On the fifth day . . . . . . . .
BBC News
Migrant crisis: UN criticises Hungary over border controls
Migrants chant the slogan "Freedom" as they protest demanding better conditions and faster administrative process deciding about their asylum claim
Nearly 1,300 migrants are stuck in dire conditions at the Serbia-Hungary border after Hungary blocked their entry, the UN's refugee agency says.
The UNHCR criticised Hungary, which said it had deployed 10,000 police and soldiers to seal the border.
The agency says it is concerned that migrants are being illegally forced to return from Hungary to Serbia.
The numbers of migrants travelling through the Balkans is again on the rise, according to the UN.
New measures introduced by Hungary allow its forces to return to Serbia migrants detained within 8km (5 miles) of the border.
Serbia's government accused Hungary of breaching international law by returning the migrants.
UNHCR regional spokesman in Budapest, Erno Simon told the BBC he is deeply concerned about the practice and the increasingly dangerous conditions for those at the border.
The UN says close to 800 migrants are in the open on the Serbian side of the border, lacking shelter and sanitation.
A 10-year-old Afghan boy died in a drowning accident at Horgos near a makeshift tent encampment on Thursday.
On Friday, the Serbian government called an emergency meeting after 500 migrants entered the country from Bulgaria and Macedonia in 24 hours.
With the Hungarian border now effectively closed, all new arrivals in Serbia will either have to stay there, or find new routes to continue their journeys to western Europe.
The sharp increase in border security by Hungary's armed forces follows a hardline anti-immigration stance taken by Hungary's government.
Janos Lazar, chief of staff to Hungarian Prime Minister Viktor Orban, said on Friday: "Today, the protection of Hungary and of Europe is the government's task.
"For Hungary, security is the most important question. Stopping illegal immigration is a key issue."
Hungary says those caught near the border and returned can claim asylum at transit zones on the border, but reports said only 30 people a day were being allowed through to file claims.
Nearly 400,000 migrants passed through Hungary last year, but just over 500 were granted some sort of international protection here.
More than one million migrants used the Balkan route to cross to Western Europe before it officially closed in March.
The first image of this Liverpool slave ship, the 'Brooks', was produced by William Elford and the Plymouth Society for Effecting the Abolition of the Slave Trade in late 1788. There is said to be a copy of this, as the foldout plate accompanying Elford's related anti-slavery pamphlet, in the library of the Society of Friends. It was also published on a broadsheet in Bristol in 1789. It just shows a single plan image of slaves packed into a hull, on the Bristol version above the abolition campaign's 'Am I not a Man and a Brother' medallion, with text signed by Elford below. The image was then 'improved' by the London SEAST Committee and republished as this broadsheet by their Quaker printer, Phillips and distributed to MPs and others in April 1789. The Phillips image was much copied elsewhere usually without the extensive text shown here, and with the various hull elements rearranged to suit circumstances. On this Phillips version the name of the 'Brooks' [sic] is given in the first paragraph of the text, not the title. The ship was built in 1781 and operated until 1804 as a slaver, being first registered by Lloyds as the 'Brook' and then the 'Brooks' owned by J. Brooks, though it changed hands at least twice thereafter. It was one of nine slavers measured (as the text states) by a Captain Parrey RN in the course of an enquiry on the subject, probably Anthony Parrey who died in late1789. It is also often mistakenly referred to as the 'Brookes' from an early date, mirroring the variant spelling of the family of its first owner Joseph Brooks junior. The family is known in the Liverpool area as far back as the 16th century and Joseph junior was the nephew of Joseph Brooks senior (1706-88). The latter was a pious non-conformist general builder, ropewalk owner, lime burner, timber and building merchant , and with his brother and partner, Jonathan (d. 1786), built among other things Liverpool's surviving 18th-century town hall. Joseph junior (1746-1823) was Jonathan's slave-trading son, being involved in forty-three such voyages between 1770 and 1790. He was also Bailiff of Liverpool in 1784 and 1802.
William Wilberforce (24 August 1759 – 29 July 1833) was an English politician, philanthropist, and a leader of the movement to abolish the slave trade. A native of Kingston upon Hull, Yorkshire, he began his political career in 1780, eventually becoming the independent Member of Parliament for Yorkshire (1784–1812). In 1785, he became an Evangelical Christian, which resulted in major changes to his lifestyle and a lifelong concern for reform.
In 1787, he came into contact with Thomas Clarkson and a group of anti-slave-trade activists, including Granville Sharp, Hannah More and Charles Middleton. They persuaded Wilberforce to take on the cause of abolition, and he soon became one of the leading English abolitionists. He headed the parliamentary campaign against the British slave trade for twenty years until the passage of the Slave Trade Act of 1807.
Wilberforce was convinced of the importance of religion, morality and education. He championed causes and campaigns such as the Society for the Suppression of Vice, British missionary work in India, the creation of a free colony in Sierra Leone, the foundation of the Church Mission Society, and the Society for the Prevention of Cruelty to Animals. His underlying conservatism led him to support politically and socially controversial legislation, and resulted in criticism that he was ignoring injustices at home while campaigning for the enslaved abroad.
The Guardian
Thousands strip naked in Hull for Spencer Tunick photographs
More than 3,000 people in east Yorkshire city were painted with four shades of blue paint before US artist photographed them
Saturday 9 July 2016 11.12 BST Last modified on Saturday 9 July 2016 11.40 BST
In the early hours of Saturday morning, 3,200 people from around the world gathered in Hull city centre, stripped naked and painted themselves blue in the name of art.The spectacle to celebrate the city’s relationship with the sea was arranged by the American photographer Spencer Tunick, famous for his installations featuring crowds of nude people, and was commissioned by the city’s Ferens Art Gallery for Hull’s UK city of culture celebrations next year. New-York based Tunick had been inspired by Hull’s maritime history and had body paints made in four shades of blue. Roads in the city centre were closed between midnight and 10am as the participants posed in historic locations.
Tunick said it had been one of the best turnouts he has seen for one of his shoots, and the best in the UK, beating Gateshead in 2005 and Salford in 2010. “I needed about 2,500 to 3,000 [volunteers] to do this work and 3,200 came. I was incredibly lucky to be able to fill up streets into the distance,” he said. Volunteers arrived at the meeting point in the city centre at 3am. They then stripped off and helped to paint each other. The crowds were then ordered into position through megaphones by Tunick’s assistants, who he calls “nude wranglers”, during the three-hour photo shoot.
Tunick said the crowds of blue people were also a representation of the rising sea levels caused by climate change. “It’s the idea that the bodies and humanity is flooding the streets,” he said. “So there are many ways you can think about it. “I was very surprised to see so many older people take part and so many people who had problems walking – [with] wheelchairs, crutches, leg braces. It was like the end of a war in a way, but they were resilient and we had young and old and I am so thankful to them.
“There’s something about the body and how it’s juxtaposed with public space – the natural, soft vulnerable body that’s up against the concrete world – it creates a dynamic that interests me.” One volunteer was Stephane Janssen, 80, from the US, who has posed for Tunick 20 times. “I always say that it’s the least sexual thing that I’ve ever seen in my life,” he said. “We are naked, but it is not important. We are equal. Big people, small people, all colours, all walks of life.”
He said he did get a little chilly during the shoot, but added it was nothing compared to Tunick’s installation in Dublin in the summer of 2008. “That was frightening,” he said. “My children are very conservative. They don’t think it’s totally proper to have their father’s butt on a museum wall, but I love it.” Janssen said it will be the last time he takes part in one of Tunick’s works.
Sarah Hossack, 30, a trainee teacher from Hull, said she was having second thoughts when her alarm went off at 1.30am on Saturday, but that it did not take long for her to get into the swing of things. “Everybody just got involved, so we didn’t feel like it was that weird,” she said. “When you see people with clothes on you’re like, ‘These people need to get naked.’”
Danielle Robilliard, 38, a social worker, also from Hull, said the experience was like being part of a special club. “I knew the experience itself was going to be great, but the point when you had to get naked in front of lots of people was terrifying, but actually within minutes in felt normal.”
Kirsten Simister, curator of art at the Ferens, said the gallery was thrilled by the turnout. “It took off like a rocket from day one with an overwhelming number of people signing up and we are delighted to see how Spencer has brought them together today to create some remarkable new images and unforgettable memories for themselves.”
Tunick’s photographs from the day will be exhibited in the refurbished gallery in 2017, when Hull is UK city of culture, and will be purchased for the Ferens’ permanent collection.
https://en.wikipedia.org/wiki/Ulysses_and_the_Sirens
Ulysses and the Sirens is a 1909 oil painting by Herbert James Draper measuring 69.25 x 84 in. It is held at the Ferens Art Gallery in Kingston upon Hull, England. The gallery purchased the painting from Draper in 1910 for £600. Draper also painted a reduced replica that is housed at the Leeds Art Gallery. The subject of the painting is an episode in the epic poem Odyssey by Homer in which Ulysses is tormented by the voices of Sirens, although there are only two Sirens in Homer's poem and they stay in a meadow. The painting depicts Ulysses tied to the mast and forcibly attendant to the Sirens' seductions. Although the Sirens were depicted in ancient Greek art as scary, ugly creatures, Draper maintains the spirit but not the content of the story by transferring the Sirens' seductiveness from their song to a visible form, depicting the Sirens as beautiful mermaids who invade Ulysses' ship. The Sirens are nude and their tails disappear as they board the ship. Draper's conflation of Sirens with mermaids and his sexualization of these figures are consistent with other artwork of the Victorian and Edwardian eras.
MailOnline
'I was a sex vixen waiting to be unleashed': Former porn star reveals what it's REALLY like to star in adult films, from 'showing off' a labiaplasty to crafting an AMISH alter ego
The retired adult entertainer, who goes by the pseudonym S.K., is featured on the latest episode of the Cosmo Happy Hour podcast
S.K. says porn was a 'passion project for her', but she left the industry after it started to feel like work
The former adult film star says when she first started porn, she started tanning, having her hair styles, and was keen to 'show off' her labiaplasty
S.K. says her natural look helped her find a niche in 'Amish porn'
By ERICA TEMPESTA FOR DAILYMAIL.COM
PUBLISHED: 21:13, 8 July 2016 | UPDATED: 13:07, 9 July 2016
A former porn star has lifted the lid on what it was really like to go from from a college student to adult entertainer as she reveals that the only X-rated films she likes to watch with her partners are the ones she's starred in.
The retired adult entertainer from Massachusetts, who goes by the pseudonym S.K., joined Cosmopolitan.com editors Elisa Benson and Ali Drucker for a candid discussion about women and porn on the latest episode of the Cosmo Happy Hour podcast, in which she dished about everything watching her adult films with her partners and the camaraderie on set.
'It wasn't like I was desperate for money, so there was no need for me to do anything I didn't feel like doing,' S.K. explains of her time in the industry. 'I was really there to have a good time. [Porn] was more of a passion project for me, so I really only did as much of it as I thought would be fun.'
S.K. says she has 'always had a little sex vixen waiting to be unleashed', but before she got into porn, she was working as a webcam girl inside the the dorm room of her New England liberal arts college.
'You could truly choose your own adventure, and I had a lot of props and costumes,' she says of her time as a webcamming.
S.K. eventually developed a regular fan base and started looking into another avenues of doing porn in on the East Coast before she headed to Los Angeles, where she started doing improv comedy.
When one of the women from her improvisation class revealed that a producer asked her to take her shirt off and she refused, S.K. says she was reminded of her interest in getting into the adult film industry.
After Googling the top porn agencies in Los Angeles, S.K. took a series of nude photos of herself and sent them off.
S.K. says she was soon contacted by former porn star Shy Love, who founded Adult Talent Managers.
During their first meeting, she says Shy Love told her to get naked and noted that she has 'five different shades of skin tone'.
'My tan was quite uneven at the time. I was like, "I'm sorry I'm from Boston,"' she recalls.
'You need to get a tan. I want you three shades darker,' Shy Love told her before giving her the name of a tanning place and hair stylist to start her adult film makeover.
S.K. explains that the of the first things Shy Love told her was that she is 'very raw'.
'That was actually part of my appeal,' she says looking back. 'I think that I was all natural — I even found a literal niche for myself in Amish porn. They really liked the whole natural look.'
S.K. says she was so excited about the opportunity that she was almost open to anything, however, she admits that when Shy Love asked her why she wanted to get involved in the industry, she didn't have a really good reason.
She and Shy Love went through the porn scenarios she would be willing to do, and the owner of the agency helped mentor S.K., explaining that she should start off in 'masturbation' and 'girl on girl' and stay there as long as she could.
'It is all about novelty so that's why they get so excited when new girls show up, but you really want to maximize your potential,' she explains. 'So you sort of make your rounds in each genre, but its like if you do anal first it is like, "Oh, she has already done that."'
S.K. says she had no problem getting naked during her go-sees with production companies because it was something she genuinely wanted to do.
'[If] you are signing up to do porn, you have to expect that you are getting naked and people are going to be looking at you in a sexual way,' she explains. 'I think as long as you know what you are signing up for... but I don't know if everyone sort of has the luxury I had, where it's not like my rent was due.'
'I got a labiaplasty so I wanted to show that off,' she adds.
When it comes to shooting, S.K. says you know you are going to be getting 'extremely intimate' with your co-stars, so 'you just really start hitting it off right away'.
S.K. says the guy starts 'courting you immediately' and is 'treating you like this goddess', however, she admits that she has exchanged numbers with some of the men, and she has regretted it.
'It was always like a fun atmosphere,' she recalls. 'I always felt euphoric after these shoots, and the other girls too I thought were lovely. Like most people just really loved having sex, so they were usually happy to be there I think. They seemed like it.'
Maybe it is a little sick and twisted, but I've had guys who want to watch my work
S.K. says one of her favorite parts of shooting was actually the interview section before the sex starts, however, she realized male fans had no idea what she was talking about.
'Most guys I would talk to would be like, "Wait what? I skipped over the at least first 10 minutes." So they are just waiting for that money shot I think.
And similarly to the sex scenes featured in Hollywood blockbusters, S.K. says camera men knew what angles to look for and would position her in certain ways.
However, when asked what the most popular angles were, S.K. says 'p***y'.
'That is really what it is focusing on [in hardcore porn],' she says, 'But the softcore can't show the actual penetration, so you have to somehow hide it.'
Eventually, S.K. told her parents about her career in the adult film industry, and she explains that their level-headed reactions made her gain even more respect for her mother and father, who really focused on understanding her decision and making sure she was being safe.
'I think one particular woman really may have gotten a lot of pleasure from being the one to bear the news to my mother, and I would have hated that,' S.K. says of her mom finding out.
However, when the woman in question called her mom and asked if she knew that her daughter was doing porn, her mother had an incredible reaction.
'I don't think she really knew the full extent of what I was doing at the time, [but] she was like, "Why yes, yes I did. Goodbye now."'
After working in the industry from the ages of 23 to 25, S.K. says she decided to not renew her contract because it started to feel like work and she knew it wasn't her 'true life calling', it was just something she wanted to try.
'Personally, I don't watch very much porn,' she admits. 'Before trying it myself, I hadn't really watched much either.'
However, S.K. says she does like to watch her own work from time to time.
'Maybe it is a little sick and twisted, but I've had guys who want to watch my work while also being with me in the flesh,' she admits. 'And that's always been kind of fun for me.'
S.K. also says that when she finally tells her suitors about her past they think it is really cool.
'They're like, "Whoa, I've never met a porn star before." It can make their life.'
Read more:
Cosmopolitan's Happy Hour Podcast Women and Porn - Dr. Jessica O'Reilly
Cosmo Happy Hour by play.it on iTunes
On this day the Act Against Slavery was an anti-slavery law passed on July 9, 1793, in the second legislative session of Upper Canada, the colonial division of British North America that would eventually become Ontario.
John Graves Simcoe, Lieutenant Governor of the colony, had been a supporter of abolition before coming to Upper Canada; as a British Member of Parliament, he had described slavery as an offence against Christianity. By 1792 the slave population in Upper-Canada was not large. However, when compared with the number of free settlers, the number was not insignificant. In York, Upper Canada there were 15 African-Canadians living, while in Quebec some 1000 slaves could be found. Furthermore, by the time the Act Against Slavery would be ratified, the number of slaves residing in Upper-Canada had been significantly increased by the arrival of Loyalists refugees from the south who brought with them servants and slaves.
At the inaugural meeting of the Executive Council of Upper Canada in March 1793, Simcoe heard from a witness the story of Chloe Cooley, a female slave who had been violently removed from Canada for sale in the United States. Simcoe's desire to abolish slavery in Upper Canada was resisted by members of the Legislative Assembly who owned slaves, and therefore the resulting act was a compromise. The bulk of the text is due to John White, the Attorney-General of the day. Of the sixteen members of the assembly, at least six owned slaves.
The law, titled An Act to Prevent the further Introduction of Slaves and to limit the Term of Contracts for Servitude within this Province, stated that while all slaves in the province would remain enslaved until death, no new slaves could be brought into Upper Canada, and children born to female slaves after passage of the act would be freed at age 25.
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