Cakes Da Killa on Clubbing, Labels and His Shanghai Debut … – That’s Online (registration)

Anybody whos itched for a night out and a cathartic sweep on the dance floor, whether its to shake off the stress of work, get over a breakup, or just catch a DJ theyve been meaning to see live, can relate to Cakes Da Killas rallying cry at the end of Hedonism (Intro), the opening track of his debut studio album, Hedonism.

Lets take it to the clubs, he says, with the last word reverberating over and over in a looming echo. The sentiment keys up the rest of the album nicely, pulling the listener onto the dance floor and into the pounding bassline of the second track, Keep It Going, featuring fellow New York vocalist Calore.

A lot of my catalogue is made for club settings, says Cakes da Killa. I have a deep appreciation for underground clubs in New York and dance culture in general. I think lately there is a huge disconnect between the dance community and hip hop music, which to me is essential to the sound.

Originally from New Jersey, Cakes started rapping in high school, and released several mixtapes throughout college. As he found a fan base for his vibrant sound, he started touring and then began work on Hedonism. His music struck a chord precisely because its bridging a gap between club music and hip-hop, while blending in layers of queer dance signifiers and Jersey club beats. His invigorating, ultra-hard style of MCing adds a further layer of intrigue to the tracks.

My style has always been very fast-paced, he says. I think when you have your own flow, certain characteristics become standard, so my tempo is just something that comes naturally to me. A lot of my beats are fast because thats just what I gravitate to: beats where you can shake your ass and dance.

"The whole narrative needs to focus less on my sexuality and more on the music."

Much of Cakes reputation as a controversial or incendiary artist comes not from his beats, but from his identity as a gay man, and the queer narratives that feature heavily in his lyrics. This has led to media coverage and buzz that lumps Cakes together with other queer rappers of color, like Mykki Blanco and Le1f, under the 'gay rap' label. Cakes is enthusiastically part of the queer community of rappers thats currently thriving in New York and works regularly with other queer rappers (he recently finished an expansive DIY tour of the US with Mykki Blanco), but he believes the label serves to pigeonhole queer artists and oversimplify their output.

That label specifically can sometimes overshadow my talent, he says. Whether Im gay or straight, I like to think my music has been my main source of stability because of my hard work, not because of a buzz article. It makes all my hard work seem smaller then what it is, when me and my peers are really doing something revolutionary and fresh.

Cakes collaborated with several other queer artists on Hedonism, spitting lithely and lightening-fast over the clubby beats he shares with gender-bending icon Peaches on Up Out My Face, and on the aforementioned Keep It Going with Calore, a major member of the NYC queer club scene. But the album draws from a deep well of different influences, including 90s basement rap, R&B and the club music of Cakes native New Jersey.

The whole narrative needs to focus less on my sexuality and more on the music, he says. People find that complicated, though, because my sexuality is such a huge theme in my music. But that still shouldnt be the overall takeaway.

And theres no reason why he cant straddle multiple communities, serving as an inspiration and scene-builder for fellow queer artists, while also building a mainstream reputation as a club-focused musician with undeniable skills as an MC. As one of the first major international acts to play at ALL, a new Shanghai club by the management of now-defunct underground epicenter The Shelter, hes setting the tone for one of Shanghais most essential nightlife spaces. This matches well with the themes and tone of Hedonism, and all of Cakes varied influences seem to come together on the dance floor.

The club is a sort of safe haven, especially for alternative people, Cakes says. Just about anything can happen here; its like a paradise. Thats how the album starts. But the older I get, I realize its at 8am [after leaving the club] when reality, or in my case adulthood, makes me face the daylight until the next time.

July 7, 11pm. RMB100. ALL Club, see event listing.

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Cakes Da Killa on Clubbing, Labels and His Shanghai Debut ... - That's Online (registration)

The kids are all white: can US festivals live up to their ‘post-racial’ promise? – The Guardian

Music fans at Coachella in 2016. Data suggests that white people comprise 69.2% of the festival-going public. Photograph: Michael Tullberg/Getty Images for Coachella

The flashy multiculturalism of music festivals presents a seemingly harmonious alternative to the racial tensions that bristle in society at large. Now at blockbuster events like Coachella, Kendrick Lamar is able to weave tales of the black experience to massive audiences, and a new generation of stars with intersectional identities can capture the imagination of the crowd. But no cultural phenomenon can be divorced from the tectonic social processes underlying it.

In the heady optimism of the early Obama years which coincided with the stateside festival industrys sixfold attendance boom the phrase post-racial began to creep into the lexicon, and music festivals began promoting themselves as spaces where lofty ideals could be realized. On grassy fields and under big tops, differences of race, gender and sexual orientation are supposedly set aside in pursuit of a diverse, multicultural harmony-via-hedonism. In terms of race, this has proven to be a half-truth. On stage, Americas deep pedigree of black influence rings loud and clear, but look out over the crowd at most major music festivals, and more often than not youll see a sea of white faces.

The makeup of Americans aged 18-35, the prime festival demographic, is 58% white, 13% black, 5% asian, 20% hispanic, as of the 2010 census. Numbers drawn from Nielsen suggest that white people comprise 69.2% of the festival-going public, which in itself is not an overwhelming over-representation, but direct statistics from single festivals paint a different picture. Burning Man, not a music festival per se, but still a preeminent entity in festival culture, released figures in 2014 listing their attendees as 87% white. In a 2013 poll on the festivals website, Coachella-goers were only 4.9% black.

Music publicist Michelle Kambasha detailed her experiences as a black woman attending predominantly white festivals in the UK. When Im asked: Why are you at this [insert any indie band] show? and I explain that its because I do their press, I know what theyre really asking is: Why dont you do press for someone black, because youre black?, she wrote in 2016. It is as if my race inherently makes me underqualified. In her piece she mentioned Britt Julious, the music writer and Guardian contributor who created Blackfork an annual headcount of black people she sees at Pitchfork festival in her hometown of Chicago. After attending this years Coachella festival, Teen Vogue journalist Jessica Andrews wrote about what she dubbed Coachellappropriation ie white attendees borrowing style from other groups (bindis, dashikis and braiding their hair). Black hairstyles are not lewks to try when you want to feel edgy, only to discard them once youre bored and ready to retreat back to your privileged bubble, she wrote.

On stage, music festival line ups are far more diverse than they were even a decade ago. But that shift has brought with it new problems. The past few years in particular has seen most mainstream festivals swing their booking heavily to include hip-hop and R&B. The Coachella lineup in 2007 gave no hip-hop acts top billing although further down the order acts such as Ghostface Killah and Pharoah Monche could be found. A decade later, five of 20 bill-toppers were hip-hop, and if Beyonce had not dropped out, two of the three headlining acts would have been black. The trend continues at electronic music festivals such as HARD Summer. In 2012, its urban elements were limited to Albanian American chef turned rapper Action Bronson, Canadian electronica producer Lunice and funk veteran Bootsy Collins out of more than 50 acts. This years edition features Snoop Dogg, Rae Sremmurd and Migos as headliners topping a bill thats hip-hop heavy.

But the inclusion of certain manifestations of hip-hop at festivals where audiences are majority white doesnt sit well with everyone. Its awful for me, says Matthew Morgan, founder of the globetrotting Afropunk festival. Participating in an audience, particularly with rap lyrics, when you have a majority white crowd using the n-word, its a very uncomfortable environment. This awkward appropriation of other cultures rankles many artists who perform at the very same festivals. Underground house and techno DJ Seth Troxler suggests the fault is shared between the artists, the audience and the festivals themselves. The imagery and music that a lot of these rappers are putting out focuses on the negative aspects of ethnicity, he says. It attracts a culturally ignorant crowd.

If you pulled back the curtain of the music industry, people would be shocked

To Morgan, its a case of opportunism and greed. These promoters predominantly dont care, because theyre selling tickets, he says. For Troxler its business as usual for an industry thats rarely been interested in ethics. I dont think, at any point, most people in the music industry are concerned about the welfare of the music they choose to promote or the implications of their decisions, he says. You have this weird cultural system in place where for a black person to be successful, its like indentured servitude.

In music, just like sports, black people are allowed to participate on the front-end, but we have no say in the back-end, adds Morgan. If you pulled back the curtain of the music industry, people would be shocked. When booking Afropunk, I work with hundreds of agents, and only two of them are black.

Therein lies the reason for the glaring dissonance between the intent and effect of the festival industrys push for diversity: those in executive positions, from the record label to the management to the promoters to the corporate sponsors, are usually caucasian.

A positive trend counteracting this is niche festivals that are driven by cultural production more than profit. Festivals like Tyler the Creators Camp Flog Gnaw in Los Angeles and Nyansapo in Paris approach Afro-centric intersectionality in a similarly progressive fashion, because theyre made with input from black and minority individuals behind the scenes as well as on stage and in the audience.

Afropunk has editions in New York, London, Paris, Atlanta, and Johannesburg, and features a predominantly black lineup that intersects hip-hop, punk, blues, soul, pop, queer and dance culture. Putting a black audience in front of black artists is cathartic, says Morgan. Its absolutely imperative that we participate in feeling good about serving a community with music that is created from our community.

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The kids are all white: can US festivals live up to their 'post-racial' promise? - The Guardian

Comic Legends: How Did 9/11 Change Strangers in Paradise’s Ending? – CBR (blog)

Welcome to Comic Book Legends Revealed! This is the six hundred and thirty-fourth week where we examine comic book legends and whether they are true or false.

Click here for Part 1 of this weeks legends. Click here for Part 2 of this weeks legends.

Terry Moore changed the ending to Strangers in Paradise following the tragic events of 9/11.

True

Strangers in Paradise was a delightful long-running comic book series by writer/artist Terry Moore, telling the story of high school best friends, Katina Katchoo Choovanski and Francine. Katchoo is in love with Francine, but Francine sees her as just her best friend. Later, they met artist David, who was in love with Katchoo. We also met (going from left to right) the ditsy but adorable Casey, her ex-husband (and Francines ex-boyfriend), Freddy and Davids sister (and Katchoos former lover), Darcy.

The characters went through a series of adventures over the 14 years (and 106 issues) of the series (which Moore produced at three different companies, finishing up with his creator-owned Abstract Studios), with Francine eventually coming to realize that she was actually in love with Katchoo, as well.

However, whats amazing is that the ending of the series came about due to a very strange reason. You see, Terry Moore had a whole other ending for the series in mind before the tragic terrorist attacks on the United States on September 11, 2001.

Moore explained why he made the change to CBRs Shaun Manning back in 2009:

The ending actually changed drastically. What happened was, I was thinking in terms of a traditional tragic love story all along. High prices are paid, and all that. But after 9/11, I felt like there was too much grief in the world, and I didnt want to add to it with another tragic love story. So I wanted to change the tone of the story back to one of hope and, yes, good things can happen. That actually came from the rebel in me, because Im always rebelling against whatever the predominant thing is. If the predominant thing is hedonism, then I want to go the other way with my work; if people are feeling that theres just no hope in the world, then I feel the need to draw a lighthearted cartoon. That was kind of what happened. After 9/11, I felt like it was the creative people who were responsible for re-instilling hope into the population. I started thinking about my story, that I could do it with SiP. It kind of changed my heart on the story and what I wanted to do with it.

When it came time to end it, I really feel like I made the right decision. The version we ended up with is so much better than what I had in mind before. Its funny how things turn out, and hopefully they always turn out the right way. I feel like SiP ultimately became the story it should be, so Im very happy with that.

Fascinating insights into a classic comic book series.

Thanks to Shaun Manning and Terry Moore for the information!

Check out my latest Movie Legends Revealed at CBR: Did Disney try to pretend that The Avengers was still being made by Paramount even after Disney bought Marvel?

OK, thats it for this week!

Thanks to the Grand Comics Database for this weeks covers! And thanks to Brandon Hanvey for the Comic Book Legends Revealed logo!

Feel free (heck, I implore you!) to write in with your suggestions for future installments! My e-mail address is cronb01@aol.com. And my Twitter feed is http://twitter.com/brian_cronin, so you can ask me legends there, as well!

Heres my most recent book, Why Does Batman Carry Shark Repellent? The cover is by Kevin Hopgood (the fellow who designed War Machines armor).

If you want to order a copy, ordering it here gives me a referral fee.

Follow Comics Should Be Good on Twitter and on Facebook (also, feel free to share Comic Book Legends Revealed on our Facebook page!). Not only will you get updates when new blog posts show up on both Twitter and Facebook, but youll get some original content from me, as well!

Heres my book of Comic Book Legends (130 legends. half of them are re-worked classic legends Ive featured on the blog and half of them are legends never published on the blog!).

The cover is by artist Mickey Duzyj. He did a great job on it

If youd like to order it, you can use the following code if youd like to send me a bit of a referral fee

Was Superman a Spy?: And Other Comic Book Legends Revealed

See you all next week!

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Comic Legends: How Did 9/11 Change Strangers in Paradise's Ending? - CBR (blog)

Hedonism II – Negril, Jamaica The Swinger Cruise

by Fred | Apr 25, 2017 | Swingers Cruise Essential | 0 Comments

Wondering about the "ins and outs" on swinger cruise playroom etiquette? We, at The Swinger Cruise, are happy to break down the basics of playroom etiquette. If youve been on a lifestyle cruise, resort based vacation or attended a club then you know what a playroom...

by Lynn | Aug 23, 2016 | Swingers Cruise Essential | 0 Comments

Are you all in for a Kinky Swingers Cruise or does the mere mention of kink send you running for the safe space in your cabin? Well this article is for you! We are kinky swingers. There is actually a term for people like us. You combine the two words into one and...

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Swinger Cruise Balcony: Those three words certainly brought an imagine into your mind. Probably an image that even made you smile. Couples Cruise ran an awesome newsletter that contained a list we just had to share! We agree that these reasons match our top reasons...

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People take vacations for lots of reasons. Sometimes just to relax and recharge, other times to try something new and different or to broaden horizons. The reasons are many and varied. Humans have travel in their DNA. Were grateful for that since weve built our...

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Whats the first things all newbies should do? Some people say attend a meet & greet! Go to naked speed dating! How about a seminar on spanking/squirting/dirty dancing? Here is the truth. The #1 thing to do is to Have the Talk. An open discussion between the...

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The Secret to Making Consent Hot Yes? No? Maybe? On a ship full of sexy people it's easy to jump right in for a hug, a kiss or a quick fondle. Here is a little lesson based on things I learned in etiquette class blended with protocol from the kink community that can...

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(Cross-posted fromwww.Alreadybooked.com a great place to meet other lifestyle travelers on Couples Cruises. After honing your swinger elevator pitch and practicing accepting and declining swinger offers, book your cabinheretojoin us on Independence of the Seas...

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(Cross-posted fromwww.Alreadybooked.com a great place to meet other lifestyle travelers on Couples Cruises. After honing your swinger elevator pitch and practicing accepting and declining swinger offers, book your cabinheretojoin us on Independence of the Seas...

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(Cross-posted from http://www.Alreadybooked.com - a great place to meet other lifestyle travelers on Couples Cruises. After honing your swinger elevator pitch, book your cabin heretojoin us on Independence of the Seas November 15 - 22!) Nine out of 10 lifestyle bloggers...

by Dominatrix of Ditties | Dec 4, 2013 | Swingers Cruise Essential | 0 Comments

So, you booked your cruise...now what can you do to make the most of it? Perhaps some of these tipsfrom your friendly, local neighborhood Dominatrix of Ditties will help... 1. Smile and compliment. ALWAYS. If you look like you're having fun and you have good...

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Hedonism II - Negril, Jamaica The Swinger Cruise

Norfolk makers of Wild Knight vodka score first London stockist – Norfolk Eastern Daily Press

Steph and Matt Brown, founders of Founding Drinks, which makes Wild Knight vodka, on their stand at the Royal Norfolk Show 2017. Picture: Bethany Whymark

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The makers of Wild Knight vodka, husband and wife team Matt and Steph Brown, have signed a deal with Hedonism Wines in London with their first delivery expected early next month.

Positioned in the luxury-laden streets of Mayfair, Hedonism is considered one of the citys foremost wine stockists.

Mr Brown said: Hedonism is a really good name and gives the Norfolk brand good visibility. We are really chuffed to be in there. They are very interested in the product, how it is made and what you can do with it.

We want to be in top bars and more retailers, so this is a good start.

The duo, based near Swaffham, are now trading as Founding Drinks and believe their products, Wild Knight vodka and Nelsons Gold caramelised vodka, are standing their ground in the gin-fuelled UK spirit market.

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Norfolk makers of Wild Knight vodka score first London stockist - Norfolk Eastern Daily Press

Considering a weekend in Ibiza? Our guide to the White Isle tells you where to eat, sleep, rave, repeat – Mirror.co.uk

Ibiza is a bucket list destination that everybody needs to tick off.

And we're not just talking about those looking to party - the White Isle has something for everyone.

So if you have a spare weekend, you should seriously consider a whistle stop tour of of this beautiful Balearic.

Yes, it's synonymous with wild antics, all-night raves and extreme hedonism - and rightly so, as there's plenty on offer for hard partying people.

But there are other sides to Ibiza, too.

With its pristine, clear waters and incredible sunsets, super clubs and stunning scenery, once you've visited, you'll find it tough to stay away.

It's a place where memories are made for everyone, young and old.

Here's our comprehensive guide of how to get there and where to eat, sleep, rave, repeat - or even just relax, if that's more your thing.

Try Skyscanner for all the best deals on flights.

Jet2 are now flying from the UK to Ibiza regularly.

Hotel Es Viv - the art deco haven for health-conscious hedonists

Whichever way you turn, this hotel screams indulgence and style.

Always evolving to accommodate its health conscious, party-going clientele, Hotel Es Viv has perfected its mantra to pamper.

Last year the hotel introduced a wellbeing Balance package which included a 24-hour retox-detox experience. Now, to expand on this it has developed a new spacious gym and yoga/dance studio.

The idyllic art deco inspired hotel won the award for Best Hotel Interior in Spain at the International Property Awards 2016. It was also name Best European Hotel and Best Hotel under 200 rooms at The International Hotel and Property Awards 2016.

If the champagne and strawberries lifestyle is your vibe, then Hotel Es Viv is the place for you. More info here .

Ibiza Rocks Hotel - for the party-goers

Since opening in 2008, Ibiza Rocks Hotel has firmly cemented itself within the Ibiza clubbing community, offering a fresh approach to the partying landscape and serving up groundbreaking events to its loyal following.

More info here

Cafe Bondi Ibiza

Cafe Bondi it is a new concept in the San Antonio port area, serving meals and drinks that are as tasty as they are healthy and pretty.

From its wide terrace - with the port in view - you'll be able to enjoy all kind of breakfasts made using organic ingredients, as well as fresh fruit juices, homemade, protein packed milkshakes, healthy and traditional toasts and coffees.

More info here .

Simply put, this place is heaven on Earth. The service is magnificent, from the minute you walk down the steps and enter from the beach.

The restaurant has several terraces over different levels and all tables offer a picturesque view of the sea - with a creative cocktail menu also on offer.

The Mediterranean cuisine is done to perfection and caters for all allergies and dieting needs on request.

By night, the place is full of low lights in the trees and has a wonderful atmosphere with chill out music filling the air.

What's more, it also hosts weddings on the beach - Axwell, DJ and former member of Swedish House Mafia, got married here.

Located to the west of the island, near the area of Cap Negret, pencil this in as a must-see place.

More info here.

Exploring the magnificent coastline of Ibiza is an absolute must, so why not do it just before sunset on your own personal boat.

With Sunset Boats Ibiza, you can expect black MasterCraft 255v powercrafts designed to provide both a perfect day trip or cruise platform for up to 10 people, as well as having more than sufficient power for exhilarating rides and water-sports activities.

Theres no better way to experience the famous Ibiza sunset than pulling up alongside Cafe Mambo in your private boat accompanied by sets by world famous DJs.

Villa Mercedes

Built in 1901 and set in beautiful landscaped gardens, this converted Villa is the perfect location for an elegant mediterranean dining experience.

With spectacular views overlooking the Marina in San Antonio, Villa Mercedes is an outstanding venue and regarded by many as the jewel in San Antonio.

Kumharas

Kumharas is a restaurant situated in Cala de Bou, just a few metres from San Antonio Bay, and boasts one of the best views of the Ibizan sunset.

Each year it grows and evolves into a magical place where you can enjoy a menu rich in all kinds of cultures.

There is also a relaxing chill zone to renew your energy.

More info here.

Caf Mambo

A trip to the White Isle would not be complete without experiencing the world famous Cafe Mambo sunset.

This is the best place for an Ibzan sunset, as the crowds all gather and clap in unison to mark the setting of the sun.

Launched in 1994, in celebration of its 22nd anniversary this year, Caf Mambo has since been hailed for its party vibes and most memorable sunset strip in the heart of San Antonio, Ibiza.

True to its family values, the once small Ibizan house has since transformed into a major venue where you'll calibre of star studded names - including last years BBC Radio 1s 20th anniversary - but a laid back vibe, too.

And it is still a cafe.

It continues to operate throughout the day, serving breakfast from 10am and offering a wide lunch and dinner menu late evening, with fresh cocktails to complement the azure backdrop.

Music On

Where? Amnesia

When? Every Friday starting on May 19.

Who? Marco Carola | Joey Daniel | Leon | Marco Faraone | Miss Kittin | Jamie Jones | The Martinez Brothers & More

Music On returns to Ibiza for its longest season ever. In the sixth summer at Amnesia, Marco Carola and his flagship artists will deliver a frantic season of 21 dates, every Friday starting on May 19.

More details here .

RUMORS Ibiza

When? Every Sunday

Where? Destino

Who? Guy Gerber | Bill Patrick | Sven Vth & More

Each evening is comprised of two to three acts, evoking the atmosphere of the traditional Ibiza events where there are no headline acts and the artists have the freedom to play longer sets in a relaxed outdoor atmosphere

In the midst of the unique line-ups are some of the biggest names in the industry with appearances from Cocoon head-honcho Sven Vth who will be hosting his own night -, electronic musics rockstar DJ Harvey and the innovative Sci-Tec boss Dubfire.

The impressive melting pot of artists makes Rumors one of the most exciting and forward-thinking residencies this season.

More details here .

Circoloco

When? Every Monday

Where? DC-10

Who? This years opening party is something not to be missed.

Seth Troxler, The Martinez Brothers, Tania Vulcano, Kerri Chandler, Jackmaster, Ellen Allien, Jamie Jones, Davide Squillace, Matthias Tanzmann, Sossa, Shonky, Clive Henry and Acid Mondays.

If thats not enough to whet your appetite then youll be glad to hear that Damian Lazarus, Marcel Dettmann, The Black Madonna, Dubfire, DVS1, Adriatique, DJ Tennis, Konstantin and Petar Dundov will also be joining the party.

More details here .

Solomun +1

When? Every Sunday

Who? Solomun & special guests

Where? Pacha

Pachas flagship Ibiza night Solomun + 1 is making a big and bold return in 2017.

It all kicks off on Sunday May 28 and runs until October 15, which will be the very last party on the island this summer.

The concept is simple: the Diynamic label boss plays with a guest of his choosing.

This year, there will be even bigger and better production than ever before to make for a truly unique and immersive house and techno experience at the world famous Pacha.

Solomon +1 is a great opportunity to see the influential house and tech artist play in his natural environment with his closest musical friends.

Often featuring impromptu back to back sets, this really is the finest party in Ibiza and it has been for many seasons now.

Other artists joining Solomun throughout the year include:

Mano Le Tough | Patrice Bumel | me | Damian Lazarus | DJ Hell | Michael Mayer | John Talabot | Dixon | Dubfire | DJ Tennis | Joseph Capriati | Acid Pauli | Butch | Superpitcher | me | Sven Vth | Mind Against | Michael Mayer | Matthew Dear | Konstantin Sibold

More details here .

ANTS

When? Saturdays

Where? Ushuaa

Who? Andrea Oliva | Groove Armada (DJ set) | Matthias Tanzmann | Maya Jane Coles | Raul Rodriguez | Tapesh

Fronted by Andrea Oliva, the 18-week residency will see Groove Armada and Maya Jane Coles return as brand regulars, as well as Nic Fanciulli, Joris Voorn, Klsch and Steve Lawler who are each set to uphold their ANTS family member status.

House gangsta DJ Sneak represents stateside talent that also sees Kim Ann Foxman and Lauren Lane on the bill, with island regulars Cassy, Matthias Tanzmann and Heidi also in attendance.

UK duo Eli & Fur and Circus boss Yousef are confirmed, while rising stars Solardo make their ANTS debut plus ANTS regulars Tapesh, Uner, Francisco Allendes and Raul Rodriguez.

More details here .

Glitterbox

When? Fridays Where? H Ibiza Who? DIMITRI FROM PARIS | ARMAND VAN HELDEN | DAVID MORALES | TODD TERRY | SIMON DUNMORE | DJ PIPPI | BARBARA TUCKER (LIVE PA) | SHOVELL (LIVE ON PERCUSSION)

Glitterbox has announced the Ibiza 2017 season line-up for its new residency at H Ibiza, the brand new superclub by Ushuaa Entertainment.

The club formerly known as Space will be elevated to new heights, with a fresh new look and the most advanced sound and technologies on the island.

From May through September, H Ibiza will play host to the finest selectors from the global electronic music scene.

More details here .

Read more here:

Considering a weekend in Ibiza? Our guide to the White Isle tells you where to eat, sleep, rave, repeat - Mirror.co.uk

Comme des Garons’ spring collection designed for a warehouse rave – The Guardian

Catwalk models for the Comme des Garons mens fashion week spring/summer 2018 collection in Paris. Photograph: Bertrand Guay/AFP/Getty Images

Comme des Garons spring/summer 2018 menswear collection was shown in Paris on Friday evening. This is always a must-see show for the fashion crowd and they were present and correct in the Salle Wagram ballroom, sitting around a square catwalk.

But the Japanese label, designed by Rei Kawakubo, is now also on the mainstream radar. Kawakubo is the subject of Art of the In-Between, this years exhibition at New Yorks Costume Institute, which hosts the Met Ball in May. The Met Ball is now familiar as a razzle-dazzle evening with an alpha guest list and celebrity hedonism as standard. It appeared that Kawakubo, a sphinx-like figure rarely seen at a fashion opening, had been inspired by attending one of the biggest parties of the year: this Paris collection was one for after dark. The music was fit for a rave, and circles of coloured light were projected on to the catwalk. The models danced in groups and some even smiled. This was in contrast to typical shows for the label more often sedate affairs with models walking slowly down the catwalk.

Models had their hair slicked down, as if sweaty from a night in a warehouse. Their clothes looked appropriate for all-night dancing. Most wore wide-legged shorts, trainers and suit jackets. These had patches of different fabric sewn to them, including neon faux fur, as well as pieces of pinstripe. Several outfits featured pastel sequins on jackets and shorts, a winning combination even beyond the dance floor. The final looks were more unsettling, featuring jackets with parts of dolls sewn into the back.

One of the most upbeat collections from Kawakubo in the past few years, it was greeted by extended applause from the audience. Kawakubo, who chooses not to bow after her show, was nowhere to be seen.

Film director and writer John Waters, who once took part in a Comme des Garons show, has said the the clothes are integral to a look he described as disaster at the dry cleaners. The brand is, however, a commercial success with an annual revenue of 219.97m. While it may be the likes of Waters and friends who buy the catwalk collections, many more invest in perfumes, wallets classic shirts and T-shirts. The association with one of fashions genuine visionaries is what they are buying into.

The Art of the In-Between exhibition explores Kawakubos avant garde take on fashion. With more than 150 designs, it was themed around diametrically opposed ideas absence/presence, high/low, object/subject. But fashion/antifashion is perhaps the one that remains the most fitting. Comme des Garons remains a label able to do both.

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Comme des Garons' spring collection designed for a warehouse rave - The Guardian

WIL DARCANGELO: Hedonism has its advantages – Sentinel & Enterprise

Hopeful Thinking by Wil Darcangelo

To what end, pleasure? Is there vibration to joy? If we could see ecstasy how would we employ it?

Pretend you had a button that, when pressed, made all the colors around you more vibrant. Dispense with the question of whether the environment itself is changing or merely your perception of it. It doesn't matter. How do you feel as the colors become deeper at your command? How do those two facts combine? Both the improvement in the landscape entangled with the power to command it. It would be a rush, yes?

Would you hold down the button all day? What of your poor button finger? When does happiness become indulgence? Who defines moderation? "An it harme none, so mote it be," the old Wiccan Rede says. So long as no harm comes, do as you will. It sounds like permission to do anything you want -- just don't hurt anybody or break anything.

But that's when it gets complicated. Should you be gay if it "hurts" your grandmother? Should you eat an entire box of Ding Dongs? Should you abuse the purpose of drugs because it doesn't hurt anyone else? Should you pursue your dreams even when they are not shared?

How do we recognize when someone else's happiness is dependent upon our misery? Pleasure, satisfaction and joy are worthwhile, sacred pursuits. They are the very reason we exist. Our free will gives us the platform to explore every pathway to happiness available. Including the ones that trick us. Yet those are the ones from whom we learn the most.

We place a disproportionate amount of judgment upon the pleasure others experience. We question their motivation and their dedication. We question their faith. We deem them selfish and ungodly. Hedonists. The word hedonism literally means pleasure-ism. The ideology of self-gratification as a life practice. A word created in the early 19th century so that philosophers could debate the ethics of pleasure.

The word has also taken an additional, more pleasant definition. Hedonism is also an ethical system of belief where pleasure is in the interest of the highest good. That's where the good stuff is. It is the intersection of pleasure and ethics. The old Wiccan Rede again. Perhaps it is good to indulge. Perhaps we draw the line too far and pinch ourselves off from the flow of life. How much joy do we push away?

We have interpreted our scriptures to mean that only God should give us joy. But there is so much joy in the world. Might there be as many pathways to God as there are licks in an extra large ice cream cone or gasps from an extra long session of lovemaking? We have placed too many restrictions on what is acceptable and beaten ourselves to death with guilt. Indulge, but evaluate.

"An it harme none ..." also refers to yourself. Do not harm yourself. Love life, but be wise. I tell my kids in the Tribe that if you're going to do something stupid, be smart about it. We even put it on a T-shirt. Raise the vibration of this earth with your Joy. Do it on purpose. Think of it like a bell which the entire Universe can hear. Notice other people's happiness! Masha'Allah! And happiness will be drawn to you. For you will be irresistible to it.

Wil Darcangelo, M.Div, is the spiritual coordinator at First Parish Church of Fitchburg and the Director of the Tribe Music Mentorship Project. Email wildarcangelo@gmail.com. Follow him on Twitter @wildarcangelo. His blog, Hopeful Thinking, can be found at http://www.hopefulthinkingworld.blogspot.com.

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WIL DARCANGELO: Hedonism has its advantages - Sentinel & Enterprise

Spanish Party Town Publishes 64 Rules to Stop Hedonism of Drunk Tourists – Heat Street

A local council in Spain has become so fed up with the raucous behavior of drunk British tourists it has published a list of 64 things which are banned.

Authorities in the town of Magaluf, a holiday resort on the island of Majorca which is popular with the package holiday market, have published the list after years of outrageous antics left locals furious.

Oceans of cheap alcohol, scores of sleazy bars, and a plentiful supply of banned drugs have turned this once peaceful place into a haven for young people hell bent on hedonism. Urinating and vomiting in the streets, plus brawling and fighting, have become standard behavior in recent years.

In 2014 an 18-year-old British girl was filmed performing oral sex on 24 men in two minutes at Magaluf bar to win a $5 cocktail.

Under the new guidelines, banned activities include walking around topless, having sex in a public place and, bizarrely, climbing trees.

Fines of up to 3,000 euros will be levied on anyone caught in the act as local businesses say they want Magaluf to be more family friendly to improve its appalling image.

The rules were drawn up last October and will be imposed for the first time this summer. An increased police presence will help to enforce them. Magaluf is visited by about 1 million Britons a year.

The 64 rules are: 1 Not arguing or fighting in public places 2 No abusive language 3 Respect others 4 Dont damage street furniture 5 Co-operate with the police or officials 6 Respect tourist facilities 7 Dont cause any interference to public events 8 Dont give false information about your identity 9 Dont carry any sort of prohibited weapon 10 Dont disrespect police officers 11 No shining of laser beams 12 Respect any physical barriers put in place by the police 13 Event organizers to guarantee peoples safety 14 Bar and cafe owners have to ensure good order 15 They mustnt serve anyone already drunk 16 And not to anyone under 18 17 Never serve drink or food to consume on the street 18 Stop customers going out in the street with glasses or bottles 19 Dont damage litter bins, statues, parks, gardens and so on 20 Forbidden to rip off branches from trees 21 Mustnt carve names or initials into the bark 22 Dont climb trees 23 Dont throw litter into the road 24 Mustnt damage flowers in parks 25 Dont cause discomfort to others with skateboards or balls 26 No defecating, urinating or spitting in public places 27 Dont throw down chewing gum, cigarette butts, cans, papers, containers etc 28 Interfere with street lighting 29 Ban on any type of graffiti 30 No scratching surfaces 31 Public event organizers must ensure proper conduct of guests 32 Adhere to safety rules on the beaches 33 Dont swim when red flag flying 34 Or bathe anywhere it is prohibited 35 Wash any sort of item or garment under the beach showers 36 Leave jars, buckets or containers under them 37 Drink directly from the showers 38 Absolutely forbidden to have sexual relations in a public place or anywhere visible from public places 39 No begging 40 No collecting money for sand castles unless structures are approved by council

41 Any activity which might cause obstruction on public highway or interfere with other peoples mobility 42 No begging in the street 43 No authorized services in the public space, such as tarot, clairvoyance, massages or tattoos. 44 No tipping off anyone about the presence of the police 45 Comply with noise limits ie with music on the beach 46 Dont drink alcoholic beverages in public spaces when it may cause discomfort to people who use the public space and in living locally (unless at a previously authorized event). 47 Dont drink alcohol if it is going to harm the peacefulness of an area or lead to drunkenness. 48 Or if drinking alcohol is done in a demeaning way which would upset other people 49 Or if there are children around. 50 Behave at organised events or it is the duty of the organizer to call the police. 51 Put drink containers into bins 52 Dont throw down bottles or cans etc on the street 53 Bottle parties in the street in public places are banned 54 Respect the right of people to rest, especially between 8pm and 8am 55 No taking away drinks, whatever containers they are in, to have in the street. Owners should have warning signs in various languages, including English 56 Commercial establishments cant sell alcohol between midnight and 8am 57 Illegal to take drugs or other substances in public places 58 Forbidden to go naked or semi-naked in the street 59 Must wear tops ie no bare chests in public places away from the beach 60 Forbidden to use any glass vessel or glass in the sand and adjacent areas 61 Cant use soap or gel under the public showers 62 No balconing (jumping from a balcony into a swimming pool) 63 Dont coerce others to do balconing 64 No gambling in the street

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Spanish Party Town Publishes 64 Rules to Stop Hedonism of Drunk Tourists - Heat Street

Review: True to the original, ‘Cabaret’ revival trades in hedonism, horror – Seattle Times

The touring production now at the Paramount in Seattle reels you in with its classic mix of jaunty numbers at the Weimar-era Kit Kat Klub and foreshadowing of the terror to come.

There arent many moments in musical theater that stick in your craw like the rug-pulling finish of If You Could See Her from Cabaret, in which a playful tune about a romance with a gorilla turns suddenly poisonous.

The John Kander and Fred Ebb musical, with a book by Joe Masteroff that traces back to a Christopher Isherwood novel, has the ability like no other to follow a shot of razzle-dazzle with a deeply discomfiting chaser.

The latest national tour, now on stage at the Paramount, is proof enough. At a recent performance, laughs and applause had a way of dissolving into uneasy quiet as the shows depictions of fascism and hate revealed themselves, smuggled in discreetly under cover of hedonistic decadence.

by John Kander, Fred Ebb and Joe Masteroff. Through June 25, Paramount Theatre, Seattle; tickets from $30 (800-745-3000 or stgpresents.org).

This production by Roundabout Theatre Company (last seen in Seattle with an effervescent tour of Anything Goes at the 5th in 2013) brings to the stage Sam Mendes and Rob Marshalls 2014 Broadway revival, a re-creation of their 1998 Broadway revival, which was, in turn, based on Mendes 1993 London production.

So yeah, this Cabaret has been around.

Why shouldnt it stick around? Its got the goods, reeling you in from the first strains of Willkommen, set inside the never-ending party of the Kit Kat Klub in Weimar-era Berlin. Were welcomed by the Emcee (Jon Peterson), whose leering naughtiness is matched by the dancers around him. (Peterson keeps upping the ante, going right up to the edge of too self-aware of his giggly kinkiness.)

This is the kind of place where sexual adventures of all kinds can help shut out the horrors of the surrounding world until, of course, they cant anymore.

Its also the meeting place for Sally Bowles (Leigh Ann Larkin, whose tremendous voice covers for some over-emoted line readings) and Cliff Bradshaw (Benjamin Eakeley, appropriately Boy-Scout-stiff).

Shes an unsuccessful British singer and hes an unsuccessful American novelist, and together, they engage in a bit of amour fou while the world still allows them to. (Cliff is portrayed differently in different stagings; here, he seems to be openly, if a bit reluctantly, bisexual.)

Also playing out: A more sensible but similarly fated romance between Cliffs landlady, Frulein Schneider (Mary Gordon Murray) and Jewish fruit dealer Herr Schultz (Scott Robertson).

Like most revivals of Cabaret, this one has a score that cuts some original numbers and incorporates some from Bob Fosses stellar film adaptation. Good thing Larkins raucous Mein Herr and plaintive Maybe This Time are standouts.

Even in scenes outside the nightclub, Mendes and Marshall ensure its presence is felt, with Petersons ever-watchful Emcee eyeing the proceedings, often perched atop an upper level that houses the band (many doing double duty as members of the ensemble).

The encroaching threat of Nazism is communicated overtly in Masteroffs book and in Marshalls choreography, like when a chorus kick line seamlessly transitions into a goose step.

But even more potent is the sudden awareness that those previously jaunty club numbers have been drained of any sense of carefree fun, with lighting and costume shifts to match.

By the time Sally reaches the shows titular song, the lurid flashbulb lighting has gone out, replaced with just a single spot on a minimally adorned Larkin.

Life is a cabaret, old chum is a lyric with enough irony baked in that it doesnt require the blunt visual rejoinder, but the strategy is plenty effective just the same.

That also goes for a finale that employs concentration-camp imagery and a thundering wall of sound to hammer home one more moment of unease and a crystal-clear message.

The partys over.

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Review: True to the original, 'Cabaret' revival trades in hedonism, horror - Seattle Times

On ‘Ti Amo’, Phoenix Combat Dark Times with Fun and Gelato – Vulture

Thomas Mars of Phoenix. Photo: ANGELA WEISS/AFP/Getty Images

For their sixth LP, Ti Amo, the French band Phoenix looked to the Italian lifestyle for inspiration. Blending shimmering disco pop with a smattering of Italian phrases, Phoenix created a colorful, occasionally decadent sonic trip that manages to be optimistic even in these troubled times.

Apparently inspired by gelato, and all the connotations the notoriously rich form of ice cream might bring, Phoenix recorded the album without much rehearsal time. We tried to keep the first take, and the first emotion [we experienced], says front man Thomas Mars. We wanted to keep the first awkward, unconscious chemistry that was happening between the four of us.

During a visit to New York, Mars and bassist Deck DArcy spoke with Vulture about finding inspiration in hedonism, and why it felt important to create a fantasy for their listeners.

How did you land on Ti Amo as an album title? Thomas Mars: One of the working titles for our previous record Bankrupt! was Je taime. Maybe people dont know [in the U.S.], but for a French band, its extremely ballsy to call your album Je taime. Its not something you do and we wanted to do it, but the songs and the title didnt go together. [Je taime] isnt very unique. Its something thats used by a lot of people. So its hard to appropriate it theres a bit of work that you need to make it yours. And slowly, while writing the songs, we embraced some of our own language, which had mostly English, but French and Italian. And then we shifted: Je taime became Ti Amo and it felt like a natural choice. It felt like the record sounded like Ti Amo; the [music and title] matched. And that helped us choose the direction of which songs would be on the [album].

Why did a fantasized version of Italy become the focus for the record? TM: When we first wrote the songs, it sounded like a mumble. The words came, and they didnt really make sense, but there were a few words here and there that popped, and they were written in Italian. Then we embraced it: We tried to keep the first take and the first emotion [we experienced]. We wanted to keep the first awkward, unconscious chemistry that was happening between the four of us. Italy was a part of it because of a few trips and a few influences. But it popped out really strongly because I think [Italian] is not really being used a lot in contemporary music, and its always interesting for us to find things that no one taps into for some reason. People seem to drink from the same water. We went just a little bit outside and we found a giant oasis of fresh water.

What accounts for the romantic, carefree-sounding record? TM: Its romantic, but at the same time, while recording, we were the first ones surprised by the fact that it was light, carefree, and hedonistic. Because around us, there was not a lot of pleasure. I think that any artist would have you ask themselves, What was really the point of [making this record] when the atmosphere in Paris was really dark? So we all were a little bit surprised that we did something that opposite.

So is it a form of escapism? TM: You know, people are gonna write protest songs its that time. But music shouldnt be one thing. We went into [making music] in its most precious and simple form, which is just a fantasy, pure and detached, but not escapism.

Deck DArcy: A lot of our favorite artists turn darkness into light. From Prince to Hank Williams. You know, [Princes] Sign O the Times? The song has a darkness: Its a questioning song, but then at the same time, theres a lot of light, and a strong, new sound. Theres something new about it that I love.

What were you listening to when you made this record? TM: Tons of things, but nothing specific. Maybe Italian music more, like Lucio Battisti, Franco Battiato. But then we have to find a common language; we have to make them fit into the same [music]. The less inbred, the better.

The less inbred? TM: Were Frenchmen, so it would be inbred to be inspired by a French artist. The more foreign in time and distance like Monteverdi, thats perfect: 1500s Italian music. Thats really far from us we can easily steal from that.

Is this a concept record? TM: Not on paper, but maybe. The word concept has a bit of a negative twist for me somehow, but at the same time, every album is a concept, because we see it as a book. With every single song that you hear, we want each of them to have a strong identity.

DD: Its more coherence than concept. Concept sometimes goes against freedom. And the way we made it was free-spirited for a while. At least there was no concept at the beginning

Judging by the titles of the songs, Europe was a huge influence. How did you land on those titles? TM: The thing is, we are a European band as well. Even in our previous albums, we talk about the European roots, and then we sing in English. And actually what we sing about is our European roots. But we probably pushed it even farther this time.

How? DD: There are songs in Italian, like Thomas was saying. Telefono and Fior di Latte. The song is named after a kind of sweet milk. Its actually the flavor of a very good ice cream. We were thinking a lot about ice cream and gelato while we were doing this album. That was the concept.

TM: Melting, always melting.

DD: Melting gelato.

TM: It had to melt. Otherwise, it helps when youre in this industry to have a few words whenever youre surrounded by instruments, and you have to choose something to fit in a song. If you have a word that you can think of, it helps to make that decision. I know in movies they do that. Every day they have to take that: We want this shot to be green or white. And then, if milk is part of one of those words, you go with white it helps create a coherent identity. So in that way, [the album] is maybe a little bit conceptual.

So is the theme of the album melted gelato, then? TM: It is! Yeah! What would you say?

I would say, like, love and passion? TM: Yeah. Melted gelato theres an erotic quality in gelato, and in food in general.

How many gelatos did you have while making this record? TM: None, but you fantasize about them. No, actually, we had a few the Fior di Latte one has this pure quality. Its hard to analyze I read recently a really good quote from Mike Nichols, who was quoting someone else. But hes trying to explain his work, and hes saying, Im a bird, not an ornithologist. And I think it explains really well how incapable people are at analyzing their own work. We are the bird.

Other than gelato, how did you immerse yourself in Italy and Europe in general to create the record? Did you go to any specific places to gain inspiration? TM: We did, but we werent looking for authenticity. We were looking for this distortion; we we were looking for mistakes and imperfection. With this record, were almost happy to stay as tourists to get the distorted feeling. Similar to the way that we sing in English, we dont want to make perfect American songs with American accents. We love that our brain cells and connections are French, and it makes something cool that sometimes people dont get. But I think it makes the music unique. So its the same way with Italian, we just used it as a vehicle to create a tone.

This interview has been edited and condensed.

Jay and I are also fools for our daughters. Although, hes going to have me beat once those twins show up.

Seth Meyers used the immortal words of DJ Khaled to prove how Trump set in motion a chain of events that would lead him to be under investigation.

What do we think historians will be saying about these tweets? I like that you think there will be historians in the future.

A sensitive and insightful episode about racist policing.

Its the latest release from their upcoming EP, Kaleidoscope.

To this day, Hales parents still dont think its funny.

As far as Im concerned, making out on set is not cheating, and eating Pop-Tarts on set is not calories.

Production on the Bachelor spinoff recently shut down after an alleged sexual assault.

Jack Antonoff co-produced it and Robyn was an influence.

The Fargo co-stars had very different paths to the craft.

The possible scenarios.

What it says is you dont think that America is smart enough to handle real dialogue.

Im going to be a little coy about sharing my own personal interpretation.

A motion for a mistrial was denied, and the jury has been ordered to return to deliberations.

Her album is out this September.

This movie isnt just bad its nonfunctional.

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On 'Ti Amo', Phoenix Combat Dark Times with Fun and Gelato - Vulture

Honey-glazed, hedonistic, and hyper-real – Cherwell Online

In the summer of 2013, I hadnt yet been kissed or gotten drunk, I could count the friends I had on one hand with several fingers to spare, and I spent most of my time visiting my beloved grandpa in hospital. But whilst my reality was filled with NHS wards, tea from paper cups and religiously completed Times crossword puzzles, my imaginary life was lines of coke off a dashboard, sitting in the lap of a sugar daddy, Californian sunsets, gambling and sweeps of silky straight hair. I had discovered Lana Del Rey, and she was giving me the gift that she continues to reliably provide: the summer you would have, were your moral standards and instinct for self-preservation several notches lower, if you had never heard of feminism and if, crucially, her brand of honey-glazed hedonism could actually exist as a reality.

Sceptics will say that Lana Del Rey produces the same album every two years, and fans agree, yet continue to glug it down like the Diet Mountain Dew she immortalises in Born To Die: it may not be nourishing or good for you, but its teeth-rotting sweetness cannot be resisted. She cherry-picks motifs from hip hop and rock, siphoning off the best of superficial cool from both genres to feed her persona. Breathy, slow vocals, building over rich soundscapes, sing of manicured degeneracy where Rey again and again stars as the wronged heroine, devoted only to her bad-boy lover and the wild American road. She presents the 18-rated version of a Disney story, as she plays the role of the adored princess. Although she has candy necklaces sticking to the skin instead of a tiara, and her Prince Charming arrives on a motorbike rather than a white horse, the fantasy of feminine passivity lives on. If I get a little prettier can I be your baby?; I can be your china doll if you want to see me fall; Im your jazz singer and youre my cult leader: Beyonces Flawless is certainly not playing on Reys speakers on the beach, as she instead decides to hark back to an age where womens liberation was as far off as heathaze over the sea, and similarly impalpable.

Related Preview: Accidental Death of an Anarchist

However, even as a seasoned, strident Angry Feminist, I cannot drag myself away from her mythic world, where submission is glamour and pain is beauty. In the long, indulgent, spoken-word piece of the Ride video, Rey proclaims I believe in the country America used to be. As problematic and rage-inducing as this isremember segregation, Lana? Where does that fit into your rose-tinted view of the past?what she really means is, I believe in the country America never was. It is a hand-clapping, I do believe in fairies, I do, I do moment, as her will to live in this romanticised American dream creates and keeps alive a version of it in her music.

She is the master of creating a fantasy, as vivid settings spring into life from a few choice words: Glass room, perfume, cognac, lilac fumes creates the heady casino of Off to the Races, whilst blue hydrangeas, cold cash divine, cashmere, cologne and white sunshine conjures a picket-fenced, Gatsbyesque mansion for Old Money.

This talent for visuals comes across in her distinctive aesthetic. Her fashion is predominately 1960s prom queen, but with an edge of trailer-park princess. Gucci shoes encrusted with lacquer cherries will be downplayed by loose cotton dresses, the leather jackets and band t-shirts may be Chanel and Yves St Laurent, but whos to know she didnt pick them up from WalMartthe key is making her low-fi, lazy summer vibe seem effortless. Instagram videos seem to capture moments when she is off-guard, singing along to her own music in the car or simply blinking languidly, listening to Joni Mitchell: the implication is that she drives to the shops in extravagant old Hollywood fake eyelashes, and never snaps out of moody, melancholic nostalgia. On winning the Brit Award for International Solo Artist in 2013, she used her acceptance speech to thank her managers and her label for helping her turn her life into a work of art, and it does seem as if her every move consolidates the image of herself presented in her songs: if there are edges to her persona, they are safely out of public sight.

Related Kate is no oil painting

In a recent interview for Elle, Rey ominously claimed that her new album would be more political. That, combined with a recent Instagram speech about North Korea, suggests that she might be finally waking from her opiated dreams and dipping a tentative, kitten-heeled toe into the real world. I cant help but be suspicious of the prospectas the world rolls to hell in a handcart, she provides a much needed summer holiday from real life.

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Honey-glazed, hedonistic, and hyper-real - Cherwell Online

Fun Fair Shot Bar By Claudia Comte Brings Seor Frogs-Style … – ARTnews

Claudia Comte, Now I won (2017) on the Messeplatz outside Art Basel.

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You can see Claudia Comtes Now I Won (2017) from far down the road up to the convention center here in Basel, Switzerland, and eventually the wooden stakes atop a turf-covered structure reveal themselves to be spelling out the name of the piece in a manner that shows the artist triumphantly asserting her dominance over the towns main Messepaltz and perhaps Art Basel as a whole.

As aninstallation for the entrance to the fair, however, this one is business in the front, party in the back. Thats because once you go around you realize you have entered the Fun Fair, where art aficionadoscan play darts, shoot mini-golf, throw stuff in knockdown toss, or arm wrestle all to gain points and potential prizessuch as a sculpture. Theres also a booth called Dance or Die, in which a DJ is spinning tunes and those around are askedto bust moves(or, less appealingly, die).

If this seems likea little too much Art Basel Miami Beach for Art Basel in Basel, just wait until you get to the last booth: the Fun Fair Shot Bar, which announces in big letters SLURP EM UP. This, readers, will be the only time I will get to reference the fair-weather resort town denof hedonism that is the chain restaurantSeor Frogs in the context of an art fair on the Rhine, but the Fun Fair Show Bars list is straight out ofSeor Frogs. The bartenders are wearing T-shirts and sunglasses, and everything is very chill.

Here are your options, and its advised that you choose two and take them both at once, which is a monstrously horrifying proposition Ill probably entertainat some point this week regardless. Slurp away.

Images of the bar below.

ARTNEWS

ARTNEWS

ARTNEWS

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Fun Fair Shot Bar By Claudia Comte Brings Seor Frogs-Style ... - ARTnews

Sydney Festival Film Review: Axoltl Overkill (Germany, 2017) burns up Berlin with heavily stylised hedonism – the AU review (blog)

Adapting her own novel for the big screen, German author-director Helen Hegemann makes a polished feature debut with Axolotl Overkill. Pulse firmly on the rapid strobe-lit streets of Berlin, the film is very much a muse on teenage excess and independence, as self-destructive as in can be, with an assured sense of style and impressive visuals to compensate for a lack of originality. Though there isnt quite as much narrative heft behind it, often falling into repetition and not knowing how to fully capitalise on crucial moments, Hegemann is admirable as she follows sixteen year old Mifti (Jasna Fritzi Bauer) through unstable sexual relationships, a more-is-more approach to drugs, and a desperate desire for rebellion.

Bauers self-medicating protagonist is not in a healthy place at any point in the film, reeling from her mothers death and her detachment from a rich father who doesnt seem all that present. Though Mifti is under the care of her older half-sister Anika (Laura Tonke), in her mind she is not tethered to anything, floating on a precarious cloud of self-indulgence and immediate gratification. Rather than focus on how aimless Mifti has become, Hegemann wastes no time spinning the teen into a cycle of drugs, sex and partying, all anchored with unromantic and blunt language, juxtaposed against the dazzling surrounds of Berlin which are heightened by the directors consistent dream-like and kinetic tone.

Tales of youth spiralling out of control is as much about the company one keeps as well, and theres no shortage of a poisonous echo chamber with Miftis primary dynamics bouncing off damaged, drug-addicted actor Ophelia (Mavie Hrbiger) and love interest Alice (Arly Jover), an older woman with whom the teen begins an affair between nameless men and hazy drug-addled raves. Its these relationships which give the actors considerable material to digest, highlighting a strong cast that proves invaluable in deepening the otherwise shallow core around which the film revolves.

Though electric scenes of instant gratification are the life-blood of Overkill, the film overdoses on its own candy-coated ambition, most definitely falling head-first into the style-over-substance pile when Hegemann cant quite contain her own creation. Instead of focusing on any sort of momentum, the exciting morphs into the mundane until it becomes clear that no amount of visual finesse as much as it is genuinely exciting to watch can take Miftis arc where it needs to go in order for Axolotl Overkill to be set apart from the dozens of similar films before it.

If nothing else, this is a showcase for Hegemanns irrepressible style sitting in colourful opposition to more grounded and patient illustrations of youth-in-revolt such as Larry Clark cult-classic Kids. A sense of hopelessness and the trappings of pleasure is shared by both films, but in this case Overkill is unable to stick the landing after flying so high with tunnel vision and dilated pupils.

Review Score: THREE STARS (OUT OF FIVE) Running Time: 94 minutes

Axoltl Overkill is currently screening as part of Sydney Film Festival. More information and tickets can be found HERE

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Sydney Festival Film Review: Axoltl Overkill (Germany, 2017) burns up Berlin with heavily stylised hedonism - the AU review (blog)

‘I trafficked women at a famous Hong Kong nightclub’ – South China Morning Post

Mary Zardilla looked like she had it all. It was 1986, the heyday of Hong Kong hedonism and she had spent the past decade climbing the greasy pole of the entertainment business to its gaudy, gold-plated zenith the self-appointed greatest night club of them all, Club Bboss.

Like many others, Mary had risked much to be here, lured by the promise of rubbing shoulders with the movers and shakers of the day. The clubs clientele was a veritable whos who of 1980s Hong Kong. Celebrities, politicians, famous businessmen... all were common sights at this Tsim Sha Tsui landmark, a 70,000 sq ft nightclub-cum-amusement park for men that boasted bright lights, lavish floor shows and more than 1,000 perfectly coiffed hostesses.

As one of the citys last Japanese super clubs, Club Bboss formerly Club Volvo was about nothing if not conspicuous consumption. The rich and famous would arrive at the curbside in their Rolls-Royces, only to be ferried to their booths in gold-plated golf carts designed to look like the vehicles they had just left.

And once inside they might meet one of those many perfectly coiffed hostesses but not before first encountering someone like Mary.

Mary was one of the clubs foremost mamasans. Her job was to match up the clubs male clientele with one of the 100 or so escorts under her control and it was a job Mary, who learned Japanese for the role, was particularly good at, having acquired an uncanny knack for reading mens minds when it came to their tastes in women.

So good, in fact, that the club gave her two armed bodyguards as round-the-clock protection when she joined from a rival establishment a skilled mamasan like Mary could bring in a lot of money for a club, many of which were run by triad gangs, and employers did not take kindly to being abandoned.

Some mamasans got beaten and hospitalised to warn you against leaving [for another club], recalls Mary, now 63, petite with a pretty, wrinkle-free face that makes her look decades younger than she is. [When I left my former job], I said, please dont hurt me. I served my contract. I have to support my poor family in the Philippines.

I WAS A TRAFFICKER OF WOMEN

Luckily for her, Mary was allowed to leave for Club Bboss, where she worked alongside mamasans from Australia, Japan, China and Korea, managing girls who, like her, had begun working there voluntarily, out of financial need driven by their impoverished family backgrounds.

We were trapped with no other options, says Mary, who herself began working at 16 to support her parents and siblings.

As a pimp, Mary mentored her girls in everything from etiquette to styling. Every night she introduced them to johns who were charged fees by 15 minute increments. Johns were charged by the club anywhere from HK$1,900 to HK$3,500 or more per encounter, depending on how wealthy they appeared.

Technically, Marys work and that of her girls was entirely legal, but Mary herself is in little doubt as to what her role constituted. I sold girls. As a mamasan, I trafficked girls, Mary now says, bluntly.

To get around the laws on prostitution, their salaries were paid by nightclub accountants and they were taxed as hostesses something that is considered legal work.

To keep their mamasan happy, the girls would give Mary money or gifts as a favour. The girls needed to do this to get an edge on their competition for the highest paying, most attractive johns. Mamasans were in charge of their own schedules and were the most powerful in the food chain. Mary had only one boss the owner.

The link between human trafficking and the escort business is not always clear. At high-end places like Club Bboss, for example, working women arrived on their own accord from places such as Japan, America, Britain, Latin America, the Philippines and mainland China. And, of course, there were local Hongkongers, too. Many of the women from overseas had entered Hong Kong on tourist visas before applying, voluntarily, for work at one of the 10 or so top clubs. Mary says all the women were hoping a man would sweep them off their feet like Richard Gere in the film Pretty Woman.

The girls can make more money in clubs than brothels. Brothels are faster turnover, but they are more controlled. Nightclubs give more freedom and pay more, she says.

At the lower-end establishments, however, its less clear how much choice the women had. Mary knew many clubs that recruited women from overseas, paying for their plane tickets and all expenses, but did not allow them to leave the premises after they arrived.

In some of the worst cases, women were clearly trafficked. One of Marys girls at Club Bboss, Isabelle, had been trafficked from Manila by a triad gang who had deceived her about the type of work she would be doing in Hong Kong. When she arrived, the gang forced her into prostitution in a private home. Isabelle was forced to sleep with up to 30 men a night, with the triads charging HK$50 per john. A man guarded her at all times to prevent her from escaping. Isabelles bodyguard later bought her from her owner after the pair formed a bond and they ended up getting married. Yet, even liberated, with limited options for income, Isabelle found herself back in a similar line of work as one of Marys hostesses, albeit with more freedom and pay.

And even for those women who had entered the field voluntarily, by the time they realised Richard Gere would not be coming to save them, it was too late. Some girls wanted to find a better job. But unfortunately they hadnt finished school or didnt have skills, Mary explains. Freelancers can leave anytime they want but dont have other options and they end up trapped.

THE DESCENT

The descent into pimping women happened slowly for Mary. At 16, she had dropped out of school and started working in a factory to support her parents and seven siblings. Her father died three years later leaving her mother, a laundry woman, devastated. Mary stepped up as the eldest daughter to support the family. Mary left the factory job to join a cultural dance troupe and the troupe took her to Hong Kong in 1972. During the troupes tour, Philippine President Ferdinand Marcos declared martial law back in the Philippines, prompting Mary and other dancers to search for more permanent work in the city.

That year, she met a Filipino man working in entertainment and married him a few years later. He cheated on her frequently. Pained, she focused on making money to send back to her family. I longed for love. I didnt have love, I became a slave to money, she recalls.

She applied for a receptionist role at a club in Tsim Sha Tsui not realising it was a hostess job. I was innocent and so deceived. Many are deceived into working as prostitutes. But she refused to sleep with the johns and was instead groomed as a mamasan.

Unacquainted with this underworld, she had no idea what mamasans did nor what big money they made. She learned on the go. I was entertaining customers like a public relations person. I studied Japanese and became good. I would ask them what kind of girls they preferred. I soon learned Japanese businessmen like young girls.

The money hardened her. Her starting salary was HK$20,000 a month plus commissions and she got HK$15,000 as a one-off payment for signing her contract. But she found out that other mamasans were being paid HK$30,000 a month and HK$20,000 for signing a contract, so she asked for a raise. The raises were never enough so she began climbing the ranks of the leading clubs before finally rising to the top Club Bboss, where she was paid HK$500,000 annually and HK$80,000 for signing her contract.

She was not the only one lured by the promise of riches. We charged HK$1,000 for sex in the 1980s, she says. Back then [many of the Hong Kong Chinese] girls were married. They, too, were lured by the money.

Clients gave her girls jewellery, money to buy land, houses and apartments back in their home countries. At times, Mary was given blank cheques by the clients. She had several wealthy boyfriends on the side. Some of the girls became savvy at buying and selling real estate and left the club with small fortunes. They were regularly paid to attend parties with high-profile Hong Kong businessmen. They were high-end call girls, dressed so elegantly, says Mary.

Yet even then, at the zenith of her profession, surrounded by the rich and famous and able, seemingly, to pluck money from thin air, Mary knew that deep inside she and her girls were suffering and lost. Amid the stream of glamorous clients, Rolls-Royces and golden golf carts, the women battled drug addictions, alcoholism and ever-creeping levels of self-loathing and emptiness.

While working in the club, we didnt have a life. Its so temporal nice restaurants, fancy clothes, all temporary happiness. Any prostitute who says theyre happy, theyre in denial. The girls would go back and cry even if they had made US$10,000 that night with a man from the Middle East. Youre forced to make love with a man you dont like. Your soul and emotions have to be numb. Only drugs numb.

Then there was the sexual abuse and exploitation, which was widespread. One time, a client strangled one of her girls.

TROUBLE WITH THE LAW

The escort business operates in a shady area, where the line between what is legal and what is not is not always clear. Mary says clubs would often be tipped off about police raids before they happened corruption is everywhere. The mamasans and women feared the police. Mary feels that had more police been trained to identify women in the red light district who felt they had been coerced into prostitution, some lives could have been saved. The police must have a deeper understanding that these women are trapped and that in their heart of hearts, these women hate their work. No one wants to be a prostitute.

A Hong Kong police spokesperson said they had found prostitutes from the Chinese mainland, Southeast Asia, Europe and South America who had been trafficked to Hong Kong on tourist visas. However, these women, according to the police, are usually reluctant to speak out.

Last year, police arrested 266 people on suspicion of keeping a vice establishment. In Hong Kong, prostitution itself is legal, but organised prostitution is not.

While some clubs and operators from Tsim Sha Tsui have migrated to the Wan Chai bar street, the days of the luxurious nightclub scene are over Club Bboss itself shut in 2012.

Yet even now, campaigners estimate there are anywhere between 20,000 to 100,000 children, women, and men working in prostitution in Hong Kong. According to Zi Teng, a support group, around 1 in 50 are under 18.

According to one NGO worker, some smaller nightclubs in Kowloon have forced underage Chinese girls usually from broken families into prostitution through debt bondage. The girls are lured by mamasans who ask if they want easy cash or pocket money. The girls soon get into debt, finding they owe their mamasans HK$10,000 to HK$20,000 for living expenses or to finance their cocaine or ketamine drug habits.

Despite such problems there is no government funding to support NGOs to provide direct intervention, according to the NGO worker.

Sandy Wong, chairperson of the Anti-Human Trafficking Committee of the Hong Kong Federation of Women Lawyers, says more needs to be done to stop the demand for prostitution. In Sweden, targeting the sex buyers helps reduce prostitution and sex trafficking significantly and it is a model increasingly adopted by other countries. It is a model we should adopt in Hong Kong.

TRANSFORMATION

Every night, Mary and her girls drank to ease the pain. Their daily routine before their work would involve lunch then a beauty parlour session. In 1991, a friend who owned a beauty clinic in Cebu visited Mary to ask for her help setting up another business in Hong Kong.

Mary admitted she was a mamasan, but rather than judge her, the friend, a Christian, told Mary that Jesus came to save the sinners, tax collectors and prostitutes.

The friend offered to study the Bible with Mary. All of a sudden something pinched my heart, recalls Mary. But I was a millionaire. I was afraid to say no. I was afraid of getting cursed by God and that Id lose my money.

As she prayed, she felt cleansed for the first time. But she continued to struggle with guilt and shame.

What sealed her conversion was seeing her young nephew, who had been dying from cancer, healed after another friend, Rita, prayed for him.

This convinced Mary there must be a higher power and she invited Rita to Hong Kong to speak with her girls, hoping for more miracles.

For the next month and a half, they conducted Bible studies every day. Around 10 girls experienced a new hope and the power of God and the girls were healed of their emotional pain, anger, depression, drug addictions and alcoholism.

All of a sudden their countenance changed, their attitudes and characters changed. They had so much hunger to learn about the Christian faith.

Mary began to use the karaoke bar she owned as a meeting place for the women to learn about their new faith during the day. At night it continued to function as a bar for prostitution.

One by one the girls quit their work, as did Mary after 17 years in the business, she paid her boss HK$200,000 so she could leave. I knew it was time to quit because of my conviction. I felt so bad and couldnt walk into the club. I didnt care if I didnt have money or a job.

The next year, she sold her bar and moved back to the Philippines.

PEACE OF MIND

Back in the Philippines, Mary worked at restoring her marriage, which is now strong. Over the years, she has mentored many women and recounts her past in public speeches. Recently, her testimony at a Hong Kong church moved a congregation of domestic helpers to tears. Now Mary wants to tell as many mamasans and bar girls as she can that there is hope. I want to tell them theyre not stuck, she says, tearing up. She is still in touch with six of her girls who left the world of prostitution. They are now working as dishwashers, or cleaners. One is a restaurant floor manager.

We may not have luxury but we have peace and joy. Theres no oppression, she says. Our identity is restored: money cant buy that.

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'I trafficked women at a famous Hong Kong nightclub' - South China Morning Post

Guest Post: Bhante Suddhso Guidelines for Happiness – Patheos (blog)

With his kind permission, today Im featuring a guest post by Bhante Suddhso, a Buddhist monk living in New York City. He is the co-founder of Buddhist Insights, a new platform using technology to build community and facilitate access to reliable monastic teachingswhere this post originally appeared. Bhante Suddhsos work aims to convey Buddhist concepts and their practical applicability to everyday life. Although his belief system differs in certain ways from mine (primarily in that I am a theist and dont subscribe to the doctrine of reincarnation), this is one of the most cogent and useful explanations of Buddhist morality that I have come across.

In Buddhism, everything is optional.

Faith is optional. Meditation is optional. Morality is optional.

So the question becomes: Why bother with morality? Whats the point? What is morality anyway? Where does it come from? What effect does it have? Why should we care?

Many people think of morality as a set of commandments given by a supreme being; a list of orders given by an indisputable divine authority. This is what I was taught by my parents when I was a child: God said not to do certain things, so we shouldnt do them. End of story. Theres no arguing with God because, well, its God. This rationale worked perfectly well for me until I stopped believing in God at which point I naturally stopped believing in morality as well. I was 13 at the time, and it was a stunning revelation for my young mind to discover that I could do whatever I wanted. So I embarked on a grand quest of unrestrained self-indulgence which lasted several years, guided not by any principles of right and wrong, but only by the principles of what I wanted to do.

Those were the most miserable years of my life. This seemed counter-intuitive. Shouldnt total commitment to the self-centered pursuit of hedonistic pleasure naturally lead to happiness? Why was I so unhappy? So I branched out. Simple hedonism wasnt doing the trick, so I started looking into more complex forms of hedonism. I kept seeing meditation mentioned in various places such as in psychology research, on new age websites, and in pseudo-spiritual systems of various kinds. I often saw it touted as a method for becoming happier (as well as a few much more grandiose claims). So I started thinking that meditation might help me squeeze more pleasure out of life. It seemed simple enough; I just looked up meditation instructions on the Internet and started following them for a few minutes every day. Meanwhile, I spent the rest of my free time immersed in my usual reckless pursuit of sensual pleasure.

Over time, however, something began to shift. As I started to develop a limited degree of proficiency with the meditation technique I was using, my mind became increasingly peaceful and content not the excitement of intense sensual experiences, but rather a gentle sense of subtle joy that seemed independent of what was going on in my life. This was intriguing: I didnt have to take any drugs, or find a sexual partner, or go to a nightclub; all I had to do was sit still and focus my mind for a few minutes everyday, and my baseline emotional state would be a bit happier. This seemed worth further investigation.

With this initial experience of positive results from meditation, I gained a certain degree of confidence that meditation works. So while I was not interested in religion, the success I was getting from using one Buddhist technique led me to explore what other techniques there might be that could be of benefit to me: I figured I could just pull out the bits I wanted and leave all the rest behind. Thus at last I came back to the subject of morality, after a seven-year hiatus. Now, however, I was coming to it not out of a sense of divine obligation, but rather because I was interested in being a happier person. And as I soon found out, Buddhist morality is very different from the style of Christian morality I had been raised with.

Causality

Buddhist morality is founded on a simple principle: causality. Cause and effect. Simply put, every action produces a corresponding result. If theres a certain result we want, we just need to find out what action leads to that result and behave accordingly. There is no authoritative deity who tells us we must act in any particular way; rather, we recognize that we have full power over our experience. All we need to do is make the choices that produce the results we want. Some choices we make inevitably lead to unpleasant effects, and some inevitably lead to pleasant effects.

Its in the details of those choices that Buddhist morality starts to resemble the moral systems found in other religions. For example, murder is identified as a choice that produces unpleasant results. So is theft, infidelity, dishonesty, and self-intoxication. The Buddha advises us to avoid these five activities for our own sake because these five activities inevitably lead to suffering for the person who performs them. The concordant suffering is sometimes immediately apparent, and sometimes it takes a while for it to manifest, but it will always eventually come to be experienced.

So the question is: Why should we trust the Buddha in this matter? The answer is: We shouldnt at least, not immediately. As the Buddha says in the Klma Sutta (AN 3.66), we shouldnt believe something just because someone tells us to; instead, we should investigate it for ourselves and see if we can confirm it in our own experience. So we ask ourselves: what is the result of murder, theft, infidelity, dishonesty, and self-intoxication? Do these ultimately lead to unpleasant results for the person who engages in them? If we are honest with ourselves, then we must admit: yes, they do. A person who engages in such immoral acts tends to experience regret, remorse, self-condemnation, criticism and reprobation from others, a bad reputation, and possibly even legal entanglements in severe cases it can result in fines, imprisonment, or even execution by the government. Conversely, engaging in acts of kindness, generosity, and compassion bring happiness and joy to the mind, praise and commendation from others, and a good reputation.

However, the Buddha says that even beyond such visible results, our choices in this life tend to create corresponding conditions in future lives. For example, in the Ca-kamma-vibhaga Sutta (MN 135), he states that killing causes the killer to have a short lifespan in future lives; injuring causes the injurer to have many illnesses and afflictions; displaying anger causes the angry person to be unattractive; stinginess leads to poverty, and so on.

So even if were not sure whether or not there is karmic retribution in future lives, its a good gamble to act as though there is: if we choose to behave morally, we are happy and well-respected in this life; and if there are karmic results to be experienced in future lives, then we will experience the positive effects of our good choices in future lives as well. This is sometimes known as the Buddhist version of Pascals Wager, and can be found in the Apaaka Sutta (MN 60).

Morality and Meditation

A further benefit to morality is that is helps to foster two mental qualities that are very beneficial to meditation practice and to spiritual self-development: self-reflection and self-restraint. In Buddhism an action is only considered to have a karmic effect if it is intentional; thus in considering morality, we are constantly examining our mind and our mental states looking for the intentions and motivations behind our choices. Choices based on harmful mindstates (such as anger, resentment, jealousy, contempt, and arrogance) lead to harmful effects; choices based on beneficial mindstates (such as kindness, compassion, generosity, and equanimity) lead to beneficial effects. Thus by placing importance on morality, we begin to develop a strong sensitivity to and awareness of our own mindstates. This is self-reflection. And, as we recognize that some choices are harmful, then even if we really want to do them we restrain ourselves: we let go of those desires, thus developing renunciation which is founded on the recognition that happiness is not dependent upon always getting what we want or doing what we want. Thus we develop self-restraint and contentment; this is a direct antidote to craving, which is a very unpleasant state of mind.

Five Moral Precepts

Now that we have some idea of why morality is useful, lets examine the five basic moral precepts in Buddhism a bit more closely.

The first one is not killing. This means not killing any sentient being; especially humans, but also animals of all kinds (including insects), and any spirits or non-physical beings that might exist. We develop and maintain a genuine wish for the happiness of those beings and respect their desire to live; this wish for the happiness of others is a direct antidote to hostility and cruelty which are very unpleasant states of mind.

The second one is not stealing. We acknowledge that others have things which they possess, and we choose not to inflict the pain of loss on them we choose not to steal from them. By respecting their property, we develop a sense of happiness in the prosperity of others; a pleasant state of mind that directly counters envy and jealousy which, once again, are very unpleasant states of mind.

The third one is avoiding sexual misconduct. In any sexual relationship there will be certain boundaries of trust agreed upon by the people involved, and violating them for example, by having sex with someone outside the relationship without the permission of your partner(s) usually leads to a great deal of anguish for everyone involved. By avoiding sexual misconduct, we develop a sense of mutual trust and mutual support in our relationships with others. Its also worth noting that Buddhism does not mandate heterosexual monogamy: there is nothing wrong with same-sex relationships, multiple-partner relationships, open relationships, or any other form of sexual relationship, as long as it is agreed upon by the members of that relationship.

The fourth one is not lying. Most of us have had the experience of being lied to, or of lies being told about us, or of various harmful consequences of dishonesty. Recognizing the harm that comes from such behavior, we maintain a commitment to truth. However, as explained in the Abhaya-rja-kumra Sutta (MN 58), it is still important to consider the effects of our speech, using the following criteria: first, say only what is true; second, say only what is beneficial; and third, speak only at the right time. So we might have a true statement that is harmful (such as Youre ugly or I hate you); or we might have a true statement that is beneficial but it is not the right time to say it (such as a reprobation for someones inappropriate conduct, delivered at a time when they are already angry and thus unlikely to be receptive to constructive criticism). Instead we wait for a time when our statement can be heard and received in a manner that is useful to everyone involved.

The fifth one is avoiding self-intoxication. Buddhist practice is based upon clear awareness of the present moment. It is this clear, unbiased awareness that gives us the information we need to determine which choices are helpful and which ones are harmful. When the mind is foggy and unclear (as when it is intoxicated), mindfulness becomes weak, and it is hard to clearly see whats going on in our minds. Its hard enough when were sober; intoxication makes it far more difficult. Further, when we are intoxicated, our self-restraint tends to be much weaker; we are more prone to acting impulsively and unwisely. We are much more likely to fall prey to our baser tendencies and engage in unwholesome behavior such as lying, stealing, infidelity, and violence. Even small doses of intoxicants (such as one glass of wine) tend to cloud the mind and weaken our inhibitions, and thus it is best to completely abstain from such things. If one has a genuine medical reason to take an intoxicating medication, then one should still be very careful to examine ones motivations in using that medication, and to minimize its use as much as possible and to stop use altogether when it is feasible.

That said, were not required to follow any of these principles. In Buddhism there is no obligation to do anything. Instead there is a simple guideline: If you want to be happy, the Buddha explains how you can do it meditation, self-reflection, renunciation, and moral principles. So we can take on these guidelines as I did and see for ourselves the contentment and joy that arises in our lives.

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Guest Post: Bhante Suddhso Guidelines for Happiness - Patheos (blog)

First-rate musical performance & production that’s hard to fault: Garsington’s Semele reviewed – Spectator.co.uk

Handels Semele, one of the most enjoyable operas (or opera-oratorio, if you insist) in the repertoire, is, in its upshot, an enchanting display of thoughtless hedonism and a warning about what may happen, or even what is bound to happen, if you take hedonism too far. Wormsley, to which Garsington Opera moved several years ago this was my first visit seems the ideal place to stage it. The opening of the season was a perfect early-summer evening, the countryside looking gorgeous, refreshments and supper delicious and prompt, the atmosphere friendly, and the performance in many ways excellent. Who could have left it without thinking how marvellous it had almost all been, but how unwise it would be to expect most of life to give such pleasure, or indeed to think that it would be a good idea if it did?

Almost everyone, I suspect. For Semele, its text derived from Congreve, with Pope responsible for Whereer you walk, is mythology with a stern admixture of morality, though in terms of musical content hedonism is the obvious winner. Certainly, the melodies one comes away from it humming are Jupiters seductive one and Semeles heedless Endless pleasure, endless love and Myself I shall adore, if I persist in gazing. It is as amusing as Offenbachs mythological send-ups, but its targets are almost always us. So the production needs to steer a delicate course between diverting us and making us think, even if not very hard. Anniliese Miskimmons wasnt, in that way, or in several others, a complete success, though it was almost always entertaining. Together with the designer Nicky Shaw she concocted a time- and space-travelling affair that was sometimes witty, sometimes serviceable, sometimes tiresome. The opening, with Semele resisting marriage to Athamas, was distinctly low church, a sparse congregation bewildered by the bride-in-whites fleeing the altar. Thanks to Jupiters impatience, she was wafted up to the eternal regions by a large team of cabin crew. Wings of various kinds sprouted on the performers, who included a group of cute, very small children who could only draw gasps of delight.

Meanwhile a first-rate musical performance was taking place, Jonathan Cohen eliciting lively, warm playing from a reasonably large orchestra, and Heidi Stober a lovely and lovely-sounding Semele; she twisted her knee badly in the interval after Act One, but it didnt seem to affect her performance. I have seen even finer performers of the role, especially Rosemary Joshua, but Stober is an artist to watch. When we reached the realm of the gods, it was immediately to show that it is no kind of paradise. Juno is in labour with her eighth child, so who better to play the part than Christine Rice, herself pregnant as almost always. While singing magnificently, she managed to give a graphic portrayal of the middle stages of labour, with the god Somnus administering gas. Rice is such a star that she has to work quite hard not to seem one. Her formidable low notes are almost up, or down, there with Marilyn Hornes. No wonder she intimidates Jupiter, though surely he should, even when disguised as a mortal, look rather more alluring than Robert Murray, who was dressed in a drab City suit. His lyrical passages were winning, his commanding ones less so. There wasnt a lot of electricity in his relationship with Semele, at any stage. All the other roles were well taken, and the chorus, about 25 of them, was superb, with an unusually large part in the proceedings.

Take any quarter-hour of this production, and it would be hard to fault. And the consistently high standard of the musical performance ensured that there were no longueurs. But dramatically it was a mess, with the action and scenery (much of it delightful) failing to cohere or even, sometimes, to be intelligible. Maybe it doesnt matter all that much but if you are convinced that there is more, much more, to Semele than charm, then you would be frustrated and hoping for something more cumulative. The tragic conclusion, however, is well managed: not only is Semele withered by Jupiters appearance in propria persona, but Stober is replaced by a hideous old woman, a poignant moment that makes the arrival of Bacchus all the more ambiguous.

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First-rate musical performance & production that's hard to fault: Garsington's Semele reviewed - Spectator.co.uk

Phoenix: ‘The purity of French identity is an illusion; it’s never existed … – The Guardian

The breakfast club Phoenix (left to right) Christian Mazzalai, Laurent Brancowitz, Thomas Mars and Deck dArcy. Photograph: Emma Le Doyen

English music has been in decline for the best part of two-and-a-half decades, say Phoenix. That is a frank provocation from a French band who have spent 18 years artfully melting into the background. Especially given that we are sitting in a Nashville theatre steeped in country and honky-tonk music heritage, where neither Phoenix or the failure of British pop make obvious sense. But, I have this theory, says guitarist Laurent Brancowitz. It happened just before Oasis and Blur, or it was the Radiohead thing; or it could be a combination of the two? But it just destroyed decades of greatness. Exceptional outliers have come and gone through the sludge of bands that have dominated and limped on since, he adds, but as a cultural movement that lasted since the early 60s at least There is a pause for a very Gallic oosh: Its been brutal stuff.

Phoenix grew up on My Bloody Valentine and the Jesus and Mary Chain, Serge Gainsbourg and Prince. Heady doses of British shoegaze and pervy sex filtered through in fits and starts on each of their last five albums, but have been whipped into frothy potency on Ti Amo. Its their sixth and easily most optimistic record, underscored with love, hope and hedonism. The bands obsession with subverting Californian soft rock still stands, as does the Parisian electro of which they were originators, but now it comes with flourishes of Italo-disco and FM pop.

There was a moment when we wondered what was wrong with us, says frontman Thomas Mars. We were writing these carefree, joyful songs and the climate in Paris was the total opposite. It felt really strange and disconnected. Work on Ti Amo began in the spring of 2014 in a converted opera house in the 3rd arrondissement; they clocked in from 10am to 6pm every weekday for the next two-and-a-half years. Mars would fly in from New York, where he lives, for about 10 days every month, until they wrapped it last Christmas. In that time, the city suffered three major terror attacks and France became a bellwether for debate on immigration, race, religion and national identity.

Its not escapism or denial, insists Mars. It was there all the time so Im sure its in the music somewhere. When it comes to politics ... being in a band, being artsy, living in big cities, our opinions are pretty predictable. You know where we stand, we dont have anything unique to bring to that table. The political tension might have seeped in, but really Ti Amo is prime Phoenix: the soundtrack to what you might imagine Hockneys pool parties to be like; the teenage abandon of John Hughes-ian summers; the mood of every Sofia Coppola film (literally Mars married the film-maker in 2011 and Phoenix have featured on every Coppola film from Lost in Translation to The Beguiled.)

Its a weird contrast, says Brancowitz. But I think its a universal rule that when youre in a world full of tension, the thing you create goes the opposite way. Frances argument around Islam, for instance, elicits some very French exhaling. The idea of the purity of French identity is just an illusion; its fantasy, its never existed, to believe in it is very stupid. Brancowitz pauses: I only feel a bit ashamed of saying it because its so obvious.

We know a lot of people feeling crushed by the establishment and the extreme crazy people

The band were stuck in an airport waiting for a flight from Miami to LA when the French election results started coming in. Were they ever worried that Marine Le Pen would win?

We were worried because we could feel there was a moment where the tables were turning, says Mars.

Its a weird thing when the moral compass Brancowitz mimes a nosedive: So the thing thats supposed to be a bad look for candidates suddenly, in an alternate universe of moral values, becomes a plus. The discussion moves obliquely around Trump. For some people its a sign of being a cool outsider and its the same everywhere in the world. We know a lot of people feeling crushed by the establishment and the extreme crazy people. This is where our reasonable people are, crushed between the two.

How do they explain the world to their children? Mars has two daughters, Romy and Cosima; bassist Deck Darcy has a two-year old.

The weird new feeling is a feeling of shame, says Christian Mazzalai, guitarist and puppyish baby brother to Brancowitz. It started with migrants, and you feel the helplessness and embarrassment for humanity, for all the things that happened, the fear. Mazzalai was in the studio when the Bataclan was attacked in November 2015; he had to stay the night as the city went into lockdown.

The four invested in a studio supercomputer for Ti Amo; everything was recorded, filed and labelled, and put under Mazzalais stewardship. Im the master of the archive, he laughs. We recorded 5,000 pieces of music and it was all in colourful directions, he says. It was unpredictable because it was hard times in Paris and what we were doing felt like a selfish process, but it was healing.

Theyre nervous about the album and how the tour will pan out. It looks simple but it adds up to a big headache and we cant blame anyone but ourselves because we control everything, says DArcy. A giant kaleidoscope stage mirror that has to assemble, mount and come down in minutes at festivals is one worry. Their portable merch vending machine that we probably wont make any money from is another.

In England, you have these venues where, as soon as you arrive, there is beer everywhere. They want you to get wasted

There has always been resistance to Phoenix in the UK, an unwarranted tendency to mark them down as twee or boring because theyre clever and down-to-earth and nice. And they are nice to everyone: the lady from the coach company managing their tour bus. The guy from YouTube. The executive from Spotify. The journalist from the Guardian, haranguing them at 2am post-show as to whether they want to be as big as, say, Nashvilles Kings of Leon. (When we first started, maybe, says Mars, but look what happened to them.)

Rock stars are usually very stupid, says Brancowitz before the show (sold out, with the setlist only written and decided 30 minutes before they went on stage). Noel Gallagher is not a cliche rock star because hes clever. Its safe to say Phoenix have never gone in for rock stardom of the dumb, drunk, lads-on-tour kind. Lairy obnoxiousness doesnt sit well with them. In England, you have these Academy venues where, as soon as you arrive, there is beer everywhere, says Mars. They want you to get wasted. Beyond the fact that its not even in our interests, its so corporate.

Whats their idea of fun? I really respect the magic of fermented wheat, deadpans Brancowitz. We have our own kind of hedonism, its different, probably more weird.

On paper, theyre probably too cerebral for their own good. How, for example, to explain their 15-minute digression into Descartes theory of existence or the role of the artist to create space of freedom in peoples minds?

When Phoenix first arrived with their album United in 2000, they were lauded by style mag the Face and decreed a shambles by pretty much everyone else. We got zero stars! says Mars, of their early reviews, which is much better than five or even 10 because it means youre really disturbing someone. Darcy recalls one interview describing their music as chemotherapy. Which, at least, I suppose, is healing.

United was great, though: a bizarre mashup of genres from four schoolmates who grew up together in Versailles and, between them, are friends and onetime bandmates with Air and Daft Punk. Phoenix have never really got the credit they have deserved for the quiet impact theyve had on the pop landscape. They have a tendency to release a buzzy album, follow it with something a bit stranger, get better, come back and go off-beam again. They are consistent only in the sense that their sound is still so signature.

It was their fourth album Wolfgang Amadeus Phoenix that gave them a breakthrough and won them a Grammy and Coachella headliner status and made them the most blogged-about band of 2009. A classroom video of schoolkids singing Lizstomania went viral, magazine covers and US talkshow slots followed and suddenly it seemed that Phoenix had made it. That fame lasts a day! If youre on TV, youll be famous for a day in the street, says Mars.

Yes, I would say it was pretty manageable, we can still go buy bread in the boulangerie, says Brancowitz, only mildly taking the piss. To have kept on that trajectory, Ti Amo is the album critics would have expected them to come up with next. Instead, Phoenix decided to test the goodwill invested in Wolfgang with Bankrupt! (2013), a harder, cynical commentary on moving from cult to commercial success. Every one of our albums is a reaction to the last one, says DArcy. Its the love of novelty ... I guess its childish. Still, it got them an audience with one of their heroes, R Kelly, and the band had him on stage when they headlined Coachella in 2013. Trapped in the Closet is a masterpiece. Hes a genius. Problematic, though. For sure, he pushed the boundaries of whats acceptable and sometimes went too far, says Brancowitz. But he has so many ideas in one song, some artists dont have one idea he has thousands. He talks about music and its like a tap comes on. For us, it would be like a year of work to just pick up what the sound of what he does in Brancowitz flips his hand. He works constantly.

The fans in Nashville later on are enthusiastic but restricted: there is no dancing in the aisles, and staff at the seated auditorium are searching everyone. It would never be like this in Europe, says Darcy, but then there are more weapons floating around here than there are birds. Their performance, however, is undimmed; Phoenix are a band at the peak of their powers.

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Phoenix: 'The purity of French identity is an illusion; it's never existed ... - The Guardian

Hedonism II All-inclusive Resort Reviews & Deals, Negril

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We had an issue with one of the servers (kept passing us by because we were locals) and their Supervisor Windera Horrel, Latoya Whitmore and Jodian Henriques went above and beyond to make us feel welcome. This showed us that they are willing to make...More

Tivan D, Thank you for your comments. We are pleased to know that you will be joining us again. Pursue Pleasure, Randymon DOSM Hedonism II

"The act or practice of one who is hospitable to strangers or guests with kindness and generous liberality in reception and entertainment without reward That is the definition of customer service. While your stay at Hedonism II, its easy to forget these workers have lives...More

Hedo Greetings Amanda L, We truly appreciate your kind words and staff shout outs! We could not agree more, but then again we are just a bit biased. We look forward to welcoming you home again soon! Randymon DOSM Hedonism II

Reviewed 5 days ago

I went to Hedonism for 3 nights with my husband. I'm still on the fence about this place so I will give you all my pros and cons. This was not the first all-inclusive that i had been to, so I had other resorts to...More

Dear JenelleH_13, Thank you for taking the time to write this review. While it is apparent that you generally enjoyed your stay with us, your comments about the check in process are disappointing and we have taken your words to management. We do hope that...More

Reviewed 1 week ago

New lobby, lots of rooms renovated, food variety, very professional and friendly entertainment. Bartenders Navaro and Dan were very nice and friendly! Love the entertainers Migeal, Ricardo, Chin, Diana and Denise to mention a few. It is a fun place for adults looking for some...More

Hi Claudia P, Thank you for this review and your staff mentions. They are simply the best! Don't wait another three years before coming home again for mre sexiness! Your Pleasure Is Our Passion! Randymon DOSM Hedonism II

I have returned home from a 12 day vacation in Negril Jamaica Hedo 2 My stay was Amazing!!!! The entire entertainment staff were encredible. The food was great also. A special shout out to Winston the Entertainment Manager, Sir u are simply the best. Thanks...More

Lamarsouth, We are very pleased to read this review. Thank you! We look forward to welcoming you home again soon. Pursue Pleasure Randymon DOSM Hedonism II

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Do u have to be in costume to attend theme nightclub. Do people have sex in the club What is in the playroom

5 June 2017|

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when is a singles wacation the best with hot field and a good party

1 June 2017|

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Hi Everyone. I'm not having much luck getting a clear answer thru the Hedo email people so I'll ask here. I'm a single male and I understand there is an added fee if I don't want to be paired up with a total stranger in my room. If I'm purchasing a vacation package thru an airline to include room and airfare will I be hit with this additional fee when I arrive? I don't want to show up at the front desk in a foreign country thinking everything is paid for and get hit with a huge fee for what I thought was a private room. There doesn't seem to be much info on this "singles fee" and I really had to dig for it which seems shady to me even though it adds 50% to the cost of your room.

30 May 2017|

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Hedonism II All-inclusive Resort Reviews & Deals, Negril