• #audacious Music App Now Defaults to GTK3, Adds New Plugins
    https://www.omgubuntu.co.uk/2024/07/audacious-music-player-now-gtk3-ui

    A new version of the Audacious music player popped out a few weeks back, but I totally missed hearing about until today (when sifting through my GitHub stars to make sure no other apps I like have joined the FOSS graveyard). Audacious 4.4 is a sizeable update which existing fans of this feature-packed, lightweight audio app are sure to appreciate, whether they run it on Linux, macOS, Windows, or a *BSD of some description. The biggest change? Audacious now defaults to GTK3 or Qt6 (depending on preference). Neither toolkit bumps changes the look of the app, but will mean the […] You’re reading Audacious Music App Now Defaults to GTK3, Adds New Plugins, a blog post from OMG! Ubuntu. Do not reproduce elsewhere without (...)

    #News #App_Updates #music_players

  • Zum Tod von Monika Döring : Die Königin des Berliner Nachtlebens
    https://www.tagesspiegel.de/kultur/zum-tod-von-monika-doring-die-konigin-des-berliner-nachtlebens-11614556

    Monika Döring a contribué au succès de plusieurs des plus grands musiciens de l’époque post-punk. Dans l’ère avant Capital-B (sur Arte, un « must ») elle était dans tous les mouvement culturels nouveaux à Berlin où involotairement naquit l’image de marque dont profite toujours la ville de Berlin. Elle n’aura pas de cérémonie officielle. Tant mieux. Un article dans le canard réac Der Tagesspiegel suffit.

    3.5.2024 von Christian Schröder - Bei ihr spielten #Björk, die #Einstürzende_Neubauten und #Nick_Cave schon, als sie noch kaum einer kannte: Als Betreiberin des Loft wurde Monika Döring legendär. Nun ist sie mit 87 Jahren gestorben.

    Mit ihrer hochgesprayten platinblonden Ananasfrisur, den schwarz überschminkten Augenbrauen und bunt lackierten Fingernägeln war Monika Döring eine schillernde Erscheinung im Berliner Nachtleben: halb Punkerin und halb Operndiva. Die legendäre Konzertveranstalterin, Jahrgang 1937, entstammte einer bildungsbürgerlichen Künstlerfamilie und war mit klassischer Musik aufgewachsen. Ihre Großmutter betrieb eine Musikalienhandlung, Vater und Schwester sangen an der Oper, und Tante und Onkel waren Kunstmaler.

    Döring begeisterte sich früh für Freejazz, versuchte sich als Schauspielerin und gründete 1977 mit Mistreitern wie dem späteren Kabarettisten #Holge_Klotzbach das Schwarze Café an der Berliner #Kantstraße, das dort bis heute dem Existenzialismus huldigt. Es waren bewegte Zeiten in der eingemauerten Halbstadt, und immer, wo es spannend wurde, war Döring mittendrin.

    Sie gehörte 1978 zu den Initiatorinnen des #Tunix-Kongresses an der Technischen Universität, der dem Kapitalismus mit den Mitteln des Faulseins trotzen wollte und als Geburtsstunde der Alternativbewegung gilt. Im Zirkuszelt des #Tempodrom s, das die ehemalige Krankenschwester #Irene_Moessinger von ihrem Erbe erworben und am #Tiergarten platziert hatte, veranstaltete sie das Festival „Monster, Mythen, Mutationen“, einen Vorläufer des Atonal-Festivals.

    Mehr als für Politik interessierte sich Monika Döring aber für Musik, speziell für solche, die noch nicht in den Charts vorkam, innovativ klang und ihrer Zeit voraus war. Im #Punk erkannte sie die Fortsetzung des Freejazz mit anderen Mitteln: den Sound einer Befreiung.

    Ich bin ständig auf der Jagd nach neuen Impulsen, eine Glücksjägerin aus Leidenschaft. Monika Döring

    Ab 1981 holte sie Bands und Musiker wie #Blurt, #Adrian_Sherwood, #Neneh_Cherry oder #Caspar_Brötzmann zu Konzerten in die #Music_Hall an der #Steglitze r #Rheinstraße. „Dort ist man hingefahren, zum #Walther-Schreiber-Platz, mit der U-Bahn, da spielten dann drei Bands für fünf Mark. Das war natürlich auch bizarr“, erinnerte sich #Sven_Regener, später im Gespräch mit dem Tagesspiegel.

    Endgültig zur Veranstalterlegende steigt Monika Döring auf, als sie 1983 das #Loft gründet, einen gerade einmal 600 Besucher fassenden Musikklub über dem ehemaligen #Metropol-Theater am #Nollendorfplatz. Dazu gehört auch die gleichnamige Konzertagentur, die sich auf #Postpunk-, Avantgarde- und Independent-Acts konzentriert.
    500 Konzerte in sechs Jahren

    Viele Bands und Musiker, die später große Hallen füllen, absolvieren dort ihre ersten Berliner Auftritte, darunter Björk, #Sonic_Youth, Nick Cave,€ The_Pogues und #The_Fall, aber auch frühe Hip-Hop-Größen wie #Public_Enemy oder #LL_Cool_J. Die Einstürzenden Neubauten sind zehn Mal bei von Döring veranstalteten Konzerten aufgetreten.

    „Das war schon der aufregendste und beglückendste Teil meines Lebens“, bilanzierte Döring in einem Interview mit der „taz“. Sie habe ihre Begeisterung für diese „unverbrauchte Energie, gegen alle Normen“ teilen wollen, ein größtmögliches „Sharing“ zu kleinem Eintritt. 800 Bands aus 19 Ländern schleuste sie in 500 Konzerten durch den kleinen Laden.

    Die internationalen Stars kamen auch deshalb gerne wieder, weil sie sich bei Döring verwöhnt fühlten. Die Aftershow-Partys im Backstage-Bereich wurden oft noch in ihrer Privatwohnung fortgesetzt. Als sie „keine Gitarren mehr hören“ konnte, übergab Döring 1988 die Geschäfte an zwei Nachfolger.

    Einige Jahre hat Monika Döring danach in San Francisco verbracht und viele Winter in Goa,wo sie sich für die dortige Psy-Trance-Musik begeisterte. „Ich habe darüber nachgedacht, warum ich so alt geworden bin“, erzählte sie zu ihrem 80. Geburtstag. „Es sind die Glücksmomente. Glück durch Entdeckungen. Ich bin ständig auf der Jagd nach neuen Impulsen, eine Glücksjägerin aus Leidenschaft.“ Am Donnerstag ist Döring in Berlin gestorben. Sie wurde 87 Jahre alt.

    #Berlin #histoire #mur #musique #culture #mouvement_alternatif

  • #amarok 3.0 Released, Ported to Qt5/KDE Frameworks 5
    https://www.omgubuntu.co.uk/2024/04/amarok-3-0-released

    A new version of the open-source music player Amarok has been released, the first major update to the Qt-based media app since 2018. Amarok 3.0 is the first stable release to use Qt 5 and KDE Frameworks 5, and work to port the music player to the the newest Qt 6 and KDE Frameworks 6 is, its devs say, soon to get underway. “Common usecases should work quite well, and in addition to fixing KF5 port related regressions reported in pre-releases, 3.0 features many bugfixes and implemented features for longstanding issues, the oldest such documented being from 2009,” devs say. […] You’re reading Amarok 3.0 Released, Ported to Qt5/KDE Frameworks 5, a blog post from OMG! Ubuntu. Do not reproduce elsewhere without (...)

    #News #App_Updates #kde_apps #music_players

  • Pythagoras was wrong: there are no universal musical harmonies, study finds
    https://www.cam.ac.uk/research/news/pythagoras-was-wrong-there-are-no-universal-musical-harmonies-study-finds

    https://www.youtube.com/watch?v=gm2midoq-KQ

    Tom Almeroth-Williams - The tone and tuning of musical instruments has the power to manipulate our appreciation of harmony, new research shows. The findings challenge centuries of Western music theory and encourage greater experimentation with instruments from different cultures.

    “There are many more kinds of harmony out there.” Peter Harrison

    According to the Ancient Greek philosopher Pythagoras, ‘consonance’ – a pleasant-sounding combination of notes – is produced by special relationships between simple numbers such as 3 and 4. More recently, scholars have tried to find psychological explanations, but these ‘integer ratios’ are still credited with making a chord sound beautiful, and deviation from them is thought to make music ‘dissonant’, unpleasant sounding.

    But researchers from the University of Cambridge, Princeton and the Max Planck Institute for Empirical Aesthetics, have now discovered two key ways in which Pythagoras was wrong.

    Their study, published in Nature Communications, shows that in normal listening contexts, we do not actually prefer chords to be perfectly in these mathematical ratios.

    “We prefer slight amounts of deviation. We like a little imperfection because this gives life to the sounds, and that is attractive to us,” said co-author, Dr Peter Harrison, from Cambridge’s Faculty of Music and Director of its Centre for Music and Science.

    The researchers also found that the role played by these mathematical relationships disappears when you consider certain musical instruments that are less familiar to Western musicians, audiences and scholars. These instruments tend to be bells, gongs, types of xylophones and other kinds of pitched percussion instruments. In particular, they studied the ‘bonang’, an instrument from the Javanese gamelan built from a collection of small gongs.

    “When we use instruments like the bonang, Pythagoras’s special numbers go out the window and we encounter entirely new patterns of consonance and dissonance,” said Dr Harrison, a Fellow of Churchill College.

    “The shape of some percussion instruments means that when you hit them, and they resonate, their frequency components don’t respect those traditional mathematical relationships. That’s when we find interesting things happening.”

    “Western research has focused so much on familiar orchestral instruments, but other musical cultures use instruments that, because of their shape and physics, are what we would call ‘inharmonic’.

    The researchers created an online laboratory in which over 4,000 people from the US and South Korea participated in 23 behavioural experiments. Participants were played chords and invited to give each a numeric pleasantness rating or to use a slider to adjust particular notes in a chord to make it sound more pleasant. The experiments produced over 235,000 human judgments.

    The experiments explored musical chords from different perspectives. Some zoomed in on particular musical intervals and asked participants to judge whether they preferred them perfectly tuned, slightly sharp or slightly flat. The researchers were surprised to find a significant preference for slight imperfection, or ‘inharmonicity’. Other experiments explored harmony perception with Western and non-Western musical instruments, including the bonang.
    Instinctive appreciation of new kinds of harmony

    The researchers found that the bonang’s consonances mapped neatly onto the particular musical scale used in the Indonesian culture from which it comes. These consonances cannot be replicated on a Western piano, for instance, because they would fall between the cracks of the scale traditionally used.

    “Our findings challenge the traditional idea that harmony can only be one way, that chords have to reflect these mathematical relationships. We show that there are many more kinds of harmony out there, and that there are good reasons why other cultures developed them,” Dr Harrison said.

    Importantly, the study suggests that its participants – not trained musicians and unfamiliar with Javanese music – were able to appreciate the new consonances of the bonang’s tones instinctively.

    “Music creation is all about exploring the creative possibilities of a given set of qualities, for example, finding out what kinds of melodies can you play on a flute, or what kinds of sounds can you make with your mouth,” Harrison said.

    “Our findings suggest that if you use different instruments, you can unlock a whole new harmonic language that people intuitively appreciate, they don’t need to study it to appreciate it. A lot of experimental music in the last 100 years of Western classical music has been quite hard for listeners because it involves highly abstract structures that are hard to enjoy. In contrast, psychological findings like ours can help stimulate new music that listeners intuitively enjoy.”
    Exciting opportunities for musicians and producers

    Dr Harrison hopes that the research will encourage musicians to try out unfamiliar instruments and see if they offer new harmonies and open up new creative possibilities.
    ...

    #musique #musicologie #science #eurocentrisme #notatiin #harmonie #histoire

  • Plattenalbum is a Modern-Looking #MPD Client for Linux
    https://www.omgubuntu.co.uk/2024/03/plattenalbum-mpd-client

    This week I came across Plattenalbum, a modern GTK4/libadwaita frontend for the #music_player Daemon (MPD). MPD remains a popular way to make music stored on a server or a computer available on other devices, with capable, user-friendly frontend clients for mobile and desktop devices a crucial element. And Plattenalbum looks a solid choice. Note: this is not a “why you should use MPD” article nor a guide to installing MPD on Ubuntu. MPD isn’t an ‘everyone’ solution. If all you need to do is play music files you keep on your device then a regular Linux music player, e.g., Rhythmbox, […] You’re reading Plattenalbum is a Modern-Looking MPD Client for Linux, a blog post from OMG! Ubuntu. Do not reproduce elsewhere without (...)

    #Apps #News

  • Desktop YouTube Music App ‘Musictube’ Gets ‘Major Overhaul’
    https://www.omgubuntu.co.uk/2024/02/musictube-2-released-youtube-music-streaming

    A new version of #musictube, a Qt-based desktop app that lets you stream music from YouTube, is available for download for Windows, macOS and Linux. Musictube 2 is described as a “major overhaul” offering an improved search algorithm that now supports genres in addition to artists, albums and song titles. The user interface has been refreshed, sporting a “more modern, flatter and generally cleaner” look — a look matching the revamped UI Flavio’s local music player app Minitunes received a few months back. Other changes in Musictube 2 include lighter resource usage by only streaming audio when videos are hidden; […] You’re reading Desktop YouTube Music App ‘Musictube’ Gets ‘Major Overhaul’, a blog post from OMG! Ubuntu. Do not reproduce elsewhere without (...)

    #News #App_Updates

  • #musique Music Player Ported to Qt 6, Refreshes UI
    https://www.omgubuntu.co.uk/2023/11/musique-music-player-ported-to-qt6

    It’s been a while since I last wrote about Musique, an open-source desktop music player for Windows, macOS, and Linux (I first featured it in 2010, back when it was called MiniTunes). Amazingly, the app is still going, and it just received its first major update in almost 3 years. “This Musique update is the first Qt 6-based release I do. The main effort has been modernizing the look of the app: a more flat and clean style, with rounded artist pics and a nicer toolbar,” writes its developer, Flavio Tordini, on the project website. Musique is a music player […] This post, Musique Music Player Ported to Qt 6, Refreshes UI is from OMG! Ubuntu. Do not reproduce elsewhere without (...)

    #News #App_Updates #musicplayers #qt_apps

  • Inchiesta sul gestore del #Cpr di Milano: tra falsi protocolli e servizi non erogati

    Altreconomia ha potuto visionare l’offerta tecnica presentata dalla società Martinina Srl alla prefettura di Milano per aggiudicarsi l’appalto da oltre 1,2 milioni di euro per la gestione della struttura in #via_Corelli: alcuni degli accordi stretti con associazioni e Ong “esterne” per migliorare la vita dei trattenuti non sarebbero autentici

    Lenzuola non distribuite, raro utilizzo dei mediatori culturali, tutela legale inesistente, assistenza sanitaria carente. Ma soprattutto falsi protocolli d’intesa “siglati” per svolgere servizi e attività all’interno del Centro di permanenza per il rimpatrio (Cpr) di via Corelli a Milano.

    Altreconomia ha potuto visionare l’offerta tecnica presentata dalla società Martinina Srl alla prefettura di Milano per aggiudicarsi l’appalto da oltre 1,2 milioni di euro per la gestione della struttura: oltre alla discordanza tra quanto scritto nei documenti e la realtà nella struttura di reclusione, alcuni degli accordi stretti con associazioni e Ong “esterne” per migliorare la vita dei trattenuti sarebbero falsi.

    Altri invece sarebbero stati siglati con soggetti di cui non è stato possibile trovare alcuna traccia online. “Viene da chiedersi in che cosa consista il controllo effettuato dalla prefettura, essendo risultata evidente l’assenza di servizi all’interno del centro oltre che palesi le incongruenze negli atti e nei documenti versati nella gara di appalto”, osserva l’avvocato Nicola Datena dell’Associazione per gli studi giuridici sull’immigrazione (Asgi), che ha visionato la documentazione insieme a chi scrive.

    Alcuni snodi temporali. Martinina Srl nell’ottobre 2022 si è aggiudicata l’appalto per un anno (scadenza il 31 ottobre 2023, rinnovabile di un anno in assenza di nuove gare pubbliche) indetto dalla prefettura di Milano presentando un’offerta in cui garantiva, tra le altre cose, la collaborazione con diverse associazioni e società profit, finalizzata ad assicurare l’erogazione di “servizi” da integrare nella gestione del Cpr.

    L’offerta tecnica consiste nella documentazione da presentare in sede di gara d’appalto che descrive come l’impresa intende eseguire il lavoro per l’ente che richiede la prestazione, ovvero il piano di lavoro, le fasi e le risorse impiegate, la durata e le ore di lavoro previste, eventuali migliorie richieste o proposte

    Protocolli forniti in sede di gara ed esaminati dalla Commissione giudicatrice, la quale, nella decisione di assegnare l’appalto alla società domiciliata in provincia di Salerno, sottolinea l’importanza del “valore delle proposte migliorative dell’offerta tecnica”. Un “dettaglio” sfugge però ai funzionari della prefettura: almeno otto sarebbero falsi. Eccoli.

    Secondo la documentazione contrattuale, il Vis (Volontariato internazionale per lo sviluppo), una delle più importanti organizzazioni del Terzo settore del nostro Paese, avrebbe firmato un protocollo con Martinina l’8 agosto 2022 volto alla formazione del personale del Cpr. Il nome del responsabile legale non corrisponde però ad alcun referente dell’organizzazione: “Ribadiamo l’assoluta estraneità del Vis e l’assenza di qualsiasi tipo di contatto o accordo, passato e presente, relativo alla gestione del Cpr di via Corelli. E ci tengo a precisare che come Ong salesiana abbiamo una visione della migrazione fondata sui diritti umani, distante dall’approccio applicato nei Cpr, con cui in ogni caso le nostre policy ci impedirebbero di collaborare”, spiega ad Altreconomia Michela Vallarino, presidente del Vis.

    Sono 59 invece le pagine dell’accordo tra Martinina e la cooperativa sociale BeFree, uno dei più importanti enti antitratta italiani con sede a Roma, per la realizzazione del progetto “Inter/rotte” per l’assistenza per vittime di tratta e violenza. “Non avremmo mai potuto firmare un simile protocollo -spiega Francesca De Masi (qui la sua presa di posizione integrale)- perché siamo fortemente critiche nei confronti della stessa esistenza dei Cpr”. Il presunto protocollo è talmente grossolano che il nome del legale rappresentante è sbagliato e di conseguenza anche il codice fiscale generato.

    Ala Milano Onlus secondo l’accordo dovrebbe invece garantire “prestazioni di natura di mediazione linguistica/culturale”. Il presidente, contattato da Altreconomia, dichiara però di non aver mai siglato quel protocollo. Così come Don Stefano Venturini, l’allora parroco della comunità pastorale delle parrocchie di San Martino in Lambrate e SS Nome di Maria, che si sarebbe impegnato, secondo le carte consultate, “a orientare, aiutare gli ospiti prestando attenzione specifica a quanto le persone esprimono”. “Ho incontrato una volta chi gestisce la struttura ma non ho mai siglato un protocollo”, spiega Venturini ad Altreconomia, aggiungendo, tra l’altro, come sia di competenza della curia diocesana un eventuale accordo formale. Nell’offerta inviata alla prefettura, Martinina ha allegato il decreto di nomina di Venturini emesso dall’arcivescovo Mario Enrico Delpini. “Non so come abbiano fatto ad averlo”, spiega ancora l’interessato.

    L’accordo con la società sportiva Scarioni 1925 risulta stipulato il 24 agosto 2022 dall’ex presidente, che però è morto nel febbraio 2020: un post sulla pagina Facebook della società stessa, datato 31 marzo 2020, porge le condoglianze alla famiglia per la sua scomparsa. Il Centro islamico di Milano e Lombardia avrebbe siglato un accordo con Martinina per garantire il sostegno spirituale all’interno del centro. “La carta intestata è di un centro di Roma, la firma del protocollo di un centro di Cologno Monzese -spiega il presidente Ali Abu Shwaima-. Noi non abbiamo mai visto quel protocollo”. L’associazione Dianova Onlus garantirebbe assistenza per i trattenuti con tossicodipendenza: la prefettura sembra non essersi accorta però che il protocollo risulta firmato nell’agosto 2022 solo da Martinina Srl. “Non ho mai sentito questa società -spiega il presidente Pierangelo Buzzo, a cui è intestato l’accordo- e tra l’altro dal febbraio 2021 siamo cooperativa sociale, non più associazione. Il protocollo è falso”.

    Diverso è il caso della Associazione di Volontariato “Il Paniere Alimentare”, dell’Organizzazione “Musica e Teatro” e dell’Associazione “Fiore di Donna”, dei quali non solo non è stato possibile riscontrare alcun riferimento online, ma di cui i codici fiscali inseriti nei protocolli risultano inesistenti, così come gli indirizzi mail di riferimento. La “Bondon grocery” dovrebbe riconoscere “agli ospiti del Cas e agli operatori della Martinina Srl che acquistano per conto delle persone trattenute nel Cpr uno sconto del 5% sulla spesa effettuata”: il protocollo firmato nell’agosto 2022 reca in intestazione la denominazione della società, che ha però cessato l’attività il primo luglio 2021.

    Dianova, BeFree, l’Organizzazione “Musica e Teatro” vengono citati tra i protocolli di intesa presentati anche nell’offerta tecnica presentata da Engel Srl il 26 maggio 2021 per l’aggiudicazione del bando precedente a quello in essere. La prefettura di Milano ha pubblicato i documenti integrali -contratto siglato dalla società e offerta tecnica- il 10 novembre 2023.

    Tornando ai protocolli siglati da Martinina Srl, questi danno uno spaccato della vita nel centro che appare molto distante della realtà. Attività ludico-ricreative, per “impegnare le giornate degli ospiti e rendere più piacevole il trascorrere del tempo”, cineforum, laboratori di teatro, musicali, sport. Addirittura “campagne di prevenzione della salute”. Ma niente di tutto questo si sarebbe mai verificato nella struttura. Sia per i numerosi report prodotti nel tempo da diversi soggetti, dall’Asgi al Garante dei diritti delle persone private della libertà personale, fino agli stessi verbali delle visite di monitoraggio redatti proprio dalla prefettura.

    Così l’accesso ai servizi di mediazione linguistica-culturale, previsto nell’offerta, non si riscontra affatto nella realtà: in questo caso è l’Asgi, durante una delle visite d’accesso, a non incontrare alcun mediatore e dal Naga, che ha recentemente pubblicato un dettagliato report sulla situazione all’interno del centro. Oppure l’orientamento legale, anche questo assicurato sulla carta da Martinina Srl, addirittura con la “diffusione di materiale informativo tradotto nelle principali lingue parlate dagli stranieri presenti nel centro” ma che non trova riscontri. È il Garante, questa volta, a scrivere nel febbraio 2023 che l’informativa cartacea “non viene consegnata alle persone trattenute”. Problematico anche l’accesso ai servizi sanitari: nell’offerta tecnica si assicura “al ricorrere delle esigenze la somministrazione di farmaci e altre spese mediche” ma al di fuori degli psicofarmaci -che, come raccontato da Altreconomia nell’inchiesta “Rinchiusi e sedati”, su cinque mesi di spesa rappresentano il 60% degli acquisti in farmaci- sempre il Garante scrive che “l’assistenza sanitaria in caso di bisogno si limita alla distribuzione della tachipirina”. E c’è uno scarso accesso alle visite specialistiche. Emergono poi acquisti di distributori di tabacchi non presenti nel centro, colloqui con lo psicologo non documentati, addirittura la fornitura di “cestini da viaggio” in caso di trasferimenti da un Cpr all’altro, discrepanze anche relative alla qualità del cibo distribuito.

    All’impatto sulla vita delle persone se ne aggiunge uno di natura economica. Secondo dati inediti consultati Altreconomia, infatti, la prefettura di Milano avrebbe già versato a Martinina Srl oltre 943mila euro per la gestione della struttura di via Corelli. Ed è rilevante anche l’avvicendamento delle società gestite dall’imprenditore Alessandro Forlenza. Lui, nel 2012 fonda la Engel Italia Srl, ex gestore del “Corelli” di Milano e del Cpr di Palazzo San Gervasio a Potenza: oggi quella società non esiste più perché il 20 ottobre 2023 è stata definitivamente “inglobata” nella Martinina Srl, a cui inizialmente era stato ceduto il ramo d’azienda che si occupava della detenzione amministrativa. La società è formalmente in mano a Paola Cianciulli, moglie di Forlenza, che è attualmente l’amministratrice unica dopo l’uscita di scena di Consiglia Caruso (la firmataria di tutti i protocolli d’intesa sopra citati), che il 31 agosto 2023 ha ceduto i mille euro di capitale sociale. A lei restano intestate due società con sede a Milano: l’Edil Coranimo Srl, che si occupa di costruzioni, e dal febbraio 2023 l’Allupo Srl che ha sede proprio in via Corelli, nel numero civico successivo al Centro per il rimpatrio. Una dinamica che desta interesse: l’oggetto sociale della Allupo Srl è molto diversificato e oltre alla ristorazione in diverse forme (da asporto o somministrazione diretta) è inclusa anche la possibilità di “gestione di case di riposo per anziani, case famiglia per minori, Cas, Sprar, Cara e Cpr”.

    La Martinina Srl ha altre due sedi attive: una a Palazzo San Gervasio, a Potenza, dove è arrivata seconda nella gara di assegnazione della nuova gestione del Cpr precedentemente dalla Engel, vinto da Officine Solidali nel marzo 2023, un’altra a Taranto, per la gestione del Cas Mondelli che accoglie minori stranieri non accompagnati. L’ultimo bilancio disponibile è del 31 dicembre 2021 con importi ridottissimi: appena 2.327 euro di utili “portati a nuovo”. A quella data ancora non era attivo il Cpr di via Corelli. C’è un terzo soggetto, però, nella “sfera Martinina” con ben altri risultati: si tratta della Engel Family Srl nata nell’ottobre 2020 con in “dotazione” 250mila euro derivanti da Engel Srl. Paola Cianciulli è nuovamente amministratrice e socia unica della società che si occupa di “locazione immobiliare di beni propri o in leasing” che al 31 dicembre 2021 (l’ultimo disponibile) conta un valore della produzione complessivo di poco superiore a 372mila euro.

    Ai milioni di euro per la gestione se ne aggiungono altri (ne hanno parlato anche ActionAid e l’Università degli studi di Bari nel recente dettagliato rapporto “Trattenuti. Una radiografia del sistema detentivo per stranieri”) se si prende in considerazione, documenti ottenuti da Altreconomia alla mano, anche l’esborso dovuto alla costante manutenzione che si rende necessaria anche a causa delle ricorrenti proteste dei trattenuti. Da inizio 2020 al marzo 2023 in totale sono stati spesi più di 3,3 milioni di euro di cui il 58% è stato impiegato per lavori di adeguamento della struttura, manutenzione o interventi di ripristino dei luoghi danneggiati. Anche perché, spesso, le strutture già in partenza sono spesso fatiscenti: il 15 settembre 2021 Invitalia, l’Agenzia nazionale di proprietà del ministero dell’Economia (già attiva nel campo delle migrazioni sul “fronte libico”), ha pubblicato un bando da 11,3 milioni di euro su mandato del Dipartimento per le libertà civili e l’immigrazione, in seno al ministero dell’Interno, proprio per la manutenzione straordinaria dei Centri di permanenza per il rimpatrio di tutta Italia. Ad aggiudicarsi i lavori del Cpr di Milano in via Corelli -di cui abbiamo inserito le foto inserite nel progetto di ristrutturazione- è stata la Tek Infrastructure, società con sede a Palermo da 1,6 milioni di euro di fatturato nel 2021, con un ribasso del 20%. Ma tra i pagamenti effettuati dalla prefettura fino al marzo 2023 a fare da “padrona” sulle manutenzioni è la Masteri Srl -non è possibile escludere perciò un subappalto- con quasi 620mila euro ricevuti in tre anni.

    Fiumi di denaro pubblico che richiederebbero controlli estremamente approfonditi. Dai verbali delle ispezioni prefettizie, però, non emerge una verifica dettagliata di quanto avviene nella struttura. In uno dei verbali, infatti, alla domanda “La fornitura degli effetti letterecci avviene regolarmente e secondo le tempistiche e modalità previste dallo Schema di Capitolato vigente?”, il funzionario della prefettura barra “Sì”. Ma nella nota integrativa sottostante, riportata in calce al verbale, si legge che “ai 25 trattenuti non viene richiesto di firmare la consegna/ritiro degli effetti letterecci”. Risultano perciò incomprensibili le basi su cui viene affermata l’effettiva consegna di questi oggetti.

    Assente qualsiasi considerazione sul rispetto dei diritti fondamentali e sulla corretta esecuzione dei servizi presenti nell’offerta tecnica. “Il monitoraggio da parte della società civile si conferma essere uno strumento fondamentale. Se quanto emerso verrà confermato nelle sedi opportune viene da chiedersi chi controlla i controllori”, conclude l’avvocato Datena. Intanto, le claudicanti promesse di Martinina Srl hanno potuto circolare a piede libero, a differenza dei reclusi. Con il rischio che alla sofferenza si sia aggiunta la beffa del racconto di una quotidianità inesistente.

    https://altreconomia.it/inchiesta-sul-gestore-del-cpr-di-milano-tra-falsi-protocolli-e-servizi-
    #détention_administrative #rétention #Italie #Milan #privatisation #Martinina #via_corelli #business #Volontariato_internazionale_per_lo_sviluppo (#Vis) #BeFree #Inter/rotte #Ala_Milano #società_sportiva_Scarioni_1925 #Centro_islamico_di_Milano_e_Lombardia #Dianova #Il_Paniere_Alimentare #Musica_e_Teatro #Fiore_di_donna #Bondon_grocery #Engel #Alessandro_Forlenza #Paola_Cianciulli #Consiglia_Caruso #Edil_Coranimo #Allupo #Tek_Infrastructure #Masteri

  • #MusicPod, the All-In-One Linux Music App, Has Improved
    https://www.omgubuntu.co.uk/2023/11/musicpod-improvements

    MusicPod, an all-in-one music, radio and podcast player for Linux created in #flutter, has matured at a clip since I first looked at it in the spring. The app was already in pretty good form then, able to play local audio files, browse and manage a audio library, create playlists, browse, download, subscribe, and listen to podcasts, search for and stream internet radio stations, and pin things to the sidebar. It can still do all of that plus a bit more, such as play video podcasts, notify you when a new episode of a subscribed podcast is released, and give […] This post, MusicPod, the All-In-One Linux Music App, Has Improved is from OMG! Ubuntu. Do not reproduce elsewhere without (...)

    #News #App_Updates #music_players

  • The Dazzling Dvorak You’ve Yet to Hear ~ The Imaginative Conservative
    https://theimaginativeconservative.org/2023/09/dazzling-antonin-dvorak-terez-rose.html

    Classical Girl’s Top 10 Dvorak Faves

    Klid (“Silent Woods”)
    Romance in F minor
    Quartet #12, “The American”
    Slavonic Dances #2 in E minor and #4 in F major (op. 46 and not op.72)
    Violin Concerto in A minor
    “In Nature’s Realm”
    Cello Concerto in B minor
    Symphony No. 8
    String quartets 10 – 14
    Serenade for Strings

    #music #Dvorak

  • [A Question Of Listening] # 026 - La #musique, couteau suisse thérapeutique
    https://www.radiopanik.org/emissions/a-question-of-listening/026-la-musique-couteau-suisse-therapeutique

    La musique stimule donc le fonctionnement cognitif : les compétences activées pour son traitement sont transférées aux compétences non musicales équivalentes et l’interaction de ces effets profite à l’activité cérébrale globale – de là l’idée d’utiliser la musique pour stimuler le fonctionnement cérébral touché par une pathologie. Si, depuis Pythagore, on se sert de la musique comme #outil thérapeutique, c’est le plus souvent de façon empirique, sans modèle théorique et validation expérimentale calibrés selon des critères scientifiques (randomisation de l’échantillon, évaluation en aveugle, groupe contrôle…). Mais de plus en plus d’études montrent une exploitation bénéfique de ces liens entre composantes musicales et compétences mentales pour la réhabilitation de certaines fonctions (comportementales, neurologiques, (...)

    #psychologie_cognitive #remédiation #musicothérapie #musique,psychologie_cognitive,remédiation,musicothérapie,outil
    https://www.radiopanik.org/media/sounds/a-question-of-listening/026-la-musique-couteau-suisse-therapeutique_15646__1.mp3

  • Plus de 900 nouveaux artistes rejoignent #MusiciansforPalestine qui réunit aujourd’hui 1500 artistes en solidarité avec le peuple palestinien

    Plus de 900 nouveaux artistes ont rejoint l’initiative #MusiciansforPalestine, appelant leurs pairs à ajouter leurs noms pour « refuser de se produire dans les institutions culturelles complices d’Israël ».
    https://musiciansforpalestine.com

    Parmi les signataires figurent Marianne Faithfull, Seun Kuti, UB40, Massive Attack, Arca, FKA Twigs, Brian Eno, James Poyser, Mélissa Laveaux, Bachar Mar Khalifé, Sako, Rocé, Michel Bühler, CocoRosie, Lido Pimienta, Zoë McPherson, Ana Tijoux, Le Trio Joubran, The Edward Said National Conservatory of Music, Robert Wyatt…

    https://entreleslignesentrelesmots.wordpress.com/2022/10/04/plus-de-900-nouveaux-artistes-rejoignent-music

    #international #palestine

  • Voici une nouvelle que je traînais depuis un bon moment, que j’ai repris en début d’année. Ça parle de bouche à oreille, de musique et de domination...
    Chaque partie est placée sous l’égide d’un album de post-punk des années 80 (en gros).
    Voici le premier chapitre : Another music in a different kitchen des Buzzcocks.
    En cliquant sur le nom du groupe vous ouvrirez un lien vers l’un des morceaux de l’album.

    Bonne lecture :)

    #sf #fiction #postpunk
    https://portapluma.blogspot.com/2022/09/metaphormose-chapitre-1.html

  • BIRTH – Born (2022)
    Studio Album, released in 2022
    “There are two kinds of fools. One says, “This is old, and therefore good.” And one says, ” This is new, and therefore better.” John Brunner, The Shockwave Rider.
    https://www.youtube.com/watch?v=XVLfowcuUSI

    There won’t be comets crashing all around, no great lick of a sun’s flare nor a great flash of nuclear fission set to rend our atmosphere into collapse, there won’t be a hundred years long war to cloud the air with the smoke of burning bodies and fossil fuel’s sabotaged fonts. There will be no glorious warrior death for humanity enough to warrant any such miserable romancing of the end. There will be no grand spaceship escape or tunnel underground to wait out the rebirth of the Earth’s poisoned soul, only the slow and unbearable onset of hapless and hopelessly complacent denial-fiending we’ve experienced over the course of the last few years wherein merchants of death-en-masse’s profitable constriction becomes a new normative low, comfortably sinking more into destitution and servitude month over month. Mankind will eventually simply set down in place, set weary skull into each palm and quietly resign to a fetal balling-up under the stress of poisonous environmental collapse. The few who cling to hope among us are simply waiting for someone else to do the work, anyhow. San Diego, California-based progressive psychedelic rock trio Birth manifest an introspective examination of the macrocosm of nature, technology, and human behavior as these collectively degrading elements represent tandem collapse of society and environment. ‘Born‘ is not a self-involved statement of a project sorceled into being out of hardship but a very direct meditation upon impermanence, leaving the other half of the equation, Death, up to the logic of the listener.

    You’re gonna get hung-up on it, man. Lost. — Since the initial free download of ‘Birth‘ now appears to have been about half of the full-length experience verbatim and sits off the digital shelf at the moment, the search for meaning and precedence will inevitably find us looking to past works for foundation. This might end up being a blurring brushstroke, a distraction from the main event in the long run but the context is damned impressive when we consider the varietal body of work from the musicians involved. Approaching Birth‘s debut with the preface of some of the members’ previous spiritual predecessorship in Astra is a double-edged sword in the sense that yes, these are (some of) the same musicians involved in creating a similarly intoxicating mode of progressive psychedelic rock aspect yet it doesn’t necessarily build the right expectation, nor does ‘Born‘ read as a set of songs from the same headspace or intent; Expect a touch more late 60’s heavy blues, more immediately struck theatric hooks, and glorious feature of sublimely unfettered showmanship on guitar and electric piano performances with -none- of the epic longform stretches of build up, which the very popular Astra were known for. Not every second of the full listen is comparatively rousing in its conjure, they are a bit more to the point with the heavier stuff early on and sleepier when things lean celestial, so, you can set your copy of ‘The Weirding‘ aside and stop expecting a revival of that band.

    Without Richard Vaughn, whom was a third dimensional aspect of the Silver Sunshine/Astra sound from what I gather, the duo of Conor Riley and Brian Ellis appears to be aimed the U.K.’s still maturing near-second generation era progressive rock sound, somber in a bluesy sort of way but still very much eating at the early 70’s diner of ambitious wonderment incarnate in shaping their core conceit, and in the process of doing so they go bit more heavy psychedelic rock -and- spaced-out, gloomy prog-rock than Astra ever had. In this sense we can loosen up on the obvious comparisons to pre-‘Relayer‘ Yes and Armageddon‘s self-titled record without setting them aside, you’ve got myriad groups like Wobbler whom fully go there in an inspired way nowadays anyhow. This might seem like a bit of a contradiction with reality once you’ve heard lead single “For Yesterday” paired with the spaced, odd-time tension of “Cosmic Tears” but ‘Born‘ simply has a different presence, a more direct line to throwback kitsch and synthesizer worship without trying to be future-past submerged stuff. Though I am aware this’ll all read as heady drivel parsing away deep expectations, that choppy reconsideration of any direct association with past works will likely be the typical listener’s reaction as they inevitably contextualize Birth as separate from Astra. The important thing is to sit back, knock it off and let the theatric Crimson-ian ebb of the record (see: “Long Way Down”) do its thing and get to the point on its own time.

    Opener “Born” and its striking into simple riff/organ doubled rhythm immediately read to me as something like Atomic Rooster‘s “Vug”, that era of virtuosic electric piano and/or Hammond organ grinding minus the ‘tonk of Crane‘s rhythmic sensibilities. This turns out to be the wrong first impression all things considered, we’re not exactly in such an extroverted early Uriah Heep mood from the get go anyhow. The band right this wrong quickly with the suggestion of something a bit more moody, specifically the easier-going side of King Crimson‘s ‘Red‘, whereas my mind had been expecting a ‘Tarkus‘ sort of gig up front. We won’t necessarily hear this side of the band again until “Another Time” strikes back into it as a deep cut on Side B, so don’t read into the get-up of the opener too righteously.

    The sleepy, easier drift of previously released singles “Descending Us” and “For Yesterday” are the bulk of the full listen’s vital statement both in terms of defining style and lyrical voice as Birth explore various synth/keyboard voicing in pair with drawn out swells of lead guitar and exasperated, occasionally folkish vocal cadence. “Descending Us” is more-or-less unmatched per its surroundings in terms of pulling together something soulful yet heavy psych in its trade-off of inspired verses and fiery guitar solos which peak in the last two minutes of the piece. “For Yesterday” is the major work done on ‘Born‘ to convince the listener of its viability and/or lasting value, an opus which showcases the cloudy run-on compositional space where Riley excels most and presents a very clear love for the exaggerative arc of peak prog rock songcraft. Eh, albeit a succinct one even at ~10 minutes, which depicts the soul lamenting its inevitable dissolve in relation to others, a peak moment either way. The song does however feel like it drones on without a third act, which we must assign to very worthy Side B starter “Cosmic Tears”.

    See it as an intentional descent, a dissolution, a passage between mindset unto a darker new reality but I’d eventually find ‘Born‘ an in-quest of an original idiom that’d been difficult to expand as the songwriting process continued, what we experience is their working around a very persistent mood in order to shape a disparate narrative. What I’d imply therein is this sense that a second record from Birth will likely be entirely different, potentially a bit more on the emotional spectrum of the expressive, dread exhaling relief of closer “Long Way Down”. This’d end up being the most inspirational piece for my taste and in no small part due to it following the bustle of “Another Time”. Again, these songs feel like they were ripped from the same sessions as opener “Born” with a bit more severe twist on electric blues in their core statement which almost sounds like the band had transformed into themselves mid-album and wanted to stick with a running order that expressed this directly. The feeling is that of getting a bit lost, collapsing into torpor and waking up refreshed with a bit of a lingering dread in mind. Either that or I’m projecting the sullen arc of everyday life onto a very entertaining, retro-brained heavy rock record.

    Though ‘Born‘ occasionally feels like it’d been salvaged from the band suddenly realizing “Hey, we’ve got something here. Now we need to do something.” and making timely statement out of it in terms of a release it nonetheless lands substantial and well in keeping with the best tradition of ambitious yet personal progressive rock. Though the sleepier shades of dread on this album are its most imaginative cerebrum, and surely the thing to emphasize for newcomers, the restless showmanship and yearning introspection found on Birth‘s debut ultimately sold it upon repeated listens. I’ll resign myself to hindsight and any further iteration to frame the experience in mind accordingly. A moderately high recommendation.
    Source : https://grizzlybutts.com/2022/07/10/birth-born-2022-review

    Songs / Tracks Listing
    1. Born (4:48)
    2. Descending Us (6:56)
    3. For Yesterday (9:14)
    4. Cosmic Tears (7:41)
    5. Another Time (5:36)
    6. Long Way Down (7:17)

    Total Time 41:32

    Line-up / Musicians
    – Conor Riley / vocals, synthesizer, electric piano, organ, acoustic guitar
    – Brian Ellis / guitar, electric piano, percussion
    – Trevor Mast / bass
    – Paul Marrone / drums

    #musique #full_album #progressive_rock #psychedelic_rock #prog_rock #music

  • #Arachnoid - Arachnoid (1979) 🇫🇷
    Biography
    Founded in Gournay sur Marne, France in 1970 - Reformed in 1978-1981 and 1990-1995 (as a duo)
    https://www.youtube.com/watch?v=HTOaPNANu0g

    ARACHNOÏD is a French major progressive band whose #music was combined with the strengths of other French symphonic groups and dark progressive rock that recalled the style of KING CRIMSON. The dark sound, almost like UNIVERS ZERO, is accomplished mostly by employing melodic structures in the vein of KING CRIMSON’s “Larks’ Tongues In Aspic”. The dramatic vocals are similar to that of Christian Decamp from ANGE. ARACHNOÏD’s music expresses a continuous tension with flashy guitar’s parts and tormented keyboard interventions. ARACHNOID is a unique band with nods to KING CRIMSON, PULSAR, SHYLOCK & PINK FLOYD!
    The band lineup consists of Francois Faugieres on organ, Mellotron, Pierre Kuti on acoustic and electric pianos, synths, Bernard Mini on drums, Marc Meryl on lead vocals, tambourine, Philippe Honore on flute, saxophone, and vocals by Yves Javault, Christine Mariey, Martine Rateau and Patrick Woindrich, also on bass, and guitar. Nicolas Popowski also features on guitar and vocals.
    ARACHNOÏD’s 1978 self-titled album is one of France’s finest progressive albums of the 70’s, but by no means a classic. The album often receives 4 star ratings by reviewers as it is an example of excellent Symphonic Prog, with it’s striking creepy cover, easily recognisable. The first four tracks of the seven are the best examples of their sound, and these are the most complicated and intriguing. The band have played classically-inspired instrumentals, but their vocalist lacks the power to carry the heavier symphonic passages. Recommended for all adventurous progsters! AtomicCrimsonRush (Scott Tuffnell)

    Arachnoid - Arachnoid (1979)
    Songs / Tracks Listing
    1. Le Chamadère (13:57)
    2. Piano Caveau (7:24)
    3. Toutes Ces Images / Segamisec Setout (8:15)
    4. La Guêpe (8:44)
    5. L’Adieu Au Pierrot / Final (4:00)

    Total time 42:20
    Bonus track on 1988 & 1996 reissues:
    6. In The Screen Side Of Your Eyes (4:04)

    Extra bonus tracks on 1996 CD release:
    7. Les Quatre Saisons De L’Enfer, 1ère Partie: L’Hiver (live ) (4:39)
    8. Le Pierrot (live
    ) (5:08)
    9. L’Adieu (live $) (3:23)
    10. Piano Caveau (instrumental & Different Mix) (7:17)

    * Recorded at La Péniche, Paris, 27 March 1977
    $ Recorded at The Mille-Club, in Vaires-sur-Marne, December 1976

    Line-up / Musicians
    – Marc Meryl / lead vocals, tambourine (9)
    – Nicolas Popowski / guitar, vocals
    – François Faugieres / Farfisa organ, Mellotron, vocals
    – Pierre Kuti / piano, Fender Rhodes, MS10 & Korg synths
    – Patrick Woindrich / bass, guitar (6), vocals, producer
    – Bernard Mini / drums

    With:
    – Christine Mariey / child voice (1,4)
    – Yves Javault / vocals (4)
    – Martine Rateau / spoken word (4)
    – Philippe Honore / saxophone (4), flute (6)

    Artwork: Alain Robert
    #musique #symphonic_prog #progressive_rock #french_prog_rock

  • L’inquiétant #boycott des #musiciens #russes
    https://www.lemonde.fr/culture/article/2022/03/10/l-inquietant-boycott-des-musiciens-russes_6116973_3246.html

    Encore moins compréhensible, le Concours international de piano de Dublin (DIPC), qui se tiendra du 17 au 24 mai, débarquant les candidats russes. « En accord avec les organisations artistiques du monde entier, en cette période difficile, nous avons le regret de vous informer que le DIPC ne sera pas en mesure d’inclure des concurrents russes dans le concours 2022. » Le courriel, envoyé à une dizaine de musiciens, a été posté, le 3 mars, sur le compte Facebook du pianiste Roman Kosyakov – formé à #Moscou, mais aussi à Birmingham. Les frais de dossier seront remboursés.

    [...]

    Le gel musical entre la Russie et les pays occidentaux serait, « pour l’humanité, une catastrophe », insiste Olivier Mantei. Au plus fort de la #guerre_froide, c’est un pianiste américain, Van Cliburn, qui avait remporté, en 1958, la première édition du Concours international #Tchaïkovski. « Il faut distinguer le pouvoir dictatorial de l’histoire du pays et de son patrimoine culturel, qui résiste depuis très longtemps, estime Olivier Mantei. L’apport des artistes russes à la musique est considérable. » Une vérité qu’il n’est pas inutile de rappeler en ces temps troublés.

  • République de mecs
    #MeToo et Macron : grande cause du quinquennat ou cinq ans de « cause toujours » ?
    https://www.liberation.fr/politique/metoo-et-macron-grande-cause-du-quinquennat-ou-cinq-ans-de-cause-toujours
    Article réservé aux abonnés
    Présentée comme une priorité en 2017 et objets de plusieurs mesures lors du quinquennat Macron, les droits des femmes n’ont pourtant pas été au cœur des préoccupations politiques. La défense de ministres accusés d’agressions sexuelles par l’exécutif en témoigne.

    • La « Maison commune » de LREM est paritaire et en même temps pas du tout

      La majorité se gargarise de la parité affichée sur la photo de famille d’Ensemble citoyens lundi soir. Mais le mouvement reste piloté par des hommes, malgré les appels à une gouvernance plus égalitaire.
      https://www.liberation.fr/politique/la-maison-commune-de-lrem-est-paritaire-et-en-meme-temps-pas-du-tout-2021
      La majorité présidentielle a réalisé un véritable exploit, lundi soir, pour le lancement d’Ensemble citoyens, la fameuse « Maison commune » tant attendue : il y avait autant de femmes que d’hommes sur l’estrade pour la photo de famille et presque autant à la tribune. Ce n’était pas gagné, dans une famille politique ultra-dominée par les hommes aux postes à responsabilité, malgré une parité affichée tant à l’Assemblée nationale qu’au gouvernement. On les applaudit bien fort.

      Parmi les oratrices du soir, il y avait donc la numéro 2 de La République en marche, Marie Guévenoux, la secrétaire d’Etat Sarah El Haïry, la députée Christine Hennion, la sénatrice et vice-présidente d’Agir, Fabienne Keller, ainsi que la ministre et coprésidente d’En commun, Barbara Pompili. Cette dernière a fait une intervention remarquée sur des marqueurs de gauche (notamment la fin de vie digne) et fort applaudie pour son appel à « la parité dans la gouvernance de ce mouvement », aujourd’hui piloté à 100% par des hommes : Richard Ferrand (président…

    • #MeToo aux candidat·e·s à la présidentielle : « Qu’allez-vous faire pour que les hommes cessent de violer ? »
      https://www.liberation.fr/idees-et-debats/les-mouvements-metoo-reunis-interpellent-les-candidates-a-la-presidentiel
      Un collectif agrégeant les mouvements nés au sein de différentes professions demande aux candidat·e·s à l’élection présidentielle d’entendre les victimes de harcèlement et de violences sexuelles et d’agir.

      Les signataires de cette tribune soutiennent ou sont investi·e·s dans les mouvements suivants : #MeTooMedias #MusicToo #MeTooPolitique #MeTooInceste #BalanceTonCirque #MeTooEP #MeTooVin #PayeTonTournage #PayeTonPinard #MeTooTheatre #MeTooGay #MeTooESR #PayeTaFac

      Longtemps, nous n’avons pas voulu faire de vague, nous sommes resté·e·s isolé·e·s, nous avions honte, nous avons gardé le silence. Nous avons laissé le doute nous envahir, avant de nous rendre compte que nous étions des dizaines, des centaines, des milliers, à enfin oser dire « moi aussi ». Moi aussi j’ai été harcelé·e, moi aussi j’ai été agressé·e, moi aussi j’ai été violé·e.

      Celles et ceux qui ont courageusement pris la parole peinent encore à être entendu·e·s et cru·e·s. Certaines et certains ont vu leur voix systématiquement remise en question, leur existence mise sous pression, leurs perspectives professionnelles se réduire et des portes définitivement se fermer. Face à ce constat commun à tous les milieux, nous souhaitons aujourd’hui unir nos voix afin qu’elles portent davantage. Pour permettre à d’autres d’oser parler, pour faire en sorte d’être enfin entendu·e·s.
      Interview

      Depuis cinq ans que la parole se propage au prix de risques parfois immenses pour les victimes, peu d’agresseurs ont été inquiétés, quelques-uns ont été promus, presque aucun n’a été condamné. Ils sont les membres respectés de nos familles, de nos entourages, de nos institutions. Et alors que nos souffrances peinent encore à être entendues, certains de nos agresseurs continuent de disposer de leur place de pouvoir, certains trinquent ensemble, s’applaudissent au théâtre, s’invitent dans les médias, se soutiennent et trouvent un soutien plus large encore dans le dénigrement constant de nos paroles, le mépris de nos vécus.

      D’aucuns dénoncent un tribunal populaire, un lynchage médiatique, une inquisition 2.0. D’autres veulent nous faire passer pour des groupuscules radicaux, des hystériques lancé·e·s dans des velléités pusillanimes et revanchardes sur les réseaux sociaux. Tous nous indiquent le chemin de la justice, quand #MeToo est né de la débâcle des institutions judiciaires et policières. Parcours culpabilisants et dissuasifs, exigences démesurées de preuves accablantes, magistrats débordés, enquêtes bâclées et classées, préjugés toxiques, résultats minables. Les condamnations sont l’exception. L’incapacité, la norme. Prenons le consentement. Pour les plus de 15 ans, la loi conçoit le viol en cas de menace, violence, contrainte ou surprise. Hors de ces cas, point de discussion. La loi, comme l’imaginaire collectif, nous accable d’une présomption de consentement archaïque et vivace.

      Si les revendications et témoignages des différents mouvements #MeToo étaient entendus, les mentalités, les lois, les pratiques auraient évolué.

      2 à 3 enfants par classe ne seraient pas victimes d’inceste, et tous les adultes travaillant auprès d’enfants seraient formés à repérer les signaux permettant de détecter ces violences.

      Plus de 100 féminicides n’auraient pas été commis depuis le début de l’année 2021.

      100 % des professionnels en lien avec l’enfance seraient formés sur le sujet.

      100 % des établissements scolaires, des entreprises, des institutions prévoiraient des actions de prévention et disposeraient de lieux d’écoute pour accueillir les victimes.

      90 % des victimes de violences sexuelles n’hésiteraient pas à porter plainte.

      70 % des plaintes pour viol ne seraient pas classées sans suite.

      80 % des victimes ne regretteraient pas d’avoir saisi la justice, le parcours judiciaire ne serait pas vécu comme une violence supplémentaire (1).

      Les victimes de violences sexuelles seraient prises en charge et accompagnées.

      On cesserait de nous accuser de briser des vies ou des carrières pour se focaliser sur l’impunité de nos agresseurs…

      On cesserait de nous accuser de mentir.

      On cesserait de remettre en doute notre parole alors que dans les faits les fausses accusations représentent 2 % à 10 % des cas.

      Au moins 1 milliard d’euros seraient consacrés à la lutte contre les violences sexistes et sexuelles, les moyens de la justice seraient renforcés ainsi que le dispositif de prise en charge des victimes.

      Nos agresseurs cesseraient d’être invités sur les plateaux télé pour se plaindre d’être des victimes, d’être promus, réélus, subventionnés, la culture du viol cesserait d’être véhiculée dans les représentations médiatiques et artistiques, nous sortirions enfin du mythe de la séduction à la française pour admettre que la société française n’a toujours pas compris #MeToo.

      Ce quinquennat est celui d’une grande promesse non tenue concernant la lutte contre les violences sexuelles. Qu’en sera-t-il du suivant ? A quand des engagements fermes, concrets pour apporter des réponses ? N’entendez-vous pas nos voix ? Il est plus que temps que les pratiques changent, que les coupables, les complicités et les complaisances soient sanctionnés, juridiquement, professionnellement et socialement.

      #MeToo est la photographie crue d’inégalités sordides.

      La campagne pour l’élection présidentielle commence. Les mouvements #MeToo réunis interpellent les candidat·e·s et leur posent une simple question : qu’allez-vous faire pour que les hommes cessent de harceler, d’agresser et de violer ?

      (1) Une enquête menée par l’association Mémoire traumatique et victimologie auprès de 1214 victimes donne des résultats accablants : 82 % des victimes ont mal vécu leur dépôt de plaintes, 77 % la procédure judiciaire, 89 % le procès. Citée ici.

      Signataires

      Léane Alestra, créatrice de Mécréantes ; Nora Arbelbide Lete, journaliste ; Manon Aubry, femme politique ; Clémentine Autain, députée de Seine-Saint-Denis ; Lauren Bastide, journaliste ; Karin Bernfeld, autrice ; Andrea Bescond, réalisatrice ; Anne Boistard, créatrice du compte Instagram Balancetonagency ; Claire Bourdille, militante féministe et droits des enfants #NousToutes ; Marylie Breuil, militante féministe #NousToutes ; Louise Brzezowska-Dudek ; Liam Carré ; Margot Cauquil-Gleizes, professeure ; Agathe Charnet ; Marie Coquille-Chambel ; Emmanuelle Dancourt, journaliste ; Aude Darlet, psycho-énergéticienne ; Madeline Da Silva, femme politique ; Clémence de Blasi, journaliste ; Caroline De Haas, militante féministe ; Cécile Delarue, journaliste. Hélène Devynck, journaliste ; Rokhaya Diallo, journaliste et réalisatrice ; Cécile Duflot, directrice générale d’Oxfam France ; Elsa Faucillon, députée des Hauts-de-Seine ; Camille Froidevaux-Metterie, philosophe et professeure de science politique ; Ninon Guinel, ancienne collaboratrice d’élu.es ; Fleur Godart, Alice Godart, Séphora Haymann, Jean-Michel Journet, manager d’artistes, cofondateur de @musicTooFrance ; Stéphanie Khayat, journaliste ; Annie Lahmer conseillère régionale ; Rose Lamy, créatrice du compte Instagram « Préparez-vous pour la bagarre » ; Céline Langlois, Julie Ménard, Camille Pascaud, commerciale chez Intersport ; Isabelle Perraud, Sophie Rauszer du Parlement européen ; Florence Rochefort, historienne, chargée de recherche au CNRS ; Laurence Rossignol, sénatrice de l’Oise ; Sandrine Rousseau, femme politique, écologiste ; Eva San Martín, docteure géographie du genre, cadre pédagogique CFTS Là Rouatiere ; Réjane Sénac, politologue, directrice de recherche CNRS au Cevipof ; Fiona Texeire, collaboratrice d’élu·e·s, Marion Tillous, géographe ; Aurélie Trouvé, militante altermondialiste ; Mathilde Viot, Alice Zeniter, écrivaine.

  • Confessions Of A Garage Cat , l’histoire orale de Gildas Cospérec, fondateur de l’emblématique fanzine toulousain Dig It !
    https://www.musicophages.org/journees-du-patrimoine-le-18-et-19-septembre

    Gildas Cospérec fut pendant plus de vingt ans l’animateur-locomotive d’un #fanzine et d’un radio show devenus mythiques et qui portaient tous les deux le même nom : Dig It ! Il sut allier élégance et énergie, curiosité et bon esprit, bienveillance et exigence pour développer sa vision et créer un réseau d’amis et de collaborateurs extrêmement pointus et passionnés. Gildas est décédé en 2020. Peu avant sa mort il a livré son histoire et celle de Dig It ! au travers de rencontres et d’interviews consignées par Patrick Cazengler et Patrick Bainée. Gildas raconte ici cette aventure exceptionnelle au pays magique de l’underground et partage comme il l’a toujours fait ce festin avec une cinquantaine de témoins : Diggers renommés pour la plupart, comme Alain Feydri et Lo’Spider, mais aussi ceux que Kim Fowley appelait the International Heroes, Beat-Man, Ben Vaughn, JJ Rassler ou encore Mike Mariconda. Ce cercle d’amis inclut aussi des patrons de bars, des animateurs et des animatrices de #radio, des musiciens et des ratons laveurs, comme aimait à le dire lui-même Gildas. Vous trouverez à la suite de l’oral history un Best Of d’articles de #Dig_It !, choisis par Gildas et les Diggers.

    Les Musicophages (2021) 448 pages de saine lecture pour moi qui ai découvert Dig It ! sur le tard. The Goodbye Show 16/01/2020 - 4 h 30 d’émission, un peu la bande son du bouquin. la liste des titres est dans le livre, fantastique !
    http://digitradio.unblog.fr/2020/01/17/dig-it-16-janvier-2020-the-goodbye-show
    http://www.musicophages.com/2020/03/17/dig-it-grand-esprit-rocknroll
    Gildas Cosperec 1956 - 2020 mais son esprit brûle encore.
    http://digitfanzine.chez.com/digit.html
    d’autres ressources sur #Canal_Sud
    https://www.canalsud.net/Dig-it
    https://www.canalsud.net/bebes-dinosaures-10-octobre-2021
    The Fabulous Furry Shoo Chain Brothers
    https://padlet.com/digitfanzinearchives/kb3mbwes405752g0
    Le Bandcamp d’une partie de la production de ces diggers
    https://swamplandrec.bandcamp.com
    #musique #rock'n'roll #garage #Toulouse #musicophages