Stručný report ze soustředění naší STG Mělník.
Po předsnídaňovém výběhu s trochou cviků na protažení jsme se vydali na cestu. Díky Míle jsme měli naprosto skvělou průvodkyni a tímto jí chci velice poděkovat, neb nejen, že jsme se neztratili, tak zařídila vše i ohledně ubytování.
Většina z nás šla cestou: Dvoračky, Zlaté návrší - mohyla Hanče a Vrbaty, Pančavské vodopády, Labská bouda, Sněžné jámy, Violík, pramen Labe, Dvoračky a zpět na chatu. Ušli jsme zhruba 24 kilometrů a i když na polské straně lehce foukalo, byl to úžasný výšlap! ⛰👣🎒
@sashadigiulian: "At the beginning of this year I decided to plan an outdoor climbing retreat. I wanted to create an experience in which I could get to know some of you and share an environment doing what we love- being outside, climbing, and enjoying a beautiful location. I partnered with @true_nature_travels to bring this concept to life. I prepared a set of clinics spread across 5 days, focusing on technique, falling, and projecting. I didn’t know what to expect- I was a bit nervous to spend a week with a group of strangers.
At our opening meeting the first night I had us all take a picture. We had just met. We stood awkwardly together posing for the photo. I think we all were a bit nervous and curious about the week ahead of us. This pic was 5 days later 😄
Over the course of the week this beautiful crew of strangers became quick friends. I love you all! Thank you for sharing your passion for climbing with me. Working with all of you reminded me how much gratitude I have for this wonderful life we live. Teaching climbing roots me to my love for the sport. This experience was such a highlight of my year 🙏🏻💕🇬🇷 I am excited for the retreats to come!" ❤️
A huge shoutout to @sashadigiulian for making such an epic adventure a reality.
Thank you for the beautiful photos: @tjtriage Special thanks to this mazing group of climbers. See you all at the reunion!🇬🇷
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🇪🇸 Alerta de #NuevoListing @Doralrealtycorp tiene 2 nuevas propiedades que son perfectas para ti. 👉🏻Un hermoso apartamento con 2 cuartos/2.5 baños en #Homestead gracias a nuestro Nestor Trujillo y un hermoso apartamento con 1 cuarto/1 baño en #Tamarac gracias a nuestra @marthal29 🏠💙 No te quedes sin verlas! Pueden ser tu proximo hogar. ✨ Quieres saber mas? Llama a Nestor al (786) 251-1550 a Martha al (786) 319-6833 o directamente a nuestras oficinas al (786) 868-0789. Tambien puedes visitar nuestro sitio web www.doralrealtycorp.com 🌎
MASSEDUCTION's opening track “Hang on Me” presents Annie Clark as the restless consumer on a come down, a prologue to the excesses of thought and sex and substance that populate the record. Her voice is uncharacteristically cracked but still hopeful, begging for someone to cling to while everything crashes around her.
Her fifth record, MASSEDUCTION is maximalist by definition: Lyrically, aesthetically – the all-caps, the clashing red and pink and leopard of its cover art – and musically; with Clark’s virtuosic guitar playing crashing into layer upon layer of synths and programmed beats. Every song contains sounds or ideas for ten others, as though the record might suddenly burst and multiply like spiders running from a nest. There is a complete sense of Clark at the centre: and she knows from experience that loneliness lives at the core of excess.
“Los Ageless” is a near-future fable of eternal youth, its accompanying video a pastel-coloured plastic surgery nightmare. Nestled between the depictions of cage-dancing girls and endless artificial summer is the repeated refrain, “How could anybody have you and lose you and not lose their minds too?”, an explanation or an excuse: People don’t just destroy themselves – or let others destroy them – for nothing, you know. As the song fades out, her usually assured voice laments, “I tried to write you a love song,” a kind of epilogue or correction.
Gender and sexuality are presented as experimental, unfixed: On “Sugarboy”, Clark proclaims, “BOYS! I am a lot like you / GIRLS! I am a lot like you,” an update of Prince’s promise that “I’m not a woman / I’m not a man / I am something that you’ll never comprehend.” The title track’s refrain of “I can’t turn off what turns me on,” is Clark embracing the unhinged elements of her sexuality, as one who has shed all the urges of adolescence, and whose control stems from her acting like a man. Instead, Clark prizes adolescent urges as part of her spectrum of sexual experience, wrestling back uninhibited, self-serving female pleasure.
MASSEDUCTION defies explanation and critique, rendering the critic a dead weight in the dust of its ever-accelerating sucker-punch of ideas.
Listen to Love Is Magic, John Grant’s fourth solo record released exactly three years after the last, and you experience his customary level of brutal honesty, irresistible vulnerability and wit – but with the electronics dialled way up.
The sound is razor sharp: deep, rib-shaking synths and tingling sequencers mix with punchy percussion and feather-like melodies. And, as you’d expect, the words don’t take a back seat in this ‘80s-inspired soundscape; it wouldn’t be a John Grant record without his signature storytelling.
Little can prepare you for the sonic assault of the first minute of opening track “Metamorphosis." Arcade game meets rap meets ring master showmanship, it’s a surreal and disturbing list of phrases and questions – “earthquakes, forest fires, hot Brazilian boys” and “Who created Isis?” – all delivered in various straight and novelty versions of Grant’s speaking voice. Within seconds, this morphs into a sultry, reflective dream ballad about not having properly mourned the death of a loved one – and then back again. You’re disorientated and intrigued. You’ve been warned.
His humour is evident even in the track listings: “Preppy Boy” precedes “Smug Cunt”. The former is a digital disco come-on, complete with seductive funk twang with winks and nudges a-plenty; the chorus begs, "Come on now, pretty boy/ If you’ve got an opening, I am unemployed". The latter is darker – even though it starts off scathingly describing the subject’s obsession with their own chest hair, it turns into a question of control and entitlement: “You don’t want things you cannot own."
Towards the end of the album, slower and softer songs “Is He Strange” and “The Common Snipe” sit still and powerful next to the beats and bleeps of neighbouring songs. If Grant’s talking to his younger self in “Is He Strange”, it’s with palpable warmth, openness, and a degree of comfort with who he is now.
Somehow stories that are deeply personal and unique to Grant become relatable life lessons. The specificity of the lyrics and the boldness of the electronic orchestration should preclude this – but Grant lets the emotions that drive them show through enough that you can’t help but connect.
The first sound you hear on Prince’s Piano & a Microphone 1983 is the singer’s speaking voice—a low, surprisingly sonorous deadpan. Prince employed a panoply of different vocal stylings across his officially released oeuvre, many of which are also represented here: the mellifluous croon of opener “17 Days,” the gravel-voiced pimp rap of “Cold Coffee & Cocaine,” the gospel scream of “Mary Don’t You Weep.” But he rarely used his natural speaking voice in his music.
The intimacy is most striking thing about this slim but reverently presented recording of Prince at the piano just a few months before work began on his 1984 album and film Purple Rain. Recorded live in the artist’s home studio, the 34-minute rehearsal is preserved in its entirety, interrupted only by the engineer flipping over the tape. The songs here are improvised, and seemingly not intended for public consumption.
The first half of Piano & a Microphone 1983 unfolds as a kind of stream-of-consciousness medley: Prince is barely a minute into “Purple Rain” before he drifts into the next song, a sublime but equally fragmentary cover of Joni Mitchell’s “A Case of You.” Even the album’s more fleshed-out tracks—such as “Mary Don’t You Weep,” feel less like finished pieces than fleeting glimpses into Prince’s creative process. Elsewhere, the more familiar songs are mere sketches of their studio versions: The effervescent “17 Days” is performed as a bluesy vamp, while the syrupy “International Lover” is halting and exploratory.
The album’s three previously unreleased songs are also of note, even if they’re just rough drafts. “Wednesday,” intended at one point for protégée Jill Jones to sing in Purple Rain, is pretty but oddly stilted, pitched somewhere between a Joni Mitchell homage and a showtune, with a jarring line about contemplating suicide. The closest thing here to a buried treasure is closing track “Why the Butterflies,” an anguished tone poem on the maternal themes of “When Doves Cry.” Prince’s performance of the few, half-enunciated lines is spellbinding, his fragile falsetto slowly finding the melody, almost as he were feeling his way through a darkened room.