text:
#ifndef _SECURITY_SECTASK_H_
#define _SECURITY_SECTASK_H_

#include <CoreFoundation/CoreFoundation.h>
#include <mach/message.h>
#include <Security/SecCode.h>

#if defined(__cplusplus)
extern "C" {
#endif

/*!
    @typedef SecTaskRef
    @abstract CFType used for representing a task
*/
typedef struct __SecTask *SecTaskRef;

/*!
    @function SecTaskGetTypeID
    @abstract Returns the type ID for CF instances of SecTask.
    @result A CFTypeID for SecTask
*/
CFTypeID SecTaskGetTypeID(void);

/*!
    @function SecTaskCreateWithAuditToken
    @abstract Create a SecTask object for the task that sent the mach message
    represented by the audit token.
    @param token The audit token of a mach message
    @result The newly created SecTask object or NULL on error.  The caller must
    CFRelease the returned object.
*/
SecTaskRef SecTaskCreateWithAuditToken(CFAllocatorRef allocator, audit_token_t token);

/*!
    @function SecTaskCreateFromSelf
    @abstract Create a SecTask object for the current task.
    @result The newly created SecTask object or NULL on error.  The caller must
    CFRelease the returned object.
*/
SecTaskRef SecTaskCreateFromSelf(CFAllocatorRef allocator);

/*!
    @function SecTaskCopyValueForEntitlement
    @abstract Returns the value of a single entitlement for the represented
    task.
    @param task A previously created SecTask object
    @param entitlement The name of the entitlement to be fetched
    @param error On a NULL return, this may be contain a CFError describing
    the problem.  This argument may be NULL if the caller is not interested in
    detailed errors.
    @result The value of the specified entitlement for the process or NULL if
    the entitlement value could not be retrieved.  The type of the returned
    value will depend on the entitlement specified.  The caller must release
    the returned object.
    @discussion A NULL return may indicate an error, or it may indicate that
    the entitlement is simply not present.  In the latter case, no CFError is
    returned.
*/
CFTypeRef SecTaskCopyValueForEntitlement(SecTaskRef task, CFStringRef entitlement, CFErrorRef *error);

/*!
    @function SecTaskCopyValuesForEntitlements
    @abstract Returns the values of multiple entitlements for the represented
    task.
    @param task A previously created SecTask object
    @param entitlements An array of entitlement names to be fetched
    @param error On a NULL return, this will contain a CFError describing
    the problem.  This argument may be NULL if the caller is not interested in
    detailed errors.  If a requested entitlement is not present for the
    returned dictionary, the entitlement is not set on the task.  The caller
    must CFRelease the returned value
*/
CFDictionaryRef SecTaskCopyValuesForEntitlements(SecTaskRef task, CFArrayRef entitlements, CFErrorRef *error);

#if defined(__cplusplus)
}
#endif

#endif /* !_SECURITY_SECTASK_H_ */


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text:
Single and Introverted
By a listed life coach
Being single is always a mixed bag. On the one hand you have the freedom to find yourself and explore the world uninhibited by the responsibility of a significant other, and on the other hand feeling the isolation and longing that inevitably emerge intermittently. But of course the aim is to embrace being single, to enjoy it and to thrive in the freedom and the potential for self-exploration. And to help us to embrace this independent lifestyle, we have many sources of inspiration in the media. Mostly, these emphasise the fun lad or lass on the town sort of lifestyle that we seem to associate with being free and single. We are constantly told of the benefits of being "young, single and ready to mingle", we are told how to relish the partying lifestyle and how to plan the perfect night out. But what about those who are single and introverted?
A friend of mine recently told me of her own personal tensions in this area. As a single woman she felt an enormous pressure to conform to the socio-cultural expectations, arranging nights out whenever possible. Ultimately, as a natural introvert, she found herself unable to maintain the kind of lifestyle that she felt was expected, and started engaging in guilt-tripping behaviour. She felt that if she couldn't be an extroverted single, not only was it a sign of her natural desires being somehow defective, she would also be unable to find a new partner. This is the struggle of the introverted single.
It seems that if you are not the stereotypical single person, you are encouraged to fall into this kind of distorted thinking. And this kind of thinking neglects the very best thing about being single; you don't have to fit in to any mould, nor do you have to preoccupy yourself with the pressure to settle down. Realistically, you are not defective. You are not in danger of being forever single unless you want to be. You do not have to go out every night, nor should you feel bad if you don't.
Being single is all about embracing who you are. Introvert, extrovert or something in between, this is the time to accept and nurture your authentic self, unashamedly.
Life Coach Directory is not responsible for the articles published by members. The views expressed are those of the member who wrote the article.
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text:
Sarah Palin's Rallying Cry
When Sarah Palin's new video message regarding the controversy surrounding the assassination attempt of Democratic congresswoman Gabrielle Giffords was released today, I couldn't help but think of Osama bin Laden. Some will no doubt be tempted to stop reading right here, and dismiss this as the rant of some partisan lefty. A lefty I am, and I make no bones about it, but hear me out. Bin Laden doesn't just release one of his cave messages to the West following a terrorist attack for which he's responsible; he often chimes in after any notable calamity, claiming tacit responsibility or pointing a figure at the consequences of American imperialism.
To be clear: I am not suggesting that Sarah Palin is a terrorist. I personally don't ascribe responsibility for what happened in Tucson, Arizona last weekend to Palin—at least directly. There's no evidence to suggest that the alleged shooter, Jared Loughner, had a coherent political ideology, let alone ever saw Palin's "target list," on which Giffords's district was depicted in crosshairs. But like Bin Laden, Palin exists in a vacuum, avoiding both reality and real media interaction, occasionally appearing on FOX News via satellite from her own cave, err, studio above her garage in Alaska and communicating in slogans, soundbites, and 140-character messages via Twitter and Facebook. Using social media is undoubtedly a savvy, immediate, and hands-on method of getting one's message across, but Palin doesn't seem interested in engaging her supporters or critics in any meaningful way. She's an isolated political figure, communicating her ideas, if not her orders, from some faraway headquarters, almost as if she'd prefer that others do her bidding for her.
Andrew Sullivan likened Palin's video speech to "a rallying cry." A more conspiratorial, cynical person than myself, someone who believes that Palin is in this for anything other than money, might agree, and read into her use of the word "blood" and the way she emphasized how the "citizens" that were killed were "innocent victims" the same way a rebel fighter might lament collateral damage. But Palin's latest video missive is unsettling in several other ways. Rather than admit that using violent metaphors during a political campaign was, perhaps, not her greatest moment and, in this case, a deeply regrettable coincidence, and take an opportunity to actually lead by calling for the rhetoric to be toned down (on "both sides," as is the current tack of politicians and mainstream media figures these last few days, despite there being absolutely no evidence of rhetorical parity), she's attempting to further divide the country even as she claims that her critics are doing the same.
Palin's denial of her own contribution to the current political discourse, defending it by ridiculously invoking the political duels of centuries past, is dumbfounding. "When we take up our arms, we're talking about our vote," she said, repeating part of a campaign speech from last year. It's a rational statement in and of itself, and I like a good metaphor, but again, Palin exists in a vacuum. She talks of the "peaceful exchange of power," but the manner in which she and others have attempted to rally their supporters is falling on the ears of those who have clearly forgotten that they live in a representative democracy, where change is affected by ballots, not bullets. That Loughner may not have been one of those people, that he is "apolitical" and "deranged," or that the violent rhetoric is simply that—rhetoric—is a hollow argument. How does Palin reconcile her claim that her actions have no impact when people are showing up at rallies with guns, with posters that literally call for blood?
But Palin and others on the right remain resolute in their unwillingness to admit their mistakes. And to act as if the incitement of violence hasn't already had a direct effect is tantamount to burying one's head in the sand. After health care reform passed in the House last year, Giffords's office was the target of vandalism, one in a series of directly connected incidents that occurred in opposition to the bill, including a propane tank gas line being cut at the house of the brother of a Virginia congressman after right-wing activists published his address online, believing it was the representative's home. The question isn't whether or not political violence can be directly connected to right-wing provocation; the question is how much further will it go?
Sarah Palin is not a terrorist, but she certainly "palls around" with them. During the 2010 elections, she endorsed failed Senate candidate Sharron Angle, who not only used violent rhetoric regarding her opponent, majority leader Harry Reid, but took it one step further by declaring that her supporters were prepared to use "second amendment remedies" if she didn't win the election. Right-wing anti-abortion extremists routinely vandalize women's health clinics and post the home addresses of abortion doctors and nurses. These same tactics—which have led to the assassinations of eight doctors and clinic employees since 1993, including Dr. George Tiller—are now being used as a broader political strategy by the right. If it continues, the ends might tragically be the same too.
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The film follows a young Chinese woman who disguises herself as a warrior in order to spare her ailing father from war.
Today, during the Women's World Cup final between America and the Netherlands, Disney premiered the first trailer for its live-action remake of the 1998 animated move of the same name. The film follows a young Chinese woman (Yifei Liu) who, after the Emperor of China (Jet Li) issues a decree that one man per family must serve in the Imperial army, disguises herself as a warrior in order to spare the life of her ailing father (Tzi Ma). According to Disney's official description of the film: "Masquerading as a man, Hua Jun, she is tested every step of the way and must harness her inner strength and embrace her true potential. It is an epic journey that will transform her into an honored warrior and earn her the respect of a grateful nation…and a proud father."
Mulan features a celebrated international cast that also includes Donnie Yen as Commander Tung, Jason Scott Lee as Böri Khan, Yoson An as Cheng Honghui, and Gong Li as Xianniang. The film is directed by Niki Caro from a screenplay by Rick Jaffa, Amanda Silver, Elizabeth Martin, and Lauren Hynek based on the narrative poem "The Ballad of Mulan."
See the action-packed teaser trailer below:
Disney will release Mulan in March 2020.
The self-described transfeminine rapper stars in the video from the queen of pop's upcoming album Madame X.
While presenting Madonna with GLAAD's Advocate for Change award last month, Mykki Blanco hinted that a collaboration with the queen of pop might be imminent. Sure enough, the self-described transfeminine rapper stars in the video for "Dark Ballet," the final track to be released in the lead-up to Madonna's new album, Madame X.
Directed by Dutch Ghanaian visual artist Emmanuel Adjei, "Dark Ballet" echoes the themes of Madonna's infamous "Like a Prayer" video, awash with Catholic iconography and a storyline revolving around a persecuted black person. But that's where the similarities end. The singer only briefly appears in the clip, behind a black veil, and the burning crosses of her 1989 video are traded for a ceremonial burning at the stake.
The video is frenetic and non-linear, opening with Blanco held captive in a stonewalled room, wrapped in a dirty white robe. Wrists bound with rope, he's led by clergymen to be executed for an undisclosed crime. He's then seen dancing, first in a cathedral—pleading with the men, who forsake him—and then in the church's sanctuary, dressed in a gold corset reminiscent of the iconic one designed by Jean Paul Gaultier for Madonna's Blond Ambition Tour. Madonna is, in effect, all over the video, but her casting of a queer person of color as the oppressed, rather than herself, spotlights the disproportionate impact of the patriarchy on minorities.
Produced by Madonna and longtime collaborator Mirwais, the song itself is an ambitious electro suite featuring a heavily Auto-Tuned denouncement of gender, lies, and fame, before the track breaks into Tchaikovsky's "Dance of the Reed Pipes" from The Nutcracker accompanied by a robot Joan of Arc proclaiming her faith. (There's a brief, blink-and-you'll-miss-it shot from Carl Theodor Dreyer's 1928 film The Passion of Joan of Arc near the beginning of the video.) The song is a reminder of the wacky magic Madonna and Mirwais are capable of cooking up together.
Madame X will be released on June 14 via Interscope Records.
It has been a wild ride to the screen for the film, which Gray announced way back in 2016 at the Cannes Film Festival.
It has been a wild ride to the screen for Ad Astra, which director James Gray announced way back in 2016 at the Cannes Film Festival. Originally it was set to come out in the doldrums of January, then on May 24, but as a trailer had yet to be announced in the leadup to that date, it was inevitable that the release would get bumped again. And it was probably for the best, as a film with the obvious ambition as this one wouldn't get the attention it deserved from its studio—or is it studios?—had it opened in the midst of the confusing Disney-Fox Hollywood merger continuing to play out at that time.
Anyway, today we've been gifted with the official trailer for Ad Astra, and the official announcement that it will be coming out on September 20, which suggests that a world premiere at a fall festival is in order. The film tells the story of an astronaut, Roy McBride (Brad Pitt), who "travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet."
Shot by Oscar-nominated cinematographer Hoyte Van Hoytema (Dunkirk) and scored by post-minimalist composer Max Richter, Ad Astra has been likened by Gray to Joseph Conrad's Heart of Darkness, and described as "the most realistic depiction of space travel that's been put in a movie and to basically say, 'Space is awfully hostile to us.'" In addition to Pitt, who's also a producer on the film, Ad Astra stars Tommy Lee Jones, Ruth Negga, Liv Tyler, Donald Sutherland, Jamie Kennedy, John Finn, Kimberly Elise, Bobby Nish, and LisaGay Hamilton.
Watch the official trailer below:
20th Century Fox will release Ad Astra on September 20.
Linda Hamilton at least makes a killer impression as Sarah visits fiery justice upon Gabriel Luna's terminator.
Photo: Paramount Pictures
Today, Paramount dropped the trailer for the sixth entry in the Terminator series, Terminator: Dark Fate, which promises to deliver…more of the same? With this film, Deadpool director Tim Miller aims to give the series a reboot: by pretending that none of the films that came after Terminator 2: Judgement Day ever existed (sorry, Rise of the Machines fans), maybe even Terminator: The Sarah Connor Chronicles. "Welcome to the day after judgment day," reads the poster, promising the badass return of Linda Hamilton's Sarah Connor. And on that front, the film looks to deliver, as Hamilton certainly makes a killer impression as Sarah visits fiery justice upon Gabriel Luna's terminator.
But based on everything else that's on display throughout the trailer, we're worried that there's not anything new that a film in this series stands to bring to the table besides running and gunning, with the occasional wink thrown in for good measure. Cast in point: Mackenzie Davis stars as Grace, an "enhanced human" who looks to fill the hanger-on role to Connor that Edward Furlong's John Connor did to Arnold Schwarzenegger's T-800, now apparently living in woodsy retirement, and at the ready to give sage advice. In short, we're not impressed, and that also holds true of that cover of Björk's "Hunter" by some zombie man singer.
Paramount Pictures will release Terminator Dark Fate on November 1.
The Nightingale Trailer: Aisling Franciosi and Sam Claflin Star in Jennifer Kent's Follow-Up to The Babadook
Today, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825.
Photo: Matt Nettheim
Jennifer Kent's The Nightingale, the Aussie filmmaker's much-anticipated follow-up to The Babadook, premiered way back in September at the Venice Film Festival, and to mostly positive notices. Today, ahead of its U.S. theatrical release in August, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825 and follows a young Irish convict settler, Clare (played by Aisling Franciosi), who, after finishing her seven-year sentence, struggles to be free of her abusive master, Lieutenant Hawkins (Sam Claflin). According to the studio's official description of the film:
Clare's husband Aidan (Michael Sheasby) retaliates and she becomes the victim of a harrowing crime at the hands of the lieutenant and his cronies. When British authorities fail to deliver justice, Clare decides to pursue Hawkins, who leaves his post suddenly to secure a captaincy up north. Unable to find compatriots for her journey, she is forced to enlist the help of a young Aboriginal tracker Billy (Baykali Ganambarr) who grudgingly takes her through the rugged wilderness to track down Hawkins. The terrain and the prevailing hostilities are frightening, as fighting between the original inhabitants of the land and its colonizers plays out in what is now known as "The Black War." Clare and Billy are hostile towards each other from the outset, both suffering their own traumas and mutual distrust, but as their journey leads them deeper into the wilderness, they must learn to find empathy for one another, while weighing the true cost of revenge.
IFC Films will release The Nightingale in NY and LA on August 2.
Downton Abbey Trailer Sees the Crawley Clan Prepping for a Royal Arrival
Kippers for breakfast, Aunt Helga? Is it St. Swithin's Day already? No, it ain't, dear. 'Tis Downtown Abbey Day.
Kippers for breakfast, Aunt Helga? Is it St. Swithin's Day already? No, it ain't, dear. 'Tis Downton Abbey Day—that is, the release of the official trailer for the Downton Abbey movie. It's been some three years since we've gotten to sip tea with the Crawley clan and hang out downstairs with the servants making sure that the biscuits are placed just right on the proper fine bone china tea set. And from the looks of the two-and-a-half-minute trailer, it would appear that nothing has changed at Downton Abbey since the series's finale.
In the tradition of Mad Men's episode-ending "next week on AMC's Mad Men" teasers, it's just a series of snappy snippets that suggest we're in for more of the same, from Maggie Smith's Dowager Countess of Grantham snarking up a storm to Robert James-Collier's Thomas Barrow getting his gay on. And we are here for it. The cherry on top? The king and queen are coming to Downton! And as everything must be in tip-top shape for their arrival, the Crawleys must enlist the help of the one and only Charles Carson (Jim Carter), who is treated here with the reverence of a god, or a superhero from the Marvel Cinematic Universe.
Downton Abbey is directed by Michael Engler and written by Oscar- and Emmy-winning screenwriter Julian Fellowes. And in addition to the aforementioned actors, the film stars Hugh Bonneville, Laura Carmichael, Brendan Coyle, Michelle Dockery, Kevin Doyle, Joanne Froggatt, Matthew Goode, Harry Hadden-Paton, David Haig, Geraldine James, Simon Jones, Allen Leech, Phyllis Logan, Elizabeth McGovern, Sophie McShera, Tuppence Middleton, Stephen Campbell Moore, Lesley Nicol, Kate Phillips, Imelda Staunton, and Penelope Wilton.
Focus Features will release Downton Abbey on September 20.
Watch the Teaser Trailer for Andy Muschietti's It Chapter Two, Starring Jessica Chastain and Bill Hader
The teaser seems hell-bent on satisfying those who found the first film to be an over-directed succession of freakouts.
Today, Warner Bros. revealed the teaser trailer for It Chapter Two, Andy Muschietti's highly anticipated follow-up to his worldwide box-office smash It. The teaser is certainly promising, if only because it seems hell-bent on satisfying above all else those who might have found the first film to be an over-directed succession of freakouts. Indeed, while the trendy retroism of that film is certainly evident across this teaser's three minutes, there's something rather impressive about how it forces us to spend so much time stewing in the atmosphere of dread that slowly overcomes the adult Beverly (Jessica Chastain) inside an old woman's house as she comes to realize that she and other grown-up members of the Losers Club may not have fully shaken off the horror that is Pennywise.
In addition to Chastain, It Chapter Two stars James McAvoy as Bill, Bill Hader as Richie, Isaiah Mustafa as Mike, Jay Ryan as Ben, James Ransone as Eddie, and Andy Bean as Stanley. Reprising their roles as the original members of the Losers Club are Jaeden Martell as Bill, Wyatt Oleff as Stanley, Jack Dylan Grazer as Eddie, Finn Wolfhard as Richie, Sophia Lillis as Beverly, Chosen Jacobs as Mike, and Jeremy Ray Taylor as Ben. And, of course, there's Bill Skarsgård, who reprises his role of Pennywise.
See the teaser trailer below:
Warner Bros. will release It Chapter Two on September 6.
Francis Ford Coppola's Apocalypse Now Final Cut Coming to Theaters in August
The film remains as legendary for its artistry as it is for the difficulty of its making.
Francis Ford Coppola's Apocalypse Now is as legendary for its artistry as it is for the difficulty of its making. Some have argued that Coppola became the victim of the film's legend with the 2001 release of Apocalypse Now Redux, a significant re-edit of the original film put together by the director and editor Walter Murch. The two most famous additions made to the original had its naysayers for being flow-breaking: the second meeting with the Playboy playmates, and the meeting with a family of holdout French colonists on a remote rubber plantation. I recommend you read the responses to this tweet from critic Glenn Kenny to get a sense of what we have in store from the new, never-before-seen restored version of the film, entitled Apocalypse Now: Final Cut, coming our way in August.
According to Lionsgate, the film, which premiered at the Tribeca Film Festival on Sunday, has been remastered from the original negative in 4K Ultra HD.
The Beacon Theatre will be outfitted for this exclusive occasion with Meyer VLFC (Very Low Frequency Control), a ground-breaking loudspeaker system engineered to output audio frequencies below the limits of human hearing, giving the audience a truly visceral experience. In addition, the film has been enhanced with Dolby Vision, delivering spectacular colors and highlights that are up to 40 times brighter and blacks that are 10 times darker, and Dolby Atmos, producing moving audio that flows all around you with breathtaking realism.
Audiences will be able to experience a special NAGRA myCinema theatrical release of Apocalypse Now Final Cut on the giant screen in select theaters nationwide on August 15. Then, on August 27, the film will be available to own on a 4K Ultra HD Combo Pack, which will include a 4K disc, plus three Blu-ray discs and a digital copy.
Watch the trailer for the film below:
Sonic the Hedgehog, Starring Jim Carrey, Gets Weird, Teeth-Forward Trailer
Sonic the Hedgehog and Slant's nine-year relationship has seen its ups and downs.
Sonic the Hedgehog and Slant's nine-year relationship has seen its ups and downs. Outside of a rare rave we extended to Sonic Colors way back in 2010, most of our writers have been mixed about the Sega flagship mascot's output over the last decade, even as they acknowledge the wily speed demon's nostalgic appeal. Per our own Jaime N. Christley: "A free agent with no history, no employment, Sonic has no agenda, except one: run like hell." Paramount's Sonic the Hedgehog, though, would appear to want to change that—not by slowing him down but by giving him more of a purpose than just saving a bunch of captive animals at the end of every level and acting all smug about it.
Today, the studio released the trailer for the Jeff Fowler-directed film, a live-action comedy adventure that sees Sonic (voiced by Ben Schwartz) navigating, um, "the complexities of life on Earth" alongside his best human friend, Tom Wachowski (played by James Marsden). That unmistakable ring sound that litters the trailer will surely bring a smile to the faces of Sonic fans young and old, but Sonic the Hedgehog feels like it's going to be a hard sell, given its positioning of Sonic—so full of a sass, not to mention a mouthful of teeth—as a pubescent nuisance. Good luck picking your jaw up from the floor once Sonic takes on Jim Carrey's villainous Dr. Robotnik to the sounds of "Gangsta's Paradise."
For better and worse—okay, just worse—the film looks like it's straight from 1991, the year that the first Sonic the Hedgehog game was released. See the trailer below and cringe for yourself as the blue speed freak gets his Coolio on:
Paramount Pictures will release Sonic the Hedgehog on November 8.


text:
Fashion Finder
10-year-old Vogue model's mother shuts down Facebook fan site in response to outrage over daughter's career
By Sadie Whitelocks and Daisy Dumas
Updated: 16:49 EDT, 10 August 2011
Mother and daughter: Ms Blondeau in 2005 with her mother Veronika Loubry
The mother of 10-year-old Thylane Lena-Rose Blondeau has shut down her daughter's Facebook fan page after highly sexualised pictures of the girl sparked controversy and condemnation.
In a message posted on the young girl's fan site, Veronika Loubry, 43, a French actress and television presenter, wrote in broken English:
'Hey guys, I'm the mum of Thylane, something's going wrong at the moment with Thylane and bad [people] in the U.S.A. about pictures she made eight months ago for Vogue.
'Thylane doesn't know about the buzz and I want to protect [her] from my deepest heart... She's so young.
'So we are going to close this [account] for a while.
'I know that all of you are good [people] who like her so I send you a big kiss, thanks.'
Her decision comes on the heels of a barrage of criticism stemming from the publication of a fashion shoot of the child in French Vogue.
Guest edited by Tom Ford, the January issue features Ms Blondeau in heavy make-up, revealing outfits and provocative poses.
One image shows her reclining in a gold dress, the slashed v-neck exposing her bare chest and stomach.
She wears stilettos, pouts alluringly and drapes herself across a tiger skin throw in poses that would not look out of place in a shoot with models more than twice her age.
The Facebook page had over 700 fans, most of whom have been in raptures over the youngster's angelic face and seemingly natural talent in front of the camera.
Provocative: These highly-sexualised images of 10-year-old Thylane Lena-Rose Blondeau from the Tom Ford-edited January issue of French Vogue, have caused concern
One fan writes: 'Hey I just wanted to say that Thylane is absolutely stunning! xx' while another writes 'the awkward moment when a ten year old is prettier than you'.
But, despite her obvious support - not least from the fashion behemoth that is French Vogue and from designer Tom Ford - the images are whipping up a fevered storm of condemnation.
Shut down: Veronika Loubry has shut down her daughter's fan page
A spokesperson for the Mothers' Union told MailOnline: 'We have grave concerns about the modelling agency who represent Blondeau, which clearly does not know if it represents a child or an adult.
'Photo shoots requiring her, a 10-year-old-girl, to dress in full make-up, teetering heels and a dress with a cleavage cut to the waist across her pre-pubescent body deny Blondeau the right to be the child she is.
'These images would, we hope... not pass through the standards of magazines, on street advertising and other media within the UK.'
As protective as Ms Blondeau's mother is claimed to be, images of the child have appeared on less reputable pages than Vogue's.
A Tumblr blog dedicated to the child's modelling career is explicitly entitled 'f**kyeahthylaneblondeau.'
According to Blackbook.com, it featured thousands of candid shots of Ms Blondeau but now appears to have been closed down.
Elsewhere on the web, comments about the child star have been many and heated.
Following a blog post asking 'Pretty or Weird?', commentators on LATimes.com were appalled.
Bernice Dietrich Taylor said: 'This is appalling to see adults exploiting children in this manner. We argue continually about child pornography, paedophilia and sexual abuse of children and here are photos of a ten year old child in a provocative manner.'
While Cristina Pirello DaPonte said 'I can't believe Vogue has sunk that low. I don't approve of even 15-years-olds (my age) doing this, much less a 10-year-old.'
Far too much, far too young: Outrage over shocking images of...
Good Morning America dedicated a segment to the controversy, while at MailOnline, readers' comments have included 'inappropriate,' 'ashamed,' 'revolting,' 'sick,' 'wrong' and 'creepy.'
One blogger said of the images: 'She is a beautiful little girl, as are all ten year old girls. While I am sure she will make a terrific model someday, I find these pictures beyond disturbing - she is styled way too maturely.'
No stranger to modelling, Thylane has graced the cover of Vogue Enfants, has shot a slew of high-end editorials and is the owner of a portfolio of which many an adult model would be proud.
Suggestive: Images such as these have paved the way for a recent Government initiative in the UK to enforce restrictions on the sexualisation of children in the media and sexual content in advertising
Premature sexualisation: Experts have warned about the psychological implications of such young children being involved in the modelling industry
Born in the Ivory Coast, she has already been compared to Sixties siren Brigitte Bardot - who at the age of 15 appeared in ELLE.
Like many child stars, Thylane has strong connections with the entertainment industry. Her father is former French international football player Patrick Blondeau.
The backlash comes in the wake of a recent Government initiative in the UK to enforce restrictions on the sexualisation of children in the media and sexual content in advertising.
Reg Bailey, Chief Executive of the Mothers' Union, was commissioned to conduct the independent review on the pressures faced by children today.
In the review a survey revealed that 88 per cent of parents agreed that children are under pressure grow up too quickly, with 58 per cent accounting this to celebrity culture.
Connected: Thylane is the daughter of former French international football player Patrick Blondeau (left), and Véronika Loubry (right), an actress and television presenter
And experts warned today about the psychological damage done to children who are treated in this way.
Dr Emma Gray is a consultant clinical psychologist and clinical director of The British CBT & Counselling Service, which deals in behavioural therapy (www.thebritishcbtcounsellingservice.co.uk).
She said: 'This picture is the antithesis of what childhood in our society should be; a child being exposed to a world she is not yet equipped to deal with solely to serve the needs of the adults around her.
'If children are to develop into happy, grounded and psychologically balanced people their childhood needs to be spent appropriately preparing for the demands of the adult world.
Lost society: In the Bailey review a survey revealed that 88 per cent of parents agreed that children are under pressure grow up too quickly, with 58 per cent accounting this to celebrity culture
'Before they are exposed to this world it is the task of the adults around them to create an environment that gives them the time, space and nurture to complete their physical and psychological development. Prematurely exposing a child to the adult world is dangerously preventing the completion of their development into a person who can survive in it.'
Mr Bailey added: 'Society also seems to have become more openly sexualised; the rapidly changing technological environment has its benefits in so many ways but has also made the seamier side of humanity inescapable.'
The REAL reason so many women are dreaming about sex! How embracing erotic fantasies and openly sharing our desires is stimulating more sexually charged slumber
Can you REALLY cook for the whole week in two hours? A savvy new book says you can - but can it feed a family of four...
The traumatic births that haunt women for DECADES: The arrival of a baby is supposed to erase the agonies of labour - but as a psychologist reveals, for some the legacy can be devastating
Is any lipstick worth £100? FEMAIL gives their verdict on the most coveted luxury beauty products
Dress you can wear for 100 DAYS without washing it! That's the claim of its makers who say we should all wash clothes less often - but did it pass the pong test?
After 17 years and two children, I've realised the missing ingredient in my marriage is oodles of canoodles
Why do all mums hate the head of the PTA? Writer DEBBI MARCO learned the hard way it's always a poisoned chalice
Liz Hurley's 17-year-old son Damian is the spitting image of his mother as he makes his modeling debut in a beauty campaign, showing off a picture-perfect pout while posing with HUGE hair and glowing highlighter
They're lovin' it! McDonald's employee goes viral after revealing a very sneaky trick that helps customers get 'FREE' drinks at the restaurant (but not everyone is impressed with his tip)
Father of quintuplets and two daughters under 4 reveals the VERY clever ways he's adapted his home - from a custom 'baby bus' to a dining table with built-in highchairs
How to transform your body in EIGHT weeks: Mum-of-two reveals exactly how she lost 12.5 kilograms after a healthy diet failed to give her results
'I have never felt MORE feminine!' 90 Day Fiance star Anfisa Nava fires back at body shamers who said she 'looks like a man' after she gained muscle for her first bikini competition


Let's do a quick tally, shall we? We've got your company's holiday party, that charity gala you've had penciled in for weeks, a fancy Chrismukkah dinner party your BFF from college is throwing, as well as a half-dozen other cocktail dress-code fêtes and fiestas. While we'd all like to wear a different Lanvin frock to each occasion, that's just not an option. But fear not—we're here to assist with this party dress guide! In fact, we've rounded up the most festive—and affordable—cocktail dresses under $100 that you can stock up on now. From glitzy mini-dresses to more sumptuous gowns, we've got the budget-conscious party dresses to accompany you to each of your holiday engagements. This time around, playing dress up was never so much fun!
Opener photo via Urban Outfitters.
Above, from left: Topshop Teal Cut-Out Detail Grecian Dress, $90, available at Topshop; Silence & Noise Golden Ring Dress, $79, available at Urban Outfitters; Quicksilver Gifted Dress, $98, available at Quicksilver; ASOS Grecian Bandeau Maxi Dress, $49.13, available at ASOS.
Above, from left: Forever 21 Metallic Lace Dress, $13.50, available at Forever 21; Vena Cava for Aqua Square-Print Silk Dress, $66.36, available at Bloomingdale's; BCBG Jersey Cocktail Dress, $86.80 (was $248), available at Final Cut; Rachel Rachel Roy Leopard Print Dress, $99, available at Rachel Roy.
Above, from left: Laundry by Shelli Segal Metallic Halter Cocktail Dress, $98 (was $325), available at eDressMe; Victoria's Secret Strapless Mesh Dress, $88, available at Victoria's Secret;Madewell Floaty Cami Mini Dress, $59.99 (was $138), available at Madewell; TFNC All Over Sequin Dress with Keyhole Back, $68.96, available at ASOS.
Above, from left: AE Sweetheart Dress, $49.50, available at American Eagle; BCBGeneration Contrast Asymmetrical Dress, $88, available at BCBG; Ann Taylor LOFT Sheath Dress, $98, available at LOFT; Ark & Co. Elegant Pearl Cocktail Dress, $58, available at eDressMe.
Above, from left: BB Dakota Halsey Dress, $97, available at Piperlime and Fred Flare; Forest Coral Dress, $74.99, available at ModCloth; MM Couture By Miss Me Lace Drape Minidress, $88, available at Revolve Clothing; Topshop Pleated Flute One Sleeve Dress, $90, available at Topshop.


text:
November 4, 1971 issue
Present Past Past Present: A Personal Memoir
by Eugène Ionesco, translated by Helen R. Lane
Grove, 192 pp., $6.00
We all know Hegel's famous saying, "When turning our gaze to the past, the first thing we observe is ruins." That gaze, of course, is philosophic and Prussian. How many, though, would be perverse enough to observe clouds of dust settling not over the past, but over the present and the future? It took a Rumanian-born mal-content, a French-educated expatriate, a plump and soulful littérateur living and writing in Paris after the war to hit upon the thoroughly insulting idea that the true mise en scène of the contemporary world, the contemporary malaise, is rubble—in fact, bigger and better rubble day by day. Critics call these curious and rather vengeful works of Ionesco comedies—social or metaphysical comedies. Often they seem the horrendous whimsy of a hermit situated at the edges of Babylon.
The rubble of progress in The Killer and Rhinoceros, the rubble of language in Jack and The Bald Soprano and The Lesson, the rubble of gentility in The Chairs. Above all, at least in the earlier plays, the instant and abiding ruination of character—well, wherever we look. The dotty Smiths meeting the dotty Martins in that dowdy English living room with the dowdy English armchairs and English pipes. The four of them, later, tête-à-tête with the imperturbable Fire Chief: "Thanks to you, we have passed a truly Cartesian quarter of an hour…. Good luck and a good fire!"
Most of the people in a typical Ionesco play suffer, I suspect, from a sort of spiritual enuresis, they sit and chat in puddles of pointlessness. They are the beleaguered symbols of a sequestered class, the much abused, much burlesqued world of the bourgeois, a class Ionesco ruthlessly mocks and yet, in his cadaverous way, tenderly, strangely cares for too. These characters are ruminants of the moment, and the moment after, they have no past. The odd couple of The Chairs, one of Ionesco's best plays, the bedraggled cuckoo birds in the mysterious tower surrounded by the shadowy waters (is it a lighthouse? are they, by chance, the last custodians of Western culture?), fluttering over imaginary guests and imaginary conversations, may seem to have a past, indeed to be nothing but the past, but the past for them, surely, is more apparent than real.
The old man, aged ninety-five, listening to the plaintive litany of the old lady, aged ninety-four: "You could have been chief Actor, chief Doctor, chief Journalist, chief King!" It sounds poignant, one of the playwright's familiar catalogues of false hopes, false dreams. However, as we soon see, what interests them is merely the absurd possibilities of the present: "Peutêtre," ponders the old lady, "you've ruined your career?"—that and the future, the long awaited arrival of the Orator, the triumphant emissary of the Word, who, as it turns out, is deaf and dumb.
Ionesco is famously, ferociously cruel, and yet, as I say, oddly ingratiating as well. His people are grotesques, generally faceless, frequently senseless, the readers of Paris Match or Life, for whom "personality doesn't exist." Or we might call them the comedians of conformity, of néant, continually contradicting themselves, continually annihilating themselves. The props so awesomely cluttering his stage, the exploding boxes and cups and tables and chairs, are, naturally, far more palpable than the people themselves. The props are the Ionesco equivalent of conspicuous consumption, or the analogues of a corrosive, devouring will. From scene to scene, act to act, they fructify alarmingly. In Amédée or How to Get Rid of It, a corpse, presumably an old lover of Amédée's wife, grows at an astonishing pace (is he really the Gross National Product?); the shoes alone double the size of the cowering Amédée and his bothersome spouse.
In The Future Is in Eggs, a wild, rather too monotonous corollary of Jack or The Submission, where the lovers cackle and coo as the curtain drops, a number of characters "dart ceaselessly to and fro." They are "fetching and carrying baskets of eggs," snapping at one another, or shouting slogans at one another: Ionesco's family of man. In a little-known later work, Frenzy for Two, or More, hallucinatory images, "headless bodies and bodiless dolls' heads," hang in the air. At the end of both plays, dust drifts from the heavens. Vanitas vanitatum, saith the preacher….
Ionesco, of course, is hardly the first to have seen the wrecker's ball swaying above us, then descending with a merciless thud. That is an old theme, as old as death, the skeleton garbed in black swinging a scythe. And indeed death, "that churl Death" of Shakespeare's phrase, seems, as commentators often remark, the boon companion of his merry pranks. But Ionesco is, I believe, the first to theatrically grasp the awful energy, the clogging rhythms of the twentieth century as continual pratfalls, a whirling cul-de-sac.
Even his predecessors, all immeasurably greater than Ionesco himself—Flaubert (Bouvard et Pécuchet, Le Dictionnaire des Idées Reçues), Alfred Jarry (the Ubu series), Gertrude Stein (Last Operas and Plays)—never traveled as far or as obsessively as Ionesco has gone in search of the banal or catastrophic. The extravagant caricatures of heroes and hero worship in the works of Jarry, Flaubert and his hatred of provincial life,* the charades of Gertrude Stein (Ionesco, incidentally, has great Steinian fun with historical incongruity, presenting in Rhinoceros Cardinal de Retz and the Duc de Saint-Simon, among others, as contemporaries)—the styles and execrations of these writers have, it seems to me, more profoundly affected Ionesco and his writings than the fabled Assimil primer which, according to a twinkling Ionesco, prodigiously prompted the loony-tunes of The Bald Soprano and the other arias that followed.
But Flaubert, Jarry, and Stein are bachelor types, insulated artists par excellence, both temperamentally and in fact. Ionesco is a family man; his plays, whatever else they may be, are family plays. Once he even allowed (it is probably another of his cracks) that he thought of them merely as divertissements for his little daughter. How to account, then, for the plastic carnage, the gleeful disgust, the splenetic mixture of the inconsequential and the incantatory, the domestic terror at the heart of his work?
Certainly, in play after play, the plight of the little fellow, beneath the burlesque, becomes more and more apparent. Ionesco calls him Amédée or Choubert or Bérenger—to a degree, he is Ionesco himself. A bit of a dunce, a melancholy poet seeking a patch of blue, a dying king fearful of death, a misty-eyed buffoon or a befuddled husband, oppressed within and without. Somehow he knows that "people who hang on to their individuality always come to a bad end," yet somehow he stands up to the herd. Increasingly he is the individual malgré lui, increasingly Ionesco's ideal.
Still, above all else, the little fellow yearns to flee hearth and home, society and country. In one of Ionesco's last plays, A Stroll in the Air, produced in Paris some years ago, the poet Bérenger finally sprouts wings. He takes to the stratosphere—at last, not only apart from man, or apart from wife and child, but actually above the melee. Alas, even in the heavens Bérenger's heart follows him, for when he returns to earth Bérenger speaks of his angelic adventures always as abysses within abysses, "deserts of ice," "deserts of fire"—the life down below. In Ionesco, it seems, you can only go home—again and again.
If we look at the playwright's theoretical essays, Notes and Counter Notes, or his memoirs, Fragments of a Journal and the more recent Present Past Past Present, very earnest, very kinky works, we uncover, not unexpectedly, the face of a terribly dreamy, terribly touchy, terribly meandering intellectual. Again, not unexpectedly, how Ionesco hates intellectuals. Mostly he hates them because they are chameleons, the charmers of the Zeitgeist who take on the latest color, the latest message according to the mood of the day or the surrounding terrain. These, of course, are French intellectuals, a rare breed. Johnson thought the French had no common sense, no common manners, no common learning, and no common life. "Nothing but the two ends, Beggary and Nobility." The intellectuals of France bored Doctor Johnson. Ionesco, I fear, has always found them unsettling. He seems, in Present Past Past Present, for instance, unable to record the name Sartre without cringing.
Do these slippery savants remind him of his father? The portrait Ionesco presents of his father is acrid and full of ashes; it is belittling, yet suffused with longing.
…we had a falling out because he was a rightist intellectual; today he would be a leftist intellectual. He was, in fact, one of the rare lawyers in Bucharest who was allowed to appear before the bar after the Communists came to power. My father was not a conscious opportunist; he believed in the powers that be. He respected the State. He believed in the State, no matter what it represented. I did not like authority, I detested the State, I didn't believe in the State, no matter what it represented. As far as he was concerned, the minute a party took over it was right. This was how he came to be an Iron Guard, a Freemason democrat, and a Stalinist….
The father, then, was untrustworthy, thoroughly ungiving, and tyrannical, an authority figure who caused his son great suffering. In the end, the son has sympathy for the father. Ionesco, however, has no sympathy for a fellow intellectual "who is now a Communist after having been a Fascist"—no sympathy, that is, for those who are either the dupes of history or the hypocrites of history.
No sympathy, moreover, for history itself. History, for Ionesco, is "pure madness." "One must tell oneself that history is always wrong, whereas it is generally believed that history is always right." There seems to be always an exquisite purity to Ionesco's remarks about history, similar to the purity of Camus turning his back on Algeria or elaborately distinguishing between the rebel and the revolutionary. Camus "thinks he is above history," as Sartre rancorously remarked. For Ionesco, however, the engagement of Sartre is simple sophistry. "Every ideology is a mythology, a system of conventions. Marxism has been adopted because force has made it fashionable, because it allows hate."
In Rhinoceros, he puts the following words in the mouth of Dudard, a prattling rationalist, a smarmy clerk supposedly modeled after Sartre. It appears to be a parody of Saint Genet, very slapdash parody, I'm afraid, but it has its moments.
"Le mal! That's just a phrase! Who knows what is evil and what is good? It's just a question of personal preferences. You're worried about your own skin—that's the truth of the matter. But you'll never become a rhinoceros, really you won't…. You haven't got the vocation!"
Vocation: good touch. Brecht, another bête noire, becomes, in The Killer, Mother Peep, Ionesco's Mother Bloor. "Let's all do the goose step," the garrulous demagogue shouts to her flock. "We must all do the goose step. And everyone will be free to say if the goose step's not well done!" These are crude animadversions, of course, self-congratulatory and severe. Sartre, to Ionesco's mind, is forever one of those willful fellows who "murder to dissect," just as Brecht is the despotism of socialism—now and for ages to come. Both, moreover, are didactics: the schoolmasters of the intelligentsia.
Ionesco's favorite words are antagonisme, insolite, contradiction: it is the vocabulary of the gadfly, the farceur. What Ionesco "hates" are the pedants, the boors about us, those who know nothing whatever of man or art or religion, the psychoanalysts and anthropologists and social scientists, those who keep creating problems and then keep manufacturing solutions to the problems they create. They are the brothers of Ionesco's doddering professor, jubilantly crying, before communing with the rhinoceroses rumbling through the town: "We must move with the times!"
Conversely, what Ionesco "loves" is mystery, the mystery of death, the mystery of childhood. It is here that the sprightliness ends. Whenever Ionesco speaks of these subjects the tone becomes lyrical or elegiac. Often these matters meet tremulously in Ionesco's memory. The memory of walking through the Luxembourg Gardens with his mother, the memory of watching the Grand Guignol with his sister and his mother; the wretched memory of his mother telling him, "at the age of four," that "everyone must die." Ionesco "cried with despair." His mother looked at him, "smiling sadly." At fifteen he came to the realization that nothing could keep from him the sight and presence of death. "It was behind everything." Behind, we may assume, his ambivalent attitude toward women ("Being afraid of making women suffer, of persecuting them, I have allowed myself to be persecuted by them"), and behind, as well, his attachment to Pascal, whose shadow, it seems to me, falls so subtly over so much of his writing.
The infinite incomprehensibility of God, the infinite fear of the infinite spaces. Il faut s'abêtir: the great Pascal's paradoxical injunction. In order not to be abandoned by God, one must abandon reason. The famous injunction, I'm sure, has always fascinated Ionesco. We see that especially in the last plays, A Stroll in the Air, Exit the King, Hunger and Thirst; and we see that even more in the journals. But the God of Pascal is not Ionesco's God. In Ionesco, the gospels are reversed: the Word made Flesh becomes the Word made Dust. The mystery of death, the mystery of childhood—these are meaningful only as the play of the imagination, or the play of memory upon the imagination. Ionesco's world is a closed one, a circular one. Still, the outer world is always there, and still, with or without God, Ionesco appears always vulnerable to it.
In Present Past Past Present we come across an extraordinary passage. It is the early Forties, Ionesco is thirty. The port installations at Singapore have been strafed, the oil wells of Java are burning, Europe is aflame. Then, as now, Ionesco has contempt for man and contempt for the world, but no contempt for the private man or the private world. Then, as now, he has contempt for the family and contempt for culture, but no contempt for the ideal of the family, the ideal of culture.
Indeed, the death of the family, the death of culture—these are always the awesome possibilities, the terrible phantoms threatening to drag us down to the ant heap. Presently they take the form of the barbarians at the front or the barbarians in the square. History, which so dismays Ionesco, history, with its abominations and bogus solemnity, history, in the early Forties, is breathing down Ionesco's neck as he records the events of the war in his journal. He notes "that tens of thousands of Poles, Czechs, and Serbs have been massacred, that hundreds of thousands of German soldiers are dying." And it seems to Ionesco that perhaps really even that is not quite enough, that perhaps it takes even more than that to sate his rage, his affliction:
May the last railway bridge come tumbling down, may the last locomotive in the world explode, may the last airplane fall, may the last bayonet be broken, may we walk on the ruins of all the laboratories and all the libraries of Germany, Russia, France, Italy, England, America; stuffed to the gullet with ruins….
A few sentences later he asks to be rid of his life. "God or suicide. It will never be spring again."
Ionesco, we say, is a humorous writer, but his humor, I suspect, is rarely of the highest order. A number of the individual lines are funny, but frequently they are funny the way Burns and Allen are funny. I was born in New York, says George. Funny things happen in London, too, says Gracie. They could be the Martins or the Smiths of The Bald Soprano. Ionesco, we say, favors the individual: "Je me bats contre l'esprit bourgeois et les tyrannies politiques." But his individualism simmers strangely, now a romantic individualism, now a conservative individualism, without, it seems to me, an understanding either of conservatism or romanticism.
Of course, there is the other and the grander Ionesco, the Ionesco of Flaubert and Jarry and Stein and Pascal. It is here that he has his power: the marvelous leaping or passing from one state or absurd condition to another; a devastatingly imaginative roulade: the rapid run of clichés; the sense of a world encompassing one à bâtons rompus; the mock profundity of a sudden fancy or a deliciously pessimistic scene. The Chairs, Jack, The Bald Soprano, The New Tenant: certainly these are successes, both artistically and theatrically, and likely to last, along with a few shining moments from Victims of Duty, The Lesson, and Exit the King.
Still, the more I study the plays, the more I read the journals, the more so much of Ionesco's world becomes cold and gray and monotonous; the more one seems to be in the Arctic where one can make no distinction between sky and ocean, horizon and land, where, if you're a pilot, you say it's like flying through a bowl of milk. Beneath everything, beneath even the apocalyptic tremors, I sense a sentimental configuration, no less sentimental because shared by many: husband and wife and child as the universal condition, the buffeted husband or poet as the universal hero, and the mysteries of death and childhood as the universal presences enveloping all.
In Exit the King, we encounter Bérenger as le grand monarque. He has "made war one hundred and eighty times," he has led his "armies into two thousand battles." He has reigned for centuries and he is lord of the world. But darkness comes closer and closer, the court awaits his death. From the multitudinous dreams and memories and achievements pressing upon the dying Bérenger he plucks the most piercing of all: his cat.
"I used to have a little ginger cat…. I had found him in a field, stolen from his mother, a real wildcat…. I fed him and stroked him and took him home and he grew into the gentlest of cats…. To him, other animals and cats were strange creatures he mistrusted or enemies he feared…. And yet one fine day he must have felt the urge to go out on his own. The neighbor's big dog killed him. And there he was, like a toy cat, a twitching marionette with one eye gone and a paw torn off, yes, like a doll destroyed by a sadistic child."
Can we doubt that, here and elsewhere, Ionesco is himself the king, the neighbor's dog the world, and the cat his heart?
More by Robert Mazzocco
Milking an Elk
Heading for the Last Roundup
May 9, 1985 issue
Robert Mazzocco (1932–2017) was an American poet and critic.
The syllogism sequence in Rhinoceros, the wan conversation of Jean and Bérenger accented against the ludicrous arguments of the Logician and the Old Gentleman, owes everything, or nearly everything, I think, to the matchless moments at the county fair in Madame Bovary, the rakish Rodolphe whispering sweet nothings into the ear of the palpitating Emma, while a bellowing auctioneer awards the palm to the best pig, the best cow, the best fumier…. ↩
Stefan Zweig and Joseph Roth
Letters Between Stefan Zweig and Joseph Roth
December 22, 2011 issue
Janet Malcolm
Thoughts on Autobiography from an Abandoned Autobiography
Not only have I failed to make my young self as interesting as the strangers I have written about, but I have withheld my affection.
At Lady Ottoline's
Barefoot Boy
'Knee Deep in the Hoopla'
Effie Traylor-Parkes
Neither Here Nor There