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scotianostra · 3 years

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William Burke, murderer of "Burke and Hare" fame was executed on 28th January 1829.

Up the close and doon the stair, But and ben' wi' Burke and Hare. Burke's the butcher, Hare's the thief, Knox the boy that buys the beef.

— 19th century Edinburgh rhyme

I'll start this post as I always do for all the newer followers and let you know the main big fat fact about Burke and Hair, as the auld Edinburgh rhyme says, they did NOT rob graves!!! Grave robbing was fashionable at the time many cemeteries even built watchtowers and employed people to guard the last resting places of their loved ones, there was a shortage of bodies for the Universities and Edinburgh was one of the leading cities in the world for teaching medicine, so people sold bodies to the schools, no questions asked. William Burke and William Hare certainly did this but they were never known to get their hands dirty by digging up a corpse, this was too much like hard work for these two Irish Immigrants so they cut out the labouring part and decided to start their own wee industry, killing people and selling the bodies, the practice became known as Burking.

It all started when a lodger died at Hare's girlfriends house on the West Port not far from the Grassmarket in Edinburgh, he still owed his rent and the enterprising duo decided to fill his coffin with rocks and sell the body to pay this debt, they took the body to a Professor Knox at Surgeon Square and were paid 7 pounds and 10 shillings for it, this is the nearest they got to stealing a body as their "trade" took a more sinister turn. I wont go through all 16 murders I will just recite to you the one that was their undoing........

Fittingly it was Halloween 1828 and there was a party in Log's Lodgings in Tanner's Close where the duo lived, the following morning guests became suspicious at the disappearance of an old lady who had been very merry the night before. They discovered her corpse — stripped and ready for packing — in Burke's bedstraw. Mary Docherty had come to Edinburgh from Donegal in search of a long-lost son. She had chanced to beg at a gin-shop where Burke had befriended her. Like all the other victims, she was poor, hungry, and alone. Street folk were not missed immediately as more settled people would have been, and dissection ensured disposal of the evidence.

The mode of death was designed to leave no marks. Since only this last body was available to the authorities nothing could have been proven, despite strong suspicion, had not Hare agreed to give evidence for the prosecution in return for legal immunity.

His partner in crime was hanged on January 28th 1829, an event celebrated with carnival by the Edinburgh populace. His corpse, appropriately enough, was delivered up for public dissection at Surgeons' Hall. Hare left the city incognito, and his fate is unknown.

Burke's execution was witnessed by the novelist Sir Walter Scott, who sympathized with the general opinion that both men's wives had served as accomplices, and that the anatomists had been accessories to the murders. Burke's confessions were published after the execution, and they suggest that this view of the anatomists may not have been altogether misplaced. Burke and Hare were commended by Knox himself on the freshness of a corpse; they were never asked any questions about the derivation of the bodies they delivered to the school, were paid immediately, and were always urged to get more.

A pamphlet, later attributed to a doorkeeper at Knox's school, implicated both the anatomist and his staff in the crimes. According to this witness more than one of the bodies had blood at the mouth, nose, or ears. In at least one instance — that of a well-known Edinburgh beggar, Daft Jamie — identifying features were deliberately obliterated in the dissection room: when it became known that he was missing from the streets, his head and distinctive club feet were severed from his body and dissection was hastened.

Dr Knox was never charged with any crime, nor was he called to give evidence at the trial. He remained silent throughout the furore over the murders. He was burnt in effigy in the streets, ostracized by Edinburgh's medical community, and eventually left the city. He seems to have believed that murder could have been uncovered at any anatomy school, and the fact that it had happened to be his school was simply bad luck. Whether this belief had any objective basis will probably never be known.

The Burke and Hare murders are critically significant to the history of anatomy in Britain. They represent the apotheosis of the market in human flesh. The murders reveal that by the late 1820s, the poor were worth more dead than alive. A further 60 murders by the ‘London Burkers’ Bishop and Williams, in 1831 occurred before the Anatomy Act of 1832 provided the anatomists with a free supply of corpses requisitioned from Poor Law workhouses. The photos include a contemporary drawing of Burke, a cast of how he might have looked, with a pocket book made from his skin, another card holder also made from his skin and his skeleton, still on display in Surgeons Hall 192 years after he took "The Last Drop"

The transcript of the Broadsheet below can be found here http://digital.nls.uk/.../broadside.../id/15228/transcript/1

#Scotland #scottish #serial killer #history #medical history #Edinburgh #execution #burke and hare

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ploughwomen2 · 3 years

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Brand new York Singles: Guide for Dating in New York

2, 2012 april Looking to impress a night out together ny City? Whether you’re brand new in town or a life-long New Yorker, here are a few fun date some ideas to consider within the ny. Dating in New York: Walk!

Ditch the car. New York has got the most mass that is extensive in the country. Explore the very pedestrian-friendly city on foot, by bike, take a cab or ride the subway. Wander through the evening’s chosen borough — The Village is a superb spot you wouldn’t notice just driving through if you love bistros, jazz clubs, and great art — and discover hole-in-the-wall gems. Dating in Nyc: Regarding The Rooftops Nyc City has some of this best high-rises on the planet. Take your date to new heights and dine over the city streets. Whenever the weather’s beautiful, the Met opens its romantic rooftop garden café on Friday and Saturday evenings. It’s a great first-date spot for sipping cocktails while you swoon over the view. The Bookmarks Lounge is a yard rooftop during the Library Hotel with great views of Midtown Manhattan, both Top for the Strand and 230 Fifth offer prime views of the Empire State Building, and ‘70s-inspired Jimmy at The James resort hands over a 360-degree view of Soho. In the event that you want a little activity in your rooftop adventures, check out City Ice Pavillion, Queens’ only rooftop rink. Dating in Ny: The Big Green An outdoor date in New York City should be an obvious one with over 28,000 acres of municipal parkland. Central Park, the world-famous 883-acre park Manhattan is the many visited park in the nation and for valid reason: Ice rinks, the Central Park Zoo, the Central Park Conservatory Garden, Belvedere Castle, Swedish Cottage Marionette Theatre, and the historic Carousel all call it home. Get for a stroll, have a picnic, splurge on a carriage trip, or pull out your rollerblades for an enjoyable, affordable date that celebrates your beautiful city. Some other green spaces worth visiting: Prospect Park in Brooklyn, Flushing Meadows-Corona Park in Queens, nyc Botanical Gardens in the Bronx, and Washington Square Park in Manhattan’s Greenwich Village. Dating in Ny: Fun, Fun, Fun Dating in New York City doesn’t need certainly to be severe. Enjoy some flirty/competitive laser label at NYC Paintball in Queens. Play ping-pong at SPiN. Revisit childhood board that is favorite while ingesting adult beverages at East Village’s Common Ground. The Whiskey Brooklyn has a great game space, complete with arcade games, photo foosball and booth. Cheer on your team — seven screens follow most major league sports — while you challenge your date at Shuffleboard. Embrace your internal preschooler whenever you meet up for drinks, and drink on Momofuku Milk Bar’s addicting “Cereal Milk.” (To complement: try the “Compost Cookie.”) Laugh the night away at Greenwich Village’s famous Comedy Cellar. You might also catch a shock performance by a comedy legend. (Chris Rock and Aziz Ansari have been proven to show up unannounced.) If you prefer your fun— that is cheap free — you’re in luck: Complimentary plays and performances that are musical to Summerstage in Central Park every summer. Magnet Theater offers intro that is free Improv classes. BAFcaf in Brooklyn hosts free jazz/world/R&B that is live weekend. And you’ll find The After Party, a free Broadway-inspired open mike, in the basement of Laurie Beechman Theater in Midtown every Friday. Dating in Nyc: Get Cultured It’s been called “the cultural capital of the world.” New York City is a world-class contender in art, cuisine, opera, theater, music, museums, fashion, literature, and independent film. There’s no shortage of museums to go to, music to enjoy, or fashion to covet. Enigma’s mystery that is outdoor will just take you on a walking tour of historic Brooklyn Heights. And Sleep No More will draw you in as a member of its masked, moving audience. Get inspired by contemporary art at the MoMa — there’s always a exhibit that is new lining up for — or visit the former mansion of steel magnate Henry Clay Frick in the Upper East Side to ooh and aah over the Frick Collection, an impressive compilation of paintings and sculptures by some of Europe’s best artists. Dating in Brand New York: Learn This has been claimed that you learn something new every day. Make your date an educational one and take a class together. Foodies can make their pizza at Pizza a Casa Pizza School, perfect French macarons at Mille-Feuille Bakery Cafe’s workshop, or — if you’re comfortable with each other and planning that is you’re #31, maybe not Date # 1 — concoct a sensual meal for 2 courtesy of Appetite for Seduction. Chocoholics, try your hand at making chocolate at JoMart Chocolates. Artsy folks will appreciate Paint Along, a two-hour paint class that lets you drink — it’s BYOB — while you create. Graffiti artist Jesse Edwards offers an class that is introductory graffiti art, tagging and lettering. And at Mud, perspiration and Tears, you can reenact that scene that is infamous Ghost while you make your own pottery. If you’d rather be an action hero than Patrick Swayze, just take your date to Westside Rifle & Pistol where you’ll uncover to shoot .22 caliber rifles together. Dating in Ny: Stylish Keep things casual — and bet-a-beer worthy — by deciding on a stylish date. Cheer on the Yankees, Mets, Giants, Jets, Rangers, Knicks, or Red Bulls either during the game or at a sports bar. If you prefer sports live, but would additionally rather save yourself your hard earned money, check out some minor hockey. The Brooklyn Aces tickets that are a fraction of the Rangers’. If you would rather be active than watch others, you can perfect your swing at Chelsea Piers’ heated driving range, hone your competitive Skee-Ball skills at Full Circle Bar (the national home of Brewskee-Ball), rent a rowboat at the Loeb Boathouse in Central Park, embrace your inner Robin Hood at Pro Line Archery Lanes, or spend the entire evening at Brooklyn Bowl, where you can bowl, dine and dance at a single venue. Dating in New York: Touristy Simply because you call New York home doesn’t mean that you can’t be a tourist in your own backyard. Channel the ending that is romantic of in Seattle — spoiler alert! — and meet your date at the very top of this Empire State Building. Where haven’t you been? Ice skate at Rockefeller Center, or ride the Wonder Wheel on Coney Island. Be a young kid again at FAO Schwartz. Attend the Macy’s Thanksgiving Parade (or the Halloween Parade in Greenwich Village) day. Line up for Broadway rush seats. Get an education that is international the United Nations Headquarters. Enjoy cheap drinks on the (free!) Staten Island ferry as you check out the nation’s most statue that is famous. Celebrate your city as visitors do. Dating in New York: Old-School Living in the past? Arrange a retro date. Brand new York was considered a center for jazz within the ‘40s, and still remains a hot spot for live jazz every night of the week. Check out tiny jazz wine and joint bar Louis 649 in the East Village, or Cleopatra’s Needle on the Upper West Side. Take swing dance lessons at Dance Manhattan Studios, then head to Raines Law Room, Death + Company, or Apothéke, all modern-day speakeasies. Cobble Hill’s Clover Club feels as though it belongs in the 1920s, along with its walls that are paneled retro cocktails and jazz criteria and ballads serenading clients every Wednesday evening. Skip a couple decades and walk into The Astor Room, a supper that is‘40s-themes, complete with live jazz piano and cocktails named for Hollywood legends. McSorley’s Old Ale House is the oldest tavern that is irish the city, dating back to the mid-1800s. The floors are covered in sawdust, and the faded American flag hanging through the entryway has only 48 stars. Order a beer — dark or light are your only options — and sit back when the bartender slams the half pints down on your slightly table that is sticky. There’s only one rule here: Be good or be gone. Dating in New York: Movie Night Want to catch a movie? Your city is the world leader in independent film production; so for a memorable night out, choose for something only a little less commercial. If you’re still searching for that perfect retro night out, Williamsburg’s one-screen Spectacle Theater frequently screens silent films, accompanied by live music. You’ll find rare films and cult classics here, too. In the spring, the Tribeca Film Festival takes over Lower Manhattan. Catch a screening that includes a Q&A with your favorite director and try to predict which flicks will become award-season darlings later in the year. The retro Brooklyn Heights Cinema showcases independent, international and films that are art-house. As an added draw, they have a cappuccino bar — and offer their specialty that is in-house coke! At the Film Forum is New York’s just autonomous nonprofit cinema. The cinema that is three-screen works by emerging filmmakers, international art movies, US classics, and retrospectives. Here you’ll find films that other theaters would take a chance n’t on. At Nitehawk Cinema, the go-to date of dinner and a movie is combined into a delicious (and boozy, if you so choose) movie-going experience. Enjoy tableside food and beverage service — nightly specials are concocted to complement your movie choice — as you watch independent films and favorites that are cult. Find out more about New York Singles! DATING IDEASMEET SINGLESNEW YORK

#online dating #dating site #single #meeting singles #best dating site #best online dating #dating tips #dating site reviews #being single #dating idea

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canecainkane · 6 years

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The March Sisters at Christmas (2012)

Hallmark Description: “In this modern-day take on Louisa May Alcott's "Little Women," sisters Beth, Jo, Meg, and Amy reunite to fix up their childhood home while their parents are away for the holiday so they won't be forced to sell their house.

Starring: Julie Berman, Kaitlin Doubleday, Melissa Farman”

And I��m going to say right now: I am a huge Little Women fan aka a human with a freaking heart inside my body, but if you’re not familiar with the book, read no further and, honestly, give this movie a miss.

Pop Quiz: Which sister do you think is which? My guess, left to right, was: Jo, Beth, Meg, Amy.

Answer: I was super fucking wrong! Beth, Amy(!!!!), Meg, Jo(!!!!!). In what universe is Jo March a blonde?! I’m going to tell you right now, I was prepared to hate this movie. Between Jo being a blonde soap star and Beth busting into the first scene dripping sarcasm?

I was prepared to send a $100 donation to the Alcott estate for even watching this. Did it redeem itself?

RATING:

Candy Canes: 4 out of 5.

Solidly enjoyable! A little light on the Yule factor, and the plot was rushed because there was a lot to cover, but it really did get at the warm sisterly bond at the heart of the novel. They did a pretty good job modernizing the characters while keeping the core of what makes the March sisters timeless. And the Bhaer romance plot was just as rushed and stupid in the movie as it is in the book.

Dean Cains: 3.5 out of 5.

A little unbalanced but Jo was irrepressible and annoying and brash and loveable, just the way she’s supposed to be. The actress also moves her lips a little weird, like she’s wearing too-tight braces, and idk why but I found that extremely crushworthy. Amy was also adorbs. Meg and Beth were a bit wooden, though, Teddy was a him-bo, and ... I think Mr. Lawrence might be a Red Pill dude?!

Citizen Kanes: 2 out of 5.

Listen, I’m not ashamed to admit I cried twice. I mean, no, yeah, of course I’m ashamed but I’ve decided to OWN IT. And a bonus half Kane for staying pretty darn faithful to the book. The adaptations of Amy burning Jo’s manuscript and falling into the pond were genuinely kind of inspired?

TOTAL: 9.5 out of 15. I won’t be putting on a play of it in my living room, but I’d watch it again with a bowl of popcorn or pickled limes. (Sadly, though, no pickled limes in this movie. But there was a play!)

WTF Moments:

*Listen. I truly thought I’d eventually get over the weirdness of seeing the March sisters acting like contemporary women, but it never stopped being weird.

The March sisters I know and love:

The March Sisters at Christmas:

It’s not bad, but it’s weird, so let’s revel in a few bizarro moments:

*But updates aside, almost everyone stayed true to who they were. I especially appreciated that boring, vain, bossy Meg was a law student who was super into vision boards. Because of course. And her “historical hottie” Halloween costume was so apropos.

*I always low-grade shipped Beth and Mr. Lawrence (to get together AFTER SHE GREW UP, perverts) and they sure did look like a couple here. Forget Teddy versus Bhaer. Mr. L + Beth = OTP.

*In general, making the girls older was a bit uncomfortable. The whole premise is that they didn’t want their parents to move—which, like, if you’re 16, okay, that’s kind of sweet. But 26 year olds demanding their aging parents keep hemhorraging money into a broke-down mansion just so their four grown-ass daughters can live rent-free in perpetuity? Reread your Pilgrim’s Promise, girls. This is not a good look on you.

*Okay but remember how I said ALMOST everyone stayed true to character? Mr. Lawrence, Mr. Lawrence, Mr. Lawrence. In the book: gruff old rich dude whose troubled soul is soothed by the kind song in sweet Beth’s heart. In the movie: low-key Men’s Rights Activist who wanders through parties macking on 20-year-olds?

After all, who can forget the timeless scene from the novel in which he basically calls his nephew a cuck.

Or when he lays down some Dating Wisdom because I guess his life has no meaning until his nephew lays pipe in a neighbor girl (while maintaining respect for informed consent)??

Wise words, you gruff avuncular horndog. I can’t imagine Louisa May Alcott would have wanted it any other way.

#march sisters at christmas #hallmark channel #hallmark christmas movies #christmas movies #little women #louisa may alcott #also it gave me the feels for reals imagining little beth living long enough to go to grad school

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bluewatsons · 4 years

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Shellyne Rodriguez, How the Bronx was Branded, The New Inquiry (December 12, 2018)

Art moguls, real-estate developers, city institutions, and local elites unite in the name of development for the few, displacement for the many

Lisa Kahane, Falsas Promesas, The Bronx, NY, 1980

In July 2015, a slick, minimalist billboard appeared above the Bruckner Expressway in the South Bronx, proclaiming: “South Bronx—Piano District. Luxury Waterfront Living. World-Class Dining, Fashion, Art, + Architecture. Coming Soon.” The billboard featured the logo of Somerset Partners and their business associate the Chetrit Group and was funded by developer Keith Rubenstein. Earlier that year they had purchased land along the formerly industrial Bronx waterfront for $58 million, a process facilitated by Bronx Borough President Rubén Díaz Jr. As with the renaming of other places in New York City like “SoHo” and “East Williamsburg” in previous decades, the billboard signaled with colonial arrogance that two working-class neighborhoods of color—currently known as Port Morris and Mott Haven—were now destined to be carved into new territories of luxury real-estate development. Two 25-story towers were to be constructed, with market-rate apartments starting at $3,500 per month. Angry Bronx residents revolted against the proposed name change, and it culminated with the “Piano District” billboard being defaced.

The billboard announced Rubenstein’s desire to purchase the South Bronx and build a luxury colony in one of the poorest regions of New York City, which for decades had been associated in mainstream media with stereotypical images of dereliction, crime, and violence. As suggested by the slogan of the billboard, an appeal to “art” would be crucial in transforming the image of the South Bronx from marginal working-class zone to among the most hyped-up frontiers of property speculation in the city—a process led by developers that would unfold with the full support of local and city government. Each of these entities—developers, local elected officials, and the city administration—weaponized the arts to move this initiative further along. It reveals an unnerving intersection of power that positions real-estate developers, the art world, and city government in an alliance to advance gentrification, as a process of systematic repopulation, further into poor and working-class communities.

Rather than simply erasing the cultural history of the Bronx, contemporary neoliberalism has worked to appropriate it in the service of rebranding. Though this process is spearheaded by figures like Rubenstein, Bronx-born elites have themselves been complicit in it, including homegrown celebrities like rapper-producer Swizz Beatz. In turn, the apparently more benign discourse of “social-practice art” is poised to play a role in this process as well, especially through the cultural initiatives of New York City Director of Cultural Affairs Tom Finkelpearl, whose work will inevitably be integrated with the pro-developer policies of New York Mayor Bill de Blasio, even as Finklepearl makes appeals to community engagement and local cultural heritage.

During the 1970s, in the wake of the Vietnam War and large-scale deindustrialization, which led to massive unemployment, the Bronx was largely abandoned by city and state agencies. New York Senator Daniel Patrick Moynihan espoused a philosophy of “benign neglect,” also known as planned shrinkage, in the borough, which essentially withdrew city services such as sanitation, street repair, and firehouses. What followed was the murderous mass torching of buildings and homes in the Bronx by racist, greedy landlords looking to collect fire-insurance money from these properties. By 1977, “the Bronx is Burning” would be a catchphrase heard all across the world as it became a symbol of urban decay, sending Jimmy Carter and Ronald Reagan into the bombed-out borough to pander for votes.

In the midst of this wave of plagues, young people in the Bronx formed a new culture, a radical avant-garde art movement that would shape culture globally: hip-hop. The South Bronx continues to be a beacon of art and culture. Young people there reinvent language, fashion, music, and dance at lightning speed. By the time this genius is “discovered” by some corporate exec, it is already stale, and these young people have moved on to new iterations of joy and survival expressed through this cultural practice.

Despite this genius, honorable cultural distinction reserved for the Bronx has not affected its political economy; marked as the poorest U.S. congressional district in 2010, the Bronx continues to rank among the areas highest in poverty, unemployment, asthma, obesity, and malnutrition in the country. In New York, the importance of the Bronx as the birthplace of hip-hop has only recently been embraced and acknowledged—but as a marketing tool. The hip-hop origin story has become a selling point for luxury developers in the South Bronx.

While the aesthetics of Keith Rubenstein’s first “Piano District” billboard in July 2015 were minimalist and matter-of-fact, the kickoff promotional event for his campaign to rebrand the South Bronx was an extravagant spectacle of the borough’s traumatic history. The event, entitled “Macabre Suite,” was held on Halloween 2015 in one of Rubenstein’s newly purchased warehouses slated for development on the waterfront. It was orchestrated by Salon 94 gallerist Jeanne Greenberg Rohatyn, who commissioned artist Lucien Smith to create installations in the former piano factory where the party took place. The installations entailed a clichéd reimagining of the South Bronx in the 1970s. Bullet-ridden cars were installed in the space along with hobo-style bonfires in metal barrels. Rubenstein then chartered buses for A-list celebrities and art-world impresarios making their way from Manhattan. The social-media accounts of attendees swarmed with the hashtag of the night, #thebronxisburning, creating a mockery of the arson committed by slumlords decades earlier.

Backlash ensued in protests and in the press and Rubenstein receded from the media spotlight to let the controversy die down quietly, launching an offshoot of Somerset Partners under the name Somerset Hospitality Group. This entity began systematically opening local businesses in the vicinity of the Piano District project as a way to expedite the gentrification process. La Grata Pizzeria and Filtered Coffee were the first to open in the neighborhood. Locally, he invested in young Bronx designer Jerome LaMaar’s boutique 9J, the boxing gym South Box, and the nonprofit art gallery BronxArtSpace. Under the guise of “trying to do right by the community,” Rubenstein hired locals to work in his pizzeria and coffee shop. As he told NPR, “People who live in the public housing down the street work at the new pizza place. The boxing gym will offer scholarships to local kids. And residents who’ve been clamoring for access to the waterfront will finally get it.” Rubenstein uses the deceptive rhetoric of “job creation,” forming a human shield to ward off criticism, but the relatively few people who are employed by the local businesses Rubenstein floats do not outweigh the massive number of people who will be forced to move because they can no longer afford their apartments. Rubenstein will shamelessly parade around the recipients of his benevolence, but the wages they earn will not be enough to save them from displacement.

The Rubenstein strategy is simple: build a planned community by planting “Trojan horse” businesses in the area to hold space. Artists in search of cheaper rents will inevitably flock to the South Bronx, where the rent is quickly becoming unaffordable for long-time residents but is considered affordable to newcomers who have been priced out of Brooklyn. Struggling artists will inevitably respond, and through no fault of their own set in motion the displacement of the people who live there, before they are eventually displaced too. Rubenstein’s shallow investment in local businesses and talent takes advantage of a people who have historically been locked out of pursuing creative business endeavors. While this is the case, protests and boycotts of those local Bronx residents who crossed the hypothetical picket line and accepted Rubenstein’s patronage are obligatory. Rubenstein knows all too well that artists and the poor and working-class people of the Bronx are starved of funding and opportunity and seeks to exploit these circumstances for his own profit. Developer tactics range from “lending” spaces to artists and curators for pop-up shows in new developments built in the middle of poor and working-class neighborhoods to draw in potential renters, to funding start-ups and small-business ventures to create ambiance and selling points for neighborhoods still considered too “edgy,” to donating free studio space to up-and-coming artists as a way of generating interest in their new investments.

Positioning himself as a benevolent and pragmatic capitalist with a conscience, Rubenstein insistently suggests that support for local upstarts and artists today might absolve him from travesties committed tomorrow, that charity will exonerate him when he eventually bulldozes and displaces a whole neighborhood. Rubenstein mimes the philosophies touted by progressive liberals who believe that working within the system can produce some kind of “conscious capitalism,” but his philanthropy is a smoke screen. With a significant amount of local support Rubenstein was ready to re-announce his venture in the South Bronx. Rather than throw another party himself, he brought in a famous Bronx native armed with his own philanthropic project: rapper-producer Swizz Beatz.

Kasseem Dean, who goes by his stage name Swizz Beatz and is a well-known art collector, joined the board of trustees of the Brooklyn Museum in 2015. In August 2016, Dean was hired as “Global Chief of Creative Culture” for Bacardi and launched the project No Commission, an art fair that showcased the work of emerging artists of color alongside prominent African-American artists. Dean’s motto, “If you free the artist, you free the world,” was widely applauded. The No Commission model allowed artists to sell their work directly to buyers without paying the high commissions charged by galleries. This commission-free selling took place in the context of a four-day music festival that was free and open to the public, as long as attendees RSVPed on the Bacardi website. The audience was privy to performances by DMX, Q-Tip, Grandmaster Flash and Melle Mel, Dean’s wife Alicia Keys, A$AP Rocky, Young Thug, Fabolous, and many more. There was a Ferris wheel on-site for partygoers to enjoy, and the outer walls of the venue were covered in a mural by TATS CRU, the legendary graffiti collective. The Bacardi was free.

“I think without the Bronx in the world, a big hole would be missing,” declared Dean nostalgically as he bicycled through his old neighborhood with A$AP Rocky in a promotional video for No Commission. But this nostalgia did not stop Dean from partying at the Macabre Suite event the year before, reveling in the mockery of the same people who were now the object of his sentimentality. In fact, the No Commission event served as a vehicle for reintroducing the Keith Rubenstein project to the Bronx, helping Rubenstein reframe the site where the Macabre Suite party had occurred. Dean’s street cred and social capital served as the ultimate buffer for Rubenstein’s project, though his musings about making the arts accessible to Bronx residents weren’t reflected in the event. The RSVP on the Bacardi website didn’t work for many, and the barricades surrounding the venue with manned NYPD officers certainly made it unwelcome to the people in the neighborhood.

As a result of Dean’s collaboration with Rubenstein, No Commission was heavily protested by groups such as Take Back the Bronx, Why Accountability, and a wide variety of folks from the community, among their numbers many outraged New York–based artists of color. When Dean was forced to respond, he applauded the “landlord” (Rubenstein) for pushing back his development project for two months so that Dean could hold the festival (the delay cost Rubenstein only $2 million). Ultimately, Dean treated the gentrification of the South Bronx as inevitable, and his indifference to how it would affect the borough that raised him was made plain in an interview he did with Vibe magazine about working with Rubenstein: “The plan is already done . . . so let’s go out with a blast.” The minute the No Commission event was over, Dean jet-setted out of the Bronx, leaving local artists and activists deeply divided. Some initiated conversations in the community about the implications of a famous hip-hop star from the Bronx lending his street cred to a developer. Others—missing the bigger picture entirely—focused on the fact that Dean didn’t include local Bronx artists in the show. Other artists who did participate resented the activists for protesting what they saw as their big break, since opportunities of this caliber for artists of color are rare. Meanwhile, Rubenstein made a clean getaway, as the debates around these complex issues turned the focus away from his development project.

The potential for social and economic advancement for a few puts countless long-time residents in danger of displacement. Hip-hop culture and its icons, from the oldest pioneers to the youngest up-and-coming emcees, are co-opted by developers who operate in the Bronx with strong government support thanks to Bronx Borough President Rubén Díaz Jr. In 2016 Rubenstein hosted a $2,500-a-plate fundraiser at his home for Díaz’s reelection campaign. Díaz in turn champions gentrification as revitalization and is a long-standing ally of developers. He points to Rubenstein’s shiny new Potemkin village as an example of urban progress, and manipulates the desires of the people of the Bronx, who have endured decades of benign neglect. In his cozy relationship with real-estate interests, Díaz is not unusual among New York City politicians. Many of these politicians cower before the Rent Stabilization Association (RSA) and the Real Estate Board of New York (REBNY), two powerful groups that lobby on behalf of landlords and fill the coffers of every politician from the Bronx to the state capital in Albany.

With a Bronx borough president in the pocket, Rubenstein is guaranteed to receive the proper governmental infrastructure necessary to accompany the lifestyle needs and aesthetic markers that define a neighborhood as “up and coming.” This appears as the revitalization of public spaces. The city plants new trees, replaces street signs, repairs and repaints roadways, and creates bike lanes. After years of neglect, public services beneficial to everyone are expedited solely because it serves a developer’s needs. In 2016, St. Mary’s Park, located a 20-minute walk from the Rubenstein property, received $30 million as part of the NYC “Anchor Parks” initiative. For Mott Haven, this upgrade of St. Mary’s Park is being accompanied by a new $50 million state-of-the-art architecturally avant-garde police station. The new 40th-precinct police station, whose completion is scheduled to coincide with the completion of the nearby Rubenstein project in 2019, will have a green roof, a courtyard, and a training area. It will also have the first-ever “community meeting room” located within the station itself. Inside the community room, a work of community-engaged art will be installed, commissioned by Percent for Art, a division of the NYC Department of Cultural Affairs, which requires that a percentage of the construction budget of new buildings be used for public art. This art project could be viewed as a step in building a bridge between the community and the police, but what it actually accomplishes is placing art in the service of an abusive and authoritative apparatus of state power that in turn maintains the institutional frameworks upholding the conditions for profitable capital accumulation.

Borinquen Gallo, one of the artists selected to create the installation, contributed a project informed by interviews she conducted with NYPD officers at the 40th precinct and neighboring Bronx residents. Her research culminated in the production of a pair of neon signs. An interior sign, facing the space where officers will hold briefings, will read “Black Lives Matter,” and an exterior neon sign, facing the community room, will read “Blue Lives Matters.” The work is intended to be an equalizer, an effort to bring the police and the community together, but Gallo’s effort collapses under her false assumption that the many generations of people who have lived under the authority of the NYPD, and who are routinely harassed, beaten, and arrested by police, can access equal power in a space located inside a police station. She assumes that the NYPD will not exercise its authority and just unplug the interior sign, leaving the Blue Lives Matter sign blazing and asserting the truth about the power dynamic Gallo glosses over.

The project at the 40th precinct is within the purview of the Department of Cultural Affairs, which is spearheaded by art-world darling and social-practice champion Tom Finkelpearl, who joined the de Blasio administration in 2014 and is charged with overseeing city funding of the arts. In his role as director of cultural affairs, Finkelpearl’s goal is to promote cultural diversity in arts programs citywide; he sees artists and cultural organizations as vital not only for the economic benefits they bring to the city but also for the integral roles they play in their communities. For this reason, Finkelpearl has championed social-practice art, which he understands as art that is not just isolated on the wall of a museum for judgement by an individual viewer but a form of collective participatory interaction engaging with public matters in an urban context.

To his credit, Finkelpearl understands clearly the dilemma faced by artists trying to pursue their practice while living in New York City. As he told Artnet News in 2014,

There are problems for artists related to housing, but the problem in general is that housing is too expensive, and actually I would combine that with the crisis related to student debt . . . But debt is also a big problem for low-income individuals in general. So how do you create coalitions to have artists and folks in the art world understand the coalitions that they should be building with other low-income folks? That’s fundamental to the vision of the administration.

However, as director of cultural affairs, Finkelpearl is beholden to the de Blasio administration. While his personal vision may not be aligned with the goal of assisting developers in hyper-development, his ideological underpinnings allow the city to co-opt his ideas and to bastardize them in the service of private development. This co-optation hinges on Finkelpearl’s idea of what praxis should be—an idea he derives from the famous community organizer and progressive liberal icon Saul Alinsky. Alinsky espoused “realistic pragmatism,” believing that one should focus on single issues and work within the system to achieve winnable goals. But in this approach, concessions won through struggle will always remain within the power structures that grant them. Finkelpearl could preside over the greatest overhaul in cultural equity this city has ever seen, but instead he risks inadvertently providing the channels for the city to utilize the arts as a path-clearing tool for predatory development.

In his book Rules for Radicals, Alinsky attempts to persuade future community organizers to follow his “pragmatic” approach, which he says must begin from the premise that we must “accept the world as it is.” In order to change it, one must work within the system. He is only interested in concessions that can be gained from the powerful elite, leaving undisturbed the structures that constrict freedom and hold time and space captive.

Writing extensively about the organizing he stewarded with his Back of the Yards organization, Alinsky propels the role of the organizer to the forefront as “the architect and engineer” of campaigns. This hierarchical positioning of the organizer over the community is also found within most union organizing, where bureaucratic negotiations are managed by a weak leadership that is uncomfortably cozy with the bosses. This absence of antagonism renders the unions largely powerless vis-à-vis their employers. Nonprofit organizations have also adopted Alinsky’s model of “single-issue,” service-oriented community work administered by a paid staff who, in order to keep their jobs, must prioritize the desires of the foundations that fund them over the needs of the community. At their core, philanthropic foundations aim to determine the priorities and limits of community organizing. Foundations requiring grant recipients to focus on a single issue is a tactic, and the Alinsky model of organizing follows suit.

In his classic 1969 text Black Awakening in Capitalist America, Robert L. Allen details the strategic interests of these powerful foundations, such as the Ford Foundation, the Urban Coalition, and the National Alliance of Businessmen, in the fight for civil rights and black liberation. The nonprofit foundation, he writes,

was designed to counter the potentially revolutionary thrust of the recent black rebellions in major cities across the country. This program was formulated by America’s corporate elite—the major owners, managers, and directors of the giant corporations, banks, and foundations which increasingly dominate the economy and society as a whole—because they believe that the urban revolts pose a serious threat to economic and social stability.

This mixture of counterinsurgency on the one hand and accommodation and integration on the other haunts what we now know as the “nonprofit industrial complex,” defined by Dylan Rodríguez as “set of symbiotic relationships that link together political and financial technologies of state and owning-class proctorship and surveillance over public political intercourse, including and especially emergent progressive and leftist social movements.” This helps explain why Finkelpearl’s Department of Cultural Affairs has commissioned artists to decorate a new NYPD station house in the Bronx: Both departments are arms of the same apparatus.

The Rubenstein development in the South Bronx is well underway and has been sold to Brookfield Properties for $165 million. Rubenstein remains in the South Bronx, as he has opened offices for Somerset along the Bruckner and now owns other properties in the area. The coffee shops are open and the real estate is booming. Ultimately, the wave was too strong to escape, and the people in the Bronx scramble now to get ahead of any city planning sessions for rezonings to try to stop these developer giveaways in their tracks. What developers, city officials, and politicians have ultimately taken from us is space.

In New York City, artists experience this crisis of the disappearance of space alongside other New Yorkers in many ways. Less space on the subway, which is constantly delayed and in disrepair. There is less space for work, as opportunities to sustain our lives continue to disappear and our hours and budgets are trimmed while the rent on our studios and our apartments increases.

Like many other major cities, New York has been reorganized into roommate-driven living systems where we barely restore our bodies, in order to repeat the process of sustaining our lives so we might continue to prop up the structures that continue to allot less time to actively pursue leisure or, more importantly, to organize and agitate for our freedom. How would an artistic practice that aims to disrupt alienation appear in our hallways, elevators, and all the spaces we share in our communities? What if these considerations were practiced outside of the art world, without foundation grants or institutional support as just an act toward freedom? Rather than only thinking about the aesthetic qualities of space, artists can aim to topple the neoliberal scaffold that holds capitalism steady above us, like a firmament.

#the bronx #new york city #gentrification #class stratification #displacement #poverty #the bronx is burning #south bronx #bill de blasio #neoliberalism #urban development #saul alinsky #Keith Rubenstein #art #neighborhoods

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nofomoartworld · 7 years

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Hyperallergic: No Point of View Is the Best View of All: Artists Working Between 1952–65, Many of Whom Are Forgotten

Jean Follett, “3 Black Bottles” (1958), mixed media on wood, 11 2/3 x 19 1/2 x 1 3/4 inches, The American College of Greece Art Collection, Athens, gift of Takis Efstathiou Photo: Nicholas Papananias

Once upon a time, the art world — at least as it existed in downtown New York in the 1950s — was diverse in myriad ways. I mean, when is the last time you went to a big group show and came across a gaggle of Asian sounding names: Yayoi Kusama, Leo Valledor, Yoko Ono, Nanae Momiyama, Robert Kobayashi, Walasse Ting, and Tadaaki Kuwayama. How many Asians were included in The Forever Now: Contemporary Painting in an Atemporal World, which was at the Museum of Modern Art in New York (December 14, 2014–April 5, 2015)? What happened between the mid-1960s and the present, a little more than a half-century? Did Asians stop painting and go into computer programming? Hollywood erases Asians faster than you can say anime, and so does the art world, it seems.

These are just some of the questions spurred by the exhibition, Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965 at the Grey Art Gallery, New York University (January 10–April 1, 2017), which was curated by Melissa Rachleff, who has done an amazing and thorough job.

Rachleff deserves our thanks for amassing a wide and wild range of material, from art works to documentary photographs to gallery ephemera. She has managed to allot discrete areas to a variety of artist-run galleries and groups in what is a difficult space to organize. Rachleff seems to have left no stone unturned. Driven by curiosity, this is curatorial practice at its best.

For anyone who has come across the name Jean Follett, you can see two wall pieces by her in this exhibition, one of which is in a little-known collection in Athens, Greece. Follet, who studied with Hans Hoffman, began applying layers of paint to found objects placed in a shallow box, to which she added more objects. They are shadow boxes but they are not. They don’t look like anything else. They are hybrid works, but that term does not touch upon the strangeness of Follet’s art.

Follet was included in three shows at the Museum of Modern Art between 1959 and 1963, including The Art of Assemblage (October 4 – November 12, 1961), organized by William C Seitz. That catalog was the first place I saw her work, along with a number of other artists, including Bruce Conner, Jess, and Robert Mallary, alongside Lee Bontecou, Joseph Cornell, Marcel Duchamp, Jasper Johns, Marisol, and Robert Rauschenberg. That kind of openness to different aesthetic positions does not happen anymore.

I don’t know what happened to Follet, but I have long been curious about her work, and was more than happy to see it. Forty years ago, Thomas B. Hess mentioned her in passing in a review of the painter David Budd that appeared in New York Magazine (March 7, 1977). Here is the kicker line from that review:

Some lost their way. Where are Jean Follet and Felix Pasilis? A few died before their time (Gabe Kohn, Sam Goodman, Gandy Brodie). Most have persevered, however, in lives of not quite quiet desperation. They teach a bit, exhibit now and then, while slowly piecing together the historical puzzle that was scattered so brusquely about fifteen years ago, when it seemed, as if on a Monday, they were respected members of a cultural milieu and then, the next Friday, practically the whole art Establishment crossed the street to avoid having to say hello.

Hale Woodru, “Blue Intrusion” (1958), oil on canvas, 70 x 40 inches, Grey Art Gallery, New York University Art Collection, anonymous gift, 1958.35. Art (© Estate of Hale Woodru /Licensed by VAGA, New York, NY)

Hess writes that this sweeping change took place around 1962. All the artists he mentions have work in the NYU exhibition. I would venture that most are hardly known and the probability is high that none of them have something currently on display in a New York museum.

If 1962 is the dividing line between one art world and what we seem to have inherited — the moneyed domain of the big, slick, well-produced, and shiny, not to mention the big, industrial, and tastefully rusted — Inventing Downtown will bring you back to the period before the “art Establishment crossed the street.” It is before the art world became arty.

Between 1952 and ’65, the years covered by the exhibition, every kind of scene seemed to be percolating in a rather small geographic area of Manhattan. The epicenter was East Tenth Street, where a bunch of artist-run galleries opened and Willem de Kooning had a studio. Ratleff smartly organizes the shows around artist-run galleries, alternative spaces, and groups. Some were short-lived. Spiral, a collective of African-American artists who met in Romare Bearden’s loft on Canal Street, was active from the summer of 1963 until 1965, and had one exhibition. They were trying to negotiate their relationship to race, Civil Rights, and aesthetics. It could not have been easy. Ratleff also includes the Green Gallery, whose “program,” according to the free brochure accompanying the exhibition, “resulted in the narrowing of aesthetic possibilities and the marginalization of many artists.” If she left any gallery or alternative scene out, I am unaware of it.

In addition to Follet, there were many artists whose work I hadn’t seen before. There were also many surprises from familiar artists, including a garish, Bonnard-inspired “Portrait of Frank O’Hara” (1953-54) by Wolf Kahn. It looks as if the poet is wearing a pink and orange Halloween mask. A few feet away, on the same wall, is a lovely “Portrait of Jane Freilicher” (1957) — a close friend of O’Hara’s — by Jane Wilson. We know the portraits of O’Hara done by Larry Rivers, Fairfield Porter, and Alice Neel, but this one was new to me.

There are also early works by Jim Dine, Dan Flavin, and Allan Kaprow before they became famous for making signature works. Flavin’s piece “Apollinaire wounded (to Ward Jackson)” (1959), is made from a crushed can surrounded by oil paint and pencil on Masonite, mounted on plaster on pine in a shallow box. The title is carefully incised into the paint in the upper left corner, while the red hole at the top of the crushed can refers to the poet’s head wound, which he got in World War I.

Dan Flavin, “Apollinaire wounded (to Ward Jackson)” (1959–1960), crushed can, oil, and pencil on Masonite, and plaster on pine, 13 1/2 x 19 3/8 x 7/8 inches, collection of Stephen Flavin (© 2016 Stephen Flavin/ Artists Rights Society (ARS), New York)

There are abstract paintings by the African-American artists Norman Lewis, Hale Woodruff, and Ed Clark, which tell us that the legacy of the 1960s is one of exclusion. That this exclusion began during the Civil Rights movement does not speak well of the art world.

The other thing that struck me is the diversity of the work. There is no hierarchy between figurative and abstract paintings, nor are there distinctions about materials or processes. The thickly painted “Heaven and Earth” (1960) by Alfred Jensen is diagonally opposite the thinly painted “Ada Ada” (1959) by Alex Katz. The former is filled with arcane symbols, while the latter depicts the artist’s wife twice, wearing a plain blue dress and matching blue shoes. While Hess never says what led up to the sea change in 1962, one cause seems to have been the advent of hierarchical thinking. So you have Donald Judd writing in his essay “Specific Objects” (1965):

The main thing wrong with painting is that it is a rectangular plane placed flat against the wall.

And while this might have influenced the thinking of a lot of people, it does not mean he is right: it means that he has a forceful viewpoint powerfully expressed in unequivocal terms. But you can also find the paintings of John Wesley at the Judd Foundation in Marfa, Texas, and so maybe he was not as much of an ideologue as some people want to believe and take comfort in, because it makes looking easier when you know what to look at. Then there is Clement Greenberg’s snobbish term, “Tenth Street Touch,” which dismissed a lot of artists, including many who did not use a loaded brush or paint the figure. There is the much-ballyhooed claim that art had to be objective, abstract, pure, and even universal — all of which are questionable standards. I think collectors also had something to do with what happened. Whatever the collectors Robert and Ethel Scull did for the art world, they were self-serving narcissists, as Andy Warhol’s portrait “Ethel Scull 36 Times” (1963) demonstrates. And, of course, there’s commerce, from rising rents to the escalating prices of what looks good on a big, immaculate wall — the “post-easel” picture. These forces together helped produce the perfect storm. In some sense, the art world turned from a place of community to a place of authority.

Wolf Kahn, “Frank O’Hara” (1953‒1954), oil on canvas, 43 x 41 inches (courtesy the artist)

By bringing us back to the decade before the “art Establishment” decided what were the true, quantifiable markers of progress, Inventing Downtown reminds us that what we have now was not always the way it was. There are so many things to see and discover — from photographs of interactive paintings by Yoko Ono (Oscar Murillo, eat your heart out), to George Sugarman’s ‘Four Forms in Walnut” from 1959 (yes, you can carve wood and not be old-fashioned), to a strange and interesting “Self-Portrait in Fur Jacket” (1959) by Marcia Marcus (what happened to her?), to a group of gritty drawings by Emilio Cruz, Red Grooms, and Bob Thompson. Check out the work of Boris Lurie, who was in a concentration camp (1941-45), and then read about him and Sam Goodman and the NO! art movement in The Outlaw Bible of American Art (2015), edited by Alan Kaufman. This exhibition brings back a lot of what has been forgotten, overlooked, and thrown under the bus — no doubt with glee. It might not all be good but, to quote another statement that Judd made in “Specific Objects:”

A work needs only to be interesting.

By that standard, everything in this exhibition needed to be in this exhibition. The best thing you can do for yourself is go more than once. Buy the catalogue. Read the brochure while walking around both floors of the exhibition. Open your eyes and mind. Don’t miss the Lois Dodd painting of three cows hanging on the wall above the receptionist. I almost did.

Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965 continues at the Grey Art Gallery, New York University (100 Washington Square East, Greenwich Village, Manhattan) through April 1.

The post No Point of View Is the Best View of All: Artists Working Between 1952–65, Many of Whom Are Forgotten appeared first on Hyperallergic.

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automaticdoorspecialists-blog1 · 7 years

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How to manage and clean your garage

Sports equipment, camping equipment, beach chairs and old bikes. Move all sports related articles to your internship and carefully through the content of this category to see if you are using them again. Yes, if kids are young to camp, it is very interesting, but are you planning to go back? Although I would like to play outside in the beautiful natural environment, but at this stage of my life I am also very happy to have a comfortable bed in the evening. Bicycles, beach chairs, golf clubs, tennis rackets and ski equipment. Try to remember the last use of each item. If you play golf twice a month, make sure you keep your golf club. If the last time he used the club in the late 1980s, it was time they left.

Sports articles, bicycles and camping gear are popular items left by family members. If you're home, move all these items to the "Back to others" section of your garage with taking care of your wood driveway gate. Set the time at which items can be retrieved. If the family member lives outside the area, send the picture of the article and ask if you can get rid of these articles. Consider the family member's date to pick up the items they choose to keep.

Traditional Christmas Admission 2013

Holiday Decorations Over the years, many of my clients have picked up a number of holiday decoration boxes. This is especially true for those who feed their families in the extended family. Fortunately, holiday decorations are generally relatively easy as it is in stock for most of the year.

When you continue these things, draw the house you go to. If there is some outdoor space for decorating or going to a small apartment or apartment terrace? Also consider relaxation of vacation such as Easter, Independence Day and Halloween. If your child grows, are you adorned this holiday season? You should also take care of your entry gates to secure your things in the garage.

I encourage my customers to be free to store large, bulky products for free. Then consider repetition. For example, do you need five evening scenes or six menus? Think about the size of your new space and determine whether it will reduce the size of your Christmas tree. This can release your own extraordinary decorations when you can only maintain your true love. For those you decide to keep, I recommend buying a storage box for ornaments at the local home store. With your layout, you can put the goalkeeper in the box so that they can prepare the next vacation.

Garden Supplies. When determining which garden tool you want to use, ask the following questions:

Will your new home have a patio?

Are you responsible for the maintenance of the garden, or do you ask the landlord to do this for you?

Do you have a lawn?

Do you like gardening?

Would you rent a gardener?

If you do not have a garden, or someone else does your garden work, you can donate your garden equipment and lawnmowers. If you have a small balcony or terrace where you can place the container, consider keeping small things like t knife, herbicides and garden gloves.

ORG garage for garage

Old shoes Old shoes often find their own garage space. My customer told me she bought some new running shoes, mountain boots, snow boots, as well as sneakers, old shoes in the garage. They are usually never removed from old shoes, so the collection can get quite big.

You can seriously consider the use of unused shoes. If you work in bad weather, it may be worth keeping a few extra sneakers. As a result, when someone gets wet, you have an extra pair. Otherwise I would recommend throwing all the old shoes and with all your activities please also check your automatic garage door that is it working properly? is it require any maintenance so that you can save your inner things from environment changing factors.

6. unwanted household items Unused furniture, dated prints, abandoned art and grandmothers in China are my customer service dark to explore the articles. Placing these items in the garage can be a way out of the decision. But the truth is that your new home might not have enough storage space to get these items.

To reject these items, I recommend taking them to a local shipping store, or to sell more time on eBay or Craigslist. If you are in a tight time, you can call a charity that can send a cart to receive the items you do not want. For tax purposes, please keep the receipt and sub-item of your donation. Donations for charities are tax-free.

Contemporary wardrobe linen

7. The warehouse size household products. Consider if you want to stop buying toilet paper, paper towels, detergents and cleaning products in the store, if it is reduced to a smaller space, it's a good time. The size of these stores is larger, with too many garage features being occupied.

You may be because your child moved and rationalized. As usual, you can not use the same amount of soap and toilet paper. Consider using your collection and then buy a regular product.

8. Old paint, oil, other hazardous waste and electronic waste. These items can not be discarded, so consult your local waste or waste management service to see if you can process these products. Some companies offer annual recycling of toxic and electronic waste, while others allow you to organize collection. Some provinces have a decentralized position of hazardous waste in which these toxic products can be brought. High school and high school are sometimes organized electronic waste, and my homeowners unite in the spring and autumn twice a year electronic waste collection. Check that your homeowners' association offers similar services.

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