The Visible G-string Is Officially Making Its Comeback — Here’s What It Means
“Gernreich celebrated the body and broke down gender distinctions in clothing with his unisex designs, creating a unisex thong swimsuit that same year.” Gernreich was interested in erogenous zones, including the monokini (then a topless bathing suit that was famously worn by model Peggy Moffitt), and the pubikini, which Gorin-Paracka says, “was little more than a full panty with a low scoop front, which came with a green pencil and highlighter meant for the wearer to both expose and dye their pubic hair.”
Millet considers the 1970s the years that truly birthed the G-string, but its more practical, invisible side was adopted in the 1980s. More women were working for corporate companies in the 1980s, and as they cultivated their physical appearance and fitness became more popular, fashion required invisible underwear rather than VPL, or visible panty lines, explains Millet.
“Starting in the 1980s, there was a growing Western obsession with physical fitness and transforming the body into something worth putting on display,” says Gorin-Paracka. Thongs and G-strings worn as swimwear and underwear put a woman’s assets on display for all the world to see. It was during the 1980s that the underwear became available via lingerie catalogs and retail stores, says Millet, eventually becoming as available as any style of panty after the 1990s. Plus, famed designers Halston and Stephen Burrows debuted clothing for women that was cut close to the body, including jersey dresses, tight skirts, and pantsuits. The item became functional, giving women the opportunity to show off their bodies sans lines and creases.
By the 1990s and early 2000s, the thong became an erotic item being worn more visibly. Serving as a clothing piece that allowed women to assert their power, sensuality, and sexuality, it was no longer just an undergarment. “Celebrity fashion is often provocative,” according to McKnight. “And young, female celebrities over the past 30 years have held this standard by being fully clothed, with a hint of the ‘whale tail’ peeking out of the back of their pants, or the elastic bands fully exposed above their waistlines, a signifier of their sexuality that might not otherwise be expressed if not for a peek, an unconscious nod to the G-string’s beginnings on the burlesque stage. ”
With tight, low-rise pants being the norm, regular, low-cut panties were too voluminous. As singer Sisqó declared via his hit single, “Thong Song” in 1999, thongs, especially G-strings, were celebrated by pop culture, representing a sense of subversion and defiance against outdated views. It wasn’t long before companies jumped on the bandwagon and started selling their own versions.
“Manufacturers took it over, embellishing it with glitter or rhinestones, slogans, and surfing on its success with celebrities to make it a piece of the teenage closet,” Millet says, explaining that eventually, critics blamed the G-string of being responsible for the sexualization of adolescent girls. According to her, authorities tried to remedy the problem. In Daytona Beach, Florida, the G-string was prohibited from being shown in public in the name of anti-nudity laws. And in Paris, the mayor began forbidding the wearing of thongs. McKnight recalls that girls in her Catholic school were shamed for expressing “their burgeoning sexuality with this one article of clothing, when at the same time we were forced to wear a schoolgirl-fetish uniform. ”
As with every trend the G-string eventually lost its luster, going out of style by the mid-to-late 2000s and being replaced by bodysuits, which were worn by celebrities including Miley Cyrus and Beyoncé and made accessible to the masses by brands like American Apparel. Little had been seen or heard (at least publicly) of the G-string until lately. Nowadays, as Chantell Fenton, senior editor of intimates and swim at trend-forecasting company WGSN, expresses the G-string is being reclaimed by women who are dressing “for their own pleasure as opposed to the male gaze. This time around, G-strings are for the girls, not [for] the boys.”
G-strings & Thongs: Lace, Cotton and Satin Styles
The offer and sale of products on the web site www.tezenis.com are governed by these General Conditions of Sale. For any other legal information, see the sections:
General Conditions of Use
. The Customer is obligated to read these general conditions of sale carefully before placing an order. Sending the purchase order implies that you are fully aware of, and expressly accept, the above-mentioned general conditions of sale and the terms on the Order Form. Once the online purchase is concluded, the Customer is required to print and keep these general conditions of sale and the relative order for, which he has already reviewed and accepted.
1.1 The object of these General Conditions of Sale is the sale of products made online through the eCommerce service of the site www.tezenis.com.
1.2 The products on the site can only be purchased and delivered in the countries listed on the Order Form. Any orders for shipment outside of these countries will be automatically rejected during the order processing procedure.
2.1 The products are sold directly by Calzedonia SpA, with registered office in Italy at Via Portici Umberto I no. 5 – 37018 – Malcesine (VR) and administrative headquarters in Italy at Via Monte Baldo no. 20 – 37062 – Dossobuono di Villafranca (VR), tax ID and Verona Business Registry no. 01037050422, VAT no. 02253210237 (hereinafter Calzedonia or the Seller).
€211,000,000 fully paid-up share capital
For any information, you can contact the eCommerce Department of Calzedonia SpA:
by phone on the following number: 08002797078
by e-mail at the following address: [email protected]
by mail at the following address:
via Monte Baldo, 20
37062 – Dossobuono di Villafranca (VR) – Italy
2.2 These General Conditions of Sale discipline the entry, sending and acceptance of purchase orders for products on www.tezenis.com and do not, instead, discipline the supply of services or the sale of products by subjects other than the Vendor that are present on www.tezenis.com through links, banners or other hypertext connections. Before entering orders and purchasing products and services from subjects other than the Vendor, we suggest that you check their conditions of sale because the Vendor is not responsible for the supply of services by third-party subjects other than the Vendor.
2.3 The products are sold to the Customer identified by the data entered at the time the electronic order form was filled out with the simultaneous acceptance of these General Conditions of Sale.
2.4 The offers of products on the site www.tezenis.com are intended for adult customers.
If you are below age 18, you must have the permission of one of your parents, or a legal guardian, before you can purchase on the site www.tezenis.com.
Remember: this is always the case, not only for our site but for all the sites that you visit on the Internet: always ask for your parents’ help if you see, or are asked for, information you do not understand when surfing the Internet.
By placing an order on this web site, you are guaranteeing us that you are an adult (18 years old) and have the legal ability to enter into a binding contract.
2.5 The Customer is forbidden to enter false, invented or imaginary names during the online order procedure and additional communications. The Vendor reserves the right to prosecute any violation or abuse, in the interests and protection of all consumers.
2.6 Moreover, by accepting these Conditions of Sale, you release the Vendor from any liability deriving from the issuing of incorrect tax documents due to errors in the data you provided at the time of the entry of the online order, since, as the customer, you are the only one responsible for their correct entry.
3. SALES THROUGH THE ECOMMERCE SERVICE
3.1 “Online sales contract” means the remote contract for the sale of chattel goods (hereinafter the Products) signed entered into between you, as the Customer, and Calzedonia, as the Vendor, in the context of an eCommerce service organized by the Vendor, which uses the remote communications technology known as the Internet.
3.2 To conclude a contract for the purchase of one or more Products, you must fill out the electronic order form (hereinafter, the Order) and send it to the Vendor over the Internet by following the relative instructions. Before transmitting the Order, Customers, who have registered on the website, shall have the option to access their My Account section where they can modify and correct the list or products contained in their basket. The products saved in the basket shall remain in said area for at least 3 days, following which, if the Order is not placed, it shall be cancelled automatically. Once placed, the Order may still be consulted (but not modified) by Customers, who have registered on the website, in the My Account section for at least 6 months following the transmission of the Order. If the Customer has not registered on the website and has chosen to make their purchase as a “guest”, that is to say without inputting their data, then the Order shall not be saved and, thus, may not be consulted.
3.3 The Order contains:
- a reference to these General Conditions of Sale;
- information and pictures for each Product and its price;
- the means of payment that you can use;
- the delivery methods for the Products purchased and the relative shipping and delivery costs;
- a reference to the conditions for exercising your right of withdrawal;
- the methods and times for returning the Products purchased.
3.4 Despite Calzedonia’s adoption of measures to ensure that the photographs on the site are faithful reproductions of the original products, including the use of every possible technical solution to reduce inaccuracies to a minimum, there may always be differences due to the technical characteristics and resolution of colors on the computer you are using. Consequently, the Vendor will not be liable for any shortcomings of the product pictures on the site due to the above technical reasons, since these pictures are only for purposes of illustration.
3.6 The contract is concluded when the Vendor receives your Order Form over the Internet and checks the correctness of the data on your order.
3.7 The language available for concluding the contract with the Vendor is Italian and the contract is governed by Italian law.
3.8 After the conclusion of the contract, the Vendor will be responsible for filling your order.
4. ORDER FULFILLMENT
4.1 By sending the Order over the Internet, you unconditionally accept, and undertake to be observe, these General Conditions of Sale in your relations with the Vendor.
4.2 After the contract is concluded, the Vendor will send you an Order Confirmation, by e-mail, containing a summary of the information already contained in the Order described in paragraphs 3.3, 3.4 and 3.5.
4.3 It is possible that, before sending the Order Confirmation, the Vendor will contact you at the e-mail address or telephone number you indicated to request additional information about the Order you sent over the Internet.
4.4 The Vendor may refuse to fill your purchase orders that do not provide a sufficient guarantee of solvency, are incomplete or incorrect or if the Products are not available. In these cases, we will inform you by e-mail that the contract is not concluded and that the Vendor has not filled your Order, specifying the reasons. In this case, the sum authorized on the Customer’s means of payment will be released. Moreover, despite our best efforts, it could sometimes happen that the prices for the products on our site are wrongly indicated. In any case, we will check the right price of our products whilst going through your order prior to dispatch. Should the price indicated on the site be lower than the actual sales price as a result of oversights or other errors, we will get in touch with you to check whether you still want to make the purchase at the right price. If you decline, we will not be able to proceed with your order. Should the right price of an item be lower than that shown on the site, we will only charge you the right lower price and we will send you the product.
4.5 If the Products shown on the web site are no longer available or for sale after the sending of the Order, the Vendor will notify you of the unavailability of the Products ordered in a timely manner and, in any case, within thirty (30) working days after the date on which you sent your Order to the Vendor. In this case, the sum authorized on the Customer’s means of payment will be released.
4.6 Each sale made by the Vendor through the online sales service can regard one or more Products. Nevertheless, all orders made on the site must be in keeping with ordinary consumption requirements. This applies to a number of products purchased in a single order, but also to many different orders for the same product, even if each single order contains an amount of products in keeping with ordinary consumption requirements.
4.7 Calzedonia reserves the right to refuse orders from a customer that it Formattato: Giustificato is suing relative to a previous order. or with who it has a dispute. This applies equally to all cases in which Calzedonia considers the client to be unsuitable, including by way of example, the case of previous violations of the contract conditions for online purchases from the site or for any other legitimate reasons, especially if the customer was involved in any kind of fraudulent activity.
5. SALE PRICES
5.1 Except where indicated otherwise in writing, all Product prices and shipping and delivery expenses indicated on the web site and in the Order include VAT and are expressed in British Pounds. The validity of the prices shown is always and only that indicated on the web site at the time the Order is sent over the Internet. Product prices and shipping and delivery expenses can be changed without any obligation to give advance notice. So, check the final sale price before sending the relative Order.
5.2 All Products are shipped directly from Italy. Where not specified otherwise, Product prices and shipping and delivery costs shown on the web site and on the Order do not include any customs duties or taxes if shipping to countries outside the EU or to countries in which current law requires importation fees. If it should be the case, the further expenses will be shown during the placing of the order.
5.3 Therefore, the Customer is responsible for these costs and they must be paid at the time the Products are delivered, according to the specific instructions in the Order Confirmation.
6. METHOD OF PAYMENT
To pay the price of the Products and the relative shipping and delivery expenses, you can use one of the methods indicated on the Order Form of the site www.tezenis.com and which are summarized below.
6.1 Credit cards and prepaid cards
- 6.1.1 For orders on our site, we accept payments by credit cards and prepaid cards (such as, for example, PostePay) without adding any fees to the Product and shipping costs. You must be the holder of a credit card that is valid at the time of the order for the Products purchased online and the name shown on the card must be the same as that indicated on the invoice. If these requirements are not met, it will not be possible to proceed with the order.
- 6.1.2 At the time of the online purchase, simultaneously with the Order Confirmation, the bank of reference will deduct the amount of the order from the available credit on your credit card. The amount will only be debited to your credit card at the time the Products purchased are shipped.
6.1.3 If, after paying for the products purchased online and receiving the package with your order, you wish to exercise your
Right of Withdrawal, for any reason, the Vendor will instruct the bank to credit the amount to be reimbursed directly to your credit card.
- 6.2.1 If you have a Paypal account, Calzedonia provides the option of paying directly using the e-mail account and password you used when you registered with www.paypal.com.
6.3 At no time during the purchase procedure will Calzedonia have access to your credit card information (such as the number of the credit card or its expiration date), which is sent using directly to the subject that manages the electronic payment (bank or Paypal) over a connection protected by an encryption protocol. This data is not kept by the Vendor in any computer archive.
6.4 So, the Vendor cannot, in any case, be considered liable for any fraudulent or undue use of credit and prepaid cards by third parties.
7. SHIPPING AND DELIVERY OF THE PRODUCTS
7.1 Each shipment contains:
- the products(s) ordered;
- the relative accompanying shipping document/invoice;
- any accompanying documentation required by the country to which it is being shipped;
- any informational and marketing materials.
7.2 The Products purchased on the web site from the Vendor can be delivered in various ways.
7.3 Delivery to the Customer’s home
7.3.1 The products purchased will be delivered by the courier identified by the Vendor to the shipping address indicated by the Customer on the order with insured shipping. See the Shipments section
for additional information about costs, times, shipping methods and countries served.
- 7.3.2 When the merchandise is received at your home, please check the integrity of the packages at the time of the delivery by the courier. In the case of problems, point them out to the courier, make sure they are noted exactly and reject the delivery. Otherwise, you may lose your rights in this regard.
7.4 Delivery to a sales point with which the Vendor has an agreement for pick-up by the customer
- 7.4.1 Only in the case where this option is specifically provided, the Products purchased can be delivered to a sales point with which the Vendor has an agreement and which you can select at the time of the Order. See the Shipments sectionfor additional information about costs, times, shipping methods and countries served.
- 7.4.2 When the products purchased are delivered to the sales point, you will be notified by SMS and/or e-mail and, from that moment, you will have 10 working days to pick-up the Products on your Order, according to the methods described in the Order Confirmation.
- 7.4.3 Failure to pick-up during this period will result in the cancellation of the order by the Vendor and the refund of the entire sum previously paid. The refund will be made to your credit card or Paypal account depending on the payment system selected during the online purchase.
8. RIGHT OF WITHDRAWAL
8.1 Only if the Customer that enters into the contract is a Consumer (this definition meaning any physical person who accesses the site for purposes other than the business or professional activities he may exercise), he will have the right to withdraw from the contract concluded with the Vendor without any penalty and without specifying the reason, with the term of fourteen (14) working days beginning from the day the products purchased on the web were received.
8.2 You have two options for exercising the right of withdrawal.
8.2.1 If you are a registered user, you must go to the
My Accountsection of the site after authentication using your username and password.
Here, in the My Orders
you will find a list of your orders with a link alongside each one of them to activate the return procedure. By accessing the Online Return Form within the term of 14 (fourteen) working days from the day of receipt of the Products, you can communicate your intention to withdraw from the Contract, indicating which Products will be returned.
8.2.2 If you have placed an order without registering on the website www.tezenis.com, go to the
section where you will need to insert the order number found in the confirmation email and your surname for billing purposes. Then, you will be able to track your delivery or return the goods.
8.2.3 Alternatively, you may draft your own statement confirming your exercise of your withdrawal right, including using the
Withdrawal Form pursuant to Annex I, part B of Legislative Decree 21/2014, which you must send us via registered post with advice of delivery.
8.3 When you fill out the Online Return Form you will be given all the information you need to return the Products.
8.4 The right of withdrawal is subject to the following conditions:
- the Products must be returned in their entirety and not just parts or components of them, even in the case of kits;
- the products returned must not have been used, worn, washed or damaged; they must not be dirty nor show obvious signs of wear.
- Return items must be returned in the packaging in which they arrived, complete with all accessories and labels. For instance, underwear must be returned in its original bag, tights must be returned in their packaging complete with their tag, etc.
- the Products returned must be sent back to the Vendor in a single shipment. The Vendor reserves the right not to accept Products from the same Order returned and shipped at different times;
- the Products being returned must be delivered to the courier within fourteen (14) working days from the date on which you received the products;
- in the case where the Vendor offers the option of purchasing a certain package of Products at a lower price than would normally be charged if they were purchased individually (such as 5 for the price of 4, 3 for the price of 2, etc.), the right of withdrawal can also be exercised with the return of just some of the products purchased: in this case, the price will be recalculated at the normal price charged for the purchase of the single product. In all other cases (such as combined sales, bonus operations, etc.) the right of withdrawal can only be exercised with the return of all the Products purchased, for this reason excluding any partial exclusion.
8.5 If you exercise the right of withdrawal according to the preceding conditions (paragraph 8.4), the Vendor is required to refund the sums paid by you within no more than 14 days from the material receipt of the returned products by the Vendor. Normally, the crediting of the amount originally withdrawn by Calzedonia occurs very quickly but the time required for the credit to appear in your current account will depend on your bank.
8.6 In the case of a return, the only charges remaining will be the initial shipping charges for the products purchased.
8.7 Calzedonia will only refund the initial shipping charges in the case of damage in transport or shipping errors by Vendor. In these cases only, the Vendor will also refund the amount that you paid for shipping expenses. The Vendor will send an express courier to pick-up the product from the address you indicated.
8.8 For the return, you must only use the courier indicated by the Vendor on the Online Return Form: in this way, you will not have to pay the expenses you are responsible for to return the products purchased because the Vendor will pay them on your behalf. Then, except for the provisions of preceding point 8.7 and for returns due to product defects, the Vendor will deduct a lump-sum amount from the refund due you equal to the cost you were previously charged for shipping to your home, or the shipping expenses normally charged for the country of delivery. In addition, from the moment the products purchased are given to the shipper indicated by the Vendor in the online return form, the Vendor will release you from any liability if the products are lost or damaged during transport.
8.9 In the case where the option to deliver the products to one of the sales points that has an agreement with the Vendor was available at the time the online return form was filled out, you can return the Products directly to a sales point with an agreement with the Vendor. In that case, in addition to the price paid for the purchase, you will also be refunded the shipping expenses that you were previously charged for the delivery of the Products purchased. From the moment the products are delivered to the sales point, the Vendor releases you from any liability if they are lost or damaged during transport.
8.10 In the case of the exercise of the right of withdrawal without following the methods indicated above (such as beyond the 14 days required by law, or without having filled out the Online Return Form, or without having fulfilled the conditions outlined under previous
point 8.4 etc.)you will not be entitled to a refund for the amount already paid to the Vendor. Within 10 days of the email notifying you of non-acceptance of the return being sent, you can reply to the email and ask to have, at your own expense, the products back in the same state in which you returned them to the Vendor. Otherwise, the Vendor may keep both the products and the sums already paid to purchase them.
8.11 In the case of the exercise of the right of withdrawal without following the methods indicated above (such as beyond the 14 days required by law, or without having filled out the Online Return Form, etc.), the Vendor will resend the Products purchased, charging you for the additional shipping expenses.
8.12 The right of withdrawal cannot be applied in the case of products that have been customized on your explicit request at the time the order was entered.
9. LEGAL GUARANTEE FOR NONCONFORMING PRODUCTS
The Products must be checked by the Customer at the time of delivery in order to ensure that they correspond to the items ordered and that they do not present any defect or lack of conformity. Upon the sale of the Products, the legal guarantees apply, as provided for by current legislation (article 129 and according to the Consumer Code regarding the legal guarantee for the conformity of goods). All products sold by the Seller are covered by the legal guarantee should there be any lack of conformity within two (2) years from the delivery of the item: this signifies that the Seller is liable for any lack of conformity that presents within this time period. Any product defect must be communicated to the Seller within two (2) months of its discovery (unless it is contrary to mandatory regulations applicable in the Customer’s habitual country of residence) by contacting Customer Services or the addresses provided in the following article 10 and filling in the Online Return Form located in the Order Status. In the event that the Customer does not communicate this defect within this time period, the aforementioned rights become null and void.
In the event of a defect, the Customer has the right to request that the product be repaired or replaced, at no extra cost to them. In the event that neither of these two options is possible or are excessively costly, the Customer shall have the right to a discount on the price paid or to the termination of the contract of sale and, consequently, a refund for the price paid, according to art. 130 of the Consumer Code.
The Seller shall bear all return costs for the defective products.
The Calzedonia eCommerce team is available to answer any questions and can be contacted at the following e-mail address, [email protected] or at the following postal address:
via Monte Baldo, 20
37062 – Dossobuono di Villafranca (VR) – Italy
11. COMMUNICATIONS TO THE CUSTOMER
The Customer acknowledges, accepts and gives his consent to the fact that all communications, notifications, certifications, information, statements and, in any case, all documentation about the operations executed, referring to the purchase of the Products, will be send to the electronic mail address indicated at the time of registration, with the possibility of downloading the information on durable media using the methods, and within the limits, required by the site.
You can obtain information on how we process your personal information by accessing our
13. GOVERNING LAW, DISPUTE SETTLEMENT AND COMPETENT JURISDICTION
These General Conditions of Sale are governed by Italian law and will be interpreted according to it, without prejudice to any other mandatory rule prevailing in the country of habitual residence of the Customer. Therefore, the interpretation, execution and cancellation of the General Conditions of Sale are subject exclusively to Italian law and any disputes relating to and/or consequential to them shall be resolved exclusively by Italian courts. In particular, if the Customer qualifies as a Consumer, any disputes will be resolved by the court of his domicile or residence based on the applicable law or, at the consumer’s option in the case of a suit filed by the consumer, by the Court of Verona. If, instead, the customer is acting in the exercise of his business, commercial, craft or professional activities, the parties consensually establish the exclusive jurisdiction of the Court of Verona.
14. MODIFICATION AND UPDATING
The Vendor may make changes or amendments to these General Conditions of Sale at any time. Therefore, we will ask the customer to accept only the General Conditions of Sale in force at the time of the purchase. The new General Conditions of Sale will be effective from the date of publication on the website www.tezenis.com and in relation to purchase orders submitted after that date.
15. CODE OF ETHICS
The Calzedonia Group, of which the Seller forms a part, has listed its principles in the Code of Ethics and Conduct, which presents the main guideline for all Group companies, defines the guarantee and responsibility regarding the consumers and the market, and contains principles to follow for the management of the business. It also contains binding rules of conduct for the bodies of the Group Companies, the managers, the employees/partners and for all those who act as part of any role on behalf or in the interests of the Group Companies. Click on the aforementioned link to read the Code of Ethics and Conduct.
Strings | UNDERWEAR | WOMEN
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Womens Thongs & G-Strings – ABC Underwear
Women’s thongs, buy women’s thongs, bikinis and women’s g-strings. Sexy styles for women. Including discount women’s thongs and g-strings and great gift ideas! Many are skimpy micro thong style and some are g string types. From sheer to opaque but stylish.
A Woman’s Guide to Bottom-Baring Lingerie: Thongs and G-strings
The terms used to describe various styles of women’s thongs are often used interchangeably. While all thongs and g-strings are designed to provide comfort, avoid panty lines, and offer a hint of sexiness, they are completely different in style and the degree of nakedness that they deliver. Understanding the difference is important once you begin the task of buying thongs, especially if you have stylistic preferences in mind.
The traditional thong offers good coverage in the front, hiding the pubic area from view. Women’s thongs commonly feature triangular shapes in the front with a y-shaped strip of fabric that follows up the crack of a woman’s derrière and connects to the waistband.
The V-string style features a narrow v-shaped strip of fabric as the back waistband. It dips down toward the center of a woman’s buttocks and continues along the crack of a woman’s derrière. The front of the v-string is usually similar to that of a traditional thong, featuring a triangular shape.
The traditional womens g-string is tiny. It has often been referred to as butt floss, simply because it covers little besides the anus and the tiniest patch of the front genital area. The waistband is extremely narrow, featuring string-like strips of fabric.
Chip or Micro G-string
This style of g-string goes by several names including chip g-string, micro g-string, and micro chip g-string. It is the tiniest version available and features very little coverage anywhere. With a tiny, low-cut, triangular-shaped bit of cloth in the front, the narrowest of waistbands, and the smallest strip of fabric for the buttocks, the chip or micro g-string is designed to leave very little to the imagination.
The quick release thong is styled after the traditional version, except that it features side clips or ties that enable quick exit.
The SJ thong offers the same coverage of the traditional style with the exception of featuring slinky, narrow sides.
The Rio is as much a style of bikini panty as it is a thong. It features coverage for the front and back with as little material as possible. It is cut high on the sides. The Rio offers a good transition between full-cut panties and traditional thongs and g-string panties.
The T-back thong provides full front coverage, while offering a g-string back or thin strip that does up along the crack of the derrière and joins with the wide strap that serves as the waistband, creating a t shape for the back of this style of panty.
The tanga is designed for a woman who likes sexy lingerie, but who prefers a bit of extra coverage for her derrière. It completely covers the woman’s frontal area and top half of her buttocks. The tanga has a small strip of fabric that connects the front portion of the panty with its upper back portion by following along the crack of a woman’s buttocks.
I Wore The C-String So You Don’t Have To Experience The Weirdness That Is This Barely There Underwear
Let’s consider this my first official investigative journalism piece, shall we?
I wore the C-String.
I know, I know — you’re welcome, ladies. I took one for the team on behalf of women everywhere. I did this so YOU don’t ever have to. I also did this because I was genuinely curious about the claims that this “undergarment” (using the term VERY loosely) is “very sexy and comfortable,” according to its Amazon page.
I opted for the black lace, because if I am going to own a C-string, I am damn well going to have the prettiest and most practical version.
Lace Women’s C-String Thong Panty , $2.24, Amazon
First thing I noticed upon taking it out of the box was that it was slightly bent out of shape. Funny, because so was I, when I realized I was actually going to have to wear this thing.
I bent it back to its original shape (which wasn’t too hard, considering the entire thing is basically a wire with some fabric over it. Mmmm, comfy… ), and I put it on. It’s easy enough to wear. You just kind of spread your feet a little, and place the front lacy area up against your lady parts. The c-string just kind of knows where it’s supposed to go (your butt crack) and lays where it should, with minimal adjusting required.
And then, there I was.
Wearing a C-string. Just like that.
Since I was in the comfort of my own home, I wandered around wearing only the c-string to get used to it a bit. I decided after glimpsing at myself in the mirror that Amazon’s claim that this thing was “sexy” was questionable. It kind of just looked like a fancy loin cloth.
“Hmm,” I thought. “Maybe my fiancé will appreciate it more than I do?” I mean, he’s a dude. Dudes like tiny black lacy things, right?
He, too, was kind of horrified.
“What IS THAT?” he asked. Not exactly the reaction I was hoping for, but hey, two points for honesty.
“It’s a C-string,” I replied. (DUH.) “Do you think it’s sexy?”
“It’s REAL weird.” -Fiancé
Okay. So, now we know both of Amazon’s claims are definitively false. The c-string is not comfortable. It is also not sexy.
I decided to at least see if I had any outfits in my closet that I would need to consult my C-string for in the future. I mean, this thing has to be good for something, right?
Here’s a list of things in your closet that will never require you needing to wear a C-string:JeansLeggingsShortsShort skirtsMaxi skirtsDresses
I don’t have any other “category” of clothing in my inventory aside from those items listed, and the C-string will never be required for any item in my wardrobe. So, I decided to try to think of some other creative ways I could use my C-string, since I clearly won’t be needing it for fashion purposes.
Idea #1: To fish out an earring-back from hard-to-reach places
Hey, that curvy wire part will do much better as an earring-back reacher than stuck in my butt crack.
Idea #2: A slingshot
Hours of fun could be had by all. And who else can say they own a black lacy slingshot!?
Idea #3: A gag bridal shower gift
I can’t guarantee your bride-to-be friend won’t hate you/think you’re a creep when she opens this in front of her grandma, but how funny would it be to tell people you gave someone a C-string as a gift? Lolz! (Please note, any of my friends reading this, that I already own a C-string, so nice try.)
I hardly expect the c-string to catch on as a popular undergarment trend, but in the event it does, don’t say I didn’t prepare you.
Images: Alexandra Kozinski
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Innovative Chamber-Music Workshop Celebrates Female Composers
By Inge Kjemtrup
Composers Kaija Saariaho (left), Joan Tower, Caroline Shaw, Sally Beamish, and Augusta Read Thomas
Last March, Jessy McCabe, a 17-year-old British music student preparing for an exam, suddenly realized that the syllabus included 63 male composers—and not a single female composer. Her outraged email to the exam board about this state of affairs produced the following tepid response: “Given that female composers were not prominent in the Western classical tradition (or others for that matter), there would be very few female composers that could be included.”
McCabe did not accept this explanation and quietly go back to her studies. Instead, she launched an online petition that, this past December, helped to persuade the exam board to add women—including Clara Schumann, Rachel Portman, Kate Bush, Anoushka Shankar, and Kaija Saariaho—to its next syllabus.
The notion that there is no worthwhile music composed by women is demonstrably ridiculous, but it seems to be secretly believed by not only McCabe’s exam board, but also by people who should know better, such as those in charge of concert programming in halls all over the world. Music by women composers, living or dead, is—embarrassingly—rarely heard in many major concert halls, despite the treasure trove of music from female composers, historical and contemporary, including Fanny Mendelssohn-Hensel, Joan Tower, Ethel Smyth, Judith Weir, Saariaho, Sally Beamish, and Ellen Taaffe Zwilich.
I thought, what if CMNC put on a chamber-music workshop, where we could assign as many as 28 pieces by women? I got very excited about the idea.
It’s a strange situation. Female soloists, chamber musicians, and orchestral players are not a novelty, yet female composers (and conductors) are. And if the trouble is rooted in knowing where to start when adding a work by a female composer (or two) to their repertory, musicians, programmers, and artistic directors should take note: By hesitating to act, they are missing an opportunity to expand the canon of composers, while bringing fresh music into concert and recital programming.
The way forward requires creativity, open mindedness, and a good amount of research. That’s exactly what I witnessed at an inspiring chamber-music workshop last October. “Celebrating Women Composers” was the name given by the Chamber Musicians of Northern California (CMNC) to a day devoted to music by women, in which everyone in the workshop, all 124 participants, exclusively played music written by women.
Appropriately enough, the CMNC workshop took place on the grounds of Mills College, the venerable women’s liberal arts college in Oakland, California. Making the Mills setting even more fitting is the fact that, for many decades, it has provided a nurturing environment for some of the 20th century’s most influential composers—the vast majority, including John Cage, Henry Cowell, Lou Harrison, and Darius Milhaud, men. (To be fair, it was a woman composer, Pauline Oliveros, who was the first director of what is now called the Center for Contemporary Music at Mills.)
The idea for the CMNC workshop came out of a Bay Area Rainbow Symphony concert in June 2015 attended by CMNC Chair Elizabeth Morrison and her friend and musical colleague Carol Mukhopadhyay. The concert featured only pieces by women: Partita for piano and orchestra by Vítězslava Kaprálová, Clara Schumann’s Piano Concerto, and Ethel Smyth’s Serenade. It proved to be an inspirational evening. “I thought, this is great, but it’s only three pieces—what if CMNC put on a chamber-music workshop, where we could assign as many as 28 pieces by women?” recalls Morrison. “I got very excited about the idea.”
Morrison, a cellist, and Mukhopadhyay, a violinist, had jointly studied Ethel Smyth’s String Quartet in E minor as well as Clara Schumann’s Piano Trio. These pieces, along with the Fanny Mendelssohn String Quartet, are among the most commonly played chamber pieces by women composers at amateur workshops. Mukhopadhyay, an anthropologist whose work focuses on gender issues, had also been inspired by recordings and performances of pieces by Ruth Schonthal, Shulamit Ran, and Joan Tower, among others. But plenty of research would be required to find pieces for 120-plus players.
The first port of call was the CMNC’s library to determine if it contained many pieces by women. “It turned out we had over 40!” said Morrison. “Some had been played regularly (for example, the Clara Schumann and Madeleine Dring trios) and some had never been assigned. I saw that we had plenty of music right at hand.”
When they brought the idea of the women-composers workshop to the CMNC board, the response was positive. “Actually it was great,” said Morrison. “A few board members had reservations, but most were enthusiastic and many jumped right on it.” Morrison and Mukhopadhyay began to organize play-throughs of the repertory. In July, Morrison attended the Humboldt Chamber Music Workshop and talked with the associate director, violinist Terrie Baune, about the project.
“[Baune] helped me greatly by assigning me a piece by a woman every single day. It was so much fun! She told me that she hadn’t had to go to any heroic lengths to do it, either—they were all pieces she would have assigned anyway,” says Morrison. “Two I had played before [Louise Farrenc’s Nonet, Amy Beach’s Flute Quintet]. The others were new to me, and I got acquainted with Elfrida Andrée, Teresa Carreño, Grazyna Bacewicz, and Lili Boulanger.”
Once the CMNC workshop was announced, the next challenge was to match the available repertory to the players, aiming to accommodate as many players as possible. “I was a little more constrained than usual,” says Morrison.
“For example, I would normally have assigned at least one viola quintet, but we didn’t find one by a woman. We owned a lot of piano trios by women, so I assigned more of those than usual.” Some works, though highly appealing, did not make the cut. “There were many pieces we concluded that were too hard to assign. I bought pieces by Augusta Read Thomas, for instance, that were above our level.”
Morrison shared the library list of works with workshop applicants and asked for people to indicate the works they were especially interested in—and to suggest others they knew. “A few people had their own pieces they wanted to try, and which they donated to the library. (This included a string quartet by Caroline Shaw, Punctum.) We also purchased a few works that people wanted to play.”
One last consideration was what to do with the pre-formed groups that choose their own music. Morrison needn’t have worried.
“I was impressed that, of the six pre-formed groups, all but one chose music by women, including very imaginative choices like Afro-Cuban Concerto for wind quintet by [American composer] Valerie Coleman.” The exception was a late Beethoven quartet that a pre-formed group was working on.
Arriving at the Mills campus early one Saturday morning, I made my way to the Rothwell Center, where workshop participants were enjoying coffee and tea, studying the assignment list, and getting to know each other. After a short welcome and orientation from Morrison, players and coaches made their way to their individual rooms.
I sat in on two sessions, the first was String Quartet No. 4 by Grazyna Bacewicz. This Polish composer, who died in 1969, has been enjoying something of a revival lately, with her piece for four violins and another for four cellos gaining special attention.
Del Sol String Quartet cellist and conference coach Kathryn Bates told the ensemble that she was looking forward to a mutual discovery, as she didn’t know the piece. (You often hear a coach say he or she doesn’t know the piece, but this time I had little reason to doubt her veracity.) The group played the first movement, and Bates asked for impressions. The cellist pointed out the contrasting rhythms and clearly delineated sections, and noted how tightly organized it is. As an onlooker, I was entranced by the deep emotions of the quartet, and especially by a lovely nostalgic solo for the cello in a section marked “Melancolio.”
I found myself reflecting that, for a musician, there is one major difference between learning a piece by a man versus one by a woman: With female composers, when players encounter their chamber music for the first time, they are often unacquainted with the composer’s music in other genres—symphonies, concertos, etc.—whereas when they study an unfamiliar work by Beethoven or Brahms, they will usually have some of that music already in their inner ear. It’s a challenge, but not an insurmountable one.
Reluctantly leaving the group’s exploration of this meaty quartet behind, I walked over to the large auditorium, where a piano trio was being coached by pianist Cynthia Darby on Ann Callaway’s 2007 Memory Palace. Memory Palace is a pavane with theme and variations, with the dreamy pavane being not so gently undermined throughout. The group was doing their best with the piece, but some aspects—such as extended piano techniques requiring the pianist to pluck the strings inside the piano—were clearly demanding. With Darby’s aid, the group persevered, and remarked afterward that they enjoyed their study of the piece.
The formal side of the workshop ended with a concert by the Del Sol Quartet in the beautiful Littlefield Music Auditorium. Their program included excerpts from Ruth Crawford’s String Quartet of 1931, and from two attractive quartets by American composer Gabriela Lena Frank, both with the Peruvian themes that are such a vital part of this composer’s vocabulary.
After dinner, I borrowed a viola and joined five other participants to read through Shulamit Ran’s String Sextet. It was challenging but intriguing, and I hope to encounter it again one day.
After the workshop, I asked Morrison and Mukhopadhyay if there was anything about the music that surprised them. “Yes! That there is so much, and that it is so good!” says Morrison. “Women have been composing forever. The earliest musician whose name we actually know is the Sumerian composer and author Enheduanna, 2285–2250 BCE. There are wonderful composers from all eras.”
For participants at the workshop, she continues, “there were a number of discoveries. The most enthusiasm came from a group who played Lyric Sonata by Harriet Bolz, a septet for string quartet, flute, clarinet, and bassoon. They all loved it!
“I played a clarinet quintet by [English composer] Elizabeth Maconchy that was possibly a little hard for one day, but I thoroughly enjoyed it and would love to play it again,” Morrison says.
“Ellen Taaffe Zwilich’s Divertimento for flute, clarinet, violin, and cello was a hit. Grazyna Bacewicz is a fantastic composer. We absolutely love Ethel Smyth, both her quartet and her cello quintet.”
“Music by women composers should be in every workshop,” adds Mukhopadhyay.
Is CMNC planning to repeat the event? “Absolutely!” replies Morrison. “And even more important, I feel, is to keep assigning these works even if it’s not a special workshop.”Professional musicians, concert promoters, and artistic directors—CMNC’s “Celebrating Women Composers” day has thrown down the gauntlet.
I urge you to accept the challenge, add women composers to your repertory, and bring new vigor to your programming!
Chamber Music by Women Composers
Not sure where to start? Elizabeth Morrison, Carol Mukhopadhyay, and the CMNC helped compile the following list of mainly string pieces to explore, by playing level.
Fanny Mendelssohn-Hensel (German, 1805–47): String Quartet in Eb
Madeleine Dring (English, 1923–77): Trio for flute, oboe, and piano
Ann Callaway (American, b. 1949): Memory Palace (trio for clarinet, cello, and piano)
Nancy Dalberg (Danish, 1881–1949): String Quartet No. 2 in G minor, Op. 14
Clara Schumann (German, 1819–96): Piano Trio
Dora Pejacevic (Croatian, 1885–1923): Piano Quartet in D minor, Op. 25
Rebecca Clarke (English, 1886–1979): Short works for string quartet, including Comodo et amabile
Amy Beach (Mrs. H.H.A. Beach) (American, 1867–1944): String Quartet, Piano Quintet
Germaine Tailleferre (French, 1892–1983): Piano Trio
Teresa Carreño (Venezuelan, 1853–1917): String Quartet
Grazyna Bacewicz (Polish, 1909–59): String Quartet No. 4
Elizabeth Maconchy (English-Irish, 1907–94): Clarinet quintet, string quartets
Ethel Smyth (English, 1858–1944): String Quartet in E minor; String Quintet with two cellos
Shulamit Ran (Israeli-American, b. 1949): String Sextet
Ruth Crawford (Seeger) (American, 1901–53): String Quartet
Playful machine – Kommersant St. Petersburg
The melodrama “I was made for you” (Ich bin dein Mensch) by Maria Schrader, best known outside of her native Germany for the Netflix mini-series “Unorthodox”, was released. In the film, the director tries to give his own, emphatically feminine answer to the question of whether androids dream of electric sheep. Yulia Shagelman believes that it turned out to be rather disappointing.
The film begins with a classic plot: a girl meets a guy.However, Alma (Marin Eggert, who received the prize of the 2021 Berlin Film Festival for this role) is no longer a girl, but an adult and completely self-sufficient woman who has long lost her illusion about the opposite sex, and she goes on a blind date without much enthusiasm. In a bar with dim lights, exaggeratedly gracious hostesses (Sandra Hüller) and the sweetest music designed to foster a romantic mood, Tom (Dan Stevens) is waiting for her – attractive, elegant, suave – also a little too much.The conversation does not stick, the gallant comparison of her eyes with the mountain lakes of Alma is annoying, and on the dance floor, where Tom persistently invites her, after several graceful movements, he completely freezes like a computer. Because he is a computer, or rather a robot, specially programmed to correspond to Alma’s ideas about the ideal man.
Perhaps the main thing that allows the painting to be classified as a sci-fi genre is a ridiculous plot premise: Alma, who works in the Pergamon Museum and specializes in Sumerian cuneiform, agrees to take part in an experiment to test a partner robot in exchange for a promise from her superiors to finance her research.She, you see, wants to prove that the Sumerians had poetry (which, in fact, is not a secret at least since the 19th century), but for now she has to settle Tom in her bachelor apartment and endure his presence for three whole weeks.
It would seem, what is not a gift of fate – to get for free use a cross between a vibrator and a cleaning service, also similar to the main romantic hero of “Downton Abbey”? However, women are complex creatures, and Alma Tom, with his attempts to please her in every possible way, is rather annoying.In addition, it is not too flattering to look at this collection of romantic clichés (down to the British accent) and understand that it was taken right from your head, and you thought that you were a much more sophisticated nature, with uncommon tastes.
The big chunk in the middle of the film seems to be filmed according to all the laws of a traditional rom-com about how opposites attract. Here and moderately funny situations associated with the fact that others take Tom for a living person (and Alma’s new partner), and the tension that is created by the difference between his mechanistic nature and her emotionality.But the more time the characters spend together, the more melancholic the mood of the picture becomes. Tom is a highly developed self-learning system, and gradually he begins to better grasp Alma’s thoughts and desires, to bring out her hidden fears and complexes, comforting her in her troubles in a way that men of flesh and blood were really beyond the power of men of flesh and blood. At the same time, her frustration is growing: after all, an android is just a materialized illusion, it does not save one from loneliness, but, on the contrary, makes it more obvious.
The concept of a machine or artificial intelligence as the ideal partner of cinema has been approached many times, from The Stepford Wives (1975 original and 2004 remake) to films such as She (2013) and Out of the Machine (2014). True, in all cases it was about ideal women, created by men for their own needs (there is one in “I am created for you” too – Alma accidentally meets a companion in the experiment, who, unlike her, is completely satisfied with his robot friend). Women’s needs for love and affection have so far been provided only by Gigolo Joe from Steven Spielberg’s “Artificial Intelligence” (2001), and although this storyline was not the main one, it turned out that the walking satisfier is not so simple and also knows how to love.However, it seems to be not very clear about Tom whether he really upgraded to humanity, or is it still Alma’s projections and fantasies. But instead of giving the audience the opportunity to draw their own conclusions, Maria Schrader ends the picture with a long offscreen monologue, where all the ideas and thoughts of the film are directly stated – and among them there is not a single original one. It is clear that the result of any experiment should be a detailed report, but this time the German pedantry is more likely to harm the case.
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As a result, not being an idealist, I will note that “Suicide Squad: Mission Bash” will not appeal to everyone. But his bloody story devoid of all sorts of illusions will definitely appeal to many.But with the creation of Guardians, the director clearly worked for the future and set the stage for the next films.
If a psychopath with superpowers is given a try to solve a world problem, nothing else will come of it. Perhaps this psychopath is James Gunn, but you won’t know until you look.
Some of the details from the Guardian films may be erased, but fans will definitely not forget the touching concern for Groot, Drax’s awkward jokes or the constant arguments of all the heroes with Starlord.
“Suicide Squad: Mission Bash” runs for only two hours, and the Squad consists of more than a dozen supervillains, each of whom needs screen time.But by the end of Gann’s Squad, his characters are open books, and the film feels like a small project work that will not have a sequel.
The film was supposed to be different in tone from the rest of the DC Universe, to be more light and entertaining.
I cannot paint all the characters, but I note that those few actors from the 2016 film in the new film are perfectly complemented by Idris Elba as Robert Dubois / Bloodsport, his irony and hopelessness are simply priceless, John Cena as Christopher Smith / Peacemaker, as if was born for this role, Nathan Fillion as Floyd “TDK” Belkin provides a stunning performance.The plot of Suicide Squad in 2016 is hard to remember a few years later: the main storyline about the battle with the Enchantress in Midway City was very vague and confusing, moreover, it was distracted by a subplot with the Joker and Harley Quinn, which had nothing to do with the main events of the picture.
How is Gunn’s film different from David Eyre’s Suicide Squad?
Therefore, Bloodsport, Flag and the Peacemaker can joke about members for several minutes of screen time, and injury and death (common things for the heroes of the film) are presented as gags.Gunn is adept at revealing characters in detail, and that’s enough; lengthy dialogues in the film could be several times less.
Even while watching, a slight drag is felt: where the action gives way to conversations, the tension drops sharply, and the attention dissipates.
As a result, he was able to balance the picture so that there was enough time for the plot and the disclosure of the characters, leaving space for both laughter and seriousness.
Gann was given carte blanche, and he made the most of it, spicing it up with a great soundtrack. While writing the script, he sometimes imagined what kind of music would play in the background, and then he wrote the scenes.In “Squad” Gann events are shown not in chronological order, but it is not difficult to follow them. This is a completely author’s project, where no one interfered with the director.
Decided to go AWOL? One press of a button – and your head says goodbye to the body. In “Suicide Squad” with this strictly And unlike the “neon” movie of 2016 with a PG-13 rating, in the new picture with an R rating, this “head off” is shown with a lot of detail.
And this is only a small part of the excellent cast of “Suicide Squad” It is a pity that the mass audience will not hear the voice of Sylvester Stallonne, who voiced Nenue / King of Sharks, because it is not often that an actor does his best in voice acting.Some of the heroes seemed to be waiting for their finest hour, revealing themselves only in the sequel, like Rocket Raccoon or Yondu.
The future of the DCEU seems hazy, especially after numerous scandals in the studio and during filming. Against the background of all this, Gann’s film seems to remind viewers: a superhero movie can still delight and entertain without slipping into moralizing or outright stupidity.
For fans of Marvel and DC, 2020 and 2021 gave the dull “Wonder Woman: 1984”, the unexpectedly serious “Black Widow” and the pretentious “Justice League” by Zach Snyder.The plot of the plot remains the same: supervillains in super prison can always serve their time, or they can carry out a deadly mission for the US government, and then they will be sentenced to death.
In Squad, the heroes refuse to leave Harley in trouble, raise the Shark King, take care of the Pied Piper – the youngest of the entire team. Nobody in the Squad seems superfluous or faded.
Already in the first 20 minutes you will know the superpower of each villain (especially since not all of them are evil), their motivation and character.
The recklessness of the new “Squad” is also measured by cruel, rather low jokes. Task Force X consists of scoundrels and criminals, many of whom have spent half their lives in prison.And so that they would not have the desire to escape, Viola Davis in the image of Dr. Amanda Waller, ready for any sacrifices for the success of the mission, implants an explosive into the base of their skulls.
But this timing is more than enough for several main characters to have a logical development and a memorable personal plot. This is especially noticeable in the example of Harley Quinn.
There are a lot of heroes in the picture, and they are all beautiful in their own way. And all because Gann surprisingly manages to reveal them.
Asocial distance | Opinions | Izvestia
An artist on self-isolation in a snowy forest, a town with deserted streets, a rebellion of nature against man… These are the motives of an art film shot not at the height of the pandemic, but a year and a half before it. The fact that art is capable of anticipating reality could be seen at the Russian premiere of Redoubt by Matthew Barney, which became the central event of the MIEFF Experimental Film Festival, which has ended. We translated the name of the picture as “Redoubt”, although, rather, here they mean a different, broader meaning of the English word – “Stronghold”. But what kind of stronghold are we talking about?
Matthew Barney is one of the most important figures in contemporary art.The author of performances, video art, sculptures and installations, he creates not just individual works, but entire universes, where different genres of artistic expression coexist in a bizarre symbiosis. In Russia, Barney is known primarily as the author of the large-scale five-part cycle Cremaster, as well as the musical film Drawing Restraint 9 with Bjork, ex-wife Matthew, in the title role. Both of these projects were shown at the Moscow Biennale in 2007, and the author himself came to represent them.
And in 2017, exactly 10 years after that memorable visit and again at the Moscow Biennale, Russian fans of Barney first saw his physical work: four copper boards with semi-abstract images. The series was called “Space Hunt”. We didn’t know then that these were parts of his new large-scale project Redoubt, the central element of which was a performance film showing the (fictional?) Story of the creation of those strange engravings.
Idaho’s snow-covered highlands.Endless forests. An engraving artist, Matthew himself, who has let go of his beard, arrives at the forester’s trailer on the river bank. The plot is reminiscent of Kubrick’s “The Shining”, and Barney does not mask it at all, on the contrary, he allows himself to quote the famous opening scene, filmed from a helicopter. However, if Kubrick’s creative plans of the writer Jack Torrance were disrupted by imaginary ghosts and progressive madness, then in Redoubt it is even more mysterious: an engraver who paints landscapes on copper in the open air and in between times kills a lynx collides with three forest nymphs.The main one is designated in the credits as Diana – a direct reference to the ancient myth.
Let us remind him. The young man Actaeon went hunting in the forest, where the goddess Diana also hunted. And either he decided to compete in skill with Diana, or he accidentally saw the goddess naked while bathing (the legends differ), but the angry lady turned Actaeon into a deer, and his own dogs tore him to pieces. In Redoubt, the denouement is less bloodthirsty, but more symbolic: during a solar eclipse, wild wolves burst into the artist’s carriage and wreak havoc there.This is no longer the revenge of a particular offended woman, as in Ovid’s Metamorphoses, but a rebellion of nature against human intervention.
Actually, nature, and by no means an engraver or Diana, is the main character of this film. The same stronghold. Barney now and then shows the majestic landscapes and the natural life that unfolds in them: an otter emerges from under the ice and disappears into the water again, deer run up the mountain, and birds of prey are busily pecking at someone’s bloody carcass. In places, Redoubt resembles a National Geographic program, only the avant-garde, hypnotizing-intense music of Jonathan Bepler, Barney’s constant associate, never for a second lets you forget that we are dealing with an experimental cinema, and everything in it has a conceptual meaning.
Redoubt makes you feel nature in a new way, evoking a whole complex of emotions, not only superficial affection for beauty. And this turns out to be surprisingly consonant with the sensations that many of us experienced last year, having fled from megacities to summer cottages in the midst of a pandemic and, for the first time in our entire life, found ourselves in a natural environment for a long time, where a person is only a guest. Actually, something similar happened with Barney himself, for whom Redoubt became a return to his small homeland (he grew up in Idaho) and the most intimate project, except for his first directing experiences in the early 1990s.
Chamberness, of course, not in duration – the film runs for more than two hours – and not on an ideological scale, but in a narrative thinned like mountain air, an unusually small number of characters and plot lines. In addition to Barney himself, there is a lady who lives with him in a trailer and “developing” engravings using electrolysis, the three above-mentioned forest dwellers and an Indian dancer who performs a ritual dance with hoops.
This scene is worth mentioning separately.When the viewer gets tired of the irreplaceable natural scenery, the action is transferred to the town at the foot of the rocks. The artist goes there for a cup of coffee at the bar. Walking along deserted streets (another topical pandemic motive!), He looks into the open door of a wooden building and sees strange preparations there: a girl in an authentic outfit collects many hoops, pasting them with multi-colored tape. Then she will begin her folk dance all alone – Barney will be gone by that time.And this, of course, is also a metaphor for the relationship between the indigenous population of America and the colonialists, rhymed with the conflict between nature and man.
What is almost nonexistent in Redoubt is the interactions between characters. Barney and his companion exist separately, the dancer is on her own, and the only direct eye contact between the artist and the hunters leads to a conflict, which, however, also unfolds at a distance. Even coming to the bar, the hero Matthew does not communicate with anyone.This film is also about broken or completely absent social ties. How can one not think about the prophetic power of art?
This power, however, is possessed only by truly free works, not constrained by any genre framework (after all, Redoubt is not cinema in the pure sense, but something on the verge of video art and performance), or commercial strategies. Such things are never released for rent, and even on streaming platforms do not appear. Therefore, you need to catch them at festivals like MIEFF, and be ready to immerse yourself in a completely unusual art world.Which, however, can turn out to be so frighteningly in tune with our reality.
Author – Candidate of Art Criticism, Izvestia columnist
The editorial position may not coincide with the opinion of the author
Alcohol and tobacco smoking in Soviet cinema: lengvizdika – LiveJournal
Let’s digress a little from etymological searches …
It is simply unbelievable: how many cigarettes-cigarettes were smoked by the heroes of the films per unit of cinema time and how many glasses-glasses of intoxicating drinks (by them) drank… Everything is quite ordinary, everyday, without any negative connotations. It’s just HERE SO HERE … and that’s it. Everybody smoked: good and bad, men and women, communists and non-party people. Without taking their cigarettes out of their mouths, fathers talked with their children … about life, about peace in the world, about school and about how they grow up worthy people, while puffing tobacco smoke in their faces … Husbands fumigated their dearest spouses, lying in bed or talking with them at the kitchen table … And women in this regard did not lag behind much (that’s where the real equality is!)
Alcohol was pouring from the screens to the same extent… Drank EVERYTHING and drank EVERYTHING … and without any judgmental notes, but rather with a certain amount of sympathy. Well, how can you negatively relate to dear Athos, or Zhenya Lukashin, thanks to alcoholic intoxication, who found his soul mate … Drank at any holidays and just “on occasion”, which were invented simply, quickly and on the go … And now the table is set and the happy “parade participants” pour life-giving liquid into glasses (this is not a reservation, if anything) to drink for everyone’s health… Children of all calibers are spinning around and absorbing with interest the “life of adults” so that later, when they themselves become them, do not interrupt this cheerful tradition …
I respect and appreciate a lot for that the USSR – My Great Motherland! A huge number of achievements and achievements, for which you are not only not ashamed, but you feel real pride! But these “accomplishments and achievements” are clearly not of this order … And when I now watch Soviet films, such “moments” really jar me …
P.S.It should be noted (in defense of the USSR, again) that this trend took place globally! Because Western cinematography was also packed to capacity with scenes of drinking alcohol and smoking (and not only) … it was a general trend of that time … quite a routine. But this does not make it any easier … Since it was shown as a kind of “norm”, then the perception of it by children was also quite predictable … But the results are sometimes very sad and even tragic, because not everyone was able to draw some ” limits-standards “, which should not be exceeded.
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Why do women associate their lives with prisoners
There are many sites on the Internet for those wishing to meet prisoners. Women find men on them, begin to communicate with them, give them food, go to them, and sometimes even marry those who will not be released for several years. Sociologists explain this by loneliness, as well as the desire to “save” a person and “return to normal life.”
Thinkstock / Fotobank.ru
Elena Omelchenko from the Higher School of Economics researched the problem of “correspondence students” – these are women who get to know prisoners and even associate life with them. The expert decided to find out why women need such a relationship. Her work is based on analyzes of interviews with “correspondence students” conducted in different cities of Russia in 2012–2013.
There are many prisoner dating sites and related social media groups on the Internet.With their help, women are looking for men in prison, constantly keep in touch with them, help them morally and financially, and often even get married right in the zone.
Part-time students for prisoners become a source of material wealth and social status. After leaving, they help men adapt to life in society. For women, however, such a relationship is fraught with a lot of risks.
How prisoners cheat women
A woman who has a relationship with a prisoner is at serious risk.Even at the very initial stage of dating, a man may simply try to deceive a woman: he is getting packages from her or trying to extort money from her. Often a prisoner starts a relationship in parallel with several women in order to receive parcels and help.
As relationships develop, problems also arise. Women often face psychological and physical abuse. There were even attempts at rape during the visits.
The stories of various “correspondence students” can be read on thematic forums, for example, here.On the whole, they confirm the conclusions of the expert. Of course, there are also happy stories: a woman was able to wait for her husband from prison, and a man was able to find a job, abandon his old life and build a successful relationship.
But there are many opposite examples: long years of waiting end in parting after being released. One of the forum participants asked for advice: the husband left and soon sat down again, now he asks for forgiveness and wants her to wait for him, but the woman herself is not sure whether to wait or not.
Why do women need prisoners
The main reason for such unions is loneliness and the inability to build relationships with a free man.Sometimes a woman is looking for a patron or just has little experience with men. Women who have experienced violence are also looking for companionship with prisoners.
Another common reason is the need to take care of someone. Women take on the role of mother in relation to these men, try to take care of them. It can also be called a “Decembrist’s career”: for the sake of this relationship, a woman is ready to sacrifice herself. She is trying to “save” the man and “return him to a normal family life.”
Some women are attracted by the unreality of what is happening.It seems that the man is quite real, but his freedom is limited, which means that you can turn off your phone at any time or leave social networks.
Often women are pushed into such relationships by their friends who already have experience with the prisoner. They also often introduce them on social networks. Sometimes the experience of the parents affects, for example, if the mother had a similar relationship.
Dating also happens by chance – in groups on social networks or on dating sites. The woman does not suspect that she has met a prisoner, but then does not break off the relationship and seeks dates.
In rare cases, women are driven by mercantile considerations: the wives of prison authorities actually live off their husbands in prison.
How to get into dependence
In fact, a woman who builds relationships with a prisoner turns out to be psychologically dependent on him. She is embedded in the system of prison relations and begins to live this life. Omelchenko describes this process in detail.
Waiting for a meeting
Gradually, a woman is drawn into prison life – communication with a prisoner, with other women who find themselves in such a situation, as well as with prison staff and thanks to social networks, affects.A woman is waiting for letters and messages from her partner, counting the time until the expiration of his term. She seeks dates, prepares for them, earns money from them, because if the colony is far away, then she still has to go to her.
Women also prepare for prison weddings, which are often attended by relatives. They bring food and gather in the shared kitchen. For a fee, you can arrange a “solemn wedding” with a registry office employee.
Corner of the prison at home
Gradually, a woman’s life begins to somewhat resemble a prison, the expert believes.For example, she creates a kind of “camera” in one of the rooms of the apartment. There will be photographs of the prisoner and their wedding, collected trunks with things to be sent to the zone. For long dates in the zone, women try to bring a piece of home: clean bedding, bathrobes, dishes, tablecloths and a lot of food. In the shared kitchen, many families host parties, drinking and socializing with other families.
Transition to “us”
Women gradually immerse themselves in life in the zone, begin to solve prisoners’ problems and interact with guards, judges and lawyers.Often they begin to operate with the concept of “we”. Just at this moment, the “correspondence student” takes on the problems and even part of the prisoner’s guilt for what he did. For example, there are phrases that “we do not want to cooperate with law enforcement agencies” or “we cannot get out on parole”.
Relatives, friends and work colleagues often blame a woman for choosing such a man. She is partially excluded from society. She feels guilty about his lifestyle and his crimes.
Code of honor for the wife of a prisoner
As a result, a woman assumes the code of honor for a wife of a prisoner and observes the rules of behavior: breaking off relations, according to it, is considered a shame, and the longer you wait, the more correct you are a wife. Often it is the environment that is important for women, their friends in misfortune.
Women try to constantly control the life of their man in the zone. The same comes from the man: they try to control every step of the woman’s freedom, and they, in turn, report on what is happening with them.This happens through communication on the Internet or telephone conversations. For example, many women panic if they are not called every 2-3 hours. For control, social networks are also used in the form of inmates, other women convicts and even guards, they are all familiar and can share information with each other.