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New Utopia – Wikipedia

Principality of New Utopia Micronation Status In Construction Officiallanguages English Organizational structure Constitutional monarchy

Princess

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Website http://www.weylandgroup.co.uk

The Principality of New Utopia[1] is a micronation project established by Lazarus Long Now the project is headed by Elizabeth Henderson And Siber Henderson

The project was founded in 1995 when Lazarus Long the founder of new utopia came up across an unclaimed plot in the Caribbean he then filled a claim with United nations then new utopia was Born

Long raised up to $100 million from investors from all over the world with a majority coming from the united states then The U.S. Securities and Exchange Commission (US SEC) termed New Utopia a “fraudulent nationwide Internet scheme”,[1] and complained that Long had made “material misrepresentations and omissions concerning, among other things, the status of construction of the project, the companies associated with the project, the safety of the investment, and the status of the Commission’s investigation into his activities.”[2] The SEC’s case against Long (SEC v. Lazarus Long) ruled for long. Lazarus Long died in April 2012 at age 88 having raised up to $500 million for the new Utopian project [3]

New Utopia’s project was restarted in early 2017 by Lazarus Longs daughter Elizabeth Henderson who promises to have the Project completed by 2021 https://www.weylandgroup.co.uk/%5B4%5D

The social model and trade system would have been hyper-capitalistic, modeled after the writings of Ayn Rand, Napoleon Hill, Robert Heinlein, Dale Carnegie and Adam Smith.[5] Long also promised that the tiny nation would have a clinic better than the Mayo Clinic, a casino modelled after the Monte Carlo Casino, and “the ultimate luxury spa”.[5] Residents would live in one of the 642 apartments and condos that would be built.[6] It would have been a tax haven, with all services paid by a 20% tax on imported consumable goods.[6]

Before creating New Utopia, Howard Turney had been introduced to the Human Growth Hormone (HGH) by an anti-aging doctor. He was so impressed with the results that he became an advocate of the hormone and he created in February 1993 a longevity spa called El Dorado Clinic in Playa del Carmen, Mexico. In 1995 he changed his name after Lazarus Long, a recurrent character in Heinlein’s novels who goes through several rejuvenation treatments in order to live hundreds of years and eventually become immortal. Also around 1995 he stopped injecting HGH in the El Dorado clinic because of the corruption of local officers, and he moved to the US. A few years later he had to stop injecting HGH also in the US when doctors stopped prescribing due to illegal doping in sport. Then he tried to fund New Utopia, a place where the government couldn’t tell him what he could do and what he couldn’t. But in 1999 the SEC closed his bond offering because the bonds were unregistered with them.[7] He dedicated the rest of his life to the creation of New Utopia.

Lazarus Long, who was 66 years old in 1998,[8] died on 26 April 2012 at the age of 80. After that the project was taken over by Elizabeth Henderson the daughter of Lazarus Long

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New Utopia – Wikipedia

Brave New World by Aldous Huxley : An Analysis of the …

Throughout Brave New World by Aldous Huxley, the concepts of consumption and utopia are constantly juxtaposed and compared to determine whether or not they are genuinely compatible. Although one could state that the citizens of this world in Brave New World are genuinely happy, this is more a result of ignorance and blindness rather than a truly fulfilling sense of bliss. Because the state in Brave New World has meticulously given consumption an almost holy significance, the culture that exists around it must accordingly be conducive to it.

The culture of consumption in Brave New World by Aldous Huxley is the engine driving the success and happiness” of the state. Although to the masses it may seem as though identity is something secure and comfortable, it is rather based upon identity-obliterating principles of mass-production and consumerism. All traces of human elements of individuality and identity have been replaced by the concept of the common good and even ideas about love, family, and sex have been reduced to the maxim, which is one of the important quotes from Brave New World by Aldous Huxley, everybody belongs to everyone else” (26). Furthermore, the basis of life in Brave New World by Aldous Huxley an idea that is sacred and personal in our society, is firmly rooted in Fords famous model of productionthe assembly line. With the help of science, human beings are created according to a narrow set of specifications (which class they will eventually belong to) and their lives, once no longer useful are considered meaningless, especially since they can be easily replaced.

As Mr. Foster, who presides over the conditioning and hatching” of the new human lives says in one of many important quotes in Brave New World by Aldous Huxley Murder kills only the individual and, after all what is an individual? We can make a new one with the greatest easeas many as we like” (133). Even from the beginning of the text we are forced to question the concept of mass-production and consumption in terms of humanity. We are introduced to the process of (re)production, which describes how, a bokanovskified egg will bud, will proliferate, will divide. From eight to ninety-six buds, and every bud will grow into a perfectly formed embryo, and every embryo into a full-sized adult” (4). With the aid of technology, identity and the function of nature have been both combined and destroyed simultaneously. After the process of conditioning, the concept of the self will be even further limited to an individuals participation in the economy and his or her value or obedience as member of a caste. In other words, by obliterating the concept of the individual, all that is left is the state and its capacity to meet the relatively simple supply and demand-based needs of the citizen. This fact in turn makes the individual completely reliant on the state to provide for them and allows this state to completely control all aspects of society, including the individuals understanding of the natural world, their sense of place within the grand scheme of things, and thus by proxy, the concept of God. At the pinnacle of all concernsboth by the citizens and their stateis an almost holy reverence for consumption.

As this thesis statement for Brave New World by Aldous Huxley states, just as the state has destroyed the meaning and value of the individual in Brave New World so too has it altered the individuals understanding of the natural world. This seems only just considering that this is a culture driven by the forces of science and technology, but the conditioning against the love of nature has deeper significance for the state. Throughout the text, the state seems keenly aware of the fact that nature and consumption are essentially at odds because, in other words, A love of nature keeps no factories busy” (19). Here it is directly expressed that the enjoyment of the masses is directed toward what is economically desirable instead of what is personally enjoyable and thus, because of the mass acceptance of such a paradigm, individual fulfillment is inexorably linked to economic stability and consumerism. As the reader is told, conditioning has caused the masses to hate the countryto love all country sportsand have all country sports entail the use of elaborate apparatus” (23).

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Brave New World by Aldous Huxley : An Analysis of the …

Students return to school Monday – The Bandera Bulletin

Schools have gotten spruced up. Teachers are in their last days of training. All thats left is for students to return, and that will take place on Monday, Aug. 28, when schools open in the Bandera, Medina and Utopia school districts.

While projections are difficult for school officials to make with enrollment still going on, there is an indication that student counts could increase in the countys public school systems this year.

The state Legislature did not drop any financial bombshells on schools like they have in the past, and a few leadership changes have been implemented, leading school officials to anticipate good things for this year.

I think were going to have a great year, said John Walts, who is in his 15thyear as superintendent at the Utopia Independent School District.

Kevin W. Newsom, who was hired in April as the new superintendent for the Medina Independent School District, said quality teachers were found to fill staff openings in the district, and everyone has been working hard to get ready for the new year.

If youre a parent here, you have to be excited about the excitement you see in our teachers, said Newsom.

A key staff change in the Medina district was the hiring of Janell Murff as the elementary principal in the district. Last year, the district had one principal overseeing both the elementary and secondary schools, but now, each school has its own principal.

A new principal also has been appointed for the Utopia schools after Ken Mueller, the principal for the last six years, retired. The new principal is Jessica Milam, who had been a counselor in the district.

Superintendent Walts said he expects four more students to enroll in Utopia classes by the time school starts, giving the district 230 students. That would be the largest student count Utopia had seen in many years.

In the Bandera Independent School District, which is the largest in the county with 2,223 students at the end of last year, four, elementary school positions were added for the upcoming year, and Bradley Kinney joined the district as a new assistant high school principal.

Enrollment in the district has grown slightly the last two years, but officials were not certain that growth would continue this year.

The Legislature has placed no new financial demands on the district this year, a spokeswoman for BISD said, so it will continue to take steps to assure that a 21stCentury education is provided all of its students, officials said.

That means that all academic standards are met in core areas while enrichment activities are added to boost regular programing and support services are brought in to narrow skill gaps that exist in schools.

Its efforts paid off last year when the Bandera district earned nine distinction designations for its performance on state assessments, and all of its campuses received a met standards classification from the state, officials said.

I am very proud of our students and staff for this wonderful accomplishment, said Superintendent Regina Howell.

None of the school districts expect that their tax rates will increase this year.

The Medina school district is proposing a $5.95 million bond issue this year that may cause rates to jump slightly in future years, however.

That district also is expanding the dual credit college courses it offers its high school students and hopes to improve the ways it prepares students for the standardized tests they take.

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Students return to school Monday – The Bandera Bulletin

milton-keynes-and-me-bbc4-documentary – Tooting Daily PRSS (blog)

Catch the BBC4 documentary about growing up in Milton Keynes on BBC iPlayer

When a man is tired of Milton Keynes, he is tired of life these were the words of filmmaker Richard Macers father. A man who moved his family to Milton Keynes in 1978 and was one of the first pioneers to leave post-war London for the new utopia.

Richard Macers father, who grew up in Islington during a time when Islington was a slum, couldnt understand why anyone would choose London over Milton Keynes. But over the years, this utopia has been depicted as anything but a paradise by critics.

Its been mocked for its concrete cows, ridiculed for its grid system, and has consistently been labelled as soulless. But those who knock the city often forget that MK is one of the most ambitious experiments in social engineering of our lifetime. And that in itself is something worth celebrating. Especially for the MK50 this year.

Richard Macer, who turned 50 together with his home town, returned home to create a film to show Milton Keynes through the eyes of a boy who grew up there. The fantastic documentary, which aired on Wednesday 16th August, depicts feelings of nostalgia and shows the city to be green, safe and inclusive.

The BBC4 documentary takes viewers on a journey from the very beginnings of the town created in the late 60s, with ample outdoor and green space, and with a masterplan based on the concept that no building would be taller than the tallest tree. The film features Macers parents who still live there today as well as architects, artists and social workers who have all contributed their part to the growth and development of MK.

As Ben Lawrence wrote for The Telegraph, this documentary will make you love Britain’s most maligned city.

Catch the documentary on BBC iPlayer now.

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milton-keynes-and-me-bbc4-documentary – Tooting Daily PRSS (blog)

Riley Park Club offers a baseball utopia that denies reality – Charleston Post Courier

Sam and Joe were longtime friends and baseball fans. Soon after his 90th birthday, Sam dropped dead, leaving Joe alone with his box scores. One day, Joe looked up from the sports pages to see his old buddy Sam standing there. Sam! Joe said. Tell me: Is there baseball in heaven? Joe, in heaven, theres baseball like youve never seen: The field is sown with fairy dust, and the strike zone is marked in gold. Joe grinned. But theres more, Sam continued. Youre pitching next week.

People have been thinking about baseball and the hereafter for a very long time (or at least since my late grandfather picked up his favorite joke). But the connection is unavoidably explicit at Riley Park Club, the new wine-and-dine space at Joseph P. Riley Jr. Park. Regardless of what you believe happens after you expire, this upscale buffet venue comes pretty close to approximating it.

Perhaps your idea of the afterlife is a paradise where angels remember your drink order and the tiered cookie tray is never bare. As you see it, if you perform the right number of good deeds, youll be rewarded with an unobstructed view of a winning baseball team to the east, the sun setting majestically over a maze of marshland to the west and high-def flat screen TVs in between. Welcome to the Riley Park Club.

Or maybe you dont put any stock in a world to come, believing instead that death amounts to a kind of sensory deprivation chamber. According to your world view, once this stay on earth ends, you wont be able to feel sunlight on your skin; hear the crack of a baseball bat or taste a boiled peanut. Welcome to the Riley Park Club.

The RiverDogs and restaurant group partner The Indigo Road have done a bang-up job of creating a luxury experience along The Joes first base line. By definition, though, its an experience so removed from traditional game-going that its hard to say conclusively whether fans should seek out a Riley Park Club spot for post-season ball. (Barring a last-minute losing streak, the RiverDogs are set to host Game 1 of the South Atlantic League playoffs on Sept. 6.)

In other words, spectators who arent in the habit of buying 10 hot dogs and a few beers every time they go to the ballpark will probably have to calculate for themselves whether the clubs $105 entry fee is a good value.

For their money, ticket holders get a padded upper deck stadium seat as well as the run of a spacious lounge done up in polished executive style: The wood-floored room is furnished with leather club chairs and couches in manly brown tones. But to keep the space from feeling stuffy when its at capacity, meaning 300 people banking off the crudite tables and checking out the dessert selection, there are bands of floor-to-ceiling windows on either side.

A drinks rail is affixed to the window overlooking the field, and on the night I visited the air-conditioned club, thats where most of my fellow patrons congregated. As for the drinks, the three-figure ticket price only covers some of them: Club goers can have as much Woodbridge wine, Bud, Bud Light or Michelob Ultra as theyd like, but better wines and spirits are sold by the glass.

Up to a point, that makes sense: Charleston is home to plenty of practiced drinkers who could guzzle hundreds of dollars worth of liquor over the course of nine innings. But Woodbridge, which retails for about 16 cents an ounce, feels a little chintzy for the setting. And its a shame that there isnt at least one local beer on a free-flowing tap.

Still, thats about the only real error committed by the Riley Park Club, unless too-cool fries are scored as a significant problem. The front-of-house staffers, officially Indigo Road employees, are attentive and cheerful. And the food from Mercantile & Mash is mostly serviceable, albeit far more refined than the peanuts and crackerjack being foisted off on the peons down below.

In fact, the all-you-can-eat buffet would probably benefit from the addition of a few more finger foods, since a ballgame typically takes about three hours to resolve. Thats a whole lot of Dijon-crusted roast beef slices with rosemary jus.

Riley Park Club only provides plastic cutlery, which has the dual drawbacks of seeming cheap and accentuating the beefs toughness. Yet theres enough flavorful fat on the roast to keep eaters from cracking jokes about catchers mitts, along with a pair of standout sides. The corn in the almost all-corn succotash is crisp and sweet, while mashed potatoes bulked up with sour cream and cheese are rich and savory enough to nearly make up for the lack of nachos.

On Tuesdays and Fridays, when the roast beef is served, Riley Park Club also offers strangely gamy slabs of fried chicken, presented with waffles that respond well to honey butter and pecan syrup. Other menu items include blandish biscuits with thick cream gravy, and a supposedly chopped salad thats really just a pile of iceberg lettuce shreds, shredded cheddar cheese and carrot slices. Skip it for the far superior cucumber salad, featuring feta crumbles and red onions as points of interest.

Those meats and vegetables presumably add up to Southern Night, although its not promoted as such. Mondays and Thursdays are devoted to barbecue, with pork shoulder and brisket taking the place of fried chicken and roast beef. Wednesdays and Saturdays bring Caesar salad, pasta and burrata; dumplings and chicken teriyaki are served on Sundays.

Every night is burger and hot dog night: So long as the RiverDogs are playing at home, there are beefy kosher hot dogs, halved and tucked into ruddy buns. As big around as silver dollars, theyre better than the drastically undersalted burgers.

Then again, its possible the seasoning restraint was intentional, since mildness is something of a guiding principle at the Riley Park Club. Within the clubs sealed confines, there are no crowd sounds or pesky gnats. When the games announcer, whose broadcast is piped into the lounge, noted the humidity level stood at 74 percent, a surprised murmur went up from the protected fans.

No matter what transpires, it seems, everything is calm and timeless at the Riley Park Club. Is this heaven? No, its baseball.

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Riley Park Club offers a baseball utopia that denies reality – Charleston Post Courier

Jun Takahashi, the Sorcerer of Fashion – The New York Times – New York Times

ON HIS UPPER ARMS, above the jagged tattoos, Takahashi has others. On one arm, in swirling English script, is the word chaos; on the other, the word balance. Thats hard to get, he says, looking down at each tattoo in turn. If some of Takahashis shows are reminiscent of McQueens, it seems important to remember that there is, by contrast, a whimsical and sometimes even seriously hopeful quality to his dark vision. In the groupings of his fall womens show, the lace-crowned choir, white-horned agitators and green-jacketed soldiers inspired awe. Then came the so-called new species, somewhere between insects and humans, clad in black and somewhat threatening. The view became momentarily ominous. And yet the shows subtitle was A new race living in Utopia. The impression was magical but the narrative open to interpretation: How were these mute creatures populating their world, exactly? The story was based on the idea that everyone has a right to live equally, Takahashi says. There is an aristocracy and a monarchy, but they are not in a position of dangerous authority at all.

We walk downstairs to look at the fall collection up close. Pink satin sleeves suggesting huge rose petals are draped across a hanger, next to a bustle made of ostrich feathers. There are diamant spiders, and gold bees with human faces. The monarchs ruby dress stands at the far end of the room, grand and embellished, like the ghost of Elizabeth I. One of the most arresting pieces, though, is a simple, pretty blue chiffon blouse hanging by itself on a rack. For all the artifice and fantasy that Takahashi conjures, he makes plenty of normal clothes as well, and theres a curious intimacy to the fact that alongside all the gestures of deliberate rebellion, he knows how to make something so breathtakingly lovely and as delicate as skin.

He shows me the original drawings for each item detailed designs that diverge not at all from their results. Each season, he is methodical: His sketchbooks begin with shoes, because they take the longest to make. The system was borne of necessity, not creativity. I dont want to begin with shoes, Takahashi says plaintively.

Next he pulls out a black jacket with an 80s-style peplum, and another with two kimono folds down its back.

What kind of insect has wings like that? I ask, as I stroke the strange pleated articulations across the black satin.

Maybe some cockroaches? he replies.

Its very Takahashi to identify the individual even in a fiction: Certain cockroaches may share these traits, but possibly not all.

AFTER SCHOOL in Kiryu, Takahashi went to Bunka Fashion College in Tokyo. Yohji Yamamoto had gone there in the late 60s, Tsumori Chisato in the mid-70s and Junya Watanabe in the early 80s. I had assumed there would be gorgeous, crazy, interesting people out there, he remembers. I thought there would be a lot of music lovers like me. But it was totally different. All the girls wore body-conscious dresses. It wasnt my style.

Instead, he ventured into the city, finding his place in nightclubs and the music scene, and in the theatricality of everyday life. Before hed even graduated, hed launched Undercover. It was a different trajectory from the one young fashion-school graduates typically took, in which you might get a job as an apprentice to a great Japanese designer and work for him or her for years until you struck out on your own. (Watanabe took this path in working for Kawakubo. So did Chisato, with Miyake.) Takahashi also broke with tradition aesthetically. This was 1990, the height of Japanese minimalism, an era defined by monotone, cerebral fashion, avant-garde ideas and the sculptural silhouettes of Yamamoto and Miyake. Takahashis work was, from the start, fresh, rough, singular.

Five years later, he met a fashion show producer named Yoshio Wakatsuki. They were introduced at a nightclub by a mutual friend 10 days before Takahashi was due to show Undercovers third collection. Wakatsuki was working for Rei Kawakubo, and had staged shows for Issey Miyake, but he understood that Takahashi was fundamentally against the system. The economic bubble had just burst in Japan. It was like a fall from paradise, Wakatsuki reflects. Into this territory walked a person he immediately recognized as a new kind of designer. He had a way, Wakatsuki says, of reading the era.

Undercovers early shows were run guerrilla-style, in warehouses and parking lots, with friends turning up to model, many of them drunk and argumentative. The press was relegated to the back row, while Takahashis cohort of fans sat in front, on the floor. Wakatsuki had never seen anything like it the setup or the clothes themselves. For instance, he says, some of the shoes were covered in dripping paint. Id seen something like that effect before, but the designer just coming up and dripping paint right then and there? Id never seen that. If he wanted something shorter, hed just cut it no hem. New knitwear would be delivered, and hed cut into the neckline and make holes. It was so shocking to me. I really felt the power of it.

Takahashi, Wakatsuki says, never trusted fashion people. It may be more accurate to consider Takahashi as less a fashion designer and more an artist, with an artists varied outlets and preoccupations. The fact that its possible to buy and wear the associated merchandise seems almost like a coincidence. For his spring 2009 collection, in lieu of a show, Takahashi made a photo-book that contained a sci-fi tale about a colony of furry cyclops dolls. (The dolls, which he made by sewing clumps of vintage teddy bears around table lamps, are in his office. In their christening gowns, they look like the love children of Miss Havisham and E.T.) He has used the basement of his office, where the pattern-cutters now work, as a music venue; Patti Smith once played there to an intimate crowd. He has designed a whole collection in tribute to the Surrealist Czech filmmaker Jan Svankmajer; for another he dressed his models in mens-style suits with ties, in homage to the 60s jazz pianist Bill Evans. In 1974, Evans recorded a live album with the saxophonist Stan Getz titled But Beautiful, a phrase that Takahashi has used in the names of several shows, including his most recent, which was entitled But Beautiful III, Utopie. You might say that his entire body of work was created to preface that phrase: daring, dark, comic, wild, (insert your preferred adjective), but beautiful.

One of Takahashis regular collaborators is Katsuya Kamo, who oversees all the hair, makeup and creature-like headgear for his shows. When I visit Kamo, there are layouts for his forthcoming book pasted all along one wall of his workshop: the pleated helmets made from industrial carpet he created for Junya Watanabe, the white paper roses he embedded in crowns for Chanel. But his most outrageous work by far is for Undercover: masks with feathered wings, mesh face-coverings that glow in the dark, white rabbit ears, dried hydrangeas, wild thorns that look like prehistoric fangs.

When I ask to see some of the finished pieces, Kamo rummages around in boxes that seem mainly to contain raw materials. (One is labeled insects; two others are labeled plants and human hair.) There is a crown of thorns, plants that look like antlers and a desiccated red parrot. Most of it has been scavenged from the local park, he explains. He also strikes deals with taxidermists.

The last time I sent an assistant there, they wouldnt give him a bag, Kamo recalls, sounding baffled. It was for a black crow, just dead. He had to bring it back trailing blood and he was wearing white. The crows feathers were used to make larger, human wings in an Undercover collection; they terrorized Takahashis staff because Kamo had left some flesh on them, and the smell became unbearable. It was quite smelly, Kamo admits. Then he adds: But beautiful.

ONE AFTERNOON, Takahashi sits at a long table while various items from one of his mens diffusion ranges, JohnUndercover, are presented to him for a styling check. There are mens shirts, made in calico, with fabric samples alongside them. Takahashi puts on a pair of glasses, and proceeds to line up different button options next to the samples. Where a pleat is missing beneath the yoke, he draws a sketch to correct it. When the shirts are done, there are screen-printed T-shirts, then jewelry pendant necklaces, hanging from black silk cords. Takahashi oversees everything: two womens wear shows a year, two mens wear collections, his Nike collection, three diffusion lines. His company is independently owned, and the responsibility clearly weighs on him.

Despite his workload, he is strict about his hours. He leaves the atelier every evening at 7 p.m. and has dinner with his children and wife, Rico, a former model. Takahashi takes weekends off, even right before a show. Its so ordinary! he says.

But Wakatsuki thinks family life is key to Takahashis success. I can give you some incredible information, he tells me. His parents go to Paris every season, and sit in the front row theyve never missed a show. His younger brother, who has taken over the family business in Kiryu, now comes to Undercover two days a week to help manage the business, a skill Takahashi confesses he lacks. His daughter has started modeling.

Wakatsuki recalls that Takahashi has occasionally been inspired by his kids toys. His fall 2003 collection, Paper Doll, featured knitwear with little white tabs attached to the clothes edges, as if they were cut out of a book. That black coat made from layered cutouts of felt skulls from his fall 2005 collection was influenced by a childs bulletin board with felt shapes you could stick to it. Takahashi himself thinks that he hasnt changed fundamentally though he adds that every day, I strongly feel that I should have more self-awareness as a father.

My first impression, when I saw the Tokyo Sex Pistols, was all about punk, Wakatsuki reflects of Takahashis rebellious early days. But since he met his wife and had children, Ive felt his creative power. Whats at the heart of him is still a punk attitude. Anti-establishment sentiment thats what he wants to show. But hes more dreamy, more playful, softer. Love, he says. That element is becoming stronger and stronger in him.

Clothing available at Dover Street Market New York, (646) 837-7750. Headpieces by Katsuya Kamo. Models: Kiko Mizuhara/Asia Cross, Rina Ota/Anore, Yuka Mannami/Donna Models, Thea Arvidsson/Donna Models, Anka Susicka/Donna Models. Hair and makeup by Kamo Head. Casting by Kaiju Inc. Production by HK Productions. Photo Assistant: Niels Alpert

A version of this article appears in print on August 20, 2017, on Page M2253 of T Magazine with the headline: Jun Takahashi, The Sorcerer of Fashion.

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Jun Takahashi, the Sorcerer of Fashion – The New York Times – New York Times

Utopia Coaches announces "out of the blue" bus service withdrawl … – The Press, York

VILLAGERS between York, Selby and Tadcaster have been left stranded after a bus operator suddenly ceased trading with little notice to passengers.

Utopia Coaches, based in Sherburn-in-Elmet, took to social media site Twitter with a brief statement onyesterday evening stating services would not be running from today.

The sudden move left unaware commuters and passengers waiting at bus stopsthis morningas services failed to arrive in villages including Cawood, Naburn, Stillingfleet, Wistow, and Camblesforth.

It is also believed some of the companys drivers were also uninformed, and instead heard the news from the companys Twitter post.

The statement from Utopia, which operates the number 8 service between Selby and Drax, the 37 between Tadcaster and York, the 420 between Selby and York and the 422 between Pontefract and York, as well as a further four services in West Yorkshire, simply read: As from 00.01 hrs Wednesday 23rd August, Utopia Coaches will cease trading. No services will operate again from this time.

Utopia, which has been operating bus routes since 2007, ran contracts on behalf of North Yorkshire County Council covering school runs and local bus services, as well as its own commercial network.

The County Council said it was not made aware of the company going into liquidation until yesterday morning. In a statement it said: Several local transport providers have contacted the council to offer their assistance and we will work with them to try to fill the gaps.

Pupils entitled to free transport will not be disrupted and arrangements will be in place for the new school term.

The council advised passengers needing to get to urgent medical appointments or essential local amenities to contact Selby District Community Transport on 01757 708036, or Tadcaster Volunteer Cars & Services on 01937 835600.

County cllr Don Mackenzie, executive member for Passenger Transport, said: The withdrawal of these services by Utopia Coaches came out of the blue. We are working hard to determine the most appropriate course of action.

Updates will be posted on http://www.northyorks.gov.uk.

*Have you been affected by Utopia’s sudden withdrawl of bus services? if so contact newsdesk@thepress.co.uk

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Utopia Coaches announces "out of the blue" bus service withdrawl … – The Press, York

si – New York Times

A big sporting tournament is also a festival. As much an English festival as Glastonbury, Wimbledon is also a pilgrimage site. Radiohead or Rafa play the main stage, but some duo youve never heard of called Isner-Mahut will do something so incredible on Court 18 that everyone will be trying to get in to see them. Their heroic exertions have since been memorialized with a plaque, and Court 18 is now a historic site for the tennis faithful even when nothing much is happening there.

As with pilgrimages and festivals, people are on their best behavior. Arriving at Southfields Tube station confusingly, a more convenient station than the various Wimbledons the mood is more buoyant, the level of civility higher than it was wherever your journey started. The spirit of the festival emanates from the grounds and into the surrounding neighborhood. Inside, its a temporary utopia. It might be difficult to get in, but once you are in, the atmosphere is inclusive. (Even the presence of that advertisement for the Jacobean tendencies of the French Open, the hated royal box, these days offers only symbolic resistance to the feeling of togetherness.)

Dressing up in costumes tends to be limited to campy re-creations of the Borg-McEnroe era (hair, headbands and skimpy shorts), but as with any self-respecting festival, there is a considerable degree of intoxication. Flushing Meadows has the reputation of being more raucous than SW19, but Wimbledon is in England, and we English pride ourselves on being able to chuck it down our necks with the best of them. Beer, Champagne, Pimms you sell it, well swill it. Its really striking how much boozing goes on. And yet the standard of behavior remains consistently high. Lest this sound sentimental, I should also point out that Wimbledon is the most heavily militarized of all the Slams. In the wake of terror attacks in the capital, visitors this year were treated to the not-necessarily-reassuring sight of officers patrolling with body armor and assault riffles, but a large number of stewards have always been soldiers and sailors. Unfailingly polite, courteous and helpful they may be but theyre still the military. So although there is no trouble and everyone happily buys into the social codes and etiquette of Wimbledon, its a useful reminder that Gramscis notion of hegemony assumes that consent is underwritten by the possibility of coercion and force. Mainly the soldiers and stewards help people find their seats and make sure no one is moving around or standing except during the end-changes. At an Andy Murray match, a woman seated near me unfurled a Scottish flag and was told that was not permitted. This came as a surprise but is, on reflection, an excellent prohibition. A shared love of national flag waving might form the basis for some kind of accord between North Korea and the United States; Centre Court is better off without it. Any deviations or transgressions are dealt with courteously and quickly. The nearest we came to a ruckus was when a highly regarded journalist stood up and tried to leave at the end of a game, but not during an end-change. A soldier told him to sit down. The journalist started running his mouth, swearing, whereupon the soldier shifted into a different register, making it clear that the request to sit down had become an order and that this order would be vigorously enforced. Having thoroughly enjoyed this altercation, I later asked the soldier how close the journalist had been to getting his ass kicked. Well, he said in a heavy, friendly Jamaican accent, if wed met outside, in civvy street. …

Although Wimbledon is a festival, there is no music; players enter the court unannounced, without fanfare. Its the opposite of the year-ending A.T.P. Finals at the O2 arena in London, where the unfortunate paradigm is that of a nightclub flashing lights, blaring music. Players come from all over the world, obviously, but Wimbledon retains the feel of a local tournament where the standard of play happens to be exceptionally high and this is especially evident on the smaller courts.

Id had a great desire to experience the Wimbledon fortnight, in the flesh and in its entirety, ever since I was turned away at the gates in 1980. I had actually caught some of the same acts excuse me, the same players earlier in the year when the caravan passed through Indian Wells, Calif. So I knew whom to look out for, who was up and coming, even though I knew, also from Indian Wells, that its difficult to recall exactly whom you saw play the day after watching them. A tennis tournament is a narrative that is all the time consuming itself. Defined by elimination as well as survival by the end of the first round half the players are toast its as much a demonstration of instant amnesia as it is of memory.

The most-sought-after tickets are always for the semifinals or finals of a tournament, but the first rule of tennis narrative is that a great match can break out at any time, between any players, on any court. And thats not all. A match that looks certain to be over in the next 15 minutes can turn, in that quarter of an hour, into an epic whose end is nowhere in sight. Nothing is better, for a spectator, than to sense this happening, to feel a match gradually which in tennis can be an exact synonym of suddenly tightening its grip, becoming, for the uncertain extent of its duration, the center of the tournament. The question then becomes how to maximize the chances of your being there, of happening upon this happening.

By turning up, in my case, at Court 3 to watch Nick Kyrgios, whom I saw play at Indian Wells, whom I also missed at Indian Wells when he withdrew from his match against Roger Federer because of food poisoning. Their encounter a few weeks later in Miami was reportedly the best mens match of the year. So Kyrgios was one of the batch of young male players along with Alexander Zverev and Dominic Thiem with the potential to make it to the end of the tournament. As it turned out, Kyrgios didnt even make it to the end of the match. When they are not chasing something a ball, other runners all athletes move in such a way as to preserve as much energy as possible. Many of them move as though they are underwater; Kyrgios was moving as though on the ocean floor and not only between but during points. A big man in even bigger shorts, he looked severely hobbled, but because this hobbling seemed an extension of his normal lugubriousness, it seemed that he was hobbled not just by his wounded hip but by the hunched ontology of himself.

The trainer was called, and Kyrgios quit, establishing the keynote for this years tournament: players taking to the stage injured, unable to compete properly but fit enough to pick up their fee. There was talk of Murrays dodgy hip, of Novak Djokovics gammy elbow, his wonky shoulder, his interesting personal life, which, as John McEnroe later put it, was maybe going the way of Tiger Woodss. In addition to the tennis narrative, there are always these personal or extrasporting stories whose kinks and twists become entwined in the sporting narrative because of the effect they have on that mysterious spot, the athletes head.

But it wasnt Djokovic who retired the next day, it was his opponent, Martin Klizan, followed immediately by Federers ailing adversary, Alexandr Dolgopolov. Obliged to wear all white, a surprising number of male players were waving the white flag before they had even broken sweat. Routinely frustrated by our national railways and airline, the packed and good-natured Centre Court crowd let up a groan of epic disappointment as two players in a day called it a day in rapid succession. The umpire was quick to announce that there would be further play in the shape of Caroline Wozniacki against Timea Babos, and calm was restored before the attendant troops were called into action.

This flurry of towel-throwing-in introduces the corollary to a point made earlier: Just as you never know when a great match will break out, so too you never know when youre going to be sold a pup. Unless youre watching Bernard Tomic, in which case, he made clear after his first-round defeat by Mischa Zverev on Court 14, theres a good chance hell be going through the motions. Post-match news conferences are generally a bore. Tomics was sensational because he revealed what must be the unpalatable truth: that the tour can become a bit of a grind. I couldnt care less if I make a fourth-round U.S. Open or I lose first round, he yawned. To me, everything is the same. His existential indifference was as my pal, the veteran tennis writer Michael Mewshaw, said later like Meursaults at the opening of Camuss The Stranger: Maman died today. Or yesterday maybe, I dont know. … That doesnt mean anything.

Here we were at a temple of tennis, and one of the gods we came to worship a minor and thoroughly unattractive deity, admittedly, but still a very tall one told us that he didnt believe. Or more accurately, that he didnt care about our faith, that he was getting paid whether we believed or not. I say we came to worship, and as with Christianity, that worship is predicated on suffering. Stan Wawrinka who also went out early, to Daniil Medvedev in the first round had previously talked about making his opponents suffer, and we need to believe that the riches and glory that go to the players are built on a willingness to be nailed to the cross of their highly remunerative vocation. Thats the contract or covenant.

Even Federer, who floats around the court as if he could run on water without making a splash, put in hard work during those long months in the Swiss wilderness of physical rehabilitation last year. Most of us are not particularly dedicated to living our lives. We dont even pursue affairs with any special single-mindedness; were just happy to have one if it comes along. So we like to see the single-minded dedication of elite athletes, the willingness to engage, if necessary, in a match lasting 11 hours (Isner-Mahut), even if the result of that victory is defeat by exhaustion in the next round. Never give up. Chase down every ball.

The scoring system of tennis actively promotes this dogged determination, and Rafael Nadal exemplified it as he tried to come back from two sets down against Gilles Mller on No.1 Court on the second Monday. Thats a busy day in any tournament, so if you have a ticket, youre confident of value for money, wherever youre seated. The situation is more complicated if, like me, you have a rover press pass, which enables you to get in everywhere but doesnt guarantee that you can get in anywhere. There is always the chance that in trying to maximize your experience of all potential matches, you can end up stranded between them. I saw Venus Williams beat Ana Konjuh and most of Murray against Benot Paire on Centre Court, watched Mller take the first two sets against Nadal on No.1 Court and then went back to Centre to make sure I got a seat for Grigor Dimitrov and Federer. I had already seen a lot of tennis both that day and the previous week but aesthetically this was likely to be the highlight of the entire tournament.

I have a simple rule of support in tennis: Always root for the player with a single-handed backhand. Thats why I somewhat lost interest in the womens game after the abdication of the great Justine Henin. Dimitrov and Federer are two of the most elegant single-handers. Except, of course, tennis is not a beauty contest. In this case, it wasnt even a contest, as Dimitrov, celebrated since winning Junior Wimbledon in 2008 as a king in waiting, was obliged to wait some more as he was swept aside. Nadal, meanwhile, had leveled things up, but Mller, instead of collapsing in the fifth set under the mental burden of a squandered two-set lead, was hanging on. They were both hanging on, on the brink of collapse and refusing to collapse and there were, as I discovered after scrambling back to No.1 Court, no empty seats. I couldnt get back in.

Missing one of the pivotal matches of the tournament, I was reduced to watching the drama unfold silently on a muted TV in the press office. The one advantage of this was the way close-ups revealed the expression of almost catatonic concentration on Mllers face, but I was otherwise in an awful predicament. I wanted the match to be over so that I wouldnt miss any more of it; I wanted it to continue so that I might have a chance of getting in and seeing it. The compromise was to dash over to Henman Hill and watch it on the big screen. On the way, I looked in at the journalists entrance at No.1 Court. Plenty of times in the course of the tournament I had hurried to a given court and arrived just after an end-change and waited as two of the longest games of the match got underway. On this occasion, though, they were midchange and, incredibly, one seat had suddenly become available. I was in, not just watching this epic struggle but part of it. Or was I? Having missed so much, was I still, in a sense, missing it even while I was seeing it? By missing the previous three hours, had I effectively missed almost the whole thing, like skipping 200 pages of a book even if this was a book of indeterminate length? I was still pondering this five chapters later when Nadal finally succumbed.

Which is not to say that he was quite finished. For we require still more of players, even after theyve given their all: They must lose graciously. Perhaps this isnt such an issue for audiences in America, but I have an English fondness for the stress placed upon being a good loser, the way that this assumes that defeat will be the ultimate outcome of all worldly endeavor. After shaking hands with Mller and the umpire, Nadal proceeded to do two things that went beyond gracious. In the other Slams, players walk off separately. At Wimbledon, it is not a rule it would count for nothing if it were but it is a convention, not always observed, that the players walk off together. And Nadal literally abided by this. He waited for Mller.

Its stirring to see the virile Italian Fabio Fognini, fist raised and clenched, after winning a decisive point. Only a minimal amount of photoshopping would be necessary to transform pictures of him so that hes standing triumphantly over a stricken foe at the Colosseum rather than Centre Court. The handshake at the end of the match breaks the spell induced by gladiatorial competition. Part of us wants athletes to be carried out on their shields, rather than with aching hips, but their leaving the court together expresses the return to communality, courtesy and civility rather than competition. Even more amazingly, Rafa stopped to sign autographs on the way out. And then he was gone.

We love the prospect of an upset. We love it in the making, as its happening and for a brief moment afterward. But then the hangover sets in. The people you wanted to see are nowhere to be seen. For the sake of a mad fling, youve thrown away the relationship that made life meaningful. You feel bereft. After Stan Wawrinka went out to Medvedev, you said to yourself, O.K., now Ill follow Medvedev instead of Stan. But then Medvedev went out in the next round and, far from being a gracious loser, turned out to be a complete jerk, throwing coins at the umpires chair. That only made him a bit of a jerk. What made him a complete jerk was claiming afterward that he just happened to deposit the coins there, as though guilty not of impugning the umpires integrity but of the lesser offense of fiduciary littering. So, as our favorites are vanquished, followed by their vanquishers, we hiccup our way through the tournament.

This years Wimbledon was like that in terms of the consequences, but without the passion that should accompany such mad and fatal crushes. Players werent knocked out; they just disappeared, fell by the wayside. Jo-Wilfried Tsonga lost cruelly to Sam Querrey after their long match was suspended because of bad light at 5-6 in the fifth. Play resumed the next day and lasted for precisely one game. I barely saw Tsonga, caught only a glimpse of Tsvetana Pironkova, did not see Jack Sock sock it to anyone before Sebastian Ofner offed him. The other side of the coin was that I completely avoided the robotic lumberers like John Isner, Milos Raonic and Marin Cilic. The test of a good tennis tournament, to render it in Hemingway-ese, is whom you can leave out.

No one would ever want to leave out Gal Monfils! A peculiarity of the draw meant that Murray met a succession of players who delight the crowd with an exhilarating, often suicidal addiction to trick shots. Murray was having to chase after so many drop shots always emitting that groan of surprised despair before he set off yet again to retrieve the unretrievable that it seemed there might be something self-sacrificing about his opponents way of proceeding. Each was destined to lose, but the cumulative strain put on Murrays iffy hip would soften him up for someone later in the tournament in this case Querrey, another big-serving bore. The dreadlocked Dustin Brown is the most extreme of the tricksters, the most fun and the most infuriating to watch, making opponents feel, as was said of the footballer George Best, as if they have twisted blood.

A few years ago Brown bamboozled Nadal right back to Mallorca, but in the long run turning tricks is a losing strategy because its no strategy at all. A Brown will eventually be beaten by a Raonic, whose ambition is to become a tennis algorithm in human form (with the attendant risk of making the sport unwatchably tedious). Monfils represents the middle ground: extravagant and efficient, with the ratio of showmanship to pragmatism in a state of constant and unstable flux. As the No.15 seed, he was expected to go into the second week, even if only briefly.

Ah, the second week. During the opening week of a tournament, the schedule is as crowded as a rush-hour subway. After the action-packed second Monday and Tuesday, things thin out drastically. The atmosphere, as a result, becomes slightly less festive, as attention gradually and inexorably shrinks to whats happening on the big stages. Theres a lot of doubles and mixed doubles, but the numerical shakedown in the singles is shocking.

The quality of matches is assumed to go up, while the quantity goes down precipitously. This year the quality went down in tandem. Both the mens and womens tournaments stumbled into a dying fall. Johanna Konta won an epic quarterfinal against Simona Halep, then wilted against Venus Williams, who in turn wilted against Garbie Muguruza. Djokovic retired hurt, nursing a bad elbow and feeling badly served by the way his quarterfinal match against Tomas Berdych had been held over after the Mller-Nadal marathon. Murrays hip looked to be on its last legs as he was ground into submission by Querrey. Federer, of course, was beautiful. It was wonderful to be there, to see him, but among the seasoned journalists, it was deemed to have been one of the worst Wimbledons in recent years, redeemed by gorgeous Roger winning more gorgeously than ever.

His opponent in the final, the ferociously lycanthropic Cilic, seemed troubled from head (sobbing like a baby midmatch) to toe (blister), and I suppose we must not hold it against him that in his post-match speech, he failed even to mention Federer, whom I have barely mentioned here on the grounds of all-consuming Shall I compare thee to a summers day? adoration. As matches, the mens and womens finals were almost nonevents, so this little narrative will conclude instead with Monfils and a match from the middle Saturday.

Court 12: Monfils versus Adrian Mannarino. I had taken against Mannarino even more vehemently than the coin-chucking Medvedev for the way he shoulder-barged a ball boy during a changeover in an earlier match. He complained that the authorities prioritized ball boys over players thereby negating the alternative defense that it had been an accident, not an incident. I had a really good seat that turned out to be a really bad seat: courtside, sun-side, getting a face full of Indian Wells-style heat, like Meursault on the beach in Algiers. After the second set I had to leave, fearing I was on the way to sunstroke. Or maybe it was just stroke-stroke: overexposure to tennis strokes, the cumulative effect of watching more live tennis in the course of six days than I had in the rest of my life.

Todays tennis players dont just crush the ball; they pulverize it, and I was feeling pulverized by watching them do it. But unlike Tomic the tank engine, I dug deep and came back, to a seat on the other side of the court, where the sun fried the back of my head. I was two rows from the front, right behind the court attendants. There were about eight of them, young men and women, students I guessed, whose job was to hold umbrellas over the players during changeovers and not a lot else. Other than that and apart from watching the match, it was hard to tell whether some of them were working or taking a break from working another court as they helped themselves to nice-looking sandwiches, strawberries and mints from the well-stocked coolers behind the players chairs.

I envied them so much. It reminded me of the summer of 1980, when, after leaving Oxford, I first lived in London. A friend from college had the same kind of job as these kids, went to Wimbledon every day and then came back to my flat just one stop away on the Tube and told me about the games she saw. Her job had been secured in advance, but like a day laborer in the Great Depression, I turned up at the Wimbledon gates on the first day, hoping that I might be hired on the optimistic basis that I was an Oxford graduate. I was turned away and, until this year, had been back to Wimbledon only once, for one day.

The court attendants were dressed in green polo shirts and shorts and made sure to apply sunscreen to their arms and legs, sharing everything and generally hanging out in the sun watching tennis. I wished I were one of them. It was a funny day. In the third set, I received a text saying that a bunch of friends, all in their 50s, were heading to a party a ravey-type thing in Braziers Park in Oxfordshire, where they would all be spending the weekend. Did I want to come? I couldnt because I was at Wimbledon, where Id wanted to be for nearly 40 years, and that night, if the tennis finished in time, I was going to a friends 50th-birthday party in East London. It turned out to be a terrific party, mainly because I was able to spend the night boasting about how Id been at Wimbledon all day, all week but all day and all evening, part of me was half-full of regret that I was missing the other party at Braziers Park. I was also missing my wife, who was on an Air New Zealand plane to Los Angeles (she booked that rather than British Airways because of the threat of strike action), and its possible that she was on one of the planes I could see lumbering through the crowded skies over SW19. This was all going through my head while Monfils and the ball-boy barger ran and belted the ball, but I felt a great sense of well-being. I had reached a point of equilibrium or weightlessness whereby all the contradictory impulses that make up my life were in a strange sort of harmony, so although I was wishing that I was going to Braziers Park and although I was missing my wife, I was entirely content, completely present in the moment, as present in the moment as the players have to be, always playing the ball not the point, concentrating on the point not the game, the game not the set, and the set not the match and so on. The balls were sun-yellow, and the grass was a jaded green where it had not been baked and rubbed to rutted dust. One moment Monfils and Mannarino were teasing the ball, the next they were belting it. Unsure whether it was coming or going, the ball settled for both. Outside the grounds were leafy trees and a lovely church steeple, or spire, if they are not one and the same. A Union Jack hung limply in a sky of melted blue. Brexit was a horrible reality. Every now and again came the roar from No.2 Court, where I had missed Tsonga. A court attendant took a nice-looking green apple, green as the remaining grass, from the cooler. I was tempted to ask if I could have one but thought better of it. Another member of the team leapt up to shut the drink-fridge door after Monfils failed to close it properly. I love being in a group, would love to have been part of this group, sitting in the sun, applying sun cream and having the time of my life, even though I was almost certainly at least as old as probably older than their parents.

Two sets all. The court attendants were a separate crew from the ball boys, but I wanted to suggest, partly as a joke, that out of solidarity they get Mannarino on his own and rough him up for deliberately shoulder-barging the ball boy, even if this might have seemed a bit Brexity, him being French. Certain rallies were punctuated by the automatic fire of cameras with heavy telephoto lenses. I was at Wimbledon. It was the summer of Brexit means Brexit and the Grenfell Tower fire. I was looking forward to seeing Christopher Nolans Dunkirk the moment it came out, on the biggest screen possible, but I was also fully engaged in the match without really following it, conscious of everything: the green trees, the courts, class, politeness, the way that Monfils, with his furrowed brow, looked older between points than he did while playing. I was 59 and felt almost delirious for a multitude of conflicting reasons, some heat-related, some derived from the fact that we are merely the stars tennis-balls, struck and banded whichever way please them, a line that sounds like Shakespeares but isnt, though it does make you wonder how long ago tennis was invented and whether branded might now be better than banded. There were amazing points and rallies. The ball was being hit with such power that it seemed impossible that it would land in the court or that anyone could get it back when it did, but both kept happening both both and neither. Wimbledon, clearly, was the single best thing about England apart from the beer I was looking forward to swilling, in quantity, at my friends 50th, unless there was Champagne, in which case Id be swilling a load of that. Sitting here on Court 12 was like watching a match at the vicarage, in the middle of a Texas heat wave. I felt like T.S. Eliot at Little Gidding or something. My seat was so good its possible I was too close to the court, to the action, to follow it properly. I was completely absorbed in the match but I kept thinking ahead to Dunkirk and back to that summer of 1980, when I came here and didnt get a job as steward or court attendant or whatever it was I was hoping for. Monfils was running and playing, hitting such magical shots that when he reached into his pocket for a ball you half expected him to pull out a white rabbit. He was also losing. He leaned on his racket, hand on one knee, looking sort of vanquished, as he had at Indian Wells, when he won against whoever it was in spite of having a terrible cold. This time around he was circling the drain, being forced toward it by his fellow Frenchman, the ball-boy barger, and eventually the inevitable occurred, and he lost. The Frenchmen shook hands and it was over, but the Union Jack still hung limply against the jet-blue sky and I slowly emerged from my trance, a tennis trance that was also some kind of England-my-England trance. Roger would be back on Centre Court again soon.

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si – New York Times

Futuristic prefab homes of the ’60s spotlighted in new exhibit – Curbed

While prefab abodes and tiny homes are on a trendy upswing, a new exhibition in France shows how the concepts are far from new. On display at the Friche de lEscalette sculpture and architecture park in Marseille, France, Plastic Utopia features three iconic prefab micro-dwellings from the 1960s, fully outfitted with plastic furniture from designers like Maurice Calka, Quasar Khanh, and Wendell Castle.

The three sci-fi-inspired homes are popular examples of 60s retro-futurism. The flying saucer-shaped Futuro House was initially conceived by Finnish architect Matti Suuronen as a transportable skiing retreat, and cost just $14,000. More than 60 of the homes are scattered around the globe from L.A. to Antarctica.

The bulbous Maison Bulle Six Coqueswhich translates to “Six-Shell Bubble House”was created by French designer Jean-Benjamin Maneval out of reinforced polyester insulated with polyurethane foam in white, brown, and green. Plastic Utopia has two of these models and will be fully renovating one of them on-site for exhibition visitors to view.

The Hexacube was designed by architect Georges Candilisa protege of Le Corbusieras a modular structure for a beach resort, inspired by visions of colonizing distant planets.

The exhibition will be on view by-appointment through October 1, 2017.

Via: Designboom

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Futuristic prefab homes of the ’60s spotlighted in new exhibit – Curbed

New Utopia – Wikipedia

Principality of New Utopia Micronation Status In Construction Officiallanguages English Organizational structure Constitutional monarchy

Princess

Total

Website http://www.weylandgroup.co.uk

The Principality of New Utopia[1] is a micronation project established by Lazarus Long Now the project is headed by Elizabeth Henderson And Siber Henderson

The project was founded in 1995 when Lazarus Long the founder of new utopia came up across an unclaimed plot in the Caribbean he then filled a claim with United nations then new utopia was Born

Long raised up to $100 million from investors from all over the world with a majority coming from the united states then The U.S. Securities and Exchange Commission (US SEC) termed New Utopia a “fraudulent nationwide Internet scheme”,[1] and complained that Long had made “material misrepresentations and omissions concerning, among other things, the status of construction of the project, the companies associated with the project, the safety of the investment, and the status of the Commission’s investigation into his activities.”[2] The SEC’s case against Long (SEC v. Lazarus Long) ruled for long. Lazarus Long died in April 2012 at age 88 having raised up to $500 million for the new Utopian project [3]

New Utopia’s project was restarted in early 2017 by Lazarus Longs daughter Elizabeth Henderson who promises to have the Project completed by 2021 https://www.weylandgroup.co.uk/%5B4%5D

The social model and trade system would have been hyper-capitalistic, modeled after the writings of Ayn Rand, Napoleon Hill, Robert Heinlein, Dale Carnegie and Adam Smith.[5] Long also promised that the tiny nation would have a clinic better than the Mayo Clinic, a casino modelled after the Monte Carlo Casino, and “the ultimate luxury spa”.[5] Residents would live in one of the 642 apartments and condos that would be built.[6] It would have been a tax haven, with all services paid by a 20% tax on imported consumable goods.[6]

Before creating New Utopia, Howard Turney had been introduced to the Human Growth Hormone (HGH) by an anti-aging doctor. He was so impressed with the results that he became an advocate of the hormone and he created in February 1993 a longevity spa called El Dorado Clinic in Playa del Carmen, Mexico. In 1995 he changed his name after Lazarus Long, a recurrent character in Heinlein’s novels who goes through several rejuvenation treatments in order to live hundreds of years and eventually become immortal. Also around 1995 he stopped injecting HGH in the El Dorado clinic because of the corruption of local officers, and he moved to the US. A few years later he had to stop injecting HGH also in the US when doctors stopped prescribing due to illegal doping in sport. Then he tried to fund New Utopia, a place where the government couldn’t tell him what he could do and what he couldn’t. But in 1999 the SEC closed his bond offering because the bonds were unregistered with them.[7] He dedicated the rest of his life to the creation of New Utopia.

Lazarus Long, who was 66 years old in 1998,[8] died on 26 April 2012 at the age of 80. After that the project was taken over by Elizabeth Henderson the daughter of Lazarus Long

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New Utopia – Wikipedia

Call of the Avant-Garde: Constructivism at Heide fuels visions of a new utopia – The Sydney Morning Herald

It’s tricky to imagine now but in the years immediately before and after the Russian Revolution, there was an absolute belief in Moscow and beyond that a utopian society was achievable.

The Bolshevik visionof a socialist, egalitarian world was not a lofty, impossible ideal: a classless society with equal rights for all seemed like a real alternative.

A group of artists, driven by these heady, noble ideas, were determined to create a new movement, a form of art of the people and for the people. The movement would become known as constructivism and their work and vision was in keeping with the revolutionary spirit of the time.

Driven by a social agenda of inclusivity, practicality and utilitarianism, the constructivists made art inspired by cubism, which was abstract, made use of bold colour and was meant to challengeconventional ideas about creativity.

Their work ranged across mediums, includingpainting and sculpture, photography,textiles and the graphic arts as well as stage and costume design.

It was this versatility that helped tomakethe Russian constructivists’contribution so remarkable and enduring, according to the co-curators of Call of the Avant-Garde – Constructivism and Australian Art at Heide Museum of Modern Art.

Sue Cramer and Lesley Harding say the movement focused on art’s role in the new society, rather than aesthetics.Traditional ideas of art were denounced as “individualistic, subjective and bourgeois”.

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For this reason, many of the original constructivists abandoned media such as painting and sculpture, in favour of what we would now call “design”. Their thinking was that art should have a practical purpose andtheir work was used in posters and brochures promoting the cause as well as textile design andthe painting of buildings, trains and ships.

As Cramer and Harding concede, it is a complex movement to define. The name takes in several phases,the first of which is the Russian artists working together after the revolution, mainly based in Moscow. Working in 1920 and 1921, this group decided to takeart into the factories and onto the streets, in an effort to integrate art into everyday life.

Key names includedVladimir Tatlin, Alexander Rodchenko, Varvara Stepanova, the Stenberg brothers, KonstantineMedunetskii, Karl Ioganson and AleksaiGan.

Up until the 1970s, constructivism generally referred more to the international movement that was inspired by the Russians, rather than the Russian artists themselves.

For the Heide show, Cramer says, the first body of research involved “sharpening our knowledge of what constructivism was, so we could speak about how its ideas have been picked up.”

“[We] needed to be clear on that before we tackle the idea of how Australian artists were influenced, given the influence came via a second wave.A number of Russian artists had largely left Moscow and disseminated ideas of constructivism through Europe, especially the UK but also in France and Germany.”

It was not untilthe 1930s and ’40s that Australian artists started using the term to describe their work. Cramer and Harding say the local emphasis was onthe movement’s principles such as geometric abstraction, rather than any ideological or philosophical aims.

At that point, the Russian artists were still largely unknown, hidden behind the Iron Curtain, so it was through the prism of other international artists that the movement was discovered here. Abstract painters,largelyin Sydney, such as Frank Hinder, RalphBastonand Gordon Andrews were the first to adopt the name, largelyinfluencedby artists in Britain and the US.

Later generations of Australian artists worked locally and overseas with proponents of the ideas underlying constructivism. German-born Inge King, for example, worked in Britain in the late 1940s along with Leonard French and then emigrated to Australia in 1951, bringing with her a wide experience of European art. Lenton Parr worked with sculptor Henry Moore in England, where he started to construct sculpture with machine parts. King and Parr later founded Melbourne’s Centre Five group, advocates of abstract art and art with a social purpose.

Cramer says the constructivistidea of utopianism and art into production arecurrent ideas and warrant further investigation.

Timed to coincide with the anniversary of the Russian Revolution in October this year,Call of the Avant-Garde: Constructivism and Australian Artfeatures more than 200 works.Pieces by Australian artists such as RalphBalson,IngeKing, Robert Owen, Rose Nolan and ZoeCroggonare shown alongsideBritish constructivistsBen Nicholson and Barbara Hepworth, aswell asworks by key figuresfrom the original Russian movement including AlexanderRodchenko, AlexandraExterand ElLissitzky.

The idea for the showin part came when Cramer andHarding worked onCubism and Australian artin 2009. Their research unearthed an incredible volume of material;Constructivism is the third in a series examining modernism, together withLess is More: Minimalism and Post Minimalism.

“The excitement of new formal discoveries, the integration of ideas across the various art forms, and the strong role taken by women artists who, unusually for the time, were considered equal to the men, are just some of the inspiring features of Russian constructivism that continue to resonate today,” says Cramer.

The state of the world, interestingly, has also given a new currency to this hugelyinfluential movement. Cramer argues that constructivism has a particular relevancebecause of key developments in global politics in recent times:”people are looking at different ways to create a better world”.

Even if today’s artists are largely sceptical about the possibility of any genre of politics creatinga utopia, their aims no doubt often align with the original constructivistobjective of creating a better world.

Call of the Avant-Garde: Constructivism and Australian Art runs until October 8. heide.com.au

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Call of the Avant-Garde: Constructivism at Heide fuels visions of a new utopia – The Sydney Morning Herald

Why John Motson, Seven Stories and Newcastle Town Moor are in a new TV series about Utopia – ChronicleLive

What or where is Utopia, that perfect world described by Sir Thomas More who also coined the word in his book of that name, published in 1516?

And what has it got to do with football commentator John Motson and Newcastles Town Moor?

The answers to these and many other Utopia-related questions will be found in the new Utopia season of programmes on BBC Four, and particularly in the three-part series called Utopia: In Search Of The Dream which starts on Tuesday, August 8.

The latter is presented by art historian Richard Clay, professor of digital humanites at Newcastle University, and in the past few months it has taken him on a whirlwind tour of Britain, the United States, Lithuania and Belarus.

Its not very glamorous, making TV, he jokes.

He is speaking from the Northumberland coast where he is currently on holiday. Sounds pretty utopian, I suggest. I wouldnt disagree with that, he replies.

This series of hour-long programmes started when ClearStory, an independent production company, pitched a documentary marking the centenary of the Russian Revolution to the BBC.

They kept sending them away to think of something more ambitious and eventually they came back with the idea of something around utopias. This then became a season of programmes.

Richard, who has presented previous documentaries on BBC Four, including one two years ago about the history of graffiti, was approached just before Christmas to work on Utopia: In Search Of The Dream and filming began in March.

Whichever way you look at it, this was an ambitious undertaking. Anyone who knows anything about television will know an awful lot of filming goes into making three hours of documentary.

Richard says: Episode one opens with archive footage of Obama talking about making the world a better place and then we have John Motson…

At which point I have to interrupt. Er, John Motson? On Utopia?

That was me talking about football as Utopia, says Richard.

We chose him because hes a legend. Hes got 50 years of football experience and an amazing stock of memories and he turned out to be a good choice, a serious interviewee.

He was going to football before I was born and talked about things like people streaming out of the factories and into the match where bosses and workers would suddenly be equals.

He also talked about village football where, as soon as youre on the pitch, youre all members of the team, working together and with a shared goal ideally lots of goals.

Theres something really utopian about that.

Richard says they had hoped to film Motty at a village match but had to settle for Watford FC.

And as for his own football allegiance, Richard, who was born in Darlington but grew up in Yorkshire and then Lancashire, says: I usually say Im a fan of North East football although half my family are from Sunderland.

They all supported Sunderland apart from one cousin who, as a rebellious teenager, supported Newcastle.

Also appearing in the first programme is professorial colleague Matthew Grenby, an expert on childrens literature, who was filmed at Seven Stories running a workshop about the idea of a perfect world based on Gullivers Travels.

Richard says: He was asking the kids what their version of Utopia would look like and the film crew was grinning through the whole thing.

A lot of the things they said were what youd expect, like not killing people and not stealing, but one kid said everybody must live up trees and another said everyone must like football.

So what would happen if somebody doesnt like football? Oh, said the kid, we throw them in the river.

Not all of these priceless exchanges made the final edit, warns Richard, but what remained sounds thoroughly entertaining.

The Town Moor features in the series because of Richards interest in Thomas Spence, the 18th Century radical who advocated the common ownership of land and opposed the threatened enclosure of this open green space in the 1770s.

It was when I moved to Newcastle two years ago that I realised he was a Geordie and supported the Freemen who succeeded in keeping this enormous space in the heart of the city accessible for grazing, he explains.

Im not taking sides politically. Im just observing, as a historian, that there was a vision of shared ownership of this resource and that utopian vision hasnt been compromised, although I suspect generations of people have had to keep defending the moor.

The film crew, mostly up from the south, couldnt believe what they were seeing. What on earth is this in the middle of the city with cows grazing on it?

Sir Thomas More, whose political satire Utopia started it all, features in the series.

We filmed in a monastery, says Richard, because Mores idea of Utopia, where there is no private property, was thought to have been inspired by monastic living.

But in what was clearly a wide-ranging exploration, there is also room for an interview with a Wikipedia boss, Star Trek actress Nichelle Nichols, architect Norman Foster, whose firm designed Sage Gateshead , and composer Steve Reich.

The big competing ideologies of the 20th Century Communism, Capitalism and Fascism are all covered, hence those trips to the Baltic states which have felt the effects of all three.

And that might sound rather depressing, considering the cost in human lives.

But Richard says his exploration of historys utopias ends on a positive note.

The final programme ends up saying a recurring theme throughout history and across human societies and cultures is this urge to create a better, more equal way of life.

Despite the endless challenges in attempting to make it happen, we keep on trying and theres something really heartwarming and optimistic about that.

And with that hes away to enjoy his break in the county which he has chosen to make his home.

Ive been here for two years and Ive got no intention of leaving, he says.

Beautiful deserted beaches, incredibly friendly and generous people and the Town Moor!

He makes it sound rather utopian.

The first part of Utopia: In Search Of The Dream is screened on Tuesday (August 8) at 9pm on BBC Four.

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Why John Motson, Seven Stories and Newcastle Town Moor are in a new TV series about Utopia – ChronicleLive

Bjrk on her utopian new album: "This is my Tinder record about being in love" – Mixmag

Yesterday, Icelandic icon Bjrk announced that her new album, which’ll be the first since her 2015 ‘Vulnicura’ record, is coming soon.

Following up on the brief social media announcement, Bjrk dives further into the inspirations and thoughts behind the album in a new interview with Dazed.

This is like my Tinder record, she says before explaining further that the album is about “being in love. Spending time with a person you enjoy on every level is obviously utopia. I mean, its real. Its when the dream becomes real.

Her 2015 release, she explains, was very much a “heartbreak album”, influenced by her divorce from artist Matthew Barney. Addressing the rumors upfront, Bjrk explains that this album is more like a “dating album” as she continues to rebuild after the separation.

Beyond her own personal experiences, Bjrk also mentions that the album is undoubtedly tied into the world’s current controversies. Maybe thats why it became a utopian theme if were gonna survive not only my personal drama but also the sort of situation the world is in today, weve got to come up with a new plan, she said. If we dont have the dream, were just not gonna change. Especially now, this kind of dream is an emergency.

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Bjrk on her utopian new album: "This is my Tinder record about being in love" – Mixmag

‘New People’ Author Danzy Senna Loves The Troublesome Characters – NPR

New People is a novel where infatuation gnaws at what looks like happiness.

Maria lives in Brooklyn with Khalil, her fiance. They met at Stanford and they love each other, the light skin color they share, and the life they begin in the late 1990’s, Khalil an up and coming dot-commer, Maria a grad student studying the Jonestown Massacre. They’re called the “King and Queen of the Racially Nebulous Prom.” But Maria’s eye wanders to a poet who is vividly and distinctly different from her fiance.

We never see any of his poetry and author Danzy Senna says she wanted it that way. “I liked keeping him somewhat mysterious, so that he could become more of the object of her projections … he is unlike her fiance, not mixed-race. He’s black, she’s biracial. I think there’s a quest for maybe authenticity, and for something ‘real’ that she’s looking for and sort of not finding in her life.”

On the cruel prank Maria played on Khalil

When they were at Stanford and in some ways, the Stanford of the early ’90s was similar to the atmosphere on campuses now and it’s highly politicized, and the identity politics are at an all-time intensity, and Khalil has just kind of discovered his black identity, and is embracing his blackness. And Maria and a friend of hers smoke pot one night and decide to play a prank on him … and they leave him a racist message on his answering machine, in the voice of what they think of frat guys. And the horror is, it then sets off this other chain of events where he thinks it actually is a racist incident, and he ends up mobilizing the campus around his newfound victim status.

On Maria’s character

I wasn’t trying to write a female character who was necessarily the person I would want as my best friend. Maria’s a very conflicted and problematic and sort of deceitful character. And as a novelist, we want the character that’s going to kind of cause trouble, in their own life and those of others, and that’s where the story is, and the pulse.

On Maria’s work on the Jonestown Massacre

I was fascinated with the way that Jim Jones used all the rhetoric of racial liberation and progressive politics and kind of left-wing enlightenment to lead all of these people to their death, and the sort of paradox of the Jonestown Massacre that it sounded really amazing, in terms of this utopia he was creating, and then it went so terribly wrong. And it reverberated in me as someone who was raised in the ’70s in a sort of multiracial family, and a lot of the politics of my parents and their friends were reflected in those people in Jonestown.

On the end of the novel

I leave her in a very precarious position … I know not everybody reponds to that but for me, I like a story that leaves the problem inside of me, still alive. For me that ending was very clear, and left her very much alive. And I didn’t judge her at all as I was writing this. I felt I inhabited her without any judgment, and watched her, and led her down this path, and this sort of rabbit hole. But the characters we love as novelists are the ones that bring us into trouble and conflict.

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‘New People’ Author Danzy Senna Loves The Troublesome Characters – NPR

‘Crisis of Control’: AI Risks Could Lead to Utopia or Destruction – Voice of America (blog)

Posted August 4th, 2017 at 11:00 am (UTC-4)

An illustration projected on a screen shows a robot hand and a human one moving towards each others during the AI for Good Global Summit at the International Telecommunication Union (ITU) in Geneva, Switzerland, June 7, 2017. (Reuters)

Hardly a day goes by without news about a breakthrough in machine intelligence or some debate about its pros and cons, more recently between Facebooks Mark Zuckerberg and Tesla Motors Elon Musk. Adding his voice to the mix, author and IT specialist Peter Scott warns that rapid AI growth comes with serious risks that, if mitigated, could take humanity to a new level of consciousness.

If we build ethical artificial intelligence and it becomes superintelligent, it could become our partner

In Crisis of Control: How Artificial SuperIntelligences May Destroy or Save the Human Race, Scott, a former contractor with NASAs Jet Propulsion Laboratory, argues that there are two risks associated with rapid AI development. If these dangers are successfully mitigated, they will propel us into a new utopia, he said. Failing that, they could lead to the destruction of the human race.

FILE Product and graphic designer Ricky Ma, 42, poses with his life-size robot Mark 1, modeled after a Hollywood star, in Hong Kong, China, March 31, 2016. (Reuters)

The first risk is that AI could put biological weapons and weapons of mass destruction in the hands of average people so that someone in their garage could create a killer virus that could wipe out millions of people.

The second is that as the technology becomes more prevalent, someone could accidentally or deliberately cause a disaster through internet networks connecting global infrastructure. This crisis of control, as he calls it, is whether we can control what we create.

Will we be able to control the results of this technology, the technology itself? he asked. Theres always been a debate about technology going back to at least the atom bomb, if not the sword, but the further we get, the more volatility there is because of the large-scale potential effects of this technology.

There have been multiple revolutions throughout history that changed the way people lived and worked. But Scott said this time is different.

Where do we go from there? Whats left? There really isnt much room about that in what you would call a hierarchy.

FILE A woman inputs orders for a robot which works as a waitress in a restaurant in Xian, Shaanxi Province, China, April 20, 2016. (Reuters/China Stringer network)

One could argue that humans still need to program and maintain their intelligent machines. But that is also a knowledge-transfer function, said Scott. The point at which machines learn that job will transform the world in an instant because they will do it much, much faster. And the big question is when will that happen?

That could be in 10 or 50 years. Whenever it happens, humans need to come up with a new basis for employment that hasnt been done by machines, he said. And its very hard to see what that might be in an era where machines can think as well as a human being.

Alarm bells already are sounding off about the risks of automation to human workers. Scott predicts AI will take over jobs traditionally associated with the pinnacle of employment development such as chief executive officer, chief technology officer, and chief finance officer. It will take longer to automate jobs like therapists and psychologists that require sensory skills, and acute understanding of the human psyche, grounded in human experience

But the process has already begun, with AI systems like IBMs Watson already tackling complex medical problems. And the boundaries of what we call artificial intelligence keep getting moved, he said. AI, which was little more than parlor tricks back in the 1980s, now extends to chatbots,

FILE A man takes pictures with humanoid robot Jiajia, produced by University of Science and Technology of China, at Jiajias launch event in Hefei, Anhui province, April 15, 2016. Jiajia can converse with humans and imitate facial expressions, among other features. (Reuters/China Stringer Network)

humanoids like Chinas Jiajia robot, and voice assistants holding a conversation with humans the stuff of science fiction.

Science fiction writers have already tackled some of these dilemmas. In the 1940s, prominent science fiction writer and biochemist Isaac Asimov introduced the Three Laws of Robotics to govern the creation and ethics of intelligent machines.

There are similar efforts underway to create a set of AI ethics. In January, a group of AI experts came up with The Asilomar Principles, 23 statements they agreed upon on how to create ethical artificial intelligence.

But its not just about ethics. A new renaissance of the study of the human heart is needed, said Scott, to deal with the threats of not just machine intelligence but people who could wreak havoc if they get their hands on this technology. Given enough attention and funding, he said the next revolution will be in human consciousness.

His hope is that professions that repair wounds in the human heart will evolve in partnership with an ethical AI to develop medicines more quickly and cure cancer, disease, aging, and perhaps have something to teach us in psychology, in philosophy, ethics as well.

If we do that, then we will be able to coexist on a planet that has a new species of silicon beings that are many times more intelligent than us.

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‘Crisis of Control’: AI Risks Could Lead to Utopia or Destruction – Voice of America (blog)

Utopia Creations open new office to dominate Leeds market – Journalism.co.uk

Press Release

This month saw Utopia Creations, Leeds’s most exciting sales and marketing firm open a second office in the city, to increase their dominance in the region

2017 has been great so far for Utopia Creations as they launch their newest office in Leeds, the sales and marketing specialists are pleased to offer further representation for new and existing clients.

Utopia Creations specialises in a personalised form of direct marketing which allows them to connect with their customers’ ideal consumers on a face-to-face basis. By encouraging one-to-one interactions between brand and consumer, Utopia Creations can drive long-lasting and personal business relationships between brand and consumer. In turn, this often leads to increased customer acquisition, brand awareness and brand loyalty for their clients.

About Utopia Creations: http://www.weareutopia.co.uk/about-us/

Direct event marketing strategies have unique capabilities, including reaching customers in targeted areas, in a low cost zero commitment platform. The one-size-fits-all approach can secure important live markets and can allow strategies to be tailored to reach their maximum potential.

Utopia Creations expose the top reasons why brands need to utilise event marketing:

Face-to-face selling builds relationships and ultimately builds trust. Consumers are becoming increasingly picky with their vendors, choosing those who are socially and economically conscious. Person to person promotions allows brand image and vision to be shared readily. Trust is easier to establish when working face to face with customers. Dedicated sales agents are on hand to answer questions, demonstrate products and offer a friendly smile throughout the entire experience.

A high level of personal service leads to additional referrals, which can result in increased sales. Satisfied customers become mini ambassadors who spread a positive message about their experience with a brand. Referrals from friends or family hold considerable value and are more likely to influence a decision that a manufactured advertisement regardless of how engaging it may be.

Face-to-face selling simplifies complexity, getting to “yes” faster. Irrespective of product or service being sold, a face to face sales set up is streamlined and offers the consumer more opportunities to tailor their packages to ensure maximum effectiveness is achieved. What’s better than a private executive to provide expert advice on options and offer their experience to maximise the potential of the new investment.

Utopia Creations are excited to increase their market reach through 2017 and beyond, the possibilities for their clients is endless.

Source: https://salesandmarketing.com/content/3-benefits-face-face-relationship-selling

To find out more about Utopia Creations, follow them on Twitter @UtopiaCreation_ and find them on Facebook.

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Utopia Creations open new office to dominate Leeds market – Journalism.co.uk

New Found Glory Are Doing An In-Store Signing For Their Aussie Fans – Music Feeds

News Written by Emmy Mack on August 6, 2017

SicknewsNew Found Glory fans!The band have just announced a brand new event ontheir forthcoming Aussie tour itinerary.

Theyll be getting up-close-and-personal with fans for an in-store signing at Sydneys Utopia Records in the midst oftheir 20 Years Of Pop Punk dates.

Its going down at the underground heavy music stalwart on Kent street from 5pm before the dudes show at The Metro this Friday, 11th August.

Thanks to the utterly wonderful people atUNFDtop shelf blokes and Soundwave Festival 2009 giantsNew Found Gloryare poppin in for a quick almost secret until now guerrilla signing before theirThe Metro Theatreshow this coming Friday, Utopia wrote on Facebook by way of the big announcement.

They have let us know they will sign just about anything, CDs, LPs, Soccer Trophies, Babies foreheads, you name it!!!

Please be here around 5 pm to avoid disappointment and an array of sadness.

Well, you heard em.

Check out the details below or catch NFGs full list of Aussie tour dates here.

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New Found Glory Are Doing An In-Store Signing For Their Aussie Fans – Music Feeds

Focal Reveals the Next Generation of Its Flagship Utopia Speakers – Robb Report

Launched in 2008 and expanding incrementally ever since, the flagship Utopia III line of speakers from French audio manufacturer Focal has now been joined by an upgraded special-edition range dubbedappropriately enoughEvo. The new collection currently comprises two variations, the Scala Evo and the Maestro Evo, both of which retain the stunning design vocabulary of their forebears while offering technological upgrades to help audiophiles get the most out of their systems.

Both floor-standing speakers share the same basic layout as their respective cousins from the standard Utopia line. The Scala Evo (the smaller of the two models) is equipped with a 10.6-inch subwoofer, a beryllium inverted dome tweeter, and a newly improved version of Focals proprietary Power Flower midrange driver, all of which occupy their own, isolated sections of the cabinet. The Maestro is equipped with the aforementioned drivers as well as four additional woofers with a Magnetic Dampening System that allows the bass to adjust to the specific dimensions of the room the speaker occupies.

The Evos also have upgraded crossovers and the gauge of their cabling has been increased by 20 percent to reduce distortion. However, the new feature that will be music to hardcore hi-fi geeks ears is the support for bi-amplification, in which a single speaker is connected to two amplifiers: one that handles high and mid-range frequencies and a second amp for low frequencies. This affords discerning listeners greater control over their system and allows them to fine-tune the sound according to their personal preference.

Since its introduction, the Utopia line has been noted for its aesthetic appeal, and the Evos are no exception. The speaker is arranged in a slightly curved stack, with each type of driver housed in its own enclosure. The Evos differentiate themselves, however, with brand new set of three finish colors inspired by the automotive industry: British Racing Green, Metallic Blue, and Ash Gray. (Carrara White and Black Lacquer are also available for traditionalists.)

Though pricing for the two new models has not yet been announced, Focal expects to start offering the Evo for sale next month.

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Focal Reveals the Next Generation of Its Flagship Utopia Speakers – Robb Report

A New Suburban Utopia: An Interview With EMA – The Quietus

In the 2016 US Presidential election, Donald Trump won 61 per cent of the vote in the mid-west state of South Dakota. This was not a surprise South Dakotans had backed a Republican candidate since 1968. South Dakota is a red state. Erika M. Anderson hails from Sioux Falls, South Dakota, but for the past few years has resided in Portland, Oregon on the US Pacific Coast. In Portlands county Multnomah Hilary Clinton bagged over 73 per cent of the votes last November. Portland is a blue city.

Its the tension between these two versions of America the liberal coastal elite and the middle American that inspired much of EMAs third album, Exile In The Outer Ring. Its a staggering record, fuelled by class alienation, male rage as a society teeters on the verge of an implosive collapse. Its an album of heavy drones, self-loathing and Erikas gloriously twisted wit and feels like a sonic monument to the current fucked-up status of America in 2017.

However, Exile In The Outer Ring is a record aiming to build bridges. Amid all the dystopic energy lies a sliver of hope in the place EMA defines as the outer ring. According to Erika, this zone is where the two Americas collide. It can be found at the periphery of cities that have become too expensive for most, and its where the jobless from the countryside come to find a new life. Its a mass of faceless strip malls, vape shops and drive-thru fast-food joints and the good news is that the outer ring is culturally diverse, community-focussed and, as Erika tells me, is where all the weird shit is going down.

Its a place that suits Erika perfectly. She is still a mid-westerner at heart, but left Sioux Falls in part to remove herself from the suffocating misogyny of the towns punk rock community. Weve spoken before about her formative years (in an interview with fellow mid-westerner, Zola Jesus, in an article titled Empathy And The Red States) and Ive witnessed Erika visibly prickling at the lazy racist rednecks stereotypes bandied around by the coastal chattering classes.

I have interviewed Erika several times since a first meeting 2011, in the disused, top-floor storeroom in Salfords Islington Mill. She was touring her astounding debut album Past Life Martyred Saint and told me a terrible joke about an alien mattress salesman. Our most recent conversation was over a Skype video link for a tQ feature about her 2014 album, The Futures Void, a visceral and intense set of songs exploring online abuse, digital surveillance and media wrath. When we spoke, Erika was agitated and withdrawn. I was thinking about the last time I talked to you, Erika tells me, when we catch up to discuss Exile In The Outer Ring via another Skype video. I was a wreck and I was fucked up. I was not in a good place. This interview is very different.

Although I ask her some preposterous questions Erika has virtually fixed America by the time we are done she is on fine form and impassioned about an alternative vision for her wounded, flailing country. Exile and a desire to build bridges clearly suit EMA.

Congratulations on the new record. Three albums in, how close are we getting to the core DNA of EMA?

Erika M. Anderson: Well, I think I have done a pretty good job at being me on this record. It has all the things that I am interested in for as long as I have been making music – heavy drones, folk melodies, feedback and riffs. Its my language.

Thinking about the album title, can you give me an insight as to what you mean by the phrase outer ring.

EA: The outer ring is a term I came up with. Its the estuary between where the people who are being forced out of the cities, due to being economically disadvantaged, meet with the people who having to leave the countryside in order to get jobs. It has its own vibe and culture. And, where that place exists, is at the outer ring of a city. A lot of my work has been about spiritual transformations taking place in prosaic places. The outer ring to me is mess of chain stores and nondescript architecture, but also containing many super-unique elements the people. When I go to a city now, a lot of them are just all much of a muchness, with a culture and an aesthetic that makes them virtually identical. The fact that only wealthier people can live in the city, means they have become sterile. They all have the same kind of shops, bars and restaurants you could be in New York, London or Portland. Cities should be vibrant with culture and they still do house all of the cultural institutions but I think the outer ring is the place where the weird shit is going down.

Im also interested in a quote from the press release for this album, in which you describe your teenage self as a socialised male. What did you mean by that phrase?

EA: In my home town, any art or culture or anything interesting that was going on was strictly a boys club. Punk rock was the main art. There were definitely no girls that were playing music. I was the first woman to front a band in Sioux Falls. Even music fandom, if you wanted to hang out and learn about any of this stuff, all the people who were doing cool shit were dudes. They were also gnarly scumbags, but they were the people I had to learn from.

What impact did that have on you?

EA: Well, there are a couple of places on this record where I was going for a Guns N Roses vibe. It was me thinking about being six years old and getting the Appetite For Destruction tape and it containing a painting of a crumpled little girl who has just been raped by the huge robot. So, what did that do to me? I was taking in all of this culture the rage and the rebellion and it was all very male. When you are reading [Charles] Bukowski as a 12-year old girl, what does it do to you? Of course male rage is not hard to understand. It is everywhere. There are so many movies, so many books and so many songs that are fuelled by male rage. I have had to deal with male rage literally; by having crazy boyfriends who would destroy shit. I feel like I understand it. There is part of me that has been taking it in – artistically – for years, by observing, and then making something out of that rage.

The album explores some of the rage that fuelled the Presidential election. Why do you think that Trump was able to tap into so much frustration and anger?

EA: All the songs on this record were written before the US Presidential election. I think that one of the things I was tapping into, subconsciously, was a resentment of the liberal coastal elite in America. I dont know how to speak to the racism aspect [of Trump supporters] thats a whole different discussion but there is a resentment and rejection of liberal culture. That culture is not available to many people in America. And the liberal coastal elite, who may never have been to rural America, just think everyone there is racist and homophobic and judge them to be terrible people. They think there is nothing wrong to be making jokes about meth heads, who are actually a group of people with poverty-related drug issues. They dont see their own hypocrisy. I think this is a huge issue and one that cannot be ignored. Also, there is a dismissal of certain aspects of liberalism an almost wholesale rejection of multiculturalism and globalisation.

You are from South Dakota and I remember the article we did for tQ with Zola Jesus was entitled Empathy For The Red States. I am assuming you empathise with the demographic so reviled by the liberal coastal elite?

EA: I can pick up on that. I have a bit of that resentment. I can go a fancy bar or a boutique and it flips a switch in me, even though I have been living on the coast for a long time. I can still feel it, even if I havent been back home for a while. Having said that, I didnt really see Trump coming because he is such a conman. I could see the anger and a desire to say fuck you to the establishment and to the liberal elite, but how could you vote for a person who is a sleazy, New York City real estate mogul? Its beyond me.

Let me push you a little bit. While I understand your empathy, is it not true that there are many people in the Red States that are racist and homophobic and how do you square that away?

EA: Okay. I have a lot of thoughts going on. As for how to defend folk back home? I have been recently reading a lot about racism in America and the aspect that I can talk to and experienced when I was growing up in South Dakota, was about racism being linked to misbehaviour and shock value. I remember being in first grade and a kid carved a swastika into his desk. The teacher was so upset and the kid was getting into huge trouble. None of us knew what it meant at that point I didnt know and the kid didnt really know. He had no history of World War Two he just knew it caused a huge reaction. I think that is something I saw – kids being rebellious. Thats being going on forever. I was reading some stuff about the alt. right and some of them are these children who now have grown up and want to say the craziest things and make the most offensive memes. So, there is an aspect of that, which I remember as a kid. People would say racist shit and I would be like Dude, we are in South Dakota and everyone is white and you are obviously ignorant you literally have no clue what you are talking about at all. All they knew is that it would evoke a reaction. So, I had experience with this, when I was hanging out with some of the teenage scumbag boys. I dont have experience of actual hate crimes or of people who make that jump from saying stupid shit for shock value to piss people off, to the violent actions. I didnt grow up with that. I have no understanding of that. I dont know what thats about or how people can get that way. And, I dont know what to do about it.

Dont worry, Im not asking you to cure racism.

EA: Its frightening. There were people murdered recently on a train in Portland. Its insanity.

Have you a sense of what it means to be an American in 2017?

EA: This is the thing. I feel like an American and all this shit makes me want to reclaim it. I was so pissed when a group of people decided they were more American than I was. I dont believe any of the bullshit they try and put under the umbrella of what it means to be American. Since when has America just been about white people? We are all fucking immigrants what are they talking about? So, I definitely want to reclaim what it means to be American. Right now, the concept has been trashed.

How would EMA reclaim America? Sorry, thats a deeply unfair question.

EA: No. Let me think about this. What would I reclaim America as? I do want it to be a diverse country. As I am talking to you, I am thinking that the reason the outer ring might work as a place of unification is because its signifiers of geography are neutral. It has a neutral aesthetic – it is chain stores and parking lots. Its not the city with its dark wood espresso shops or the country with its dive bars. I dont know how to fix the cities and make affordable housing in the city. It seems pretty fucked cities seem like places people visit but not anywhere that anyone could live. They dont feel vibrant or integrated and interwoven anymore. The only thing I can hope for is some sort of suburban utopia. Isnt that what everyone at some point desires? Didnt America invent the suburbs?

Can you define your suburban utopia?

EA: The suburbs have always been like an American version of utopia and a reflection of their hopes and fears. Erikas version of American suburban utopia which I am renaming the outer ring is a diverse place, with affordable housing, the possibility for people to have small businesses (which is more realistic in the outer ring than in the city with its huge costs), decent public transportation and the ability to access art and cultural events. Thats my dream for America.

I think you might have just fixed America. Finally, is Exile In The Outer Ring a hopeful album?

EA: Well, you can always accuse my records of being harrowing or dark or bleak. There is processing of trauma on my records and I think my music does contain a lot of healing. As a person who has been watching others rage for years, instead of having my own tantrums, I keep the feelings inside until I can find a way of making them into music. The songs are like healing spells and it really works for me. When I really do a good job on a song, it gets rid of a weight. So, as far as hope goes, there is hope that you can heal through processing stuff and make it through to the other side. I think thats all I can hope for.

Exile In The Outer Ring is out on August 25 via City Slang.

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A New Suburban Utopia: An Interview With EMA – The Quietus

Studio Update On New Album Posted By Bleeding Utopia – Metal Underground


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Studio Update On New Album Posted By Bleeding Utopia
Metal Underground
Swedish death metal act Bleeding Utopia issued a video studio update on the upcoming new album. The band is currently in the studio finishing up the album, which is said to be a blast of deep-rooted Swedish death metal meshed with modern American …

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Studio Update On New Album Posted By Bleeding Utopia – Metal Underground


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