t know Jeremy very well, but I met/saw him a couple months back when we performed at an online festival, Stay at Home Fest. Butcher’s Dog Magazine had an open mic where they invited writers from previous issues of the mag to come and perform stuff they’d had published with them, and outside of that. Since then, I’ve been reading and offering reviews to people from that evening, so I’m kicking off with In Retail. In Retail is published by Arachne Press, I don’t personally know anyone from there, it’s the first time I’ve heard of them. They’re dedicated to publishing titles from LGBTQIA+ writers, Jeremy Dixon himself identifies as queer, and they’re an environmentally conscious publisher, which I think is admirable. I don’t know many publishers who have an eco statement, as Arachne Press does here.) 

In Retail is an incredibly observant collection, and I feel it’s for that reason, it is so moving and relevant, really. The collection is written from Jeremy’s experiences working in a well-known chain of chemists, spending life on the other side of the till. And I think when you get into a job within hospitality, there is a perceived monotony which comes from the client’s point of view, that on we go and the cashier remains stood, serving the next person and waving goodbye. In Retail disproves these gross suppositions. From the moment it begins, there is a deep looking, there is humour, there is trauma. Our interactions are held and studied amidst transaction. The reality could not be more crippling, nor more awkward, or ecstatic in some places. Consumer culture is embedded into the very form of the writing itself. Every page of this collection, quite appropriately, reads like a shop receipt, and small events, repeated phrases and nods become products of each day that the ‘I’ here, takes home with them. We scan our way down each poem, every one of which are headed ‘IN RETAIL’ and footed by different, often repeated, end-notes. These parts are greyed out which gives them a carbon-copy feel, and it’s quite intentional, as Jeremy originally wrote these poems on the back of till-roll paper. Even the typography, the titles themselves are consistent with the font you might find on till receipts, and are numbered like so “00/01″. Transaction of the day. 

I think this collection is for anyone who calls themselves a people-watcher. I think it is for anyone who observes other people as part of a living. I am reminded of that line from Nessa in Gavin & Stacey: ‘I see every thread of life’s rich tapestry in between these three walls. The whole spectrum of human emotion.’ In Retail is a gallery of these experiences, the human vernacular, familiar and terrifying, the assortment of mannerisms and quips stood between Jamie Oliver and Lipsy. More pertinently, it’s an education in how to hold back the things you want to say.

The first poem immediately sets a precedent, ‘00/01′: 

Already there’s a feeling of intimidation, a tentative look into the night-shift. But the speaker seems so used to it, the poem merely invites the potentially problematic sequence of difficulties, in ‘Come methadone paper / wavers, talking backwards [...] Come red raw builders buying aerosol plasters’. It seems fearless actually, and I think this preface of ‘With the night come’ ascertains that there is nothing irregular about this, that it’s a case of dealing with the last of the rabble before shutting doors. Inconvenient yes, tiresome yes, but completely usual. Until: 

We are on the countdown to finish, for some people, this is the longest and sometimes most excruciating part of the shift. It is quickly clipped by a sinister threat: ‘She leans close / to whisper: I can get you cut. And it’s quite paralysing, as if I too inhabit this space between them as a reader, surveying the threat. There’s no further description, except we are left with the tail end of the receipt, speaking backwards: ‘THANK YOU FOR YOUR CUSTOM’. You have to wonder, how many times do we express gratitude for abuse, in the name of professionalism? How many times do we fear on our way out of work, someone will avenge us for doing our job? And there’s something about how, besides imitating the aesthetic of a receipt, how these greyed-out end-notes feel like cloudy afterthoughts from the muddied product of experience here.

‘00/03′ is driven by repeated utterances, as the stanzas are dragged out further, tragedy thickens. Humour is softly churned into despair. The day begins with the echo of the cashier’s mantra: 

Good morning.  Do you have an Advantage Card?  And would you like a bag?  Please enter your PIN. 

An address all too well recognised. Polite, measured, sedate. It continues: 

Good morning.  Thank you for waiting.  Do you have an Advantage Card?  And would you like a bag?  Please enter your PIN.  Good morning.  Thank you for waiting.  No one’s answering the bell.  Do you have an Advantage Card?  And would you like a bag?  Please enter your PIN.  [...]  Morning.  Thank you for waiting.  No one’s answering the bell.  They’re all at a party without me.  Seems I’m the only one left in the ship.  I could find myself with a riot on my hands.  Yes, you’re right it isn’t good enough is it.  Did you have an Advantage Card?  And would you like a bag?  Please enter your PIN.  Mourning.  Thank you for belling.  No one’s answering the weight.  And there’s another party without me.  Seems I’m the only one left in the world. I could find myself with blood on my hands.  Yes you’re right it isn’t God enough is it.  Mother says contactless is Satan’s kiss.  Have you taken the advantage?  And do you need a nosebag?  Please enter your PAIN.

That line in the final stanza is incredible. ‘Mother says contactless is Satan’s kiss’. Payment is a glide of the hand, quick, dismissive, a kiss that never touches the glass. Thoughtlessness cushions temptation. As the stanzas stretch with each additional line, the regular address hailed to customers is muddled with the internal thought processes and feelings of the ‘I’. The transaction is deflected away from the customer, and instead, the receipt becomes a kind of monologue for the ways in which the shop is in debt to the cashier’s slog. Plays on words reinforce the ‘I’s’ unfound respite, a “good morning” turned ‘Morning’ before being reduced to a state of ‘Mourning’. Something particularly painful in this poem is that the customer is never failed to be greeted, as the ‘I’ staggers under the weight of other miseries, and gestures of kindness often go ignored. It seems that, unlike the flurry of clients, the feelings of the cashier are hardly ever addressed. 

Jeremy quite often sheds light on the inequities the colleagues face within the workplace throughout the collection, also the changeability of management’s welfare towards staff. This is evident in ‘00/07′:

Seems we all get headaches.  There used to be a staff  stash of paracetamol  kept behind Pharmacy  but now you have to buy  your own. 

We hear it a lot, don’t we? “Once upon a time you used to get that for free”, “Once upon a time you could bring in your mate for that and nobody would bat an eyelid”, “I’d lose my job now if I did that”. It’s symptomatic of how kindness now, comes at a price. As business progresses, profit turns a profit on its staff. Why vouch for their welfare when you can turn them into a customer? 

And in ‘00/14′: 

As the collection continues, it becomes clear colleagues are encouraged to fend for interests which do not secure them, where management is distinguished as a separate entity, and the question of a company’s morals are measured based on how much stock is left rather than quizzing how a staff of people really feel. It seems that they are aligned very much in the same ways in which perfume giftsets and creams are humped across shelves gathering dust, as it is in ‘00/08′: 

the Late team is working extra duty  sales-planning Christmas in mid-September obeyed lasered maps of where to stack Lipsy and Jamie Oliver  the shelves are filthy far too low for packs to stand 

I find that phrase ‘extra duty’ so profound here. While ‘duty’ alone feels like a commendation of a word, ‘extra’ has consumerist connotations which commodify and capitalise on what it means to take ‘duty’. And it’s as though the tendrils of capitalist vernacular are constantly squeezing out the moral value of its workers, “far too low” to really “stand”. I also remark on this poem for the internal segregation between colleagues, the awkwardness of age difference separates their sense of humour: 

Upside down plays on the radio  and I attempt an electric slide but they’re too young to appreciate an 80s move

There’s a clear distinction between management and the shop floor but Jeremy does not attack it per se, rather it’s the observational quality to the writing which leaves us to make our own assumptions based around what is being seen and heard. I think of how staff are set together like the stock, together, regimental, before being dispersed by the chaos of Christmas shopping prep. Jeremy reinforces these distinctions between team members by sectioning the collection into three, the first being {STAFFED}, the second {MANAGED} and the third, {CONSUMED}. The final section seems to embrace the two as incubators of consumerism, that together they oversee it. 

In Retail is grounded in more broader political contexts which compounds the politics of the high-street chemist. In ‘00/26′: 

today the queue is strung with angry people  angry that we are leaving  angry that people are angry that are leaving  angry that people are still talking about leaving [...] angry at Labour  angry at Plaid  angry at their parents  angry at the Papers angry at the Pound  angry that all the Star Gifts sold out before they arrived 

Anger here compounds the atmosphere of the shop floor. It also feels like a currency in a way, in which people have been mis-sold an idea. In this case, I assume it to be Brexit. Plaid (Plaid Cymru, a Welsh political party), parents, products of a misleading mess funnel down into papers and Star Gifts, and anger reduces in its worth as it is dismissively directed into all things. Serious issues don’t matter if you can’t buy what you want. I note that Jeremy again, never openly takes a side per se, but rather the writing here becomes a neutral ground on which things happen to the voice, and it is left to us as readers to make assertions.

And part of the frustration and the humour in a collection like In Retail is that voice becomes a collective of common phrases and repeated mannerisms, bits of eavesdropping and stacked quotes from customers which saddle the experience of working the tills. I think of ‘00/29′: ‘A man buys a pint of milk / And I’m not buying anything else, / because I’ve been so bad lately. / Really bad.’ and in ‘00/34′, I initially hear a consistent whinging of a child asking for stuff (though that’s not ascertained exactly who is speaking here), ‘please can I have an iphone X / please can I have an Xbox ONe / please can I have Hexbugs / please can I have Hot Wheels’ before the voice turns stranger: ‘[...] / please can I have a black wollit / please can I have how / please can I have Portmeirion’ and the requests become duller, more abstract, more absurd because this collective of voices consistently gabbing for things they want, soon becomes a collective voice of not really knowing what it wants, at all. 

In Retail is as much funny as it is sinister. It’s an objective look at people, and I sometimes think that its observant nature is sustained by a certain professionalism, that holding back, that inability to pass judgement as an employee, that ‘customer is always right’ mentality, where the subject’s inner turmoil seldomly slips, because it isn’t really allowed to. And when it does, it’s within a cacophony of maddening queries, the tannoy blaring customer announcements, the baskets of unnoticed returns which will still be there tomorrow. In Retail leaves a lot to reflect on, because it is so relevant to us, still, and given the time in which some of the poems were composed back in 2017, it’s clear that not much has changed. Its wit and composition is to be admired, particularly for its literal-ness, the act of turning a book into a series of a receipts is of course, a wonderful irony for anyone purchasing it from a different shop. It is cheeky and mournful, but perhaps more pertinently, it encapsulates all the dimensions of the human condition within a public space at a distance so well-executed that it feels alien to read. 

Of course, if this review’s won you over, you can purchase In Retail right here. You can also follow Jeremy over on Twitter too and find out a little bit more about him over on Arachne Press’s site.