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1. 3Tickling-Submission - Foot slave Samantha -

  • Published: 2017-09-01T14:04:30+00:00
  • Duration: 515
  • By micha huep
3Tickling-Submission - Foot slave Samantha -


2. Bagamoyo, Lay Your Heart Down

  • Published: 2011-03-27T22:04:33+00:00
  • Duration: 1425
  • By Jake Salyers
Bagamoyo, Lay Your Heart Down

Long before the first African stepped foot on North American soil and long after the last slave ships plied the Atlantic Ocean, East Africa harbored its own dark trade. For centuries until the 1920s, Arab traders traveled into Africa’s heart to collect slaves for use both on African plantations and throughout the Middle East. Along the way, these slaves endured atrocities as cruel as many that happened in West Africa. Death marches to the coast for thousands of miles. Pain, hunger, exhaustion.

3. IMG_2127 (1) The most beautiful pair of very pointy Italian dress shoes owned internationally by two masters of foot slaves

  • Published: 2016-07-22T07:55:59+00:00
  • Duration: 54
  • By Cory Thomas
IMG_2127 (1) The most beautiful pair of very pointy Italian dress shoes owned internationally by two masters of foot slaves

The most beautiful pair of very pointy black dress shoes owned internationally by two masters of foot slaves

4. 2001 Fuchsia Rose

  • Published: 2017-04-05T02:37:01+00:00
  • Duration: 100
  • By Xanthe Dobbie
2001 Fuchsia Rose

Xanthe Dobbie 2017, '2001 Fuchsia Rose', digital/web collage, infinitely looping screensaver. 21st Century Greatest Hits Screensaver Pack Year: 2001 Pantone Colour of the Year: Fuchsia Rose Soundtrack: Let Me Blow Ya Mind - Eve Ft. Gwen Stefani Screensaver Highlights: Willow and Tara First Kiss (BtVS s05e16), LotR: Fellowship of the Ring, Twin Towers, Daria Finale, Original iPod Release, Britney and Justin Triple Denim Couples Look, 'I'm a Slave 4 U' performance with snake, Harry Potter and the Chamber of Secrets, Mad Cow (Foot and Mouth) Disease.

5. Slave Lake: North Shore Homestead

  • Published: 2014-05-24T21:34:41+00:00
  • Duration: 129
  • By John Kerr
Slave Lake: North Shore Homestead

Roland Eben Ebenau is the affable second generation owner operator of the North Shore Homestead (, a unique European Estate hacked out of the unbroken wilderness with an axe and a saw in the 1930s by his father, R.W.H. Eben Ebenau, who was a German immigrant and legendary Swan Hills trapper also known as "The Baron". Today, this unique retreat sits on 200 Acres overlooking Lesser Slave Lake, is surrounded by provincial parks, and is home to cabins and suites, a bison ranch, a heritage museum of curiosities, and more than a kilometer of private beach. Among his father's meticulous collection of specimens, skulls, hides, and taxidermy are a vintage Rolls Royce, and the skull and vertebrae of what was at one time the largest grizzly on record in Canada, shot by R.W.H. Eben Ebenau in Swan Hills, in the 1940s. Roland's telling of this classic bear story reminded me of Sam Elliot's The Stranger character from The Big Lebowski telling us, "Well Dude, sometimes you eat the bear, and sometimes the bear eats you." I grew up in the Rocky Mountains of Southern Alberta, hearing mythic tales from my father, grandfather, and uncles of a little old native lady up North who shot the world's largest recorded Grizzly at a full charge, dropping it with a single shot to the eye from a .22 caliber rifle. Well, apparently it actually happened back in the spring of 1953. The old lady was Bella Twin and she was hunting squirrels in the Swan Hills, when a 10-foot tall, 1000 lb Grizzly charged at her and a companion. The Baron was so impressed by her feat, that he bought from her the skull and vertebrae of the animal, which to this day remain on display in the museum. At the beginning of The Big Lebowski, The Stranger says, "Sometimes there's a man, who, well, he's the man for his time 'n place...". I couldn't tell you why exactly, but for Lesser Slave Lake, Alberta, I believe that man to be Roland Eben Ebenau. This film captures some of that, but you really have to visit the place and meet the man to experience it for yourself. Written, Produced, and Directed by John Kerr for Crowsnest Films. DOP - Craig Hall Camera Operator - Brad Stuckel Sound Recordist - Kevin Sands Editor/VFX/Colorist - Darren Bierman Post Production Audio Mix and Music - Mitch Lee

6. The Venus in Furs [extract] ©Andrée Weschler

The Venus in Furs [extract] ©Andrée Weschler

Please visit: The Venus in Furs, Video Performance, 2006 “It was a large oil painting, done in the robust full-bodied manner of the Belgian school. Its subject was strange enough. A beautiful woman with a radiant smile upon a face, with abundant hair tied into a classical knot, on which white powder lay like soft hoarfrost, was resting on an ottoman, supported on her left arm. She was nude under her dark furs. Her right hand played with a lash, while her bare foot rested carelessly on a man lying before her like a slave, like a dog” Venus in Furs, Leopold von Sacher-Masoch (page 59,Blast Books, New York) ©Andrée Weschler 2013

7. Cursor Miner - Luna

Cursor Miner - Luna

Track: Luna Artist: Cursor Miner Album: Requires Attention Label: Uncharted Audio Cursor Miner's fourth album 'Requires Attention' is available now direct from Uncharted Audio and all good stores: This track is also featured on Cursor Miner's Luna EP, also available from Uncharted Audio: So, Luna is a love song, but the real question is: did man really set foot on the moon? The fact that huge rockets blasted off from earth with all the necessary technology on board, then people appeared to be filmed walking around, driving cars, dropping feathers and so on seems to suggest that the Apollo landings really did take place. But on closer analysis we find some highly suspicious anomalies. For instance, if you closely study the footage, the huge roaring torrent of fire spewing from the Saturn V boosters is clearly just red and yellow crepe paper with fans inside creating a ‘fluttering flame’ effect, similar to those things outside annoying bars. Even more suspect is that 47 hours into the audio recording of the Apollo 16 translunar flight the unmistakeable sound of a waitress serving cocktails and canapes can be heard, shortly followed by an obviously live rendition of “As Time Goes By” on grand piano, double bass and clarinet. Studies of the technical drawings of the lunar and command modules show without a doubt that the only instrument that could have been carried on board was the clarinet, which none of the astronauts could play. Footage of the Lunar Rover driving across the surface of the moon clearly shows them driving past, amongst other things, a rock glaringly reminiscent of a keep left sign, what appears to be some kind of roadkill – possibly a squashed water rat, and a Wild Bean Cafe that can be seen nestling in the foothills of the Imbrium impact crater. Not to mention in the photo taken of the Rover at the end of the exploration when there is a parking ticket issued by a West Sussex traffic warden clearly stuck to the front left dustguard. I have personally looked over NASA’s accounts for 1971 and there are no fewer than 6 parking fines, 2 speeding tickets and an incursion into a so called “lunar” bus lane. Indeed it appears highly probable that up to 80% of NASA’s budget was being spent on distinctly terrestrial traffic violations. And that’s not the end of the story. During the last decade there has been an absolute flood of damning evidence that our lords and masters are consistently feeding us lies about history. We have had just last year the shocking revelation that Australia was not in fact discovered by Captain Cook in 1770 – or anyone else at any other time for that matter. What the deluded masses regard as the land ‘down under’ has been recreated in a television studio in Wood Green, the vast expanse of the outback being a small tabletop miniature, and the cricket team being trained in a brilliantly lit secret underground cavern next to the Piccadilly line. What is obvious is that the other side of the “globe” never existed and was just a ruse to get us to buy surf merchandise and cultivate a laid back attitude, just the correct blend of consumerism and apathy to play right into their hands. The list goes on – Beethoven’s Ode to Joy was discovered to be a fake, his 9th symphony in fact consisting of a two minute kazoo solo, the Roman Empire was built of Weetabix and Hitler was a Muppet created by Jim Henson and Steven Spielberg. Plus, Jesus wasn’t a carpenter, 9/11 was a sports-car, Einstein just blagged it with some random squiggles and the much vaunted “internet” is just a small slave in your computer making up stuff very, very fast. So remember, folks: unless you can actually touch it, smell it, eat it and see it come out the other end it’s bound to be a fake, a fix, a conspiracy or a fraud. Stay alert.

8. ARO 5.0 Steph COP

  • Published: 2015-11-18T17:33:51+00:00
  • Duration: 137
ARO 5.0  Steph COP

A short film about ARO 5.0, a 16,4 foot 16 000 lb oak' sculpture by the french artist Steph COP. ARO is the most accurate projection of Steph COP . Beyond the graphic aspect of trenches lines, its docked position , it is " Obsessive Reflex Analysis " . The search for the sketch seems to be the key , ARO is the genesis. The encounter between the machine and nature gave birth to Wooden ARO. An unprecedented reinterpretation of the ARO character. Chainsaw’s carved in differents woods, as if the artist freed the already existing piece in the tree. This demanding raw material needs to be tamed with power and delicacy. "One learning alone, by instinct lost in the forests. You do your lines , you draw , you cut , a slave labor in paradise , the silence of the machine’s noice in the middle of the hundred-year-old trees . " A very slow maturation, a natural creation that has almost something sacred , where the hand of man has only followed the lines marked by time . Lumberjack delicate despite the raw tool , with a rendering heartbreaking of sensitivity . All parts are charged with the emotions of its creator. At first, his sculptures are formatted , a variation on the same model. You just need to put your hands, to touch the wood, to discover the essence of each, the features of the machine that has carved . Go beyond appearances , they are similar and different . Today , a giant, a six hundred oak tree that was left over on the ground for years in the heart of the Morvan, stands proudly as an ARO 5 meters / 7 tonnes in the park of his collector. This piece of art is also a symbol, the result of a work supported by collectors who participated in the funding of that creation and chose to get in the adventure with the artist. In April 2013, we proposed 30 of our collectors to invest in the creation of Aro 5.0, a 5 metre high 7 ton wood sculpture. In return we gave them a small bronze, and the promise to reimburse their investment once the Aro 5.0, would be sold. In June 2014, a private collector decided to integrate the sculpture to his collection, and all the investors have been duly reimbursed. We are now starting the project 8.0. with 50 partners... This Aro will be 8 metres high, 4m x 5m on the ground and will weigh approximately 20 tons. Thanks to our 30 collectors for ARO 5.0: Bruno Fabre - Romain Leroy - Adel Gineste - Alexis & Hèlene Vrousos - Arnaud 5A Ronxin et Scotie AD. - Anne-Gaëlle Grunenwald - Maud Recton - Olivier Bon - Patrice Bastian - David Hugonot Petit - Christian Sinicropi - Doze Lansy - Caroline Huet - Maxime et Alice Brodin -Maxime Brozek - Sandrine Laveze Dubois - Reeno Deschamps et Ajee - Françoise Muller - Karim El idrissi - Guy et Rogelle Furet - Fabrice Arous - Anthony Alberti - Liv Chevalier - Jean Moueix -Les Frères Miral Opticien Créateur - Tancrède Bonnici - Jérome Risoli - Pierre-Erick Durand - Guillaume Casasola - Fabien Pascal And to: Collection du Manifeste Jaune Vieux Port de Cannes, Franck Dosne, Marianne Fourticq et la CCI Ville De Mougins, Pascale Tourette, Laurianne Vague ainsi que toute l’équipe des Services Techniques Musée d’Art Classique de Mougins, Leisa Paoli & Christian Levett et toute l’équipe Le Bronze d’Airain, Marc et Loic Massa La Palme D’or à Cannes / Grand Hayatt, Le Chef Christian Sinecropi ainsi que son équipe Aeroport de Cannes Mandelieu Thierry Pollet et Chantal Aguilar et la CCI Fondation Zoraïde, M. Alberti et Madame Grundig MMCI Monaco, Nicolas, Benoit et Valerie Transports Eclair Montagne, Frederic et Vincent Villers en Morvan, le village, la famille Hery et Jean Pierre Roche Steph COP represented by FG FINE ART Film by FG FINE ART & SPIRE FILM MAKING

9. Exoskeleton for Resistive Exercise and Rehabilitation WWW.GOODNEWS.WS

Exoskeleton for Resistive Exercise and Rehabilitation WWW.GOODNEWS.WS A video overview of the Exoskeleton for Resistive Exercise and Rehabilitation. Credit: NASA - A powered exoskeleton, also known as powered armor, or exoframe, is a powered mobile machine consisting primarily of an exoskeleton-like framework worn by a person and a power supply that supplies at least part of the activation-energy for limb movement. Powered exoskeletons are designed to assist and protect the wearer. They may be designed, for example, to assist and protect soldiers and construction workers, or to aid the survival of people in other dangerous environments. A wide medical market exists in the future of prosthetics to provide mobility assistance for aged and infirm people. Other possibilities include rescue work, such as in collapsed buildings, in which the device might allow a rescue worker to lift heavy debris, while simultaneously protecting the worker from falling rubble.Working examples of powered exoskeletons have been constructed but are not currently widely deployed. Various problems remain to be solved, including suitable power supply. However three companies launched exoskeleton suits for people with disabilities in 2010. A fictional mech is different from a powered exoskeleton in that the mecha is typically much larger than a normal human body, and does not directly enhance the motion or strength of the physical limbs. Instead the human operator occupies a cabin or pilot's control seat inside a small portion of the larger system. Within this cabin the human may wear a small lightweight exoskeleton that serves as a haptic control interface for the much larger exterior appendages.The earliest exoskeleton-like device was a set of walking, jumping and running assisted apparatus developed in 1890 by a Russian named Nicholas Yagin. As a unit, the apparatus used compressed gas bags to store energy that would assist with movements, although it was passive in operation and required human power. In 1917, US inventor Leslie C. Kelley developed what he called a pedomotor, which operated on steam power with artificial ligaments acting in parallel to the wearers movements. With the pedomotor, energy could be generated apart from the user.The first true exoskeleton in the sense of being a mobile machine integrated with human movements was co-developed by General Electric and the United States military in the 1960s. The suit was named Hardiman, and made lifting 250 pounds (110 kg) feel like lifting 10 pounds (4.5 kg). Powered by hydraulics and electricity, the suit allowed the wearer to amplify their strength by a factor of 25, so that lifting 25 pounds was as easy as lifting one pound without the suit. A feature dubbed force feedback enabled the wearer to feel the forces and objects being manipulated. While the general idea sounded promising, the actual Hardiman had major limitations. It was impractical due to its 1,500-pound (680 kg) weight. Another issue was the fact it is a slave-master system, where the operator is in a master suit which is in turn inside the slave suit which responds to the master and takes care of the work load. This multiple physical layer type of operation may work fine, but takes longer than a single physical layer. When the goal is physical enhancement, response time matters. Its slow walking speed of 2.5 ft/s further limited practical uses. The project was not successful. Any attempt to use the full exoskeleton resulted in a violent uncontrolled motion, and as a result it was never tested with a human inside. Further research concentrated on one arm. Although it could lift its specified load of 750 pounds (340 kg), it weighed three quarters of a ton, just over twice the liftable load. Without getting all the components to work together the practical uses for the Hardiman project were limited.Los Alamos Laboratories worked on an exoskeleton project in the 1960s called Project Pitman. In 1986, an exoskeleton prototype called the LIFESUIT was created by Monty Reed, a US Army Ranger who had broken his back in a parachute accident. While recovering in the hospital, he read Robert Heinlein's Starship Troopers and from Heinlein's description of Mobile Infantry Power Suits, he designed the LIFESUIT, and wrote letters to the military about his plans for the LIFESUIT. In 2001 LIFESUIT One (LSI) was built. In 2003 LS6 was able to record and play back a human gait. In 2005 LS12 was worn in a foot race known as the Saint Patrick's' Day Dash in Seattle, Washington. Monty Reed and LIFESUIT XII set the Land Speed Distance Record for walking in robot suits. LS12 completed the 3-mile race in 90 minutes. The current LIFESUIT prototype 14 can walk one mile on a full charge and lift 92 kg (200 lb) for the wearer. Exoskeleton for Resistive Exercise and Rehabilitation WWW.GOODNEWS.WS

10. What Hip Hop Aint Telling You!

  • Published: 2011-05-01T14:14:21+00:00
  • Duration: 211
  • By cipherkam
What Hip Hop Aint Telling You!

What Hip Hop Is Not Telling You! Hip hop is not telling you that Men are supposed to be the maintainers of women the providers for women the respecters, protectors and elevators of women that men are not to hit women. That men are to make money that is legit to be able to outfit women commit to women be too legit to quit women Hip hop is not telling you to man up and control your community To clean up your enviornment and provide a first class vitality Hip Hop is not telling you that education is the key and not selling drugs and being G's. Hip hop is not telling you that when you engage in criminal activity Many men in suits are getting rich without even trying they are vying for the top privitized prison stocks so when you hustle on the block and get stopped by the cops their young money blows up, skyrockets and pops, Much more than 50 cent, Cash Money Millionaires or the Roc. When a soldier from a set gets shot the funeral industry gets a whole lot of cash Now that's fast money Hip Hop ain't telling you while you think you got swag and look fly like a G6 The civilized and rich people of the world look and you and laugh they think young blacks and hispanics look- mad funny Hip Hop aint telling you that nigger means slave won't do for self, to be used like toilet paper, flushed and thrown in a 6 foot grave Hip Hop ain't telling you that women are the world nations standard of beauty and respect so when you see a woman representing it shouldn't be all about an image of gyrating sex Women should be wanted for their personalities, minds and not just their behinds Hip Hop aint telling you that it should be about doing things together in a collective and not about beefing, drama and showing off individual swag, blinging, pimpin and shine. Hip Hop aint telling you that when you are laying up on a dialysis machine in the hospital, you can then blame it on the alchohol and throw your drinks up, but it won't be a party when your family comes to visit or link up. Hip Hop should be telling you to do for self and kind, work, handle your business, handle your responsibilities, celebrate your victories and MAN UP! cause it's TIME! (To truly come up!) Hip Hop has been keeping truth real secret like gang signs. It's time to through it all up Kamal Imani aka KamalSupreme Amen Is an internationally known Spoken Word Performance Poet and Hip Hop MC/Lyricist! For bookings contact Mr. Kevin Barksdale 201-923-9213 5/11/11 Itunes 5/19/11 photo of Kamal by Jonathan Lloyd Brooklyn NY Check out the youth mentoring book "You Got Next! Real Talk for the Hip Hop Generation" Kamal Imani (c) 2011

11. Danny 'Slapjazz' Barber and Sekani Thomas: An Apprenticeship in Hambone (aka Patting Juba)

  • Published: 2010-03-14T01:38:04+00:00
  • Duration: 389
  • By ACTA
Danny 'Slapjazz' Barber and Sekani Thomas: An Apprenticeship in Hambone (aka Patting Juba)

Master artist Danny ‘Slapjazz’ Barber (Spring Valley) and his apprentice Sekani Thomas (San Diego) participated in ACTA's 2009 Apprenticeship Program in an apprenticeship in hambone, or patting Juba, an African-American tradition which stems from life under slavery in the United States. Due to the Stono Insurrection in North Carolina in 1739, slaves were forbidden to own drums, which were a vital part of their cultural lives and highly regarded as a form of communication. Also prohibited to gather en masse due to perceived threat to the slave owners, slaves sustained drum rhythms by using their bodies, resulting in a body percussion form which merged musical expression with covert communication in a gesture of survival, defiance, ingenuity, improvisation and connectivity. Hambone at one point had coded rhythms or visual patterning which relayed information between slaves, unbeknownst to slave owners. Barber reflects that “it is important for people of my culture to see the beauty that rose out of oppression, and that they should take pride in the struggle that has brought us to this day.” Rife with complex cadences, hambone demands ambidexterity and a refined sense of polyrhythm and unison. Barber first learned at age sixteen in Florida, by his cousin Todd Barber from Georgia, who learned from their grandfather Judson Barber. When Barber was first introduced to hambone by his cousin, Barber “literally beat myself to death to master the form. To own it.” Barber describes himself as always having been a “rhythm person,” developing skill early on in hambone, in addition to developing a background as a percussionist, first starting out playing bass drum, then advancing to tenor and snare drum, and finally becoming a drum major. “Rhythm has always been a part of my life, and I’ve always wanted to harness it, to perfect it for myself. Now that I have mastered hambone, I feel the obligation to pass it on, and Sekani is a beautiful student.” During the course of the apprenticeship, which occurred in various locations in San Diego County including community centers, public spaces and Thomas’s home, Barber’s and Thomas’s goals included working to get Thomas to a degree of technical skill which would allow him to perform with Barber, as well as to inspire younger people like Thomas to recognize this tradition. Thomas is the son of Bernard Yiriba Thomas, founder and Co-Director [alongside Thomas’s mother Aminisha Cunningham] of Teye Sa Thiosanne African Drum and Dance Company in San Diego. When Barber started to show Thomas hambone, Thomas took to it rapidly and proved to be a fast learner because, as Barber notes, “Sekani has a rhythm background because of his family, and can interpret music properly.” Drummer Yiriba Thomas agrees that his son is a “shoe-in to receive the gift which Danny can pass on to him” and feels that this practice under Barber’s direction not only keeps the tradition alive, but also benefits his son as “a precursor to math skills, mental exercises, real time sequential thinking and developing a ‘stick-to-it-ness’ in Sekani. Rhythm is multitasking – you need to think both vertically and horizontally.” Barber and Yiriba Thomas see engaging Thomas as a strategy which can have benefits beyond the apprenticeship, by developing young people’s interest in hambone based on Thomas’s own progress. Yiriba Thomas says: “Sekani likes to demonstrate his ability to friends. He’s anxious already to let others know and to show others. We need to get this to Sekani’s school and to expose this form to young people, to get youth to inspire other youth.” As an apprentice, Thomas wants to learn all the rhythms and forms of patting Juba. Barber’s own innovations and original cadences are embedded in movement phrases with names like “heart cross,” “the pop,” “the flick,” “to the top,” “roll cross,” and “roller coaster.” Yiriba Thomas describes Barber’s own development of a distinctive style as one which emerges from “a deep well of expression, coming from the spirit and the soul.” An apprenticeship goal is to instill Barber’s Slapjazz style and technique—inclusive of timing, execution, coordination, logic, sequential thinking, and focus—solidly in Thomas, to “pass it onto Sekani so that the form will live on when I’m gone,” says Barber. “It’s hard to make him stop!” During the course of one lesson, Barber demonstrates his technique and tells Thomas to “Conserve your energy. Extend your creativity.” This direct statement exemplifies the very spirit of survival and expansive improvisation within this form. Yiriba Thomas links contemporary hambone and its values back to its origins: “The patting Juba tradition speaks of ‘Making the way out of no way.’ There are Inherent lessons of life in wading through difficult matter. Sekani is now sitting at the foot of Danny. This apprenticeship is a reaching out to Sekani which will provide the vehicle for his consciousness.”


  • Published: 2014-11-19T19:42:57+00:00
  • Duration: 3094
  • By Anthony Perzel

A STORY OF COURAGE AND HOPE - A FIRST NATION'S JOURNEY OF CHANGE FOR THEIR CHILDREN AND THEIR CHILDREN'S CHILDREN. Narrated by TANTOO CARDINAL - 51 Min For many, healing from substance misuse and addiction has come directly from their re-connection to the 'land'. Lutsel K'e is a Chipewyan-Dene community of 300, on the east arm of Great Slave Lake, in Canada's Northwest Territories. It can be reached only by air or water. In 1989, an increasing number of drug and alcohol related deaths particularly among youths, brought the community to a turning point. At the urging of the community's elders, the Chief and Council adopted a radical plan. A Band Council Resolution made it mandatory for anyone elected to council to enter treatment, if he or she had a substance misuse problem. Consequently, the Chief and Council itself entered treatment. Their courageous decision was a first in North America and perhaps anywhere. OUR HEALING JOURNEY documents the result of the Lutsel K'e Chief and Council’s decision over a period of twenty-five years. The challenge of reconnecting with their true selves and to the land of their ancestors is marked with difficulties and struggles. Early alienation from family through residential schools and multi-generational issues passes down through parents and grandparents affected their lives. Understanding 'why they drank' allowed them to move forward. At the heart of their healing is the spiritual strength gained from a re-connection to their Chipewyan ancestral land and an annual pilgrimage to the ‘Old Lady Sitting in the Falls', a 150-foot high waterfall venerated by past generations for its healing power. OUR HEALING JOURNEY is a unique story of courage whose issues extend well beyond the Lutsel K'e Chipewyan Dene First Nation. ____________________________ CBC NEWS 'HEALING JOURNEY' CONTINUES FOR LUTSEL K'E 25 YEARS LATER Documentary follows events since 1989 sobriety resolution for council members By Mitch Wiles, CBC News Posted: Nov 18, 2014 4:45 PM CT Last Updated: Nov 19, 2014 9:03 AM CT In 1989 the chief and council of Lutselk'e, N.W.T., passed a resolution that forced elected officials with substance abuse issues to enter treatment or resign. Eight councillors, the band manager, and two wives of councillors sought treatment. When the group completed an eight-week treatment program at Stoney Medicine Lodge in Morley, Alta., Anthony Perzel from Vancouver filmed the group's graduation ceremony. He says he was captivated by the group's desire to better their lives, and to be role models for their community. What was supposed to be a one-day shoot turned into a lifelong passion. Perzel filmed the group's healing journey for 25 years and on Monday he premiered his documentary Our Healing Journey in Lutselk'e, at the start of National Addictions Awareness Week. "The willful decision to change is what really interested me." Perzel says. He says the film may be complete, but the story is ongoing for the people of Lutselk'e. Georgina Catholique-Nitah, who was a Lutselk'e band councillor in 1989, says the program was a success. "I am really proud of myself." Catholique-Nitah says. "I never really started drinking again, going back to old habits. I kept on with my sobriety, even to today." While the experience was life-changing for Nitah, she says many residents of Lutselk'e still struggle with drug and alcohol abuse. Felix Lockhart was the chief of Lutselk'e in 1989. After an 11-year absence from the community, he was re-elected to the post in 2014. "In a lot of ways we kind of relapsed" Lockhart says. But we are going to rise up again. We would be more concerned if we were going to stay down. But we are going to rise up, and that gives us hope." Lockhart says the community is not going to heal overnight. Instead, it needs to band together to complete its healing journey. 'IT'S TOO ROUGH FOR US KIDS' Kaila Isadore, who's in Grade 7, is one of several young people who attended the premiere of a documentary about the community's struggle with addictions. Isadore hopes the documentary will help community members find sobriety. "This movie maybe might help us think over things," she says. "People drink a lot in this town. It's too rough for us, us kids... It needs to stop." WATERFALL GATHERING One tradition born out of the 1989 resolution is a spiritual gathering that has taken place every summer since the chief and council sought treatment. Lutselk'e elders chose the destination of Desnethche at the east end of Great Slave Lake, for its waterfall called "Lady sitting in the falls" for its resemblance to the figure of a woman. Elders say the waterfall has healing energy. Many people in the community say the annual trip to the waterfall re-energizes them by reconnecting their spirit with the land. They say the spiritual gathering at Desnethche is a place to build community and share stories.

13. ORIGIN is a totemic audiovisual installation by UVA

  • Published: 2011-10-24T23:31:07+00:00
  • Duration: 174
ORIGIN is a totemic audiovisual installation by UVA

I shot andeditied this footage after attending STOP THE VIRGENS, I was more impressed by ORIGIN than I was the so called psycho opera. "For several nights, cars driving over the Brooklyn Bridge at night have likely noticed a bright red glow emanating from the waterfront. Origin, a totemic audiovisual installation by London-based United Visual Artists, is a forty foot by forty foot grid comprised of LED-laced stackable cubes, directional speakers and algorithms meant to simulate a machine that has a mind of its own. On Saturday night, the first of Vice and Intel's Creators Project weekend, crowds lined up at sunset to step inside the glowing cube. One of Saturday's last performances, a DJ set by Justice, played just feet from the cube, which throbbed to the music and responded to the changes in tempo and rhythm. At first, people would stand inside the cube and snap a photo or two. By the end of the night, during the music set, entire crowds lay down on the floor, staring up at the swirling light patterns. "It's designed to be a mystical object," UVA co-director Ashraf Nehru said. "It's a huge massive thing but it's also very beautiful, with lights and sound. We wanted to make something that is aggressively technical." UVA has been designing spectacles for bands like Massive Attack and the Red Hot Chili Peppers since 2005, and versions of the glowing cubes have been on display at Coachella and other concert venues. This is the largest installation to date. "We have a little camera in there that monitors people," Mr. Nehru said. "It knows how many people there are and how much they're moving. That gets fed into the decisions that it makes but it's not a slave to those things. The main thing we wanted was to make you feel is that it's alive." Origin also features the sound design work of Scanner, an artist who (legally, we're told) recorded analog cell phone conversations taken in New York City. Origin, whose name references the beginning point of a grid as well as that of the beginning of things, is powered by Intel's Sandy Bridge chips. The chips are now out on the market in the newest Macs and PCs, but UVA was given access to the chips, as well as the expertise of an Intel engineer, for about six months before the technology came to market. "Our software engineer is thrilled with the way they're writing their code," John Galvin, Intel's director of sales said of working with UVA. "They're writing 3-D gaming code to do a real 3-D project." (Most game designers write code in two-dimensional space to create the illusion of 3-D.) Intel had three of their top engineers on site during the installations of the Creators Project art pieces, asking artists about any issues they ran into, with an eye towards future collaborations. "The UVA guys and the Intel engineers were having a nerdfest over what they're going to do the next year," Vice co-founder Shane Smith said. "So that's pretty exciting." Origin will be on view at the Tobacco Warehouse in Brooklyn Bridge park through Oct. 23." - Elva Ramirez

14. Live Looping Tutorial featuring (5) Sync'd DigiTech JamMan Solo XT's

  • Published: 2015-01-12T18:10:37+00:00
  • Duration: 240
  • By Rejyna
Live Looping Tutorial featuring (5) Sync'd DigiTech JamMan Solo XT's

In order to demonstrate the superior versatility and functions of the Digitech JamMan Solo XT loopers, I shot and edited this video of my song "Looking For You" in 'tutorial style' There are many advantages that the JamMan loopers offer that are not available on other loopers - one of those is the ability to 'save' a loop to an onboard memory (or SD card) memory slot WHILE the looper is playing back. Other loopers that allow saving require the looper playback be stopped in order to save. This is a major function folks - and currently, only Digitech offers it. Using 5 JamMan Solo XT's sync'd allows more flexibility and options than can be demonstrated in one song, so I plan to be posting vids that feature various ways that sync'd XT's can empower the user. In this song, the Main XT receives it's input signal from the FX send of the mixer, with its output routed back to an input channel on the mixer (as opposed to using the fx return). This Main looper can therefore receive any or all channels via the FX level setting per channel. In this song, only the guitar is sent to the main looper - - - at least until the 'backwards' section... The Slave XT's all receive their signals direct (in-line) from their respective instruments and then send their output to that respective channel on the mixer. In other words, the guitar, the vocals, the drums and the midi guitar pedal all have their own XT's - and all are sync'd to the main looper. Achieving volume unity gain is trial and error - - - it is doable without clipping or distortion, take time to dial this in. Using an FS3X 3 button switch at each looper gives the ability to stop (with one tap), or go up or down in the memory 'slots'. The XT's have 200 onboard memory slots and and additional 200 on the MicroSD card. Each loop can be up to ten minutes long and can have unlimited overdubs. Slaves do not start immediately when tapped, they either record or playback (after you tap it) on the next phrase start (on the 'one). Once a slave is in playback mode, overdubbing is instantaneous with the foot tap. It should also be noted that I have made a simple modification to my JamMan's that allow saving to be done with the foot. I intend to post a video about this modification that uses a two-dollar hardware store part and some velcro. I enjoy answering questions, please ask away. I appreciate your sharing my songs and vids too, and I hope you'll also consider purchasing my new CD, IDO, which features this song and 15 other songs recorded using a JamMan Solo. CD's and downloads are at - downloads are also on iTunes, Amazon, etc. You can sample some cuts from my new CD by finding me on SoundCloud ( or ReverbNation ( Thanks for watching! Everybody must get looped! Looking For You I am the one who’s been looking for you all of this time, all of this time… Hide and I will find you When and where and why Try to memorize your eyes The likeness of your smile Where you go I follow Here and there and now All your life, you’re waiting Love and peace and song You are all I see so why can’t you see me? I am the one who’s been looking for you all of this time, all of this time… From the CD, IDIO, by Rejyna c. Rejyna Douglass-Whitman (BMI) Published by W.E./Citadel of Cynosure Productions (BMI). All Rights Reserved. Unauthorized duplication, repurposing, exhibition or performance is prohibited by US and international copyright laws.

15. 08.28.2011 - Are You the Few? - Tom Brown

08.28.2011 - Are You the Few? - Tom Brown

Sermon by Tom Brown on 08.28.2011. Sermon Notes are: Sermon Notes - The Church: A new society! We are commanded to love one another. We are all equal at the foot of the cross. How do we treat each other? All hostility is put to death! Efforts we make to defuse hostility between one another; MLK Memorial, Africa Cape Coast Castle slave trade. (John 13:34-35, Galatians 3:26-28, Ephesians 2:14-16) - Movie; ‘The Help’ - 50-60’s black maids in the South. Very challenging on how we treated each other. - We all get influenced each and every day. We are affected by our culture. This effects how we see and treat God! Reflecting on this and understanding that this is not in God’s Church; like an island! We should strive to be the few to go in the other direction of hostility! - Sharing about Jack Fredrick’s letter to Tom. Jack grew up in the south and shared about some of his experiences with the Freedom Riders. - There are always a few who will stand up and take Jesus’s approach to the cultural hostilities in life. These are purposeful men & women. (Matthew 7:21). We all need to strive to be this way! It does not happen by accident! - Congressional Membership Agreement. ( 1. I will protect the unity of our church 2. I will share the mission of our church 3. I will serve the ministry of our church 4. I will support and share the responsibility of our church

16. A Race Divided by Veejay Villafranca

  • Published: 2012-08-23T16:54:24+00:00
  • Duration: 146
  • By DEVELOP Tube
A Race Divided by Veejay Villafranca

In February 2012, Documentary Arts Asia hosted the first Chiang Mai Documentary Arts Festival. CDAF'12 is an annual festival bringing together documentary photographers and filmmakers in northern Thailand and presented nine photo exhibitions, three days of workshops and three nights of film screenings showcasing work from some of the finest documentary artists working in Asia. In collaboration with DEVELOP Photo the three day event is now accessible online. Documentary Arts Asia is a non-profit organization which works primarily in photography and film, but also audio and narrative writing, to tell the stories from Asia that need to be heard. A Race Divided by Veejay Villafranca: Today there are at least 70,000 Chin migrants living in Mizoram, primarily because of human rights abuses carried out by the Burmese military after it came to power in 1962. They have crossed the border illegally, joining the hundreds of thousands of other ethnic Burmese trying to escape oppression in their native land. In Mizoram it can be hard for someone to tell who are the Mizos and who are the Chins, but if one were to take a closer look the ethnic rift would be obvious. Just around the main market area of the city’s capital, Aizwal, Mizos own the nifty shops selling imported goods and electronic gadgets and the Chins are those on the side streets selling whatever crop they have harvested for the day, usually scraping together just enough to buy their family's next meal. As the world’s focus shifts slightly towards Burma, thousands still try to make their way out. Even with the recent release of Nobel Peace laureate and national heroine Daw Aung San Suu Kyi, hundreds of political prisoners remain in Insein prison under unclear charges. In the hills, ethnic groups such as the Karen, Chin, Mon, Rohingya and many others still face hard unpaid labor and abuses from the military. The story of the race divided is a microcosm of what is faced across the whole country. Their stories have been told time and time again in broadsheets and glossy magazines, and sadly their stories have also been replaced with new headlines time and time again. What I want to bring to the attention of the world is the issue of their personal space, or the lack of it due to greed and political backlash. Involuntary migration is one of the root causes of several human rights issues including slave trade and prostitution. The Chins travel hundreds of kilometers, by foot at times, to be able to obtain a space where they can live and raise their children, to rebuild families broken by distance. But what good does that bring if the land is not their own? And, moreover, a land where they are not recognized as refugees fleeing from oppression? This project is part of an ongoing documentary project on the lives of Burmese migrants and how they cope with life outside their own land. Vicente Jaime R. Villafranca (b. 1982 Philippines): Veejay was amongst seven Filipinos to be accepted in the first Asian documentary workshop of the Angkor photography festival in Siem Reap, Cambodia last 2005. He started his career as a staff photojournalist for the national news magazine, Philippines Graphic before venturing into freelancing in 2006. He then worked with international wire agencies such as Agence France Presse, Reuters, World Picture Network and the United Nations IRIN news wire before concentrating on his personal documentary projects. His project about the lives of former gang members in one of Manila’s dangerous slums, BASECO compound, garnered him the 2008 Ian Parry Scholarship grant in London. He was also a full scholar at the Asian Center for Journalism Photojournalism program managed by the World Press Photo Foundation in 2007-2008, and the 2nd artist to hold residence in the Crossing Point program held in Perpignan, France in 2008. His images has been exhibited in London, Lithuania, Hongkong, Phnom Pehn, France, Japan, Portugal, Norway, Netherlands, Thailand, Turkey and Manila. Veejay's continued effort in pursuing in-depth and personal stories has brought him to different parts of the Philippines and Asia as he continues to pursue projects on Filipino faith rituals as a fading culture and other religious practices, the concept of reserved space for ethnic tribes, illegal migration in Southeast Asia due to political oppression and migration due to the rapid change in weather patterns. Veejay is currently based in Manila and represented by Getty Global Assignments in London and Asia Motion in Asia and Europe. This video is part of the DEVELOP Tube Channel which can be found at DEVELOP Tube is an educational resource which features interviews, profiles, lectures & films about photojournalism, fine art photography & documentary photography.

17. Process, Progress, Prosperous - Obed Martinez

Process, Progress, Prosperous - Obed Martinez

May 10, 2015 Deuteronomy 11:10-12 (ESV) Reminders Series “PROCESS, PROGRESS, PROSPEROUS” 10 For the land that you are entering to take possession of it is not like the land of Egypt, from which you have come, where you sowed your seed and irrigated it, like a garden of vegetables. 11 But the land that you are going over to possess is a land of hills and valleys, which drinks water by the rain from heaven, 12 a land that the Lord your God cares for. The eyes of the Lord your God are always upon it, from the beginning of the year to the end of the year. – Deuteronomy 11:10-12 (ESV) PROCESS THE SEVEN SPIRITS IN THE WILDERNESS 1 “When the Lord your God brings you into the land that you are entering to take possession of it, and clears away many nations before you, the Hittites, the Girgashites, the Amorites, the Canaanites, the Perizzites, the Hivites, and the Jebusites, seven nations more numerous and mightier than you, 2 and when the Lord your God gives them over to you, and you defeat them, then you must devote them to complete destruction. You shall make no covenant with them and show no mercy to them. – Deuteronomy 7:1-2 (ESV) 1. HITTITES – Phobia, Terror, Deceit, and Fear 2. GIRGASHITES – Feeling Foreign; never fitting in 3. AMORITES – Evil Speaking & Negative Thoughts 4. CANAANITES – Slave-mentality of Low Self-Esteem 5. PERIZZITES – Feeling Unprotected in an unwalled village 6. HIVITES – Villager with Limited Life and Vision 7. JEBUSITES – Spirit of Entitlement that treads down others PROGRESS 7 For the Lord your God is bringing you into a good land, a land of brooks of water, of fountains and springs, flowing out in the valleys and hills, 8 a land of wheat and barley, of vines and fig trees and pomegranates, a land of olive trees and [date] honey, 9 a land in which you will eat bread without scarcity, in which you will lack nothing, a land whose stones are iron, and out of whose hills you can dig copper. 10 And you shall eat and be full, and you shall bless the Lord your God for the good land he has given you.11 “Take care lest you forget the Lord your God by not keeping his commandments and his rules and his statutes, which I command you today, 12 lest, when you have eaten and are full and have built good houses and live in them, 13 and when your herds and flocks multiply and your silver and gold is multiplied and all that you have is multiplied. - Deuteronomy 8:7-13 (ESV) THE SEVEN FRUITS OF THE PROMISED LAND 1. WHEAT – Bountiful Harvest 2. BARLEY – Firstfruits of Resurrection 3. GRAPES – New Wine: “Joy of the Spirit” 4. FIGS – An Abundance of Seeds 5. POMEGRANATES – Reminder of His 613 Commandments 6. OLIVE OIL – The Anointing 7. DATE HONEY – The Sweetness of His Grace! PROSPEROUS 1 “The whole commandment that I command you today you shall be careful to do, that you may live and multiply, and go in and possess the land that the Lord swore to give to your fathers. 2 And you shall remember the whole way that the Lord your God has led you these forty years in the wilderness, that he might humble you, testing you to know what was in your heart, whether you would keep his commandments or not. 3 And he humbled you and let you hunger and fed you with manna, which you did not know, nor did your fathers know, that he might make you know that man does not live by bread alone, but man lives by every word that comes from the mouth of the Lord. 4 Your clothing did not wear out on you and your foot did not swell these forty years. – Deuteronomy 8:1-4 (ESV) 17 Beware lest you say in your heart, ‘My power and the might of my hand have gotten me this wealth.’ 18 You shall remember the Lord your God, for it is he who gives you power to get wealth, that he may confirm his covenant that he swore to your fathers, as it is this day – Deuteronomy 8:17-18 (ESV) The Cycle of Israel HOW DO I STAY PROSPEROUS? ➢ REMEMBER AND DON’T FORGET 23 For I received from the Lord that which I also delivered to you: that the Lord Jesus on the same night in which He was betrayed took bread; 24 and when He had given thanks, He broke it and said, “Take, eat; this is My body which is broken for you; do this in remembrance of Me.” 25 In the same manner He also took the cup after supper, saying, “This cup is the new covenant in My blood. This do, as often as you drink it, in remembrance of Me.” – 1 Corinthians 11:23-25 (NKJV)

18. Throw Down Your Heart - Trailer

Throw Down Your Heart - Trailer

THROW DOWN YOUR HEART (60' & 90') GENRE: DOCUMENTARY DIRECTED BY SASCHA PALADINO "Throw Down Your Heart” follows American banjo virtuoso and international recording artist Béla Fleck on his journey to Africa to explore the roots of the banjo and to search out exciting musical collaborations in order to record an album. The boundary-breaking musical adventure takes Béla to Uganda, Tanzania, The Gambia, and Mali, and provides a glimpse of the variety of the African continent and the power of their music. Ugandan folk musician Haruna Walusimbi states in the film: “There is this negative thinking about Africa. There is nothing good in Africa. They are beggars, there is HIV/AIDS, they are at war all the time. But that is just a very small bit of what Africa is.” Béla’s trip provides a glimpse into the incredibly rich and diverse musical traditions of Africa. At first glance, it might seem odd that the banjo is the catalyst for this journey. But the banjo is originally an African instrument. And Béla Fleck’s passion for the banjo runs deep. In his trailblazing 30-year career, Béla has brought the instrument into jazz, pop, classical, and world music settings, and won eight Grammys along the way (not to mention the 25 nominations, in more distinct categories than anyone else, ever). Ever since he started playing music as a child, Béla heard stories about where the banjo came from. To many, the banjo is seen as a uniquely American instrument – and even conjures images of white Southern American stereotypes strumming their banjos on the porch. But the banjo is descendant of an African instrument. West Africans have long played an instrument that looks and sounds much like the banjo. Like many other things, when slave traders captured West Africans, many of the slaves brought that instrument, and the knowledge of how to make it, to the United States. On plantations in the American South, slaves were not allowed to play drums, but they were allowed to play the banjo. Soon, whites started copying it, and the banjo evolved into the instrument we know today – and became a part of American culture. Béla wanted to go to Africa to trace the roots of the banjo, the instrument that strongly defines and informs who he is. Béla’s journey was also motivated by a deep love of African music. He was inspired by music from all across the continent, and very often he could hear a place for his banjo. When Béla had a year off from his band, Béla Fleck and the Flecktones, he realized it was the perfect opportunity to follow his dream – travel to Africa to collaborate with African musicians. “Throw Down Your Heart” tracks Béla’s tuneful collaborations with a wide variety of musicians – from local villagers who play a twelve-foot xylophone, to a family that makes and plays the akonting (thought by many to be the original banjo), to international superstars such as the Malian diva Oumou Sangare. As Béla travels across Africa, Béla uses his banjo to transcend barriers of language and culture, finding common ground with musicians from very different backgrounds and creating some of the most meaningful music of his career. More information at:

19. Toni Scott interview, DNA – Bloodlines, Arthur M. Sackler Museum of Art and Archaeology at Peking University, 6 July 2015

Toni Scott interview, DNA – Bloodlines, Arthur M. Sackler Museum of Art and Archaeology at Peking University, 6 July 2015

Toni Scott: ‘People don’t understand that what’s in the past is still with us today’ The California-based multimedia artist Toni Scott talks about how, in DNA – Bloodlines and the Family of Mankind, she has woven her own personal family history with the universal history of African Americans and Native Americans in a celebration of the human spirit The third edition of the Dame Jillian Sackler International Artists Exhibition Program at the Arthur M Sackler Museum of Art and Archaeology at Peking University in Beijing features California-based multimedia artist Toni Scott’s ambitious exhibition, DNA – Bloodlines and the Family of Mankind. Curated by Miguel Benavides, with the support of Professor Cao Hong, Professor Wang Weihua, and Dr Lu Jing, it will be on view from 4 July – 27 September 2015. What began as a personal odyssey 12 years ago, an autobiography of sorts based on DNA findings, handed-down family anecdotes, and memorabilia exhibited in multiple venues (including a three-year solo at the California African American Museum in Los Angeles), has become more epic in scope over time. Expanded here into an overview of the history of African Americans and Native Americans and their relationship to the peoples of Asia and Africa, Scott explores how far-flung, disparate cultures are both joined and severed. The heart of the exhibition is an approximately 7.3-metre (24-foot) long, illuminated slave ship suspended from the gallery ceiling, just above the heads of the viewers, constructed from 500 translucent images of both family members and faces taken from archival collections, blue-tinted as if they had been stained by ocean waves. The portraits are an attempt to restore the individuality of the countless, all too often anonymous souls who were forcibly uprooted from their homes, transformed into chattel sentenced to hard labour in the Americas. Another highlight is the to-scale tipi erected in the courtyard (there is a smaller one in the entrance space), a contested icon that Scott installed to represent the Native American side of her heritage (she is a citizen of the Muscogee Creek Nation), the exterior emblazoned with traditional designs and symbolic colours, the interior inscribed with the names of all the tribes that existed in North America, officially designated as 527 as of this July by the Bureau of Indian Affairs. Shown with them are more family photographs, illustrating the breadth of Scott and her relatives’ ethnic makeup, and transcriptions of slaves describing their experiences that includes a poignant, rather ghostly aural component in which their voices can be heard. Additionally, there are enormous banners with figures (often of the artist) emblematic of significant historical moments, written text on two walls that is a lament for an abducted child, genealogical charts tracing Scott’s maternal and paternal lineage, and documentation and images that compare Asians, Africans and Native Americans in a blend of the personal, the ethnographic and sociological, the historical and the poetic, proceeding from the specific to the general. Ultimately, Bloodlines celebrates not only the will to survive but also the “human spirit”, as Scott said, in all its magnificent diversity. As well, it celebrates our surprising homogeneity, in which only a few degrees of separation stand between us all. DNA – Bloodlines and the Family of Mankind Dame Jillian Sackler International Artists Exhibition Program Arthur M Sackler Museum of Art and Archaeology at Peking University 4 July – 27 September 2015 Interview by LILLY WEI Filmed by MARTIN KENNEDY

20. Mistress Severa whatsapp +971502613689

Mistress Severa   whatsapp +971502613689

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