Libertine Magazine is a youth culture magazine based in London that aims to be the first global publication run entirely by young people.
History
The Team
Soon after launching Libertine's website, Kingham and Mourkogiannis introduced an innovative e-application which young people across the UK could use to apply to become a member of the Libertine team. Writers, photographers, editors and designers from across the country began to submit their applications and soon enough Libertine had become more than two girls and a laptop.
Issues
Issue 0, released September 2009, revolved around the concept of a fresh start, a blank slate: a new beginning for magazines. 1000 copies were distributed to the media and young people at selected events across London. Photoshoots under the direction of Amberly Valentine took place, with appearances from models Sosheba Griffiths and Alys Hale. The cover - which features clothing from graduate designer Natasha Shanks - displays up&coming face Emma Drinkwater wearing a black strip across her eyes.
Issue 1: Super/Natural
Issue 1 will be released in April 2010.
History
The Team
Soon after launching Libertine's website, Kingham and Mourkogiannis introduced an innovative e-application which young people across the UK could use to apply to become a member of the Libertine team. Writers, photographers, editors and designers from across the country began to submit their applications and soon enough Libertine had become more than two girls and a laptop.
Issues
Issue 0, released September 2009, revolved around the concept of a fresh start, a blank slate: a new beginning for magazines. 1000 copies were distributed to the media and young people at selected events across London. Photoshoots under the direction of Amberly Valentine took place, with appearances from models Sosheba Griffiths and Alys Hale. The cover - which features clothing from graduate designer Natasha Shanks - displays up&coming face Emma Drinkwater wearing a black strip across her eyes.
Issue 1: Super/Natural
Issue 1 will be released in April 2010.
Both the Revelation of St. John the Divine and the Gospels have often been taken (by radical literary critics) to be examples of concealed (covert) political satire.
Objects of lampoon; caricature-figures for them
While the Caesar dynasty (Augustus-Tiberius-Caligula-Claudius-Nero) was as yet in control of the empire, lampooning would be directed at them only by subterfuge : a praetense of adulation marked by extremely uncomplementary descriptions of their behaviour, with, however, substitute of caricature-figures (names and places changed, but recognizable to the astute reader of the satire). Our thesis is that the New Testament is a surviving instance of this. Christianity is sometimes regarded as a variety of Cynicism.
Grounds for a satirist’s ire
Arrogance by the rich ruling-class of hypocrites who maintain their grip on wealth by convincing the impoverished that they (the rich) are distinctly favored by omnipotent deities, and that the impoverished would suffer retribution from those deities if they (the impoverished) were ever to protest inaequities in distribution of wealth - such would be sufficient to stir a satirist’s indignation.
Deities as alleged kinsfolk of the rich
It was customary in antient Aiguptos, in official state-authorized propaganda, to repraesent the nobility (such as the royal family) as unique kinsfolk of the deities. When afterwards, with the reign of emperor Tiberius, Roman emperors began to be regarded as deities, this nomenclature (of nobility as unique kinsfolk of deities) became officially adopted throughout the Roman empire.
Resistance by Cynic satirists
Any resistance to this (thenceforth official) policy on the part of “radicals” (so-called on account of their ‘radish’-city Sinope in Paphlagonia) would have to adopt (in order to evade government-imposed censorship) undercover terminology : therefore for the name “Tiberius” would be substituted (on account of the name of the city in Galilaia, namely “Tiberias”, founded under orders from him) the term “Galilaian”, for which more specifically (on account of the Galilaian praedilection for the 4 high-priests all named “Iesous Khristos”, “Khristos” referring to the anointing of the high-priest, in Hierosolume) the name “Iesous Khristos” would naturally be used.
Fabrication of the Christian myth
In order to rebuke the official propaganda of nobility as unique kinsfolk of deities, the “radicals” invented a satirical tale (known thenceforth as Eu-aggelion, on account of its ‘good message’ that belief in any such absurdity as unique “Son of God” could only entail the worst of calamities, namely crucifixion, upon the arrogant claimant to such a title) involving being discredited, being repudiated, and being punished, upon the claimant.
Fabrication of the myth of Paul
In order to indicate that only a treacherous hireling-stooge of the plutocracy could ever even potentially promote such an impudent deception as unique kinship with deities, the “radicals” furthermore invented another satirical tale to the effect that the sole missionary-promoter of Christian dogma was one Paulos (= Pwyl, the Cymry mythic temporary ruler of Annwm, i.e. Tartaros, thus suggesting both the Hellishness of the doctrine of unique kinship with deities, and also the likely merely temporary vogue of such absurdity), a crafty hireling-officer in the Roman secret police, who would hoodwink gullible victims into believing such foolish doctrine, and then arrest them.
Similarity of Cynic to Arian theology
Much as Arianism is a particular development a doctrine of non-divinity (the adoptionist variety); in somewhat similar manner the “radical” original of the New Testament would have Iesous Khristos tricking Theos ho Pater into supposing that Iesous Khristos was his natural son, and Theos ho Pater putting to death Iesous Khristos after the deception was disclosed. This (scenario of trickery) could have been treated as satire, in regarding it as a figure of speech for how the Godhead will put to death the ruling plutocracy throughout the world whenever the Godhead will come to realize the immensity of the fraud (of the dogma of unique kinship) which hath been instrumental heretofore in excluding the commoners from any meaningful relationship with the divine world.
True objective of Cynic anarchism
Contrary to the arrogant political-state-promoted doctrine of plutocratic superiority over slaves (including wage-slaves) and its corollary the notion of unique kinship of titled nobility with deities; democratic anarchist “radicals” would be promoting a doctrine that all beings of good-will (i.e., to the exclusion merely of oppressive plutocratic slave-holders) participate in kinship with divine beings.
Where the New Testament was composed
In order for it to be employed as artificial setting for a fictitious satirical novel (the New Testament), Tarsos (putative location of fictional character Paul) in Kilikia would naturally be so chosen by writers (of whom a latter-day exemplar was Markion) situated across-country from it, namely in Paphlagonia. (/Paphla-gonia/ from */Bhabhla-jan-/ is, literally, ‘Bible’s origin’; /Biblia/ meaning, in this context, ‘New Testament’.) But a better reason for choosing Tarsos might be the fitting of its meaning ‘ankle’ into the meaning of the name of emperor Caligula ‘little boot’.
Subsequent developments
When, after the assassination of Caligula, his surviving Teutonic bodyguard appointed to the emperorship Claudius (so named because the canon of the New Testament was already ‘closed’), interests of satirists took a Teutonic shift, and the canon of the Edda began to be compiled. After the pumpkinification of Claudius, his successor Neron (Nero) became, through fatal condemnation to death of his own mother, the source of the name “Nornir” of the Norse fatal sistren-goddesses. The next enduring emperor was Vespasianus (‘of the wasp’), whose name is yet commemorated amongst W AS Ps. And so the emperorship perpetuated itself, afterward even in Trajanus (of demise-in-Tarsos fame), who is stated by Dante in the Divine Comedy to have risen from the dead (only once, though - Tiberius retaining the record among Roman emperors for number of times risen from the dead, namely thrice).
Perversion of satire into worship
Eventually, the purely satiric intent of the Eu-aggelion (i.e., its being a veiled denunciation of the Caesar dynasty) was lost track of; and in replacement of this understanding came the view of it as a promotion of the Caesar dynasty. This stage of development is repraesented by Joseph Atwill’s Caesar’s Messiah, wherein the transmogrification of ridicule into worship is resultant in worshipping Iesous, an act tantamount to “worshipping the Roman Emperor 'in disguise'. The essence of Atwill's discovery is that the majority of the key events in the life of Jesus are in fact satirical”, but merely in the very weak sense of satirizing (much in the style of Iosephos’s Ioudaian War) the gullibility of the Ioudaioi themselves.
Cause of the Jewish War
Just as in our own time, where we witnessed the officers of the Bne Brit accepting bribes from the German extermination machine during World War II so as to consent to mislead their own people into voluntarily going to the “concentration camps”; so in like manner in antiquity did the antique counterparts same officers accept bribes from the Roman secret police to mislead their own people into approving a program (as disclosed in the Dead Sea Scrolls) intended to exterminate all non-circumcising nations in the world - this horrendous program was of course intended (by the Roman secret police, under clandestine direction from the imperial government) to cause the general population of the Roman empire to hail the imperial government as their gracious rescuer (from the universally murderous Ioudaioi), with renewed loyalty and eagerness to serve it. It was such banal bribe-taking which resulted in the war, and the well-nigh complete elimination of the Ioudaioi themselves.
references
Objects of lampoon; caricature-figures for them
While the Caesar dynasty (Augustus-Tiberius-Caligula-Claudius-Nero) was as yet in control of the empire, lampooning would be directed at them only by subterfuge : a praetense of adulation marked by extremely uncomplementary descriptions of their behaviour, with, however, substitute of caricature-figures (names and places changed, but recognizable to the astute reader of the satire). Our thesis is that the New Testament is a surviving instance of this. Christianity is sometimes regarded as a variety of Cynicism.
Grounds for a satirist’s ire
Arrogance by the rich ruling-class of hypocrites who maintain their grip on wealth by convincing the impoverished that they (the rich) are distinctly favored by omnipotent deities, and that the impoverished would suffer retribution from those deities if they (the impoverished) were ever to protest inaequities in distribution of wealth - such would be sufficient to stir a satirist’s indignation.
Deities as alleged kinsfolk of the rich
It was customary in antient Aiguptos, in official state-authorized propaganda, to repraesent the nobility (such as the royal family) as unique kinsfolk of the deities. When afterwards, with the reign of emperor Tiberius, Roman emperors began to be regarded as deities, this nomenclature (of nobility as unique kinsfolk of deities) became officially adopted throughout the Roman empire.
Resistance by Cynic satirists
Any resistance to this (thenceforth official) policy on the part of “radicals” (so-called on account of their ‘radish’-city Sinope in Paphlagonia) would have to adopt (in order to evade government-imposed censorship) undercover terminology : therefore for the name “Tiberius” would be substituted (on account of the name of the city in Galilaia, namely “Tiberias”, founded under orders from him) the term “Galilaian”, for which more specifically (on account of the Galilaian praedilection for the 4 high-priests all named “Iesous Khristos”, “Khristos” referring to the anointing of the high-priest, in Hierosolume) the name “Iesous Khristos” would naturally be used.
Fabrication of the Christian myth
In order to rebuke the official propaganda of nobility as unique kinsfolk of deities, the “radicals” invented a satirical tale (known thenceforth as Eu-aggelion, on account of its ‘good message’ that belief in any such absurdity as unique “Son of God” could only entail the worst of calamities, namely crucifixion, upon the arrogant claimant to such a title) involving being discredited, being repudiated, and being punished, upon the claimant.
Fabrication of the myth of Paul
In order to indicate that only a treacherous hireling-stooge of the plutocracy could ever even potentially promote such an impudent deception as unique kinship with deities, the “radicals” furthermore invented another satirical tale to the effect that the sole missionary-promoter of Christian dogma was one Paulos (= Pwyl, the Cymry mythic temporary ruler of Annwm, i.e. Tartaros, thus suggesting both the Hellishness of the doctrine of unique kinship with deities, and also the likely merely temporary vogue of such absurdity), a crafty hireling-officer in the Roman secret police, who would hoodwink gullible victims into believing such foolish doctrine, and then arrest them.
Similarity of Cynic to Arian theology
Much as Arianism is a particular development a doctrine of non-divinity (the adoptionist variety); in somewhat similar manner the “radical” original of the New Testament would have Iesous Khristos tricking Theos ho Pater into supposing that Iesous Khristos was his natural son, and Theos ho Pater putting to death Iesous Khristos after the deception was disclosed. This (scenario of trickery) could have been treated as satire, in regarding it as a figure of speech for how the Godhead will put to death the ruling plutocracy throughout the world whenever the Godhead will come to realize the immensity of the fraud (of the dogma of unique kinship) which hath been instrumental heretofore in excluding the commoners from any meaningful relationship with the divine world.
True objective of Cynic anarchism
Contrary to the arrogant political-state-promoted doctrine of plutocratic superiority over slaves (including wage-slaves) and its corollary the notion of unique kinship of titled nobility with deities; democratic anarchist “radicals” would be promoting a doctrine that all beings of good-will (i.e., to the exclusion merely of oppressive plutocratic slave-holders) participate in kinship with divine beings.
Where the New Testament was composed
In order for it to be employed as artificial setting for a fictitious satirical novel (the New Testament), Tarsos (putative location of fictional character Paul) in Kilikia would naturally be so chosen by writers (of whom a latter-day exemplar was Markion) situated across-country from it, namely in Paphlagonia. (/Paphla-gonia/ from */Bhabhla-jan-/ is, literally, ‘Bible’s origin’; /Biblia/ meaning, in this context, ‘New Testament’.) But a better reason for choosing Tarsos might be the fitting of its meaning ‘ankle’ into the meaning of the name of emperor Caligula ‘little boot’.
Subsequent developments
When, after the assassination of Caligula, his surviving Teutonic bodyguard appointed to the emperorship Claudius (so named because the canon of the New Testament was already ‘closed’), interests of satirists took a Teutonic shift, and the canon of the Edda began to be compiled. After the pumpkinification of Claudius, his successor Neron (Nero) became, through fatal condemnation to death of his own mother, the source of the name “Nornir” of the Norse fatal sistren-goddesses. The next enduring emperor was Vespasianus (‘of the wasp’), whose name is yet commemorated amongst W AS Ps. And so the emperorship perpetuated itself, afterward even in Trajanus (of demise-in-Tarsos fame), who is stated by Dante in the Divine Comedy to have risen from the dead (only once, though - Tiberius retaining the record among Roman emperors for number of times risen from the dead, namely thrice).
Perversion of satire into worship
Eventually, the purely satiric intent of the Eu-aggelion (i.e., its being a veiled denunciation of the Caesar dynasty) was lost track of; and in replacement of this understanding came the view of it as a promotion of the Caesar dynasty. This stage of development is repraesented by Joseph Atwill’s Caesar’s Messiah, wherein the transmogrification of ridicule into worship is resultant in worshipping Iesous, an act tantamount to “worshipping the Roman Emperor 'in disguise'. The essence of Atwill's discovery is that the majority of the key events in the life of Jesus are in fact satirical”, but merely in the very weak sense of satirizing (much in the style of Iosephos’s Ioudaian War) the gullibility of the Ioudaioi themselves.
Cause of the Jewish War
Just as in our own time, where we witnessed the officers of the Bne Brit accepting bribes from the German extermination machine during World War II so as to consent to mislead their own people into voluntarily going to the “concentration camps”; so in like manner in antiquity did the antique counterparts same officers accept bribes from the Roman secret police to mislead their own people into approving a program (as disclosed in the Dead Sea Scrolls) intended to exterminate all non-circumcising nations in the world - this horrendous program was of course intended (by the Roman secret police, under clandestine direction from the imperial government) to cause the general population of the Roman empire to hail the imperial government as their gracious rescuer (from the universally murderous Ioudaioi), with renewed loyalty and eagerness to serve it. It was such banal bribe-taking which resulted in the war, and the well-nigh complete elimination of the Ioudaioi themselves.
references
Alan Fleming-Baird (born 1972) is a composer of music in many media, including concert works for large orchestra.
After a brief period of study with the composer Sir John Tavener he then studied composition with Jeremy Dale Roberts at the Royal College of Music in London and, while there, studied in seminars with Sir Peter Maxwell Davies, George Benjamin and Brian Eno, then subsequently on the post-graduate course at the Royal Scottish Academy of Music and Drama, studying with Gordon McPherson towards his Master's degree.
Some notable works include: Music In Three Movements for violin and piano, The Return for string quartet, Four Etudes for solo piano, and Arc for symphony orchestra.
His music has been performed by, amongst others the : Sinfonia of London, Philharmonia, City of Birmingham Symphony Chorus, Belcea Quartet, Psappha, and members of the BBC Scottish Symphony Orchestra, and the Royal Scottish National Orchestra and his music has been broadcast on radio and television.
Fleming-Baird's compositional style has been compared to John Tavener (his former teacher) and Louis Andriessen
His uncle was the pianist and former head of the keyboard department at the Royal Academy of Music - Alexander Kelly, and his aunt was Margaret Moncrieff, the cellist and former professor of cello at the Royal College of Music.
After a brief period of study with the composer Sir John Tavener he then studied composition with Jeremy Dale Roberts at the Royal College of Music in London and, while there, studied in seminars with Sir Peter Maxwell Davies, George Benjamin and Brian Eno, then subsequently on the post-graduate course at the Royal Scottish Academy of Music and Drama, studying with Gordon McPherson towards his Master's degree.
Some notable works include: Music In Three Movements for violin and piano, The Return for string quartet, Four Etudes for solo piano, and Arc for symphony orchestra.
His music has been performed by, amongst others the : Sinfonia of London, Philharmonia, City of Birmingham Symphony Chorus, Belcea Quartet, Psappha, and members of the BBC Scottish Symphony Orchestra, and the Royal Scottish National Orchestra and his music has been broadcast on radio and television.
Fleming-Baird's compositional style has been compared to John Tavener (his former teacher) and Louis Andriessen
His uncle was the pianist and former head of the keyboard department at the Royal Academy of Music - Alexander Kelly, and his aunt was Margaret Moncrieff, the cellist and former professor of cello at the Royal College of Music.
Indian Fall is a death/black metal band from Transilvania, Romania. Indian Fall was formed by Adrian Nagy and Adrian Vitanescu in 1997 in the Transilvanian City of Brasov. Indian Fall combines progressive music with death/black metal heavy riffs. During 1997-1999 Indian Fall had a progressive metal orientation combining melody, solos and heavy riffs. During the fall period of 1999 Andrei Calmuc joined the band as lead vocalist. His experience as a vocalist in the death metal Romanian underground - Tenebre, Putrefaction -influenced Indian Fall's music. In 2000, the band signed a contract with ProMusic Productions, one of the fewest Romanian metal labels. The first album, Pathfinder was released in 2001 being promoted all over Europe, Canada and Japan. The album was released with Andrei Calmuc - vocals, Adrian Nagy - bass, Adrian Vitanescu - guitar, Mircea Fulea - keyboards and Gabi Barani - drums. In 2002, the first demo, "Counting the Emptiness" was released by ProMusic on mini-CD. During the period 2003-2006 Indian Fall was inactive musically. The other members, Gabi Barani, Andrei Calmuc and Adrian Vitanescu started a death metal project-band called Code Red. In the period 2007-2008, Indian Fall released an EP - "Screaming Down" containing two songs: "Screaming Down" and "Follow us". Indian Fall was on tour in Romania promoting their new material "Seasons in Equilibrium" that is announced to be released in the winter of 2008-2009, also being a support band for Moonspell, Crematory, Lake of Tears, Sear Bliss and Cynic on their concerts held in Romania.
Current Line-Up
* Catalin Mierlea - Vocals (live)
* Adrian Vitanescu - Guitar, Lead Guitar (1997-present)
* Radu Barna - Guitar (2009-present)
* Adrian Nagy - Bass Guitar (1997-present)
* Mircea Fulea - Keyboards (2000-present)
* George Bratosin - Drums (2007-present) (new drummer from Leprosy Abscess)
Former Members
* Andrei Calmuc - Vocals, Lead Guitar (1999-2009)
* Adina Lica - Keyboards (1997-2000)
* Marius Muntean - Bass (2003-2005)
* Gabi Barani - Drums (2000-2005)
* Radu Ilies - Drums (1999-2000)
* Mircea Damian - Drums (1997-1999)
Discography
* "Pathfinder" - LP (2001) - Promusic Records
* "Counting The Emptiness"- EP (2003) - Promusic Records
* "Screaming Down" - EP (2007) - Deadspawn Media
* "Seasons In Equilibrium" - LP (2009) - Self released
Current Line-Up
* Catalin Mierlea - Vocals (live)
* Adrian Vitanescu - Guitar, Lead Guitar (1997-present)
* Radu Barna - Guitar (2009-present)
* Adrian Nagy - Bass Guitar (1997-present)
* Mircea Fulea - Keyboards (2000-present)
* George Bratosin - Drums (2007-present) (new drummer from Leprosy Abscess)
Former Members
* Andrei Calmuc - Vocals, Lead Guitar (1999-2009)
* Adina Lica - Keyboards (1997-2000)
* Marius Muntean - Bass (2003-2005)
* Gabi Barani - Drums (2000-2005)
* Radu Ilies - Drums (1999-2000)
* Mircea Damian - Drums (1997-1999)
Discography
* "Pathfinder" - LP (2001) - Promusic Records
* "Counting The Emptiness"- EP (2003) - Promusic Records
* "Screaming Down" - EP (2007) - Deadspawn Media
* "Seasons In Equilibrium" - LP (2009) - Self released