a “Savage” grimé in black marches in full controversy

Ath (Belgium) (AFP) – The “Sauvage”, a carnival character dressed in black, chains around the wrists, supposed to scare children, paraded on Sunday at the ducasse d’Ath in Belgium, in the middle of a controversy with a collective accusing him of conveying “racism and negrophobia”, noted an AFP photographer.

This anti-racist collective, called Bruxelles Panthères, launched a petition at the beginning of August against this practice, assimilated to the “Black face” and denounced as “a vestige of enslavement”.

He challenged Unesco, which became involved in the controversy, in an email sent Friday to Brussels Panthères, of which AFP obtained a copy.

The ducasse d’Ath, in Wallonia (south), exists since the XVIth century and gathers tens of thousands of people the last weekend of August, with as a high point the Sunday procession of which the Savage is the star .

The procession was inscribed by UNESCO in 2008 as an intangible cultural heritage of humanity, integrated into “the element + Giants and processional dragons of Belgium and France +”, according to the UN organization based in Paris.

As such, it must comply with principles, writes in this email Ernesto Ottone R., Assistant Director General for Culture at Unesco, citing in particular “the requirement of mutual respect between communities, groups and individuals” .

“Rest assured that Unesco will remain faithful in all circumstances to its founding principles and will not cease to be vigilant in the face of all forms of threats to human dignity and rights”, concludes the official.

In the initial letter sent by Bruxelles Panthères, this group of a dozen active activists identified several incidents or assaults that had recently targeted black people in Belgium, in particular racist chants during a music festival in August 2018.

“It is time to react to the negrophobia prevalent in Belgium”, wrote his spokesperson, Mouhad Reghif, asking that the ducasse d’Ath be deprived “if necessary” of its Unesco label.

The practice of the “Black face” in several carnivals or folkloric celebrations of Belgium – former colonial power in the Congo – subjects the black populations of the country to “unjustifiable symbolic violence”, according to him.

For their part, the municipality and the organizers of the ducasse d’Ath said they were open to debate to “change” the event.

“The population does not live this festive game as being a racist act, but wants to understand that it can shock someone from outside who does not know the context,” said Laurent Dubuisson, the historian who heads the House of Giants in Ath.

Sunday morning at the start of the parade, the Sauvage came symbolically to hand over its chains to the Burgomaster (PS) Bruno Lefèbvre, in a gesture of appeasement, to the cheers of the crowd. Many residents wore an “I am Wild” t-shirt.

The Obs with AFP

Series … and men – Censorship and retrospective additions: for Netflix, the series is just an eternal draft

By launching into the distribution and then the production of original series in 2013 (year of launch of House of Cards), Netflix has made a strategic shift whose consequences have continued to grow over the years. Now, the leaders of the Californian platform no longer hesitate to revise their copy (with the more or less constrained approval of the artists involved) to attenuate a controversy here, to place a “product” at a lower cost there. The proof with two new case studies: 13 Reasons Why and La Casa de Papel.

The more time passes, the more we realize the impact it will have
had Netflix on serial form. Already, the posting of all the episodes of a
a single blow mechanically erases the notion of “season”. Then automation
episodes (“Post-Play”) and jump functions
the opening credits and the ending credits make the episode lose its autonomy
of his micro narrative. Now the global SVOD market leader is tackling
to the integrity of the series as a finished work. It’s a new step
crossed towards the distortion of an artistic form shaped by more than one
half a century of admittedly more openly commercial proofs at first, but
having sometimes been able to lead to heights of creativity.

Unclear if Netflix will ever
reaching such heights: some original series from the Californian platform
turn out to be excellent, but there are few true masterpieces to be found there.
impose (the novelties of the past year have even turned into a collective sinking).
Anyway, his will to attack serial form in his flesh does not
seems not ready to stop. At the end of 2018, she
put
online an interactive film
entitled Bandersnatch,
“innovative” appendix inserted between seasons 4 and 5 of
Black mirror. Race result:
a wobbly and awkward essay of which nobody will have seen the same version, according to one
principle of personalization that each subscriber of the platform accesses
to an individualized experience helping to break their social ties (even if
this side effect is rarely mentioned in such derogatory terms).

Netflix is ​​however taking a step
higher. As reported by the blog of
Darkness
censorship and cinema
last month, the platform managers decided to truncate the suicide scene of Hannah Baker in the concluding episode of
the first season of
13 Reasons Why
(2017-), to keep only the ends. Official reason: “allow
to continue an open and peaceful debate on suicide prevention while
reducing the risks [de mimétisme] for the most viewers
vulnerable ”. Censorship
at
posteriori
with multiple consequences, which should not be underestimated
twisted effects under the guise of “reactivity” and “responsibility”
vis-à-vis young audiences. On the one hand, this maneuver (which the
“stream” television) means denying the historical past – as if
Hannah’s suicide never happened, at least as we’ve seen before.
“Cover this suicide that I cannot see”: in comparison,
a raw and frontal series such asEuphoria
(HBO, 2019-) has the effect of a brutal awareness. On the other hand,
this censorship calls into question the integrity of the work – with the approval of the
showrunner Brian Yorkey, who says that
long on the artistic vision of the latter. “While we
about to launch season 3, we’ve heard about Dr. Christine’s concerns
Moutier ofAmerican Foundation for
Suicide Prevention
, he explains bluntly. That’s why we accepted Netflix to proceed
to a reassembly. No scene is more important than the life of the series and its
message that we need to take more care of each other.
We are convinced that this reassembly will help the series to do good for the most
large number, while mitigating the risk of disturbing young spectators
the most vulnerable. ”

So here is the series (not televised) reduced to a work of
social good, whose influence on young audiences would be so strong that it
would be well advised to avoid exploring the smallest amount of darkness (taking
of position which is reminiscent of
that of Donald Trump, which preferred to condemn, in early August, the “glorification
of violence “rather than the free sale of weapons in the United States after
the shootings of El Paso and Dayton). Blame, rectify, smooth: this is a
new form of censorship that seems to fit perfectly with the era of blinders
that we are currently going through, despite the initial speeches
individual and breaking with past mistakes. There is no need to say:
Reed Hastings (and Silicon Valley more broadly) has the art of capturing the air
time. Which does not necessarily mean that he is able to make good use of
such clairvoyance.

La Casa de Papel

Symbol of typical double talk of “disruptors”
such as Facebook, Amazon or Apple, Netflix also knows how to take advantage of
advantages offered by the “storage” of its catalog (in opposition
to a “flow” of more volatile programs) to lend themselves to
otherwise more futile communication exercises. In November 2018, when they
were preparing to face Lille at the Parc des Princes, the Neymar footballers and
Kylian Mbappé had left the locker room
disguised as robbers of La Casa de Papel
(Antena 3 / Netflix, 2017-). Less than a year later, we learn that Netflix has discreetly
modified episodes 6 and 8 of the third season (posted on July 19
2019) to include brief shots of Neymar in the skin of a monk
ironically declaring that he likes “neither football nor party”. Or
how to serve each other soup, initially through a series
articulated around a bank robbery (which does not seem at all problematic
in the eyes of Netflix, unlike the suicide of a teenage girl).

More than ever, the Netflix-style series is akin to
an eternal draft whose notes can be erased or embellished over time
controversies and opportunities that arise. Depending on when you
watch it (or if you choose other means like downloading), it
it may not have quite the same mouth. As always, a
commercial argument hides behind this alleged “modernity”
formal: a remodeling series deserves all the more to be reviewed than it
we may have some new surprises in store. The apostles of interactivity there
will see a beneficial entry into the era of permanent reinvention. The
purists, on the contrary, will deplore seeing seriality individualize at this
point, the common experience suddenly being thrown into oblivion, and the integrity
cropped works without their authors finding fault with them. The first ones
have the wind in their sails, but that they are wary of the publicity effects:
whispers that Netflix’s new competitors (Disney +, Apple TV +,
waiting for HBO Max?)
do not intend to put online all episodes of their new seasons from one
suddenly but
rather duplicate the traditional weekly frequency of Link and cable channels. Are they learning the lessons of the last six “revolutionary” years?

Pictures Netflix

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Frances McDormand – – Biography

Working with the Coen brothers

After Yale, McDormand moved to New York, where she made her room with her Yale Drama classmate Holly Hunter and performed with the O’Neill Playwright’s Conference. His first job as a professional actor came in 1982, when he went to Trinidad to perform a play written by the Jamaican poet Derek Walcott. Through Hunter, he met Joel and Ethan Coen, two brothers who were launching their debut film, a low-budget thriller.

McDormand won the lead role in the film, that of the unfaithful wife of a Texas bar owner who decides to have her and her lover killed. Blood Simple, released in 1984 with huge critical acclaim, marked the beginning of his personal and professional collaboration with director Joel Coen, whom he married in 1984. The couple have an adopted son, Pedro.

McDormand followed Blood Simple with an appearance of a nun Crime wave (1985), written by the Coen brothers, and a role in the short-lived television series Work on the legs (1987). He collaborated with the Coen brothers with a supporting role in their second major effort, the extravagant comedy Raising Arizona (1987), which featured his old roommate Hunter in his first starring role alongside Nicolas Cage.

Michael Avenatti claims the case for alleged theft by Storm Daniels in California

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Aubrey O’Day offers fans a view of Underboob in Insta Pic’s revealing madman

Aubrey O’Day shared a super revealing photo a week ago and received over 199,000 views. The photo was animated with a filter that gave life to the image.

The photo showed Aubrey swinging a gold sequin bikini with black trim. And one of the most remarkable aspects of the image was the angle of view. The photo was taken from a very low point of view, when Aubrey looked down and cast a steaming look. This also meant that his body was in full display, providing a questionably provocative view.

O’s bikini top, in particular, was too small for its curves. This meant that her underboob was fully exposed, while she also snapped her right hip for the shot.

At the same time, he pulled a lock of hair with his left hand.

Additionally, Aubrey’s makeup added a splash of color and consisted of a metallic blue eyeshadow and a peach-colored glossy lipstick. Her eyes were also dotted with small jewels, which also decorated her eyebrows.

Aubrey fans didn’t seem to have enough of the photo and shared their thoughts in the comments section.

“D * mn. Why can’t I be so cute, “complained a fan.

“The hips !!! My God, “exclaimed another fan.

“Your ex is shaking in his boots right now,” referring to the captions.

“‘Let me say uh oh oh oh oooooh’,” said one follower.

“Your most beautiful woman ever,” said another follower.

Also, some people have been baffled by the effects that Aubrey used in the post.

“I love the seed! How did you get the photo to move the sequins, “asked a fan.

But that wasn’t all, with fans leaving even more comments.

“If you have it, flaunt it,” said one follower.

“There is no more precise spectacle than the one right there,” observed another follower.

In addition, a super fan shared a personal tidbit.

“So guys, not that anyone cares lol but I called my daughter Aubree because I fell in love with the name after seeing Aubrey make the band (she was my favorite),” they said.

In other news, Aubrey also shared a series of Instagram photos of herself in a crochet bikini. An Instagram post in particular showed her how to wear a white crochet bikini. The upper part had an ankle cut. He added glittery accents to the face and arms, as well as using a shimmering filter that added a fun and flirtatious feel.

Oay put his left hand on her neck, looking into the distance.

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Celebrate National Sweet Tea Day with these recipes, homemade teas

Sweet tea is not officially the drink from the south, but it could also be – Georgia state representative John Noel even went as far as to present a bill in 2003 that would have made it a crime not to include sweet tea on a restaurant menu.

OK, it was an April Fool’s joke, but it doesn’t seem so far-fetched, does it? People around here love their sweet tea (these kids loved him so much that they were willing to be arrested for it)

In honor of today’s National Sweet Tea Day celebration, we have prepared some ways to celebrate;

Buy these three Georgia-made teas for your pantry

Make this sweet pickled pork

Prepare these tea recipes from local restaurants

Order these delicious local teas

Make the Mary Mac sweet tea recipe

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Read the AJC Spring Dining Guide: The Atlanta barbecue issue

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