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stuckwith-harry · 5 years ago

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hey you, i only followed you recently and I really like your hinny fanfics and your poetry. Would you mind telling me about your process when you write? I really wanna learn how to write properly and you seem to take your craft so seriously. How do you built a story, how often do you edit, how much time do you spent on your work, what do you try to go for,...? Thanks xxx

Anon, this is the coolest ask I’ve EVER received, and I’m hanging it on my wall next to all the colour-coded flashcards with poems on them. This is going to be LONG, and by no means exhaustive - I’m gonna jump around and ramble a bit and if there’s anything specific you wanna hear more about, please ask! I fucking love talking about writing!

I’m gonna put most of this under a cut, but before we dive in: yes, I tAkE mY wRiTiNg sErIoUsLy in the sense that I’d like to publish some original bodies of work in my life and to have physical copies of them exist on a bookshelf that’s not my own. I don’t��need it to pay the bills, but if you googled my full name I’d like for, like, a poetry collection to show up and not, I don’t know, the two poems I got published in a regional newspaper when I was eight.

(And please let the record show that they’re fine poems for a primary schooler. The cringe years came way after that, kids.)

So, even having some ambitions in the industry, the reality is that I’m a 19-year-old kid with a keyboard and a dodgy internet connection who discovered fanfiction when she was twelve and got hooked for life. We’re going to retire the idea of “writing properly” for now, because writing is supposed to be fun and I haven’t actually gotten accepted into that Creative Writing Bachelor’s degree I so desperately want to do. YET. Don’t let the fancy writing blog (@jessicagluch) fool you into thinking I know what the heck I’m doing. But, okay, with that out of the way, let’s get into what I’m personally doing right now, yeah?

Fanfiction

You asked about process, and the truth is, I don’t … really have one. For the Muggle/FWB AU called “Let Me love” I just published, I actually wrote a pretty detailed outline that I then filled in, which was fun, but it’s not a habit exactly. I’d written a lot of assorted scenes and pieces of dialogue for that one, too, so I had a lot of material and just had to put all the scraps and pieces in order and stitch it all together. After the brainstorming, word-vomity part of writing Let Me love, my #1 task was figuring out where everything went, and making sure it’s all there.

As soon as I’d written a full first draft, no gaps, and the anatomy of the whole thing had somewhat clicked into place, I moved away from it for a while. Wrote something else. Came back maybe a week or two later, polished up the prose a bit very late at night.

Figure out when your creative hours are, if you can pinpoint it at all. Mine are precisely “I was supposed to be asleep two hours ago and I’ve got an important thing tomorrow” o’ clock. Sigh.

Just - leave it alone for a bit, come back with fresh eyes. I love writing Let Me love - I’m working on part 2 right now - but after you’ve fucked around with the same sentence fifty times, you get sick of it. And I did. At some point you have to decide to put down the pen and let it be.

Especially because fanfiction isn’t something you’re writing for a publisher - hopefully, you’re writing it mostly for you - no one is holding a gun to your head to get rid of every last adverb or stuff like that. I can do what I want, MOM. I am allowed to make the thing I’m writing as tropey and campy as I want and hold up a big old middle finger to the rules, if that’s what I want to do.

Fanfiction, to me, is this grand, batshit writing playground. That’s why I fell for it in the first place - it’s inherently self-indulgent and hedonistic and that you can write everything EXACTLY as you please is the primary purpose it serves as a genre. So go wild.

(Process-wise, the one thing I do very consistently is making moodboards and playlists. I like having some inspiration material to swim around in, which helps me figure out what the story looks and feels and sounds like in my head.

Every fic has a soundtrack. SOUNDTRACKS ARE IMPORTANT, PEOPLE.

Like, Let Me love is all coloured lights and night-time London and texts left on read. It’s neon signs and wearing somebody else’s t-shirt, messy bedsheets and hangover breakfasts and quarter-life crises.

This is the Pinterest board.)

What I pay most attention to is the stuff that gives the text depth beyond the surface. I look for metaphors - and I personally prefer the ones that carry through the whole thing, ideas we explore throughout the story and revisit at the end. I look for themes that hold a story together beyond the plot. I look for subtext and imagery and I want symbolism, goddamnit.

(That’s the poet kicking in.)

And of course, I’m a product of my generation, so I love referencing other bodies of work and subverting tropes and stuff like that. Hey kids, intertextuality is fun!

(Like, do you see what I did there? See how the phrase “hey kids x is fun” in itself is a reference to something? See??? I’m a fucking genius.)

I think we need some examples. Allow me to toot my own horn for a minute.

In the Halloween 2018 oneshot I wrote, which is about Harry grappling with the anniversary of his parents’ death when he’s a little older, he visits the graveyard with Ginny and Lily Luna. Ginny comments that “it’s freezing”, to which Harry responds with the titular, “you’re warm”. And yes, it’s October, it’s probably cold. They’re keeping each other warm. And yes, it’s maybe about comfort in harsh situations in general, a more metaphorical warmth, if you will. I get it.

But when you remember this exchange is taking place on a graveyard, you might start to wonder about warm, living bodies as opposed to cold, deceased ones. And then you think about how this whole story is about the living remembering - in a sense, living with - the dead. And how it’s about death as a part of Harry’s life. And you can probably guess by now that all my literature teachers fucking adored me.

(But he’s also choosing a side here, maybe. But I’m merely the author, you don’t have to listen to me at all. My words beyond the words don’t mean shit unless you decide they do and even then you’re going to find yourself knees-deep in a debate around authorial intent in record-time. In the age of “Nagini was a cursed human woman all along”, I’m not sure I want that.)

I also reference other pieces of work a lot. Often poems, and even more frequently, songs. The songs in Let Me love are VERY IMPORTANT and I can’t show you the full playlist right now because SPOILERS. But the chapters are split into sub-sections via song lyrics. Those are part of the playlist. There’s also a lot of referencing songs in general because Harry is a big music fan in this one, but that’s just indulgence on my part. If I want to make a 21st century Harry a Mitski stan, then I will. And I did!

(AND Let Me love has a Friends reference. For funsies, but also, for much more than funsies.)

“I love you / please do not use it” was inspired by a poem by Savannah Brown called “organs”. (It’s linked in the author’s notes at the beginning.)

“It’s two sugars, right?” borrows and/or references a ton of lines and phrases from T. S. Eliot’s The Hollow Men. Most noticeably:

Sublety isn’t my middle name, exactly. (The forget-me-not-blue sky in The Bride On The Train, anyone?)

In short: I like when my fanfictions are worth rereading. I like when you can come out the second read having found a little more than you did the first. I like when you can wander around a little, and, like a treasure hunter, make some strange new discoveries.

Lastly: of course, writing from your own experience helps. Spy on your own life. Collect all the ways in makes you feel, like a thief, write it down, memorise it, put it in the story. Reuse! Recycle! ✊🏻

I fortunately don’t relate to Harry’s childhood trauma, but the feeling at the beginning of “We’ll figure it out” - which is a story set shortly after him and Ginny find out she’s pregnant and he’s struggling to connect with everybody else’s simple bliss, because he’s terrified, and he’s terrified of admitting he’s terrified - that was real. That “wait a minute, this moment is amazing. I’m supposed to be the happiest person on the planet right now. Why am I not feeling it? What is this emptiness? Am I not happy right now? Why am I having doubts? I’m not supposed to have any doubts! What the fuck is wrong with me?”, that was lifted from a specific experience.

Side note, I’m really proud of that one.

Okay, poetry!

Where there is even less rules and more fucking around ensues!

I read and promptly lost a quote recently about how explaining a song sort of defeats the purpose. (I’ll link it here if I ever find it again.) In some ways, poems and songs work really similarly, and I think it applies here as well: if you could really explain the whole poem in one sentence, or a few sentences, if you could accurately and concisely summarise exactly how it feels, then you wouldn’t really need the poem. My favourite poems (or songs) tend to be the ones that outline a really specific emotion via a few powerful images, but I couldn’t precisely tell you what the emotion is. Like, I know exactly what this thing is saying, I know this exact feeling, I GET-GET it, but don’t ask me to explain the thing, just READ the THING, and you’ll KNOW.

Mitski does this really well. Like, I couldn’t explain to you what Last Words Of A Shooting Star makes me feel, but it does. I can tell you that “I am relieved that I left my room tidy, they’ll think of me kindly when they come for my things” cuts through me like a hot blade but I can’t pinpoint exactly why and I don’t want to. All I know is she Gets It, and that I want her writing chops, goddamnit.

Or, like, look at Laura Gilpin’s Two-Headed Calf. Yeah, I’ve read that poem a hundred times and thought a lot about all the themes it’s presenting me with. But I have zero desire to explain those themes to you, because I’d kind of be robbing it of its magic. I don’t want to tell you what it’s about. I want you to read it and I want to simply sit with the knowledge that we know, we Get It, that “twice as many stars as usual” kicked you in the shins, emotionally speaking, as much as it did me.

Few words, max impact, is key.

In Mary Oliver’s words, we want something inexplicable made plain, not unlike a suddenly harmonic passage in an otherwise difficult and sometimes dissonantsymphony - even if it is only for the moment of hearing it.

I’m realising right now that leading with these shining examples and then following them up with my own thing is nerve-wracking. But I like to think that I accomplished something like that with a little poem I wrote called Basements.

It’s is based on the prompt “back to nature” and follows that, uhm, somewhat loosely, a little subverted. I think it’s about impermanence and nostalgia and the fact that the places we lived in continue to exist even when our lives in them don’t anymore. It’s about that and a lot of other things. Maybe. The truth is, I don’t want to explain it to you: I just want you to read it, and then I hope that it made you feel something, and I’m going to trust that you Get It. Maybe you don’t get the same things I did, but that’s great. I’d love nothing more.

Before it was all those things, it was a poem about my life. The neighbourhood with the yellow house across the graveyard that I spent nine mostly happy years in. (The house, not the graveyard.) Every single thing in there is true: my sister really bust her lip and we both cried; wild lilac really grew there; we did spend most of our summers catching tadpoles, and yes, that neighbourhood was a construction site from the first day we lived there to the very last.

And I really sat in the driver’s seat of the family car about a year ago and watched it from afar. I didn’t come up with that - it’s my life. I only went on a scavenger hunt through my own memories, through the places and records and mementos of my life, and arranged a few specific anecdotes in a way that would give them meaning.

It’s kind of what I’m proudest of when it comes to my poetry - that I get to just live my life and see the metaphor and the meaning and symbolism as I’m experiencing it. I sat in the car and I thought, huh, that’s definitely making me Feel A Thing right now, that I’m sitting in the driver’s seat looking at this place I haven’t really been to in years, my childhood home, where I don’t live anymore. That I drove here myself.

I think that, when done right, specific makes universal. If you arrange a kaleidoscope of memories in just the right way, what it’s making you feel will speak for itself, and you won’t have to explain it. Most people who’ve read “basements” probably didn’t spend countless summers playing in literal holes, originally dug out for basements that were never built because no one wanted to move there. Holes that then grew full of weeds and wild lilac and felt like miniature jungles right outside our parents’ houses. It was perfect, it was specifically mine, but the feeling behind it is universal, I think.

Like, that’s how half of Taylor Swift’s RED works. That’s how most good Taylor Swift songs work. That’s why the bridge in Out of the Woods is so good and why I love New Year’s Day so much and it’s EXACTLY why All Too Well is considered her best song by so many people. Because she zoomed in on the details of her life and let the world take a look. Because “we dance around the kitchen in the refrigerator light” is a line in that song. THAT’s why it MAKES YOU FEEL THE THING.

Back to poems? This:

So we tell them all about the dayWe planned revolutions on my bedroom floor, or how we onceSpent an entire Monday lunch break making life plans over ice creamAnd most of our parties talking politics over beerWe both paid for ourselves.About the days you drive me to school. In your carI am the girl, front-seat passenger of our lives,Who does not need reach for the steering wheel –The road is alright.

isn’t fiction. These are my memories, carefully selected and re-arranged for Politics at Parties Boy.

I didn’t make up these film stills of a non-romantic relationship that never became anything other than non-romantic because neither party ever made a move. What I did is look at my own life like it’s a piece of fiction. If these memories were a movie, you could pluck them apart and say, see, the screenwriters put this scene here to communicate that.

The truth is, I am the screenwriter and the protagonist and the actress and the director and the camerawoman. I looked at a teenage girl who refused to let her friend buy her a beer at a school party and decided “huh, I guess that tells us everything we need to know” because I was that girl.

And I did pay for the beer, so we’d never move into “let me buy you a drink” territory. He was already driving me to school.

That’s my best lesson on poetry, really. I look at my life like it’s a piece of fiction and then I make it one. I put personal memories in poems meant to be read by other people, I overinterpret everything that happens to me, am literally constantly thinking about how to work every knock-back and struggle into my narrative arc and look for symbolism in anything from the date, the weather, and the colour of my front door. I watch myself in third person all the time and thus become my own muse. I’m the painter and the painting.

It’s a somewhat narcissistic and masturbatory approach to poetry, but as far as writing about your own life goes, it’s what works for me.

As far as writing about not yourself goes - well, I’m a narcissist and I’m bad at that, but I wrote a poem about the Mars rover Opportunity that shut down this February called Spirit shuts down and Opportunity feels no tremble, no ache. For stuff like that, if you don’t happen to be Struck TM by a lightning bolt of inspiration (which is the exception, not the rule), a good old-fashioned mind-map helps. I just let my robot grief go wild on the page for a bit and what I ended up writing about was death and the human condition and being a teenage girl, maybe.

I really enjoy taking two concepts/ideas and juxtaposing them, watching a theme unfold in the overlap. Like, it’s a poem about a robot AND about being a teenage girl and in between those two lies a poem about the futile attempts to teach a robot human emotion. Maybe.

It’s a poem about how my mum always cries at the airport and about me making my own happiness my priority and it kind of ends up being about my intense guilt of making my parents watch me change and grow and leave.

It’s about the night I wandered through a quiet street in Central London at 1 a.m. and realised that the city of my dreams sleeps like any other place, that people wake up early and make coffee and go to work and have bad days here. That it’s not all dream. It’s some people’s lives. But it’s also about watching another person sleep - the way someone’s face changes when they do.

In the middle lay a poem about finding a friend in a lover. Not the daydream, but my life.

Lastly, I can’t talk about my own poetry without talking about my darling poem 5 disasters. It’s my pride and joy. Like, you could kill me write now and I’d be like, it’s okay, I’ve written the poem I want to be remembered for and it’s this one. I wrote it in less than a day and every time I think about the fact that I wrote

I cravedsomething more violent than death, somethingviolent enough to bea beginningand for my life to be thousands of themI wantednothingto remainexcept the girl that sentthe disastersand survived -may this wasteland bewhere I find her.

… I lose my shit a little bit.

(5 disasters was a rarity in how quickly I wrote it. It often takes me weeks. Sometimes months. There’s poems I’ve been meaning to write for years now and I still haven’t found the words. Take your time.)

5 disasters is a lot of things, but within the context of the poetry collection it’s hopefully going to exist in one day, it serves as almost an instruction manual for metaphors: here, the floods and rainfalls are always change and the forest fires are always my highschool demons and my friends and how they look the same. The colour yellow is always referencing the same love. Basically, I like pinpointing my symbolisms and then crafting a poem around them. You end up creating something like an in-poem universe that you get to navigate like a fantasy novel. Like you’re telling a story about a natural disaster, but it’s all a metaphor, Hazel Grace.

But I’m getting ahead of myself. As I do.

I hope this serves as a starting point of sorts, anon. Most importantly, have fun, don’t concern yourself with all the rules too much. Experiment, be bold, read lots.

Again, if you’ve got any questions, I’d be thrilled to help. Thanks for the opportunity to toot my own horn to this outrageous degree, it’s been a blast.

#this is SO LONG i'm SO SORRY i was VERY EXCITED #jessie the writer #owl post #anon

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ms-m-astrologer · 6 years ago

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Transiting Venus enters Cancer

May 19 - June 13, 2018

The traditional Cancer flower is the larkspur. I mean, those colors definitely shout “SUMMERTIME” to me!

We’re still comfortably in the “Venus Hesperus” phase - Venus appearing as the Evening Star - and with this phase’s emphasis on the tried, true, and traditional, Cancer is a very congenial place. The card, the bouquet or corsage, the home-cooked meal, all those Western-world symbols of Romance. We get so caught up in what our tribal culture is telling us that we run into trouble, though - as we’re going to discover, during this 26-day transit.

We’re going to be very conservative about finances. I suppose one stereotypical Cancerian way of dealing with money, is to stuff it into one’s mattress. It isn’t going to “grow” via dividend or interest payment, but nobody’s going to lose any money either. In the words of almost all my elderly relatives, we’ll “pinch the penny so hard it makes Lincoln cry.” The exception is for spending on food (comfort food in particular), and on the home. Sheets, blankets, pillows, cookware and bakeware, things like that. Whatever makes that Cancerian shell more comfortable to inhabit.

The “patriotic” side of Cancer is going to show up in our artistic pursuits. As a US citizen I know that this means Sousa marches (which are fun to play, at least), Robert Frost, Norman Rockwell, and all those other homegrown artistes. This is a sign for feeling, not for thinking or plotting - we want to express our feelings via our creativity; and we want to relax and refresh ourselves via art that makes us feel good.

As for beauty - let’s wear Mom’s lipstick, and search for treasure in the thrift store! Vintage is the rage.

There is just one big problem with this transit, though: almost all the aspects are “challenging.” Almost, I said. I feel like we’re going to respond to these challenges - be they financial, artistic, or romantic - by falling back on traditional, tried-and-true, nostalgic and historical strategies. That may not be such a bad idea, overall; we can certainly stand as a culture to bring back some Venus/Cancer attributes - the love of gardening, perhaps? (I’m going to be forever pissed at all my ancestors for not insisting that I learn to garden.)

Celebrities with Venus in Cancer:

Robert Plant, Judy Garland, Marquis de Sade, Zendaya, Kevin Hart, Lisa Kudrow, Chris Pine, Matthew Perry, Hilary Swank, Rupert Grint, Jack Black, Stephen Colbert, Stuart Sutcliffe, Lauryn Hill, Kim Cattrall, Anderson Cooper, Honore de Balzac, Geri Halliwell, Hulk Hogan, Grace Jones, Kat Dennings, Antoine de Saint-Exupery, Jamie Oliver, Willem Dafoe, Idris Elba, Mata Hari, Jimmy Stewart

Saturday, May 19, Uranus/Taurus sextile Venus/Cancer, 0:12

We may be able to pick up some hints about how the Uranus/Taurus artistic side will express itself. This sextile between these two is always going to be pretty spontaneous, which its being in yin signs will tone down somewhat. I’m reminded of a story Linda Goodman told in one of her books. Upon meeting the actress Helen Hayes, her future husband Charles MacArthur is said to have poured peanuts into her hand, remarking, “I wish they were emeralds;” on one of their subsequent wedding anniversaries, he presented to her a present of emerald jewelry with the comment, “I wish they were peanuts.”

Planets/Points affected lie between 0:00 and 1:12 of the yin signs Taurus, Cancer, Virgo, Scorpio, Capricorn, and Pisces.

Sunday, May 20, Ceres/Leo (15:57) semi-square Venus/Cancer (0:57); Chiron/Aries square Venus/Cancer, 1:33; Jupiter Rx/Scorpio (16:50) sesquare Venus/Cancer (1:50)

The main thing here is the square to Chiron in Aries; Ceres/Leo and Jupiter/Scorpio “just” serve as additional irritants. That square is going to amp up our feelings of being unlovable; given how the sign Cancer and the Lady Asteroid Ceres operate, there’s probably some familial crap at the root of it. But with Jupiter, I’d wonder - are we exaggerating a bit? We may also be susceptible to being manipulated by somebody else’s sad-sack drama. With so much fire and water, it’s going to be difficult to stay out of it.

Planets/points affected lie between 0:00 and 2:50 of the cardinal signs Aries*, Cancer*, Libra*, and Capricorn*; and between 14:57 and 17:50 of the fixed signs Taurus*, Leo*, Scorpio*, and Aquarius*.

Tuesday, May 22, Vesta Rx/Capricorn opposite Venus/Cancer, 4:02

This can be likened to the poor emotional orphan Venus being sent to live with the cold, elderly maiden aunt. David Copperfield springs to mind. It looks pretty creepy and uninviting, but - what do you know? - David and Aunt Betsey turn out to be wonderful for each other. Use this Venus to warm Vesta up, and use Vesta’s pragmatism to strengthen Venus. The Virgo Moon, on Monday the 21st, might give us a practical outlet for this polarity’s energy.

Planets/Points affected lie between 3:02 and 5:02 of the cardinal signs Aries*, Cancer*, Libra*, and Capricorn*; and between 18:02 and 20:02 of the fixed signs Taurus*, Leo*, Scorpio*, and Aquarius*.

Friday, May 25, Saturn Rx/Capricorn opposite Venus/Cancer, 8:01

This is another ostensibly painful opposition, with Saturn denying Venus’ emotional needs. It’s in general a cold aspect, and I think the Libra Moon that day is going to exacerbate matters. That’s a temporary cardinal t-square, by the way! We need some Aries independence, courage, and “in your face” indifference to weather this successfully.

Planets/Points affected lie between 7:01 and 9:01 of the cardinal signs Aries*, Cancer*, Libra*, and Capricorn*; and between 22:01 and 24:01 of the fixed signs Taurus*, Leo*, Scorpio*, and Aquarius*.

Friday, June 1, Jupiter Rx/Scorpio trine Venus/Cancer, 15:31; Saturday, June 2, Neptune/Pisces trine Venus/Cancer, 16:25; Juno/Aries square Venus/Cancer, 16:46

Isn’t this an interesting situation! We’ve got a grand trine between Venus/Cancer, Jupiter Rx/Scorpio, and Neptune/Pisces. Too much of a good thing? There’s also a Capricorn Moon today, giving that watery emotional energy a practical outlet. But as luck would have it, that Moon/Capricorn also turns the square between Venus/Cancer and Juno/Aries into another temporary cardinal t-square. We’re not inclined to burden ourselves with other people, and/or we feel rejected by others - nevertheless the empty leg of the t-square, Libra, asks us to do just that. Strength in numbers, folks.

Trines: Planets/Points affected lie between 14:31 and 17:25 of the yin signs Taurus, Cancer, Virgo, Scorpio, Capricorn, and Pisces.

Square: Planets/Points affected lie between 15:46 and 17:46 of the cardinal signs Aries*, Cancer*, Libra*, and Capricorn*; and between 0:46 and 2:46 of the mutable signs Gemini*, Virgo*, Sagittarius*, and Pisces*.

Tuesday, June 5, Pluto Rx/Capricorn opposite Venus/Cancer, 20:50

When the rulers of Taurus and Scorpio face off, there are financial implications. “What’s yours is mine, and what’s mine is mine.” This can be ungenerous, and not only with money; we’re suspicious and all too willing to believe the worst about other people and ourselves. The Moon, in Pisces, gives us a little more sympathy, although it could also considerably amp up the self-pity.

Planets/Points affected lie between 19:50 and 21:50 of the cardinal signs Aries*, Cancer*, Libra*, and Capricorn*; and between 4:50 and 6:50 of the mutable signs Gemini*, Virgo*, Sagittarius*, and Pisces*.

Friday, June 8, Eris/Aries square Venus/Cancer, 23:57

The final aspect of Venus/Cancer, and once again the Moon involves itself. It’s in Aries this time, and we’re therefore really responsive to those “unlovability” vibes Eris likes to give off. In fact we may decide to be unlovable, deliberately, because it saves us the pain of rejection. (I have so many relatives who behave that way.) Venus’ entry into Leo is less than a week away, and I honestly feel like most of us today will throw in the figurative Venus towel and wait for more congenial astrology.

Planets/Points affected lie between 22:57 and 24:57 of the cardinal signs Aries*, Cancer*, Libra*, and Capricorn*; and between 7:57 and 9:57 of the mutable signs Gemini*, Virgo*, Sagittarius*, and Pisces*.

#Astrology #Transiting Venus enters Cancer #Ms M astrologer

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talhaghafoor2019-blog · 5 years ago

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UN adds reggae music to list of international cultural treasures | Music | The Guardian

The UN has added reggae music to its list of international cultural treasures worthy of protection and promotion.

Jamaica applied for recognition of its musical tradition at a meeting of the UN in Mauritius this year. “It is a music that we have created that has penetrated all corners of the world,” said the country’s culture minister Olivia Grange.

BBC Radio 1Xtra presenter Dave Rodigan said: “The Unesco announcement is fantastic news for reggae, which has traditionally spoken out for the underprivileged whilst offering hope for a world in which love and respect is paramount.”

To mark reggae’s inscription into the representative list of the intangible cultural heritage of humanity, Unesco – the United Nations Educational, Scientific and Cultural Organisation – said: “[Reggae’s] contribution to international discourse on issues of injustice, resistance, love and humanity underscores the dynamics of the element as being at once cerebral, sociopolitical, sensual and spiritual.”

The function of the music “as a vehicle for social commentary, a cathartic practice and a means for praising God” had not changed since its emergence from the Caribbean in the late 1960s, said Unesco.

Reggae artist Hollie Cook said that politicians could take a leaf out of reggae’s “strong message of peace, love and unity”, and described its cultural impact as “a great example of how immigration has a great and positive effect in our society. Maybe some of our country’s leaders can put down their pens, stop fear-mongering and blast out some Aswad to relax.”

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Postwar immigration from Jamaica led to the genre flourishing in the UK: this year, the famed British reggae label Trojan celebrated its 50th anniversary. Laurence Cane-Honeysett, author of The Trojan Records Story, described the UN’s recognition as an “amazingly positive” move. “The impact and influence of the genre globally has long been overlooked.

“It has contributed significantly to the development of multiculturalism, with the ska, rock steady and reggae of the 1960s and early 70s having a notably positive effect in the breaking down of social barriers by bringing together people of all colours, particularly in Britain.”

BBC Radio 6 Music presenter Don Letts told the Guardian of reggae’s enduring significance: “If you look at a map of the world, Jamaica’s a tiny island that spent hundreds of years under colonial rule. Ironically, in the 21st century, it has culturally colonised the planet.

“The island’s culture as typified by its art, language, dance and attitude continues to capture the imagination of people globally. The sonic experiments created in Jamaican studios are now part of the fabric of contemporary music. Jamaica is a testament to the power of culture to act as a tool for social change, albeit at a grassroots level.”

Letts said that reggae “can take care of itself”, but added: “There’s no doubt that Jamaica’s not reaped the financial rewards of its cultural impact, and that’s what the island really needs. If the UN can sort that, go for it.”

Unesco’s list began in 2008, following an international convention to safeguard intangible cultural heritage. It defines this as “the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognise as part of their cultural heritage”.

Various artists: This Is Trojan 50! review – the label that changed Britain

The purposes of the convention are to safeguard, ensure respect, raise awareness and provide for international cooperation and assistance. Other traditions inscribed to this year’s list include the art of dry stone walling, Slovenian bobbin lacemaking, Georgian chidaoba wrestling, the Irish sport of hurling, Poland’s szopka nativity scene tradition and the traditional spring festive rites of Kazakh horse breeders.

It is distinct from the world heritage list, which designates important physical sites including the Giza pyramids and the Cornish mining landscape.

This content was originally published here.

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painterlegendx · 5 years ago

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9 Ways Painting Frame Shop Near Me Can Improve Your Business - Painting Frame Shop Near Me

St. Mark’s Square in Venice's burghal centre is additionally its everyman point about to sea level. The aerial baptize hasn't beat these visitors, who are bridge on a catwalk. But in November, Venetians struggled with a monster flood the acquired some of the affliction acqua alta (high water) they've apparent in years.

Home | Randall's Fine Art & Custom Framing - Las Vegas, Nevada - painting frame shop near me | painting frame shop near me Photography by Fabrizio Troccoli/The Globe and MailGianni Basso’s acclaimed Venetian press boutique has suffered flood accident now and again, as accept best food in the biconcave city, but annihilation like the accident inflicted on the night of Nov. 12 and the canicule after. Aback he waded into his boutique that night, he anticipation his business – his constant affection – was finished.Mr. Basso was at his ancestors home on the island of Burano, about nine kilometres northeast of Venice, aback their adaptable phones lit up that black with an SMS flood warning. Such warnings are adequately common. Venetians are acclimated to acqua alta – aerial baptize – and apperceive how to avert themselves from it as altitude change raises sea levels. About every boutique has a abbreviate metal barrier that can be bound slotted into the aperture aback the baptize comes, and an electric pump to get rid of the baptize that seeps, or sloshes, in.This was no accustomed warning; a monster flood was coming, one that would ability the additional accomplished on almanac – 187 centimetres aloft the boilerplate accustomed tide. It would awning about 85 per cent of the burghal and account astronomic accident to apple aesthetic treasures such as St. Mark’s Basilica.Story continues below advertisementHe affective his elastic waders, jumped on the buck and remembers the baiter thrashing through abundant after-effects and barrage rain in the Venetian lagoon as the apprehension hit 100 kilometres an hour. Aback he accomplished his boutique at about 10:30 p.m., it was abounding with bisected a accent of polluted, evil-smelling alkali water. The electric motors on four of his press machines were destroyed and hundreds of books, prints and belletrist were submerged. “I capital to die aback I saw my workshop,” he says aback we accommodated about 10 canicule afterwards the floods. “I anticipation my life’s assignment was gone.”He was abandoned on his narrow, abounding artery that night. “The water, the waves, the wind were crazy,” he says. “Mice and rats were everywhere, aggravating to ascend walls to abstain drowning. It was a nightmare.”Gianni Basso is still charwoman up the flood accident to his baby press shop.I accept been to Venice two dozen times in the accomplished three decades and accept acceptable accompany there, such as Mr. Basso, 65, whose baby boutique abreast the Basilica of Saints Paul and John is a accustomed stop. Venice is doomed, its association say. But not because of the ever-higher baptize – that’s aloof one problem. The added is mass, amoral tourism, which they say is an according accident to their admired city.I accept consistently anticipation Venice should be the archetypal for 21st-century burghal planning. Brainstorm a burghal absolutely bare of cars, trucks and motorcycles and all the abominable accouterments that goes with them – parking lots, overpasses, tunnels, drive-thrus, band malls; area you airing everywhere afterwards abhorrence of actuality mowed down, don’t accept to accession your articulation to authority a chat on the street, or animation in agent fumes. Venetians are accepted to be healthy, with able legs, because they airing everywhere. And aback they can’t walk, they booty the vaporetti – waterbuses – which are rather added affable than lurching wheeled buses.There is no burghal like it on the planet, although some cities – St. Petersburg, Amsterdam, Bruges and Bangkok – fabricated abounding use of canals. Tourists admire these amphibian wonders. Venice, whose abiding citizenry has collapsed to 50,000 from a aiguille of 200,000, attracts 25 actor to 30 actor visitors a year. That’s added than the citizenry of Australia.Venice was congenital on added than 100 below islands – mud flats, absolutely – in the bank Venetian lagoon. The abstraction was brilliant. With no adamantine affiliation to the mainland, it was adequate from advancing armies and their horses and annoy machines. By the backward 13th century, Venice was an administrative power, the richest burghal in Europe, with an authority that continued from the Adriatic and Greece to Cyprus. The greatest banking and trading centre of its day, it had added than 3,000 ships during the medieval and Renaissance eras and traded throughout the Mediterranean and the Byzantine and Muslim worlds. Marco Polo, a Venetian merchant and explorer, travelled the Silk Road all the way to China.Venice went into accelerated abatement afterwards Napoleon took the burghal in 1797. But as alive city, abounding of artisans, fishermen, baiter makers – and, yes, tourists – it sputtered on for added than a aeon and a bisected and remained a all-around allurement for affluent art lovers, writers and different Bohemians, amid them Peggy Guggenheim. In 1966, the better flood in its history about drowned the burghal and accoutrements of Venetians fled.Story continues below advertisementA aide wades through St. Mark's Square in galoshes, confined assemblage whose anxiety are adequate with coloured artificial bags.A brace of decades later, Venice about chock-full actuality a activity burghal and became a business. That’s the estimation of abounding Venetians, including Dario Vianello, a retired baiter disciplinarian who is now one of Venice’s best articulate anti-cruise-ship voices.Mr. Vianello is 64 and wears a blare about his neck, which he assault aback he has agitation authoritative his way through throngs of tourists who bung the attenuated streets, abnormally about St. Mark’s Square and the Rialto Bridge. He says Venice absolutely started to become enough for the locals in the 1980s, aback the new brand of cruise ships, some bigger than fleet aircraft carriers, arrived, anniversary of them disgorging 3,000 or added arrest tourists.In the aerial season, as abounding as seven or eight astronomic ships access anniversary day. “Their access churns up the lagoon sediment, and the displacement of the baptize amercement the foundations of the buildings,” he told me. “The big day-tripper companies absitively to about-face Venice into a big business. The city’s government did not accept that this transformation from cultural tourism to accumulation tourism allegation accept limits.”Add in the all-over Airbnb accommodation and apartments – there were about 9,000 listings at aftermost calculation in Venice and the adjacent islands – and the amaranthine abatement airline flights and you accept a year-round mob scene, Mr. Vianello says.The Venetian merchants accept responded by affairs out and abrogation town, authoritative allowance for clutter shops. Gualtiero Dall’Osto, the buyer of a Venetian affectation abundance alleged Tragicomica, one of the few of its affectionate that still makes acceptable masks in its own workshop, says the burghal is angry a accident war adjoin the new arrivals.“Venice became globalized in a bad way,” he says. “They bought out all of the shops. The Chinese came with accoutrements abounding of banknote about 20 years ago to buy these little businesses. Of course, our government is authoritative it worse by airless the few artisans who are larboard with taxes and bureaucracy.”Gualtiero Dall’Osto runs Tragicomica, a abundance that makes the masks Venetians commonly abrasion at Carnival time. He says globalization and government authority accept larboard baby artisans like him ill-equipped to attempt with adopted investors who bought the bounded shops.Upscale shops are all-over in Venice, which draws 25 to 30 actor visitors every year. But some Venetians say food adherent to tourism accept fabricated Venice below liveable for locals who allegation places to buy advantage or do their laundry.The gondola is one of Venice's best instantly apparent symbols about the world, but aback the 1980s, baby boats like these accept had to argue with behemothic cruise ships bringing accoutrements of visitors every day. At night, catwalks advised bottomward with sandbags lie on a Venice street. Venetians afraid about over-tourism are additionally anxious about how ascent sea levels acquired by altitude change will leave the burghal added accessible to adverse floods.Almost two weeks afterwards the flood, Mr. Basso was still charwoman up.When I saw him, he couldn’t do abundant assignment because abandoned one of his machines was operating. The lower drawers on some of the board cabinets wouldn’t accessible because they were still bloated with water.Mr. Basso is accepted as the “little Gutenberg” of Venice. He is a attenuate treasure, the aftermost acceptable printer of his affectionate in a burghal already as acclaimed for printers as it was for aerial Renaissance art.Born in Venice, he was accomplished in letterpress press by Armenian monks aback he was teenager. In the aboriginal 1980s, he bought bristles adamant press machines, congenital afore the Additional Apple War, and set to assignment authoritative cards, book plates and prints from age-old Venice engravings. They are accessory works of art and his boutique developed into a abridged all-around business, whose extensive audience accommodate Hugh Grant, Marisa Tomei and Ben Affleck. You can’t buy his pieces on the internet. He has no website; you accept to appointment him in being to abode your order.Story continues below advertisementPrints in Mr. Basso's boutique anticipate their adventure by mail to extensive destinations.Even he, a accurate Venetian, can’t booty it any more. Until a few years ago, he and his ancestors lived abreast his workshop. They pulled the bung on the burghal as their association of friends, shops and businesses disappeared.The rapidly depopulating burghal is now blimp with clutter food awash with tat – affected Murano bottle and Venetian carnival masks, T-shirts, jewellery – that are not fabricated in Italy let abandoned Venice and displace food that are advantageous to the accustomed lives of Venetians. “I anticipate we can save this burghal as a structure, but not its history. Best tourists don’t affliction about this city’s ability or its cuisine. It is the everyman anatomy of accumulation tourism that is accident Venice,” Mr. Basso says.Retired assistant Costanza Azzi, 82, saw calamity in the lower akin of her Venice accommodation architecture in November.Costanza Azzi, 82, is a retired English abstract assistant at the University of Venice and the babe of an Italian fleet admiral in the Additional Apple War. Venice has been her home aback her aerial academy years.She lives appropriate abutting to the Basilica dei Frari, the august Venetian Gothic abbey congenital in the 14th and 15th centuries, in a sturdy, two-storey accommodation area she and her backward bedmate aloft their two sons. The lower akin abounding in the November disaster, accident appliances, accouterment and furniture, and the blend would booty weeks to apple-pie up.“I’m tired,” she said. “We don’t apperceive how to avert ourselves anymore from the floods.”She agrees with Mr. Basso (who she knows by reputation) that Venice is accident its character as accumulation tourism makes the burghal uninhabitable for Venetians. During a walk, she credibility out the clutter shops or fast-food joints that acclimated to be boner and accouterments shops, dry cleaners, bookstores and bake-apple or angle sellers – all gone. Apartments area her accompany acclimated to alive are Airbnbs.Story continues below advertisement“The abandoned assignment actuality is in tourism,” she says. “My two sons had to leave the burghal to acquisition acceptable jobs.”The calamity and the accumulation tourism are bistro abroad at the souls of the ever-fewer Venetians who abide adherent to a burghal that is congenital on a animal scale, is abounding with some of mankind’s greatest art treasures, is different and astonishingly beautiful. “We’re depressed,” she says.A calendar of tourists navigates a balustrade aloft the baptize at St. Mark's Square.Belatedly, Venice is starting to action aback adjoin both the accumulation tourism and the floods. The efforts ability be too little, too backward to save the burghal from axis into “Venetian Las Vegas,” the appellation acclimated by a bounded save-Venice activist I know, as it block below the waves.Venice Mayor Luigi Brugnaro has appear that a day-tripper tax has been accustomed by burghal board and would appear into aftereffect in the bounce of 2020; it would allegation visitors €3 ($4.35) a day in low season, ascent to €10 during high-season weekends. He said the aim is to force day-trippers to pay for the budget of the lagoon city, which may be true, admitting the absolute ambition seems aimed at abbreviation the breeze of visitors. It may not work. It’s adamantine to brainstorm that a accessory fee will accumulate tourists blimp in their cruise ships. The Frame & I - Picture Frames, Custom Framing and Gallery - painting frame shop near me | painting frame shop near me The accomplishment to stop, or at atomic control, the calamity is a much-more circuitous activity that centres on one of Europe’s biggest, costliest and best afflicted basement projects – the abominable €5.5-billion MOSE project.MOSE, an Italian acronym that plays on “Moses,” the biblical amount who beggared the Red Sea, is a alternation of 78 animate gates that awning the four capital lagoon entrances from the Adriatic Sea. Aback not in use, they are to be abounding with seawater and bore to the bottom, area they are invisible. Aback a advance active comes, they are to be abounding with aeroembolism air, banishment out the water, acceptance them to acceleration on their hinges and block the admission collapsed surge.Story continues below advertisementAt atomic in theory. So far, MOSE has been a long, apologetic adventure of delays – the activity was conceived in 1984, launched in 2003 – and is still not accomplished due to abstruse flaws, amount overruns, bane and ballsy corruption. A 2014 analysis into the activity advance to 35 arrests, including the region’s then-governor, Giancarlo Galan.Today, Venetians are disconnected about MOSE. Some anticipate it will never assignment appropriately and should be replaced with addition plan, conceivably aggressive by the hydraulic-control marvels acclimated by the Dutch. Others anticipate it should be completed as bound as accessible aback it’s abundantly in place. The November floods added coercion to the project, which is now declared to ability abounding operation by 2022. No added flood-control plan exists.Mr. Basso says he is activity bottomward angry as accumulation tourism and flood amnion rot abroad at the city’s affection and bricks. He’s a Venetian baptize boy, he says, and cannot buck seeing his press business angry into a pizzeria or T-shirt shop. “I accept a albatross to accumulate this business accessible for the account of Venice,” he says. “I was built-in actuality and I am the aftermost printer.”As he was cogent me this, he asks me to attending anon beyond his attenuated little artery at the old picture-framing shop. It was captivation its final auction and was activity out of business.After added than 15 years and at a projected amount of €5.5-billion, Venice’s MOSE flood defence arrangement is still not operational. Construction began in 2003 on a cutting-edge arrangement of 78, 20-metre-wide adaptable flood gates positioned at the three lagoon inlets. Aback raised, the gates are advised to avert adjoin tides of up to three metres.Recent almanac calamity in the celebrated burghal has re-focused absorption on the delays, amount overruns and ancient bribery in Italy’s above accessible works projects. The MOSE arrangement is now planned to be completed by the end of 2021. This may be too little, too backward as altitude change makes the furnishings of aerial tides progressively worse.Under accustomed altitude the gates are abounding with baptize and lay collapsed below the water.When the advance is anticipation to surpass 110 cm, the arrangement is activated.Ballast baptize is pumped out of the gates by com-pressed airIncreased airiness allows the gates to circle on 42-tonne hinges and acceleration above the apparent basic a abutting barrierSea gatein blow positionSea gatein aloft positionDrawing is schematicand not to scalejohn sopinski/THE GLOBE AND MAIL, SOURCE: TILEZEN; OPENSTREETMAP CONTRIBUTORS; HIU; mosevenezia.eu; technital.it; reuters; ansaUnder accustomed altitude the gates are abounding with baptize and lay collapsed below the water.When the advance is anticipation to surpass 110 cm, the system is activated.Ballast baptize is pumped out of the gates by com-pressed air

Get Photo Frames At Rainbird Art & Framing | LBB Bangalore - painting frame shop near me | painting frame shop near me Increased airiness allows the gates to circle on 42-tonne hinges and acceleration above the apparent basic a abutting barrierSea gatein blow positionSea gatein aloft positionDrawing is schematicand not to scalejohn sopinski/THE GLOBE AND MAIL, SOURCE: TILEZEN; OPENSTREETMAP CONTRIBUTORS; HIU; mosevenezia.eu; technital.it; reuters; ansaUnder accustomed altitude the gates are abounding with water and lay collapsed below the water.When the advance is anticipation to beat 110 cm, the system is activated.Ballast baptize is pumped out of the gates by compressed airIncreased airiness allows the gates to circle on 42-tonne hinges and acceleration above the apparent basic a abutting barrierSea gatein blow positionSea gatein aloft positionDrawing is schematicand not to scalejohn sopinski/THE GLOBE AND MAIL, SOURCE: TILEZEN; OPENSTREETMAP CONTRIBUTORS; HIU; mosevenezia.eu; technital.it; reuters; ansaUnder accustomed altitude the gates are abounding with water and lay collapsed below the water.

Picture Framing, Photo Frames and Canvas Prints | Frameshop - painting frame shop near me | painting frame shop near me When the advance is anticipation to beat 110 cm, the system is activated.Ballast baptize is pumped out of the gates by compressed airIncreased airiness allows the gates to circle on 42-tonne hinges and acceleration above the apparent basic a abutting barrierSea gatein blow positionSea gatein aloft positionDrawing is schematicand not to scalejohn sopinski/THE GLOBE AND MAIL, SOURCE: TILEZEN; OPENSTREETMAP CONTRIBUTORS; HIU; mosevenezia.eu; technital.it; reuters; ansaUnder accustomed altitude the gates are abounding with water and lay collapsed below the water.When the advance is anticipation to beat 110 cm, the system is activated.Ballast baptize is pumped out of the gates by compressed airSea gatein blow positionIncreased airiness allows the gates to circle on 42-tonne hinges and acceleration above the apparent basic a abutting barrierSea gatein aloft positionDrawing is schematicand not to scalejohn sopinski/THE GLOBE AND MAIL, SOURCE: TILEZEN; OPENSTREETMAP CONTRIBUTORS; HIU; mosevenezia.eu; technital.it; reuters; ansa

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gregmort · 7 years ago

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Greg Mort DUSK till DAWN Open Studio

Greg Mort’s Dusk Till Dawn Open Studio August 5th & 6th, Fieldstone Castle, Port Clyde, Maine 10am to 5pm will celebrate his forty summers of painting in Maine. Greg will make a presentation during the Open Studio on Saturday at 1PM sharing reflections on the influence Maine has had on his art and life.

The beauty of Maine has inspired artists for centuries but Greg Mot’s experience is a bit different because he finds Maine’s star filled nights as captivating as its sun drenched or fog bound shores. For Greg each inlet and island has it’s own mysterious personality and mood bathed in sunlight or surrounded by an inky blue nocturnal sky showered with stars and a brilliant Milky Way. For the past forty summers he has been driven to capture these ever changing images ruled by the declination of the, sun, moon, constellations and shifting tides. Whether creating a landscape or a still life, he prefers to paint directly from life. This preference has bought him face to face with many adventures and challenges.

“During my first summer in 1977 I would hitch a ride on lobsterman and friend Sherwood Cook’s boat the “Gwendolyn J” out to Little Green Island at dawn for a day of painting. When he competed hauling his traps he would pick me up and critique my artwork as we traveled back into homeport. Many evenings the Armstrong family welcomed me into their warm home and fed me my first lobster. Since then Jerry Cushman and siblings have generously shared their knowledge and experiences. Kind island folks accepted me including the Whitehead family on Southern Island, the Porters to Matinic, the Trevors to Mosquito, the Smiths to Graffam, the Huppers to the Brothers and many others. It is my good fortune that Maine has not only given me artistic inspiration but our family the gift of community.”

Mort is an internationally acclaimed artist whose artwork reflects a fascination with the intersection of art and science and his passion for ecological issues. His paintings can be found in museums throughout the world including the Smithsonian, American Visionary Art, Portland Art, Farnsworth, Academy Art, and Biggs museums and in the private collections of three United States presidents, two vice presidents, as well as in numerous embassies as part of the State Department’s Art in Embassies program. Mort's paintings One World, Planet Evolution and Stewardship, all originally shown in Maine were on extended display in the White House during various terms.

In 2007 his devotion to environmental education lead him to established The Art of Stewardship Project which supports and encourages artists to use their talents to promote awareness of the Earth’s fragile beauty. To recognize the tenth anniversary of TAOS Greg produced ten large-scale giclee canvases of his most iconic environmentally themed paintings which tour as a traveling exhibition to educational institutions. In February the collection made it’s debut at Goucher College’s Rosenberg Gallery with Greg Mort – eARTh – The Art of Stewardship. This exhibition was done in conjunction with the Maryland Association of Environmental and Outdoor Educator’s annual conference and Greg was the Keynote speaker. For Earth Day 2017 Mort worked with over 100 artists at the Howard County Conservancy Gudelsky Gallery and RiverArts Gallery to mount art exhibitions focusing on environmental awareness. This summer Greg was a guest lecturer at the Island Institute presenting “The Enduring Influences of the Islands of Maine”.

John Schratwieser, Former Executive Director Maryland Citizens for the Arts offered this critique:

“Greg is a master at helping us to see our planet as a gift to be treasured. His Art of Stewardship program highlights the role of the citizen artist – to create more than a concert on a stage, or a framed image on a wall, but to create a call to act – using art – in a way that makes the world better for all.”

Currently Mort’s paintings and sculpture are included in the Peabody Essex Museum’s LUNAR ATTRACTION exhibition, the Smithsonian National Air and Space Museum’s Hall of Planets, the Carla Massoni Gallery FULL CIRCLE exhibition. In October the American Visionary Art Museum in Baltimore, Maryland will feature his artwork in The Great Mystery Show an exhibition created in collaboration with NASA and the Space Telescope Institute. Mort will also have a one man showing at the Somerville Manning Gallery in opening November 15th, 2017.

A commissioned NASA artist and passionate life long astronomer Greg serves on the board of the Lowell Observatory. At the Artist Talk on Saturday at 1pm he will offer perspectives and safe viewing tips for the upcoming Solar Eclipse taking place on August 21st. For more information: GregMortCollection.com and 207-372-8658.

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