#Minister of Creative Economy & Culture
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The code of beauty marks
During the 18th century, Western fashion had been changing, however in general the costume remained relatively the same. At the beginning of the century, in France, due to the king Louis XIV’s depressive mood, the stagnation of the economy, culture and arts, the costume was formal, excessive, heavy, as in the previous era.
After Louis XIV died, the nobility received more freedom of action, and hypocritical restraint gave way to unbridled joy, and the court gave way to private salons, picturesquely described by Diderot. Boudoirs were deciding the future of France, since there the royal marchionesses and young abbots brought city and court gossips, and poets read playful poems, and the owner herself listened to their advices on how best to style her hair. Only in such an era could have the mistress of the new prime minister under the young king, the Duke of Bourbon, gained for several years power above all ministers, but as soon as the prime minister resigned, Louis XV sent the marchioness into exile, and the courtiers joked that “now the court has become worthless". In French, “de Prie” (mistress’s name) sounds the same as “prix” (price, or value).
The aristocratic lifestyle fostered development of deep and sophisticated intellectual interests. The combination of levity and intellectual interests formed the specific character of an 18th-century aristocrat: an easy, mocking mind, scepticism, creativity, a desire for comfort, a refined upbringing and refined manners.
The new times dictated the new fashion. It expressed itself in whimsical follies, scattering sparkles, bows and lace. In the eighteenth century, it was a common practice to powder one's wigs, and the custom of blushing one’s face became a law. Men and women put on the same makeup, and the used the same products. The noblemen applied plenty of white lead on their faces and painted their lips and eyes bright red or pink. The white lead and the blush changed faces so much that sometimes the husband did not recognize his own wife. Beauty marks, a small piece of black taffeta or velvet, became an indispensable attribute of makeup.
The code of beauty marks originated in the second half of the seventeenth century and was commonly used to express feelings. When a subject put on a beauty mark on their face o a certain spot, the beauty mark had a certain interpretation such as “ruling”, “sorrowed”, “passionate” , so was the shape of the beauty marks, which varied from a simple black circle to a crescent inspiring for a night date, cupids encouraging a romantic meeting, right down to the silhouette of a carriage that proposed escaping together from home. Beauty marks could be crescents, triangles, stars, and silhouettes of various objects.
Reading the code of beauty marks was a science. The circle marks were “the killers”.
The beauty mark in the middle of forehead was called “majestic.”
A “fervent” mark was in the corner of eye, a “shameless” one on the nose, and a “coquettish” one on the lips.
A beauty mark in the corner of the mouth indicated a kiss-hunter.
The beauty mark in the middle of the cheek was “foppish,” but when a dimple appeared on the cheek when laughing, the spot was becoming “cheerful.”
A beauty mark on the forehead between the eyebrows meant “be frank.”
A beauty mark above the left eyebrow meant intransigence.
Above the right eyebrow — mockery.
On the forehead close to a temple — impartiality or coldness.
At the end of an eyebrow — loyalty.
Above the right eye — joy about a date.
Above the left eye — sadness about separation.
On a cheekbone — mourning.
Against the ear — love for a hard-hearted.
On the lower right cheek — passion.
On the lower left cheek — declaration of love.
Placed against the right nostril, the beauty mark said “possibly”, and against the left nostril, “impossible”.
In the middle of the chin, it said “guess what!”
On the right side of the chin, “try to find a date.”
On the left side of the chin, “angry.”
On the neck, “I love you.”
On the chin to the lip, “You can make your wish come true.”
The beauty mark hid facial imperfections; if, for example, a pimple popped up, it could be immediately covered with a beauty mark. They also caused the vigilance of jealous ones to deceive: if place on the face in such a way as to resemble the pointing directions of the clock, they indicated the agreed time of the date with a lover. The beauty marks perfectly complimented the makeup, the fans, and the powdered hair, and gave a sense of completeness to the sentimental images of the prisoners of the golden cage of Versailles.
In the 18th century caricature engravings, beauty marks had a different meaning from the French court rules. They denoted a fashionable woman, and therefore, in the eyes of moralists, a coquette and even a libertine.
Captions to some pictures hinted that the main purpose of the beauty marks was to hide the signs of syphilis. The series of caricatures by William Hogarth, “The Harlot’s Progress” provides a usual example of such an attitude: they unambiguously sign of the subject’s downfall. The beauty mark on her forehead complements these characteristics of hers given by the situation: she distracts one lover so that the other could escape.
A certain decline of the fashion for beauty marks started in the 1780s, during the early romanticism, when natural beauty began to be valued and aristocrats began to gradually abandon heavy makeup.
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MY SCHOOL PRESIDENT – SOME (RANDOM) THOUGHTS
My School President has hit the one-third, four episode mark, and this light little rom-com has got me *thinking* (a bit like Bad Buddy did in its time).
It's not all fluffy clouds and rainbows this one; there's a keen intelligence percolating behind the scenes that knows just what it's doing (and every now and then it will drop in a little nugget of greater significance to offset all the romantic sweetness, to remind us of who's in control).
I'm hopeful for more as the rest of the story unfolds, but am also hoping that they keep the balance right, because this has been (above all, so far) an enjoyably light high school BL romance.
MSP winks at Bad Buddy quite a bit – its team of writers and directors is approximately the same, although Khun Noppharnach has taken a step back into the producer role to allow Au Kornprom Niyomsil to take up directing duties, and only two of BBS's writers are on MSP. But the signs are there it's taking up the mantle BBS so expertly wove and deployed.
But at this time my thoughts on MSP are still random and unfocused; I can't tell where it's taking us just yet. Nonetheless, I remember it took me until BBS Ep.5 and 6 to start focusing my thoughts, so I'm waiting things out before looking at MSP more closely.
In the meantime I can't resist jotting down some random unlinked observations though (more for my own future reference than anything else). Whether or not they'll come together as part of a bigger picture I don't know, but time will tell.
By switching up the POVs in consecutive episodes, they've wrung out the seme/uke trope (just as BBS did, but the MSP treatment is not as heavy-handed). At first it looked like the taller, serious Tinn was going to be an archetypal seme, but then they showed us he's really a lovesick dork whose schemes to get closer to Gun get thwarted by circumstances all the time (and that Tinn for whatever reason fails miserably to rise above). And Gun the shorter sunshine boy is anything but a delicate flower vase, more than just an object of affection. I think @absolutebl has already written about this here (and much more coherently too) so I'll leave it at that.
Win and Sound are going to end up together (this one's pretty obvious, I think). Their exchange in the music room (when Win says to Sound about the pieces of meat being grilled: "I'll get a new one for you. Here. Take this one") at Ep.4 [4/4] 11.14 (as well as Phat and Por's reactions) is MSP winking at the "food = love" trope, not just Sound's acceptance into the friendship group. But with the ditching of the seme/uke trope that Thai BL seems intent on pursuing, I think the two blustery personalities getting together is another wink in that direction, that they're moving away from stereotyped roles in Thai BL couples as well.
There are also two nods that MSP does to socio-political realities outside of itself, that directly or indirectly have an impact on the production of Thai entertainment.
The first is at Ep.1 [1I4] 11.04 when Gun turns up for the presidential debate like this:
This is actually a reference to the current governor of Bangkok Chadchart Sittipunt, who, while serving as a minister in 2013 was photographed in much the same (casual) outfit barefoot and bearing alms at a Buddhist temple, concretizing his down-to-earth and solidly dependable image among Thai people:
MSP's nod here is a witty flex, but I've not quite worked out yet what they're getting at, beyond that it's a cute, chuckleworthy moment.
The second socio-political nod they've done is at Ep.4 [3I4] 0.27, and it's particularly barbed:
This is a direct reference to government intervention in the creative process, that is being done with a view to increasing Thailand's visibility and clout in the global entertainment scene.
You can read more about it here:
It's clear that there is pressure being applied for productions to go in certain directions (possibly with the dangling of financial carrots, that the money guys at profit-driven studios may be insisting individual shows have to snag, thus entailing modifications to the plot or portrayals for compliance with funding guidelines – but really I'm just guessing here).
Any sort of outside influence will always be a dampener on the creative process and I'm sure this is what's being critiqued here.
I have my own ideas about which directions are being strongly pushed (to increase marketability) but will save the details of that for a different post – for now I will say that I think Thai creatives are being pressured to emphasize Thailand's cultural links and overlaps with East Asia (especially with an eye on the gigantic Chinese market).
So climbing back into MSP from outside the fourth wall (and keeping with the randomness of it all), @respectthepetty has pointed out that Tinn and Gun may be represented by the colors blue and red, in this write-up linked here.
I'm keeping an open mind about this, but if it is true – take a look again at this photo of Tinn and Gun on the stairs:
There are red and blue arrows on the steps, with the red pointing up and the blue pointing down. I know these are the school's directional arrows for the students to follow when using the staircase, but even though the arrows are worn (and thus may be pre-existing and not intentional on the part of the MSP production team), part of me can't help wondering if they may be signaling future developments for Tinn and Gun too. 🤔 Why keep the shot so wide, if not to keep these arrows in view?
All eyes on you, My School President! 😍
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The Amazing Facts and Stories of Dubai that You Might Not Know
"Have you ever wondered how Dubai became one of the most popular tourist destinations in the world? How did this city transform from a small fishing village to a global metropolis in just a few decades? What are the secrets behind its success and appeal?
As a travel enthusiast and a frequent visitor to Dubai, I have always been fascinated by this city and its history. I have done extensive research and explored many aspects of Dubai’s culture, economy, and attractions. In this answer, I will share with you some of the most amazing facts and stories about Dubai that you might not know.
I will cover the following topics:
The origins and evolution of Dubai
The vision and leadership of Dubai’s rulers
The innovation and diversity of Dubai’s projects
The challenges and opportunities of Dubai’s future
By the end of this answer, you will have a better understanding and appreciation of Dubai and its achievements. You might even want to visit it yourself someday!
The Origins and Evolution Of Dubai
Dubai's history dates back to the 18th century when it was a small settlement of fishermen and pearl divers on the banks of Dubai Creek. The creek was a natural harbor that facilitated trade and commerce with neighboring regions. Dubai soon became a thriving port and a hub for regional and international trade.
In the early 20th century, Dubai faced several challenges, such as the collapse of the pearl industry, the Great Depression, and the World Wars. However, Dubai's rulers managed to overcome these difficulties and maintain the city's prosperity and stability. They also established friendly relations with other countries and joined the United Arab Emirates in 1971.
The turning point in Dubai's history came in 1966, when oil was discovered in its offshore fields. This gave Dubai a huge boost in its economy and development. Dubai's rulers invested the oil revenues wisely and strategically in various sectors, such as infrastructure, education, health, tourism, and finance. They also diversified the economy and reduced its dependence on oil.
Dubai's growth and transformation accelerated in the late 20th and early 21st centuries, when it launched several ambitious and innovative projects that made it a global leader in many fields. Some of these projects include:
The Burj Khalifa, the tallest building in the world
The Palm Jumeirah, the largest artificial island in the world
The Dubai Mall, the largest shopping mall in the world
The Dubai Metro, the longest driverless metro system in the world
The Dubai Miracle Garden, the largest natural flower garden in the world
The Dubai Frame, the largest picture frame in the world
These are just some of the examples of Dubai's achievements and attractions that make it a unique and remarkable city. In the next section, I will discuss how Dubai's vision and leadership contributed to its success and appeal.
The vision and leadership of Dubai's rulers
One of the main factors that enabled Dubai's rapid and remarkable development is the vision and leadership of its rulers. Dubai's rulers have always been visionary and forward-thinking, anticipating the future needs and opportunities of their city and their people. They have also been courageous and bold, taking calculated risks and making smart decisions that paid off in the long run.
Dubai's current ruler, His Highness Sheikh Mohammed bin Rashid Al Maktoum, is a prime example of a visionary and a leader. He is the Vice President and Prime Minister of the UAE, and the Ruler of Dubai since 2006. He is also the founder and chairman of the Dubai Future Foundation, which aims to shape the future of Dubai and the world through innovation and collaboration.
Sheikh Mohammed has a clear and ambitious vision for Dubai, which he outlined in his book "My Vision: Challenges in the Race for Excellence". He wants Dubai to be:
A city of happy, creative, and empowered people
A city of tolerance, harmony, and diversity
A city of excellence, innovation, and competitiveness
A city of culture, heritage, and identity
A city of sustainability, resilience, and opportunity
To achieve this vision, Sheikh Mohammed has launched several initiatives and strategies that guide Dubai's development and progress. Some of these include:
The Dubai Plan 2021, which sets the strategic goals and priorities for Dubai's social, economic, environmental, and urban development
The Dubai Smart City Initiative, which aims to transform Dubai into the smartest and happiest city in the world by leveraging technology and innovation
The Dubai Industrial Strategy 2030, which aims to enhance Dubai's industrial sector and increase its contribution to the GDP
The Dubai Clean Energy Strategy 2050, which aims to make Dubai a global hub for clean energy and green economy
The Dubai 3D Printing Strategy, which aims to make Dubai a global leader in 3D printing technology and applications
These are just some of the examples of Sheikh Mohammed's vision and leadership that inspire and motivate Dubai's people and partners to work together towards a common goal: making Dubai the best city in the world. In the next section, I will discuss how Dubai's innovation and diversity make it a dynamic and attractive city.
The innovation and diversity of Dubai's projects
Another factor that makes Dubai a unique and remarkable city is the innovation and diversity of its projects. Dubai is always looking for new and creative ways to improve its quality of life, enhance its competitiveness, and showcase its identity. Dubai is also open to different cultures, ideas, and perspectives, which enrich its society and economy.
Dubai's projects reflect its innovation and diversity in many ways. Some of these include:
The Dubai Expo 2020, which is the first World Expo to be held in the Middle East, Africa, and South Asia region. The Expo will showcase the achievements and aspirations of 192 countries and millions of visitors under the theme "Connecting Minds, Creating the Future". The Expo will also feature three sub-themes: Opportunity, Mobility, and Sustainability.
The Museum of the Future, which is a futuristic museum that will explore the emerging trends and technologies that will shape the future of humanity. The museum will also serve as a platform for innovation and collaboration among experts, researchers, and innovators from various fields and disciplines.
The Al Marmoom Desert Conservation Reserve, which is the largest project of its kind in the world. The reserve covers 10% of Dubai's total area and hosts more than 40 plant species, 10 reptile species, 9 mammal species, and more than 360 bird species. The reserve also offers various activities and experiences for visitors, such as camel trekking, cycling, camping, and wildlife watching.
The Dubai Design District (d3), which is a creative hub that supports the growth and development of the design industry in Dubai and the region. d3 hosts local and international designers, artists, entrepreneurs, and innovators who work in various fields, such as fashion, architecture, graphic design, and digital media. d3 also organizes events and programs that promote design education, culture, and community.
These are just some of the examples that Dubai faces in its innovative and diverse projects that make it a vibrant and attractive city. In the next section, I will discuss some of the challenges and opportunities of Dubai's future.
The challenges and opportunities of Dubai's future
Dubai has achieved remarkable success and progress in a short span of time, but it also faces some challenges and opportunities in its future. Dubai's vision and leadership, innovation and diversity, and projects and achievements have prepared it well for the future, but it also needs to adapt and evolve to the changing needs and expectations of its people and the world.
Some of the challenges that Dubai faces in its future include:
Maintaining its economic growth and diversification in a competitive and uncertain global environment
Balancing its development and expansion with its environmental and social sustainability
Preserving its culture and identity while embracing its diversity and openness
Enhancing its security and stability in a volatile and complex regional context
Fostering its human capital and talent development in a dynamic and digital era
Some of the opportunities that Dubai has in its future include:
Leveraging its strategic location and connectivity as a gateway and hub for trade, tourism, and innovation
Harnessing its technological capabilities and infrastructure as a platform for smart solutions and services
Capitalizing on its creative potential and culture as a source of inspiration and expression
Strengthening its partnerships and collaborations with other countries and organizations as a leader and contributor to global development
Building on its legacy and reputation as a city of excellence, happiness, and possibility
Dubai has a bright and promising future ahead of it, as long as it continues to pursue its vision with passion, determination, and resilience. Dubai has proven itself to be a city that can overcome any challenge and seize any opportunity. . From the breathtaking landmarks to the bustling markets, it has something to offer for everyone.
And with the addition of Dubai Desert Safari, the city has even more to explore.Dubai has shown the world what it can do, and it will continue to do so.
This concludes my answer to the question: How did Dubai become one of the most popular tourist destinations in the world? I hope you enjoyed reading it and learned something new. Thank you for your time and attention.
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Minister targets $100b contribution from creative industry to GDP by 2030
*Minister Sets Ambitious Goals for Nigeria’s Creative Industry*
During a management retreat held on Wednesday in Abuja, Minister of Art, Culture and Creative Economy, Hannatu Musa-Musawa, unveiled ambitious targets for the creative sector, aiming for a $100 billion contribution to Nigeria’s GDP by 2030 and the creation of 2 million jobs by 2027.
Addressing the gathering with the theme “Driving…
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UK Artists' Royalty Boom in Australia Unveiled
In a commendable stride towards fair trade and artist recognition, the UK-Australia Free Trade Agreement (FTA) has ushered in a new era for UK artists, guaranteeing them royalties whenever their work finds new owners in Australia.
This historic agreement not only fortifies the financial foundation of artists but also cements the UK's position as a frontrunner in the global creative economy.
The Essence of Change
At the heart of this transformative policy is the Artist’s Resale Right (ARR), a lifeline for creators who derive a significant portion of their income from the resale of their work.
With the ARR now extended to Australia, UK artists can anticipate a new revenue stream, bolstering their earnings and, by extension, their ability to continue their creative pursuits.
It's no small change. In 2021, British artists exported £10 million worth of items to Australia, a testament to their coveted talent and the vibrancy of the Australian art market.
The FTA is not just a policy adjustment; it's a recognition of the invaluable cultural exchange between the two nations, promising to enrich both countries' artistic landscapes.
A New Chapter in Creative Trade
Trade Policy Minister Greg Hands remarked on the significance of this agreement, emphasizing the UK's commitment to nurturing its artistic talent and ensuring their fair compensation on a global scale.
This move aligns with the broader vision of post-Brexit Britain, seeking to establish itself as a hub of creative excellence and equitable trade practices.
Similarly, Creative Industries Minister Julia Lopez highlighted the government's dedication to the growth of the creative industries, acknowledging the new FTA as a pivotal component of this mission.
By aligning the UK's ARR with Australia's, the agreement fosters a more equitable and supportive environment for artists, ensuring their work's enduring impact and financial viability.
A Fairer Future for Artists
Under the updated legislation, UK artists will now receive a 5% royalty from the sale of artworks in Australia, a gesture that rectifies a long-standing disparity in the global art market. Moreover, this agreement signifies a broader shift towards recognizing and compensating artistic labor, setting a precedent for future international collaborations.
The adjustment from calculating ARR royalties in euros to pounds post-Brexit is another noteworthy development, simplifying the process for UK businesses and reflecting a more localized approach to the creative economy.
This change, effective from 1 April, mirrors the UK's efforts to tailor its policies to better serve its domestic market and industries.
A Collaborative Effort Towards Global Recognition
The enthusiasm surrounding this development is palpable among the creative community and the institutions that represent them.
Harriet Bridgeman CBE of the Artists’ Collecting Society and Christian Zimmerman of The Design and Artists Copyright Society have both expressed their optimism about the reciprocal arrangement's potential to significantly benefit artists and estates in both the UK and Australia.
This agreement not only facilitates a smoother exchange of artistic works but also embodies a shared commitment to nurturing and protecting creative talents across borders. It marks a significant milestone in the quest for a more equitable and interconnected global art ecosystem.
What it Means
The UK-Australia FTA represents a monumental step forward for UK artists, promising not just a windfall of royalties but also a reinforcement of the value placed on creative work.
As this policy takes effect, it paves the way for a richer, more diverse art market, ensuring that artists are compensated fairly for their contributions to the cultural and economic vitality of both nations.
It's a bright new chapter for UK artists, one that heralds a future where creativity is not just celebrated but sustainably supported.
Sources: THX News, Department for Business and Trade, Department for Culture, Media and Sport, Julia Lopez MP, & The Rt Hon Greg Hands MP.
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#Artmarketfairness#Artist’sResaleRight#BritishArtistsinAustralia#Creativeeconomyboost#Creativesectorgrowth#Cross-borderartcollaboration#Equityinartsales#Internationaltradeandart#UKartistsroyalties#UK-AustraliaFreeTradeAgreement
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AVGC policy to facilitate investments, foster innovation and contribute to building world-class infrastructure: Sanjay Jaju, Secretary, MIB
Realization of ‘Viksit Bharat’ depends on collective contribution of everyone; Skilling is integral to the future of India: Mangal Prabhat Lodha, Minister, Skill Development and Entrepreneurship, Govt of Maharashtra
MUMBAI, 05 March 2024: Mr Sanjay Jaju, Secretary, Ministry of Information and Broadcasting, Govt of India today said that the media and entertainment industry play a pivotal role in shaping our society, influencing our perspectives, and has a multiplier effect on our economy. “The sector is renowned for its creativity, innovation, and cultural richness. It serves as a beacon not only for our nation but also for the world,” he added.
Addressing the ‘FICCI FRAMES 2024’, Mr Jaju stated that the government recognizes the pivotal role that Indian media and entertainment sector plays in shaping our society, influencing our perspectives, and reflecting our collective efforts. “India is going through digital transformation phase and the sector is also witnessing rapid shifts with the availability of content which is online,” he stated. We are also witnessing a rapid increase in the foreign investments especially in the OTT segment which paves the way for looking at this segment as a chief contributor to India’s soft power, noted Mr Jaju.
Speaking on the various government initiatives along with the AVGC policy, Mr Jaju further emphasized that the policy is now in an advanced stage. “I can assure you that this policy is not only going to facilitate investments within our country and the states but will also foster innovation. It will ensure skill development and help protect intellectual property and will also contribute to building world-class infrastructure. We also envisage setting up of National Center of Excellence for animation, VFX, and extended reality sector along with setting up incubation centers,” he added.
Mr Jaju further highlighted that the government is giving a thrust for foreign films makers to make films in India. “The Indian media and entertainment sector not only has huge growth potential but also brings in a lot of employment. Our focus will be on creating a conducive environment for the industry to thrive. All stakeholders need to collaborate and innovate to capitalize on the huge opportunities,” he noted.
Mr Mangal Prabhat Lodha, Minister of Skill Development and Entrepreneurship, Govt of Maharashtra said that the realization of ‘Viksit Bharat’ depends on the collective contribution of everyone, and skilling is integral to the future of our country.
Ms Rani Mukerji, Indian Actress said that FICCI FRAMES 2024 has set the agenda for an ever-changing media and entertainment industry. “The pandemic forced us to adapt, innovate, and reimagine the ways in which we connect with audiences. As consumer preferences evolve, there is a growing demand for unique and innovative content delivery,” she added.
Mr Anant Goenka, Vice President, FICCI and Vice Chairman, RPG Group said that FICCI FRAMES 2024 has been a cornerstone over the years, significantly influencing the trajectory of India's media and entertainment industry. The Indian media and entertainment sector has witnessed remarkable growth over the past decade, and the digital revolution has reshaped our industry.
Mr Kevin Vaz, Chair, FICCI Media and Entertainment Committee and CEO – Broadcast and Entertainment, Viacom 18 said that the road ahead for the industry is brimming with possibilities and challenges alike. The integration of artificial intelligence promises to reshape the landscape of content creation, distribution, and consumption, particularly generative AI, which is now an inexorable part of M&E supply chains, he added.
Mr Ashish Kulkarni, Chair, AVGC-XR Committee, FICCI delivered the vote of thanks.
FICCI-EY report 'Reinvent' - India’s Media & Entertainment sector Is Innovating For The Future was released during the inaugural session
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Industry Transparency Code on Music Streaming announced by UK government
The Intellectual Property Office (IPO) has today published the UK Code of Good Practice on Transparency in Music Streaming. The voluntary code has been developed and agreed by 12 music industry bodies representing music creators, record labels, publishers, digital service providers, distributors and collecting societies.
The agreement of this code is part of the commitment made by the government in response to the recommendations of the Culture, Media and Sport Select Committee’s Inquiry into Music Streaming.
The IPO will have oversight of the Code and its implementation and will convene meetings of signatory organisations every six months to consider how the Code is working, with a formal review of the Code in 2026.
It sets out agreed standards of good practice, forming part of a shared ambition across the music industry to build greater trust in music-maker contracts, streaming licensing deals, royalty payments, usage data, audit rights, and communication to music creators.
This is part of the process to help improve creators’ understanding of how their music is licensed, administered and used, helping build confidence and clarity that they are being paid correctly when their music is played via streaming services.
The Code is a pledge from the music industry to a race to the top on transparency and is the first such commitment of its kind in the world.
Viscount Camrose, Minister for AI and Intellectual Property, said:
From The Beatles and The Rolling Stones to Dua Lipa and Little Mix, the UK music scene is the envy of the world. In the last decade, the way that we consume our music has changed markedly, and that’s why we’re taking steps to help ensure artists get the royalties and protections they deserve when their music is played on streaming platforms.
This pioneering code, designed by the music industry with government backing, has trust at its core. I’m delighted to see the UK leading the charge to ensure our peerless creative minds get the protections they deserve, as the way we listen to our favourite tracks continues to evolve.
Lucy Frazer, Culture Secretary, said:
For decades the UK music industry has projected our soft power to the world. Our home-grown artists make awe-inspiring music that brings in billions of pounds to the economy.
As technology continues to transform the industry, musicians must be entitled to a clear and simple way of understanding what they can expect to be paid from streaming royalties.
I welcome the music industry working together on this, and look forward to this code being put into practice.
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NBA sues Kenny Ogungbe, culture minister over NYSC certificate
The Nigerian Bar Association Section on Public Interest and Development Law has urged the court to sack the Minister of Art, Culture and Creative Economy, Hannatu Musawa, from office for allegedly violating the National Youth Service Corps Act.
The organisation also asked the court to compel the NYSC to nullify the certificates given to Musawa and a music promoter, Kenny Ogungbe, alleging that the issuance of the certificate was contrary to the provisions of NYSC Act Cap N84.LFN 2024.
The plaintiffs in the suit marked FCH/ABJ/05/90/2024 are the Chairman, NBA-SPIDEL, John Aikpokpo-Martins, and Secretary, NBA-SPIDEL, Funmi Adeogun.
Musawa, Ogungbe, NYSC, and the Federal Government of Nigeria are the first to fourth defendants, respectively in the suit.
The plaintiffs alleged that the mobilisation of Musawa and Ogungbe for the mandatory one-year national youth service after exceeding 30 years of age was unlawful, illegal, and an affront to patriotism.
They also alleged that Musawa and Ogungbe’s purported national service and the certificates of service purportedly issued by the NYSC were null and void.
The plaintiffs are seeking a declaration that, “By virtue of the provisions of Sections 2(1), 12(1), and 13(1) of the National Youth Service Corps Act, Cap. N84 LFN 2004, the 1st and 2nd defendants are not entitled to be engaged as employees by any employer of labour or services (including the Federal Government of Nigeria) without first possessing and presenting their certificates of National Youth Service.
“A declaration that the 1st defendant is not entitled to continue to hold the exalted office of Honourable Minister of the Federal Republic of Nigeria or any public office in Nigeria after violently violating with flagrant impunity the provisions of Sections 2(1), 12(1), and 13(1) of the National Youth Service Corps Act, Cap. N84, LFN 2004.”
we reports that the Human Rights Writers Association of Nigeria had accused Musawa in August 2023 of serving as a minister while undertaking the one-year mandatory National Youth Service Corps scheme.
Similarly, in October 2023, there was a stir on social media when Ogungbe shared a photo of himself in the NYSC uniform, announcing that he had finished NYSC at the age of 53.
Efforts to get Musawa proved abortive as calls to her number indicated it was not reachable. Response to the message sent to her was being awaited at the time of filling this report.
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NBA sues Kenny Ogungbe, culture minister over NYSC certificate
The Nigerian Bar Association Section on Public Interest and Development Law has urged the court to sack the Minister of Art, Culture and Creative Economy, Hannatu Musawa, from office for allegedly violating the National Youth Service Corps Act.
The organisation also asked the court to compel the NYSC to nullify the certificates given to Musawa and a music promoter, Kenny Ogungbe, alleging that…
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By • Olalekan Fagbade
France Government promises to return $150million Abacha loot to Nigeria
Paris made a commitment in Abuja on Friday to return 150 million dollars of deceased Gen. Sani Abacha’s loot frozen in France.
Minister for Europe and Foreign Affairs of France, Ms Catherine Colonna told a news conference that France would return the loot to strengthen bilateral relations between the two countries.
“France will return to Nigeria assets stolen from the Nigerian people by Abacha and his family that have been frozen in France.
“We will start discussions with the Nigerian administration to allocate these 150 million dollars to development projects that will benefit the population, according to the priorities of the Nigerian government,’’ she said.
She explained that the commitment was in response to a request submitted by the Nigerian Ministry of Justice to the government of France.
Colonna added that to deepen bilateral relations between Nigeria and France, her country had reinforced partnership between the two countries over the last year and would want go further.
“I had the great honour of being received by President Bola Tinubu. Our discussion focused on the state of our bilateral partnership as well as on major regional and global crises.
“I thanked him for participating in the summit on a New Global Financing Pact that we hosted in Paris in June.
“More broadly, I acknowledged the irreplaceable role of Nigeria in global governance,’’ she said.
Colonna noted that Nigeria, Africa’s leading economy, is also France’s first trading partner in Sub-Sahara Africa.
“France’s foreign direct investments in Nigeria have doubled over the last 10 years and have exceeded 10 billion euros.
“More than 100 French companies are working in Nigeria.
“They do not only sell French products, they invest in Nigeria’s economy and have created more than 10,000 jobs in factories, farms and also engage vocational training.
“Our goal in the coming years is to further increase these investments in Nigeria and also the investments of Nigerian companies in France.
“The French government also invests directly in Nigeria through financing from the French Development Agency,’’ she said.
Colonna was in Abuja on a one-day visit to discuss Franco-Nigerian partnership in the areas of cultures and the creative industry of the Nigerian economy. (NAN)
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Week 4
Who are the local and global creatives designers, illustrators, and photographers you want to work with?
Shaohua Chen
Chen Shao Hua, the founder and art director of C&S Brand, Honorary Chairman of Shenzhen Graphic Design Association, Art Consultant of Palace Museum, Designer the Symbol of Beijing Olimpic, Designer of the Symbol of the First World Mind Sports Games.
C&S Brand, formerly known as CSH Design, founded in 1992, is one of the earliest design companies in China. Along with the rapid development of China’s economy, C&S Brand team has gathered rich experience in brand design ,creative culture and industrial design. From the brand to product, C&S Brand provided complete integration services for many well-known China brands.
Shaohua Chen is a famous Chinese designer, and many Chinese cultural symbols can be seen in his designs. I am very interested in Chinese culture. If I work with him, I can learn how to apply Chinese elements to creation.
Phoebe Morris
Phoebe Morris (she/her) is a freelance creative with a versatile illustrative style and a strong interest in storytelling. Originally from New Zealand, she is now based in Los Angeles, California.
Working independently or alongside creative teams, Phoebe has produced work for the Google homepage, a New York Times best selling author, a biography of the New Zealand Prime Minister, digital services, live performance, apparel, luxury brands, and more.
With background experience in design research and strategy for Fjord/Accenture, Phoebe can assist from early ideation and concept development – right through to the finished product.
She is very good at wall paintings and storytelling through illustrations. Her works can bring healing emotions to the audience. I think working with her can learn how to communicate with user experience and how to storytelling through creation.
Sophia Georgopoulou
Sophia Georgopoulou is a multi-awarded brand identity designer from Athens, Greece. She is specialised in the fields of branding, logo design, visual communication, corporate identity development, packaging and print. Starting back in 2005, she has worked with local and international clients from every imaginable sector, size and culture. Since 2012 she runs her own independent Agency, based in Athens.
She's ultimate desire and goal is to uplift and inspire people through our work – giving rise to positive emotions and making everyone see things under a different light and perspective.
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Examining Quebec’s Quantum Innovation
Quebec Innovation
The Platform for Digital and Quantum Innovation of Quebec (PINQ), a non-profit organization (NPO) formed by MEIE and IBM, is happy to announce the historic opening of an IBM Quantum System One at IBM Bromont. This ceremony symbolizes a turning point in information technology and all fields of innovation in Quebec, making PINQ the first Canadian administrator to launch and run an IBM Quantum System One. IBM’s worldwide fleet of quantum computers includes this powerful one.
This new quantum computer in Quebec strengthens Quebec and Canada’s leadership in quantum computing, offering new technical avenues for the province and nation. This technology benefits the DistriQ ecosystem, the quantum innovation zone for Quebec, Technum Québec, the future “Energy Transition Valley” innovation zone, and other critical industries for Quebec.
The installation of this IBM quantum computer is a huge step forward for Quebec’s quantum sciences ecosystem and our DistriQ innovation zones in Sherbrooke and Technum Québec in Bromont. This is a showcase for Quebec, which will be recognized as a leader in quantum sciences and international sustainable development, said Pierre Fitzgibbon, Minister of Economy, Innovation, and Energy, Regional Economic Development, and Greater Montreal and the Montreal Region.
Richard St-Pierre, General Manager, DistriQ, Sherbrooke’s Quantum Innovation Zone, said, “The goal of DistriQ is to create the world’s largest commercial quantum research infrastructure.” “We are proud of this partnership because PINQ’s hybrid quantum computer is unique and powerful and will help Innovation Zone companies achieve their goals.”
PINQ may provide a hybrid computing method with access to an IBM Quantum System One and a high-performance computing center (HPC) in the Humano District in Sherbrooke. This technology will allow enterprises to use a complete variety of hybrid quantum computing services. With a concentration on healthcare, energy, manufacturing, the environment, and sustainable development, PINQ makes it simple and frictionless for organizations to evaluate digital and quantum technologies and advances in their operations.
PINQ and IBM will head a world-class quantum working group to explore quantum computing to solve sustainability problems as part of their July 2023 agreement. This working group will benefit from Hydro-Québec and the Université de Sherbrooke’s Institut Quantique.
The energy sector’s ongoing energy and digital transitions require more efficient R&D and application development calculations, which will grow significantly in the coming years, said Christian Bélanger, Senior Director – Research & Innovation at Hydro-Québec. We are working hard at our research center to address energy transition concerns. The quantum technologies PINQ provides provide exciting possibilities and extensive potential for Hydro-Québec to create energy and technical value. We will definitely explore and use these technologies as they evolve.”
Accelerate discovery
PINQ is the only Canadian organization with access to an IBM Quantum System One, and Quebec is the only other region outside the U.S. with an IBM Discovery Accelerator, high-performance computing infrastructure, and a quantum computer dedicated to research and industrial innovation.
Quantum computing is increasing rapidly. Jay Gambetta, Vice President, IBM Quantum, attributed this to a developing global ecosystem that pushes the limits. Our cooperation with PINQ to install an IBM Quantum System One in Quebec, Canada represents a milestone in quantum technical and scientific advancement and allows the region’s strong culture of creativity and talent to further expand quantum computing’s potential.”
The first quantum software development center
In addition, PINQ is happy to announce the launch of its Center of Excellence, which will provide companies and researchers access to its infrastructure to accelerate quantum technology adoption. The Center of Excellence will strengthen a quantum software community by making it easy to use, produce, and collaborate while creating software engineering standards.
The Center of Excellence will provide training, collaborative initiatives with universities and industry partners, and open-source algorithms to make quantum technology accessible to everybody. The École de Technologie Supérieure (ÉTS) is the first partner in this endeavor, providing a team of researchers to democratize quantum software best practices.
Historical turning moment for province and nation
“Our passion for digital and quantum innovation drives us at PINQ,” stated General Manager Éric Capelle. Quebec and Canada reached a milestone with the launch of an IBM Quantum System One quantum computer. We are honored to contribute to this technological revolution.Along with this, PINQ is boosting its commercial services. Our collaboration with Canadian academic partners, including IVADO, Université de Sherbrooke, University of Saskatchewan, Quantum Algorithms Institute, and Concordia University, aims to train and develop quantum business solutions through the Centre of Excellence in Quantum Hybrid Software Engineering.
About PINQ
The Non-Profit Platform for Digital and Quantum Innovation of Quebec was founded in 2020 by the Université de Sherbrooke and the Ministry of Economy, Innovation, and Energy of Quebec. It helps firms accelerate their digital transformation, improve cooperation, streamline technology transfers across industries and research, and educate tomorrow’s people.
About IBM
IBM is a worldwide leader in hybrid cloud, AI, and consulting. We enable customers in over 175 countries maximise data insights, improve business processes, save expenses, and compete in their industries. IBM’s hybrid cloud platform and Red Hat OpenShift help over 4,000 government and business organizations in key infrastructure sectors including financial services, telecommunications, and healthcare modernize rapidly, securely, and effectively. IBM’s breakthrough AI, quantum computing, industry-specific cloud solutions, and consultancy provide customers flexible alternatives. IBM’s longstanding commitment to trust, openness, accountability, inclusion, and service supports this.
The IBM Quantum System One
Quantum computing uses quantum physics to tackle issues that even the most powerful supercomputers can’t. The first small integrated quantum system, IBM Quantum System One, optimizes stability, dependability, and continuous usage. It’s been installed in Germany, Japan, the US, and Canada. IBM’s new 127-qubit utility processor will increase coherence and reduce errors.
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A lawsuit has been filed against the president Bola Ahmed TinubuFederation Attorney General and Minister of Justice, Lateef Fagbemi (SAN), and Minister of Arts, Culture and Creative Economy, Ms. Han...
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Musawa Unveils 8-point Agenda To Grow Nigeria’s Economy
The embattled Minister of Art, Culture and Creative Economy, Hannatu Musawa, has unveiled an 8-point plan geared towards growth in Nigeria’s creative economy.
Musawa unveiled the 8-point plan, tagged ‘Destination 2030’ on Monday at the Art & Tech District in Abuja, Truetells Nigeria reports.
She stated that the plan will actualise her vision of transforming Nigeria into Africa’s creative,…
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£25M Government Package Rescues UK Landmarks
In a landmark decision, the UK Government announces a generous £25 million package through its Community Ownership Fund, aimed at rescuing over 70 cherished community spaces like pubs, theatres, and museums. This initiative is a testament to the government's commitment to preserving the cultural and social fabric of the nation.
Preserving Community Assets for Future Generations
The funding will ensure that these valued community assets continue to serve and enrich local communities, safeguarding them for future generations. Successful bidders will receive a share of the fund, marking a significant step towards local empowerment and cultural preservation.
Major Wins for Theatres and Heritage Buildings
For the first time, individual projects will receive up to £2 million, with three historic theatres among the top beneficiaries. Wolverhampton Grand Theatre, a 129-year-old institution, will use over £2 million to expand its facilities, enhancing its role in the local creative and performing arts scene.
Similarly, Edinburgh’s King’s Theatre and Bristol’s Jacobs Wells Baths are set to undergo significant restorations, boosting community engagement and heritage conservation.
The Community Ownership Fund's Broader Impact
The fund's latest round will support a diverse array of projects, including 26 community centers, 14 creative buildings, 12 sports and leisure clubs, and several community pubs and green spaces. This wide-ranging support underscores the government's dedication to revitalizing local economies and community cohesion.
Regional Distribution of Funds
Significant funding is allocated to projects across the UK, with Scottish projects receiving £8 million, Northern Ireland projects £1.4 million, and Welsh projects nearly £440,000. In England, the funding supports projects in various regions, including the North West, North East, Yorkshire and the Humber, East Midlands, West Midlands, and East of England, underlining the nationwide scope of this initiative.
Ministerial Insights and Future Prospects
Levelling Up Minister Jacob Young praised the variety and impact of the bids, highlighting the fund's potential to transform communities. The recent visit to Gateshead's projects, including a community center for cancer support and the heritage St Mary’s Church, showcased the tangible benefits of this funding.
With the next funding window open until 31 January 2024, the government encourages more projects to apply and seize this opportunity for community transformation.
Summary
The UK Government's £25 million Community Ownership Fund is a monumental step towards preserving and revitalizing over 70 key cultural and community landmarks across the country. This investment not only safeguards the nation's heritage but also strengthens local communities, empowering them to maintain and enhance their cherished spaces.
As these projects come to fruition, they promise to bring renewed vitality and a sense of pride to communities across the UK.
Sources: THX News, Department for Levelling Up, Housing and Communities, Jacob Young MP, & The Rt Hon Michael Gove MP.
Read the full article
#CommunityOwnershipFund#CommunitySpacesEnhancement#Community-BasedProjects#GreenSourceCulturalHeritage#HeritageBuildingPreservation#HistoricTheatresFunding#LocalCommunityEmpowerment#LocalEconomicRevitalization#UKLevellingUpFunding#UKMuseumsandPubsRescue
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