#1623-24
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lemuseum · 2 months ago
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kimmipettie · 2 months ago
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10/6/20- 1623- Although Chris is still unsure of himself as a girl, he loves receiving compliments from Susan and pleasing his aunt. Besides, wearing his new dresses and girly things feels so right- and really good. Will Chris be surprised when school breaks and holidays mean more girl time? Or is this Chris’s feminine destiny?
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12/13/24 - The Daily Holiday Classic Chris
Chris may not realize it yet but girl time will extend well beyond the holidays. Aunt Julia always wanted a daughter and now Chris will be her holiday niece. How lucky to be a boy who gets to wear panties, petticoats and dresses.
We begin our 12 Days of ChrisMiss with this lovely Daily Chris from 2020.
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chiaroscurko · 1 year ago
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Dirck van Baburen, Saint Sebastian Tended by Irene, ca. 1623–24 (X)
AEW Dynamite - September 16, 2020 (X)
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carloskaplan · 1 year ago
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Gian Lorenzo Bernini: David (1623-24)
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whencyclopedia · 4 months ago
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Merrymount Colony
Merrymount Colony (1624-1630 CE) was a settlement first established in New England as Mount Wollaston in 1624 CE but renamed Mount Ma-re (referred to as Merrymount) in 1626 CE by the lawyer, writer, and colonist Thomas Morton (l. c. 1579-1647 CE), best-known, primarily, from his book New English Canaan (a treatise on the Native Americans of the region, natural history, and satiric critique of his colonist neighbors) and the work Of Plymouth Plantation by William Bradford (l. 1590-1657 CE), second governor of Plymouth Colony, in which he is referred to as the “heathen” who established a “school of Atheism” at Merrymount.
Unlike Plymouth Colony, or the later Massachusetts Bay Colony, Merrymount was more of a trade center than a residential/agricultural community but, owing to Morton's liberal attitude toward religion, and the rapport he developed with the Native Americans, became (according to Morton) more successful and popular than its neighbors. Morton encouraged a celebratory atmosphere and, in 1627 CE, had an 80-foot (24 m) tall Maypole erected in the town square and, declaring himself the community's host, welcomed colonists and Native Americans to a days-long festival.
Bradford sent his militia's commander Myles Standish (l. c. 1584-1656 CE) to arrest Morton in 1628 CE, and he was deported back to England. He returned in 1629 CE, however, and again took up residence at Merrymount until he was again arrested and deported and Merrymount burned in 1630 CE. The story of the colony is given in a number of 17th-century CE sources, including those by Morton, Bradford, and John Winthrop (l. c. 1588-1649 CE) of the Massachusetts Bay Colony. The site of Merrymount is now a residential development in Quincy, Massachusetts, but the memory of the settlement as a progressive alternative to the Puritan or separatist models is still celebrated there occasionally by admirers of Morton in the present day.
Mount Wollaston Becomes Merrymount
Morton was employed as a lawyer by the merchant and investor Sir Ferdinando Gorges (l. c. 1565-1647 CE) in 1622 CE, went on a reconnaissance mission for him to North America, returning in 1623 CE, and was then sent back in 1624 CE on an expedition, led by Captain Richard Wollaston (d. 1626 CE) and comprised of 30 indentured servants, to establish a permanent colony for trade some 40 miles (64 km) away from Plymouth Colony. Plymouth Colony had a profitable fur trade established with the Native Americans of the region by this time and, based on Bradford's work, seem to have taken little notice of the new colony, named Mount Wollaston, at first.
In 1626 CE, according to Bradford, Wollaston took some of the indentured servants to Jamestown and hired them out to others. He died at some point the same year and, also according to Bradford, Morton convinced the servants left at Mount Wollaston to rebel against the second-in-command Wollaston had left there (a man named Fitcher), and join him in a venture in which they would all share the profits equally. Once this was accomplished, Morton renamed the settlement Mount Ma-re (from the French mer for “sea” as it was near the coast but a play on “merry”), later known as Merrymount.
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themuseumwithoutwalls · 2 months ago
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MWW Artwork of tthe Day (12/18/24) Gianlorenzo Bernini (Italian, 1598-1680) David (c. 1623-24) Carrara marble statue, 170 cm. high Galleria Borghese, Rome
In comparison to the earlier celebrated David sculptures, Bernini paid particular attention to the biblical text and sought to follow it as closely as possible. Unlike the earlier sculptures, Bernini's hero has a shepherd's pouch around his neck which already contains pebbles ready to use in the deadly sling which he will use against Goliath. The upper part of David's body is represented immediately after has taken a stone from his pouch. This means that the torso twists and strains not just physically but psychologically. The hero is depicted when, having taken the stone from his pouch, he twists his body in the opposite direction, tensioning it spring-like, then stops to think for a spilt second before releasing the stone that will slay Goliath.
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thegoldensanctuary · 4 months ago
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Part II B the attic paintings.
The Four Evangelists by Valentin
Saint John
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Fig 20 : Valentin, dit Valentin de Boulogne, Saint Jean, évangéliste 130,8 x 159 cm Château de Versailles, MV 7277
In his painting of Saint John the evangelist by Valentin[16](fig 20), we see the saint in his early adulthood, beardless, transcribing the gospel, behind him a large eagle looking at him, the eagle being one of the four creatures listed in Revelation 4:7 and most often associated with John the evangelist. In this painting John is staring away from his writing, almost as if he was looking in the void hoping to find divine inspiration to pursue his mission. Out of all the four evangelists this painting appears to have the darker background, as if John was lost in darkness searching to find faith.
Saint Luke
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Fig 21 : Valentin dit Valentin de Boulogne, Saint Luc, évangéliste 134,4 x 161 cm Château de Versailles, MV 7273
In his painting of Saint Luke(fig 21) we see the Luke a bit older than John, wearing a full beard, transcribing the gospel, with a large Bull on his left, the bull being one of the four creatures listed in Revelation 4:7 and most often associated with Luke. He is focused on his writing, with his eyes looking on the paper and his quill transcribing the gospel, behind him is a light probably symbolizing the divine inspiration.
Saint Matthew
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Fig 22: Valentin dit Valentin de Boulogne, Saint Matthieu, évangéliste, 131.5 x 159.4 cm, Château de Versailles, MV 7274.
In his painting of Saint Matthew(fig 22), we see the Mathew middle aged, with a long grey bread, transcribing the gospel, an angel taking the form of a winged boy, one of the four creatures listed in Revelation 4:7 and most often associated with Matthew. The saint is looking down, with his text almost falling from his hand, the young boy is here holding the page and looking at Matthew in the eyes.The facial expression of the man as well as the relatively dark color of the background, likely symbolize doubts in the faith, with the young angle here to prevent its total loss.
Saint Mark
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Fig 23: Valentin dit Valentin de Boulogne, Saint Marc, évangéliste, 131.5 x 159.5 cm, Château de Versailles, MV 7272.
In this painting we see the elderly saint Mark(fig 23), with a white bead. Next to him is a Lion, one of the four creatures listed in Revelation 4:7 and most often associated with Mark. The evangelist is depicted staring upwards with the palms on his hands facing the sky, and the texts placed on a table with the quill back in the inkwell, his transcription of gospel is now complete, the man is at peace. The painting features a strong light behind the saint symbolizing divine grace.
Cesar’s Denarii
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Fig 24: Valentin dit Valentin de Boulogne, Le tribut de César, 130.4 x 184.8 cm, Château de Versailles, MV 7317.
The painting called, Pharsian showing to Jesus a silver coin used for tribute (fig 24), it was painted around 1622 by Valentin[17], it depicts the Render unto Caesar biblical episode, with a silver coin, standing out from its surrounding,  by its central position and by its shinny color. The acquisition of that painting by the crown isn’t well documented, all we know is that it was placed in the attic of room.
The fortune Teller
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Fig 25: Boulogne, Valentin de, La Diseuse de bonne aventure, 1626/1628, 125 x 175 cm (158 x 206.1 cm with accessory), Louvre, INV 8254; MR 2550.
Painted in 1623 by Valentin[18](fig 25), it depicts a woman with foreign attire and dark complexion, reading the palm of a man, surrounded by a small crowd of people wearing outfits contemporary to the date of the painting. In her right hand the fortune teller in holding a coin likely received as payment for her services, on the right of the painting a man can be seen playing a harp he is holding in reverse. This detail is likely here to emphasis the situation occurring at the other side of the painting in which we see a man in the shadows pickpocketing the fortune teller, this is the reversal of a another painting by Valentin(fig 26) fig in which we see the opposite side of the painting the same fortune teller, recognizable by her traditional outfit and coral necklace, robbing a man playing the flute.
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Fig 26: Boulogne, Valentin de, Réunion dans un cabaret, 1623/1625, 96 x 133 cm (126 x 158.5 cm with accessory), Louvre, INV 8255; MR 2553.
The Drinker meeting
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Fig 27: Tournier, Nicolas, Assemblée de buveurs, 1600/1700, 129 x 192 cm (145 x 208 cm with accessory), huile sur toile, Musée de Tessé, Le Mans, INV 365; MR 336.
This painting by Tournier(fig 27) copied from Manfredi, depicts a group of men sitting and drinking together. Those in the background are gluttonously eating or drinking, while those in the foreground are sitting around what seems to be a large, craved stone block used as table. In the middle two young men sitting together, with one on the left wrapping his arm around the shoulder of the other man at the center, he seems to be pushing away a guitarist that came to play at their table, which seems to be the center of attention of the two men. At the bottom of the composition carved in the stone table right under the two men is the figure of two other men, one old and one young, where the older one on the left is also wrapping his arm around the shoulder of the one on the right, who, contrary to the men above seem to be looking at one another. The painting was acquired by Louis XIV in 1662 from the Jabach collection[19].
Agar rescued in the desert
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Fig 28: Lanfranco, Giovanni, Agar et l'ange, 1611/1620, 137 x 184.5 cm, Château de Versailles, MV 7713.
The painting by Lanfranco(fig 28), is depicting Agar being rescued by an angle based on the biblical tale from the genesis. The landscape with its grass and green trees departs from the desert mentioned in the tale, hidden behind her left shoulder we see an infant baby hidden in the shadow, with an angel behind the traits of a teenage boy grabbing her by the shoulder and showing her the way. The painting was acquired by Louis XIV in 1662 from the Jabach collection[20].
The Mystical Marriage of Saint Catherine
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Fig 29: Turchi, Alessandro, Le Mariage mystique de sainte Catherine, vers 1635, 123.5 x 177.5 cm (155 x 208 cm with accessory), Louvre, INV 702; MR 29.
This painting by Turchi (fig 29)depicts the mystical marriage between saint Catherin and Jesus. Both women are depicted wearing outfits contemporary to those of the painter’s time. The infant  Jesus is represented as the center of the interaction ,he is entirely naked, and is the main point of focus of Mary on the left and catherine on the right. It was acquired in 1671 by Louis XIV from the de La Feuille collection[21]
[16] See number 331 to 334 of Le Brun’s inventory, for the 4 evangelists
[17] See number 336 of Le Brun’s inventory
[18] See number 335 of Le Brun’s inventory
[19] See number 91 of Le Brun’s inventory
[20] See number 202 of Le Brun’s inventory
[21] See number 295 of Le Brun’s inventory
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mattydemise · 1 year ago
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David (detail), Gian Lorenzo Bernini, 1623-24.
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naty-js-adopts · 2 months ago
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(OPEN) Adopts in-base (1/2) - WINTER24 ~
LINK> https://www.deviantart.com/naty-js-adopts/art/OPEN-Adopts-in-base-2-2-WINTER24-1129133609
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Accepting point payments and mix payment (points+paypal/ko-fi)! ♦  I do Paypal Payment Plan!  ♦  Don't claim/bid if your account is less than 3 months and/or has been inactive for a long time ♦ $1=100pts
🔰 This characters will be up for auction for 24 hours waiting for SB or normal bid, if no bids are received during this time the character will go to set price. 🔰
🧊💠 Winter 2024 💠🧊
Characters in winter clothes, and maybe with ice, snow, and Christmas themes!
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Adoptable 1
SP1 = $50 or 5000pts (Personal use only)
SP2 = $120 or 12000pts (Commercial License/ Full rights)
What you’ll get: Personal use >> 730 x 1691 px  .png without background
Commercial License/ Full rights >> 1623 x 3760 px  .png without background
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Adoptable 2 (CLOSED)
Owner: https://www.deviantart.com/dollsrequiem
Please, only bid or give AB if you have at least 50% of the value available to pay in 24h 🙏
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What you’ll get: Personal use >> 660 x 1715 px  .png without background
Auctions end at 24h after the last bid, AB is instantly
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indepwom101 · 2 years ago
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🇸🇪 Crown Princess Victoria and Prince Daniel, Duchess and Duke of Vastergotland
Wednesday, May 24, 2023
“Today, the Crown Princess and Prince Daniel attended the celebration of the 400-year jubilee Rudbeckianska High School in Västerås. Sweden's first high school, Rudbeckianska High School, was founded by bishop Johannes Rudbeckius in 1623.”
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ao3feed-destiel-02 · 1 year ago
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45
45 https://ift.tt/aPbydpt by HallmarkDestiel Castiel comes to Sam for help wanting to do something special for Dean’s birthday. Words: 1623, Chapters: 1/1, Language: English Fandoms: Supernatural (TV 2005) Rating: General Audiences Warnings: Creator Chose Not To Use Archive Warnings Categories: M/M Characters: Sam Winchester, Dean Winchester, Castiel (Supernatural), All of their friends, Everyone is alive - Character Relationships: Castiel/Dean Winchester Additional Tags: birthday fic, Dean’s birthday, Surprise Party via AO3 works tagged 'Castiel/Dean Winchester' https://ift.tt/b2HcdV1 January 24, 2024 at 12:53AM
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George Geldorp (1595-1665) (attributed to) - Portrait of Jacomo de Cachiopin (1575–1642) (after Anthony van Dyck) - 
oil on canvas, height: 61 cm (24 in) Edit this at Wikidata; width: 48.3 cm (19 in)
National Trust
George Geldorp, Georg Geldorp or Jorge Geldorp (1580/1595, Cologne – 4 November 1665, London) was a Flemish painter who was mainly active in England where he was known for his portraits and history paintings. He was also active as an art dealer and impresario.
Geldorp was the son of the Flemish portrait painter Gortzius Geldorp who lived and worked in Cologne. Geldorp first trained and worked as a painter in Cologne before being admitted as a Master in the Guild of Saint Luke in Antwerp in 1610. Two years later his first wife Margriet Parmentiers died in Antwerp.
In 1623, Geldorp moved to London where he painted a number of portraits in the Anglo-Netherlandish style, notably of William Cecil, 2nd Earl of Salisbury and his wife Catherine in 1626 (Hatfield House, Hertfordshire) and of Sir Arthur Ingram in late 1638/early 1639.
He was involved in organizing commissions in England for Flemish and Dutch artists including Rubens, Anthony van Dyck and Peter Lely. Upon the Restoration, he assisted with the reconstitution of the art collection and possessions of the English Royal family and was rewarded for his services with the post of picture mender and cleaner to the King.
Portrait of Elizabeth Bassett, Later Duchess of Newcastle, at age 10 He was the teacher of Isaac Sailmaker.
Geldorp rented a house in Orchard Street from Lawrence Swettnam between 1643 and 1649. He undertook to paint for Swettnam "two good picture to life yearly". The Westminster house was previously occupied by the painters Alexander Keirincx and Cornelis van Poelenburgh.
George Geldorp was a portrait specialist. His portraits are regarded as less accomplished and more stiffly articulated than those of contemporary painters active in London such as Daniel Mijtens. The surfaces of his paintings are decorative. The background of the Portrait of William Cecil, 2nd Earl of Salisbury contains an historically important view of Hatfield House with sportsmen in the foreground.
Geldorp was also active as a collaborator and copyist of Anthony van Dyck and later Peter Lely.
The Dutch biographer Arnold Houbraken reported that Geldorp was known to the artist biographer Joachim von Sandrart. Von Sandrart had written that Geldorp was not a very accomplished draughtsman and had the habit of tracing other's sketches, and then pricking holes in these sketches, and sponging this onto the canvas as a guide to paint his subjects. Houbraken disapproved of this practise and wrote that he preferred to write about painters who were good draughtsmen.
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caltropspress · 1 year ago
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FEEDBACK LOOP #14: Voodoo Macbeth: Armand Hammer's "Windbreaker"
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…Each new morn / New widows howl, new orphans cry, new sorrows / Strike heaven on the face…
—Shakespeare, The Tragedy of Macbeth (1623)
They use me wrong, so I sing this song to this day.
—Nas, “I Gave You Power” (1996)
1.
Once upon a time, woods “had a gun once.” “Windbreaker” is woods’ adaptation of Shakespeare’s tragedie Macbeth. Stories retold and resold—twice the first time, like Saul Williams once said. Not until you’ve listened to Rakim on a rocky mountaintop have you heard hip-hop. And not until you’ve staged Shakespeare in a sludge-slicked 150th Street Harlem sewer have you heard hip-hop either. A young Orson Welles directed what became known as Voodoo Macbeth on behalf of the WPA’s Federal Theatre Project in 1936. Featuring a full African-American cast, the play took place in a quasi-Haitian setting complete with tropical-cum-skeletal stage design—palm fronds and bone altars. We live in Storyville where the population density reaches hypersensitive levels and the murder police can’t keep up with the homicides. (Meanwhile, the Second Witch busies herself with “Killing swine” [1.3.2] in Macbeth.) We’ve been here before, before. Slick Rick’s “Children’s Story” (1988) told us to bite our tongues, that this ain’t funny so don’t you dare laugh, it’s just another case about the wrong path. He warned, in a playful and pajamaed manner: “Straight and narrow or your soul gets cast.”
2.
“Windbreaker” is a [re]mixture in the witches/bitches brew of Nas’s “I Gave You Power” (1996), too. The power, you could guess, is a wily one capable of possession. “Possession” in a legal sense—nine-tenths of the law and so forth; possession of a firearm [see: S. Carter, B. Sigel, Shyne, et al.]—but also the possession the gun holds over its owner. Those finding themselves possessed by the gun—a weapon which “made you buckwild,” in Nas’s terms—should brace for berserk behavior modifications. We can splice together epileptic seizures and Santería and call it spirit possession just the same. The possession is pervasive—everywhere. The ubiquity of guns in the collective imagination takes up serious real estate—we’re talkin’ eminent domain land grabs—and Nas’s psyche is no exception:
I was around a lot of guns then. Guns were in my sleep, in my car, in my home. Guns were on my person, guns were on my friends. That’s how much they were around. There was so much around me that I rapped about it. It’s crazy to think about that today, but it was my reality. It was in my head 24/7.
“Windbreaker” functions as an exorcism of that exact sentiment.
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3.  RECKLESS WHAT
Blow wind! Come wrack!
—Shakespeare, Macbeth (5.5.58)
The wind forebodes. woods gets handed the gun “late night, right on the porch,” and it must be windbreaker weather. woods’ jacket rustles in the gusts. “I’ll give thee a wind” (1.3.12), the Second Witch says to the First, and the “wind” she refers to is what the witches bestow upon each other to exact revenge. woods, though, breaks their wind (true to the song’s title and his heroic epithet, likely). He’s not susceptible to their marshy shufflings, their murky hells. He “speak[s] things strange” (1.2.52-53), as Lennox says of the worthy Thane of Ross.
But the winds are everywhere (like guns)—they be blowin’ like Maceo Parker in a buhloone mindstate. They blow the horrid deed in every eye and “tears shall drown the wind” (1.7.24-25). Word to the RZA and Wendy Rene: after the laughter comes the tearz. But the winds swirl and cyclone and gyre skyward. woods, “like a naked newborn babe,” survives by “Striding the blast” (1.7.21-22) as a cherubim might, riding the breeze. He’s Kong learning to stop worrying and love da bomb. He straddles and hoots and hollers from the hydrogen missile. A hard acid reign’s a-gonna fall [RIP to Gajah].
Of Macbeth’s poor murderers, the second says: “I am one… / Whom the vile blows and buffets of the world / Hath so incensed that I am reckless what / I do to spite the world” (3.1.121-124). Shakespeare knows the sway of poverty over moral decisions, like the Apothecary in Romeo and Juliet whose “poverty, but not [his] will consents” to selling illegal, poisonous drugs to Romeo. woods gets beat back by the gale-force winds, but he bests those “buffets of the world.” Everything’s for sale except for the Beaufort scale.
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4.  YO-HO-HO
The gun, in the case of “Windbreaker,” is equivalent to Robert Louis Stevenson’s Black Spot. That is to say, the song isn’t so much a billy woods metanarrative as a twice-told tale of Billy Bones in Treasure Island (1883). Passed from pirate to pirate, the Black Spot is a black-sided death sentencing, a Last Judgment on a scrap of paper. Biblical bad luck. A Book of Revelation back-page pressed into a fist. Maritime connotations aside, the Black Spot signals that it’s marring time, so make yourself scarce or knuckle up.
woods claims to have only had the gun “for about a month,” and he was none too keen on keeping it. The gun, we assume, had traveled many travails and trials, tribulations too; that it had “been in the hands of mad thugs,” as Nas puts it. Mad meaning “many” but also “crazed” and “deranged.” Mad like diaries maintained by gravediggaz. Pick, sickle, and shovel-wielding men. The gun, the “brandished steel, / Which smoked with bloody execution” (1.2.19-20) is bequeathed to woods as it was to so many others. Less a gift than a curse. “Sick of the blood,” Nas-as-gun raps, “Sick of wrath of the next man’s grudge.” This gun—like any gun, perhaps—is one that harbors a self-consciousness. Maybe it is the guns that kill people, personified with malevolence [male violence].
Unlike countless others, woods doesn’t choose to use the gun to cement his masculinity. As Macbeth tells his wife, woods is already man enough, and “who dares do more is none” (1.7.52)—a negation of that manhood. Overkill, let’s call it. Mac daddies and MAC-10s: Nas is like the phallocentric Asian, half-man, half-guns blazing. “The barrel’s my dick,” he explains, “Uncircumcised, pull my skin back and cock me.” Macbeth, meanwhile, questions his hallucinating senses, “Is this a dagger which I see before me, / The handle toward my hand?” (2.2.44-45). The blade is bloody, possibly with menses, yet he still grapples for control: “Come, let me clutch / thee” (2.2.45-46). In doing so, he’s giving mics menstrual cycles. “The game is so irresistible to touch,” LL Cool J once said of the mic phallus, “You should see me when fiendin’ for microphones that I can clutch.” 
In a letter to his wife, Macbeth writes that he “stood rapt in wonder” (1.5.6), explaining what he witnessed held him in thrall. On the porch, billy woods is likewise “rapt withal” (1.3.60). Banquo knows “instruments of darkness tell us truths” (1.3.136). But woods is “too full o’ th’ milk of human kindness” (1.5.17) to use the gun; he doesn’t have “slaughterous thoughts” (5.5.16). And even if he does, his ignorance and mystification prevent him from reaching for the strap.
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5.
A dagger of the mind, a false creation…
—Macbeth (2.2.50) 
The story told in “Windbreaker” raises questions of realities and false narratives, actual fears and imagined ones, authenticity and authorship—in short, the friction that exists between fiction and figment. woods mixes up the simulacra of hyperreality like the guy Quelle Chris knew on “PSA Drugfest 2003” that “mix[ed] up a spliff like witches with newt eye.” We’re pulled in by woods’ first-person point-of-view (“I had a gun once,” followed by a proliferation of Is) but put off by his reluctance to divulge the details. He bleep censors the name of who he “got it from.” By doing so, he protects the innocent, the guilty, and every gradation of conscience in between. The unidentified person who gives him the gun could be a peer, an elder, a mentor, a bad influence, or some combination thereof. Regardless, the nameless and faceless figure—a mysterious character, if we choose to lean into the fictitious realm—“showed [woods] how to load it” in the “same place [he] showed [woods] how to roll a blunt,” linking two illicit activities, both requiring punctilious attention to detail. Of gats and ganja; of heat and hemp. 
woods demonstrates the blurry border between fact and fiction in the scene details. The gun is handed off clandestinely under the cover of “late night,” yet the location (“right on the porch”) is indiscreet. This doubling (call it down-low and out-front) plays out anadiplotically when woods says, “[They] was speaking soft, / Soft pack of ’ports.” The sibilance of “speaking soft” suggests secrecy (if worse come to worse keep this on the hush, Lil’ Cease might say), but the point-blank alliteration of “pack of ’ports” sounds like when your guns go pow-pow (word to Big L). Furthermore, the soft pack of stoges—though its connotation implies silence—has a plastic wrapping that crinkles like a windbreaker, attracting unwanted attention.
6.
The gun given to woods is far from perfect, in fact, the weapon is “scratched and marred where the numbers was filed.” Like the bleep censors, the redaction of the serial number safeguards against snitching. But, as the pattern of the one-verse song shows, that which is criminal is liminal. Those defaced numbers, well, “you could still see ’em.” One thinks of Macbeth’s dagger cloaked in hemoglobin: “...on thy blade and dudgeon, gouts of blood” (2.1.58). One remembers Nas’s encounter with “a wrecked-up TEC with numbers on his chest that say: / 5-2-O-9-3-8-5 and zero.” The TEC yearns to confess, “hoping one day police would place where he came from, / A name or some sort of person to claim him.” But with his “serial defaced,” the TEC shares the same fate as Lady Macbeth: beyond saving. Just as doctors can’t “raze out the written troubles of [Lady Macbeth’s] brain” (5.3.52), so too can’t you resurface a scratched-off serial number. 
To include bleeped names and scratched-off serial numbers is to engage in a sort of scriptorium subterfuge. Historically, we’ve seen this in novels, as John Barth explained in “Lost in the Funhouse” (1967): “Initials, blanks, or both were often substituted for proper names in nineteenth-century fiction to enhance the illusion of reality. It is as if the author felt it necessary to delete the names for reasons of tact or legal liability. Interestingly, as with other aspects of realism, it is an illusion that is being enhanced, by purely artificial means.”
Uncertainty abounds. woods can’t even accurately identify the weapon he’s handed: “.38, .22—I’m not even sure.” It could just as well be Nas’s Desert Eagle, a “semi-auto with lead.” These redactions, this unknowingness, inevitably leads to confusion. One must forgo epistemic approaches and settle for feels. Nas’s aforementioned Desert Eagle, as an example, measures at “seven inches” and weighs “four pounds.”
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7.
Emotional liftin’—please use the proper form: / Bend at the knee.
—“spongebob” (2019)
But little and heavy as a dead child. The game is the game, but the gravity of the situation increases with woods’ somber simile. That uzi, or .38, or .22— weighs a ton. But it’s the emotional weight that’s so exhausting. “Windbreaker” opens with a bevy of words with short-u sounds—words with heft, words that carry bend-at-the-knee weight: gun | once | month | blunt. A significant weight, like Biggie’s ubiquitous uh adlibs. woods throws haymakers, heaves shots. By all accounts, he’s acting “wild truculent” (as Breeze Brewin once said on “Weight” by the Indelible MC’s). woods holds the gun with “Macbeth hands,” a phrase he drops on Armand Hammer’s “Duppy.” Macbeth speaks of “dread exploits” (4.1.164), and woods works in dread[ed] talk (s/o to Velma Pollard), that Iyaric, a protest language and flexi lexicon, to ward off the weight of what violence he might have the capacity to engage in.
You show loyalty; they learn loyalty. But Macbeth disregards the value of his commander Banquo even after leading Duncan’s army alongside him. He keeps the plot to murder Banquo “from the common eye” for “sundry weighty reasons” (3.1.141-142), most of which are purely practical. The Thane of Cawdor doesn’t consider the guilty conscience he’ll have to carry. He doesn’t contemplate “that perilous stuff / Which weighs upon the heart” (5.3.54-55). woods does.
On “Heavy Water” (emphasis on the heavy—we’re talking some brine pool shit), woods told us “the play-within-the-play was G. Dep as Macbeth,” and thus hands us a key. G. Dep, who confessed to killing an innocent man seventeen years after the fact, couldn’t function under the weight of what he’d done. “I didn’t feel free and clear,” he said from prison where he’s serving 15-to-life. “Everyday I was faced with this memory, with this heinous act, that didn’t really have to happen….I had to do what I had to do to get that burden off my chest.” That burden off his chest. “Burden” from the Old English byrðen, meaning “load, weight” but also “a child.” (But little and heavy as a dead child.)
G. Dep endeavored to lift the weight off his chest, but woods prefers to hide the weight in a chest. woods secretes the gun—and his shame at even accepting it—in various places, all of which prove porous. He “had it hid under bed”—those deadweight d’s burying any misdeed deeply—but he “couldn’t sleep” like some Princess and the Piece. He’s a sensitive soul, feeling it penetrate his back leaving him black and blue all over his body. Mattress upon mattress upon mattress, and he still felt its presence. No quitter, woods seeks other unseen spots—ahem, hiding places—like “in the shed, somewhere Moms couldn’t reach.” I was made to kill, Nas rapped, and “that’s why they keep [the gun] concealed.” Nas tried to squeeze “under car seats” and sneak into clubs. By verse three of “I Gave You Power,” he’s “still stuck in the shelf with all the things that an outlaw hides.” As we see, any attempts at avoidance are mostly ineffective.
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8.  THE WEÏRD TURN PRO
woods is unsettled. Who can make sense of machine gun etiquette? The man feels damned. “Damned if you do, damned if you don’t,” he raps, noticing “both shoulders had demons.” Can’t brush ’em off. As Macbeth says, “Cannot be ill, cannot be good” (1.3.144). Out, damned spot, out, I say! One. Two. (5.1.37). But the spot is blown, and Lady Macbeth can’t do a damn thing about it. She can try to sound like Biz Markie as much as she wants (“...a one-two, a one-two…”); she can make like Special Ed and fetch the Cascade, but there’s no getting those red stains off her hands.
“I was scared,” woods tells us, “’cause [redacted] heard [redacted] was tryna rob me.” But even self-defense shuffles closer to self-destruction. “I was more scared,” he explains, “when I took the gun, to be honest.” He fears both the threat on his person and the weapon intended to ward off any such maneuvers. He feels stuck: “By then, too late to say I didn’t want it.” We can assume his “dome was aching” like the man in Nas’s song who reaches for the gun, finally. woods “walked home in the darkness,” in his frantic thoughts. Somewhere along his route he was detained by “three witches on the marshes.” 
Rewind back to the beginning of the song. “And I know it better than before,” Fielded sings, “they want me to notice—even out the score.” Fielded becomes all three Weïrd Sisters in one: she turns to they. For weïrd read “fateful.” Depending on which Shakespeare folio you’re flipping through, the word is also spelled weyward and weyard. They all come from the Scottish form of wyrd, though—the Old English word for fate. The Weïrd Sisters, or witches, are tied up in some real Hussein Fatal/Fatal Hussein business. I’m pretty sure that I won’t be ready when they come through that door, Fielded sings with “the syllable of dolor” (4.3.9), evoking the lurking evil, the looming dread, that woods experiences. Fielded—whose stage-name is near-synonymous with the marshes and heaths on which the witches appear—sings of seething vengeance (“even out the score”) and simmering nervousness (“I got somebody coming for me in the night”).
Fielded, in their role as the Weïrd Sisters, is warmer to woods than Macbeth’s encounter with the witches. Fielded warns him, it sounds like, not to cross them. In an evasive move, woods goes metaphorical. He feels like a “dinosaur in the tar pit.” He marks sharks as “all cartilage.” (The witches include “maw and gulf / Of the ravaged salt-sea shark” [4.1.24-25] in their cauldron ingredients, by the way.) Sharks for woods; scorpions for Shakes. “O, full of scorpions is my mind” (3.2.41), Macbeth moans. woods feels his “blood cold as the water is,” while Macbeth looks to the “multitudinous seas incarnadine” (2.2.80), meaning the ocean turns blood-red. The arrival of Banquo’s ghost at dinner is likened to the approach of “the rugged Russian bear, / The armed rhinoceros, or th’ Hyrcan tiger (3.4.122-123). Bears, rhinos, sharks, scorpions, and tigers…oh my!
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9.  SLUMB’RY AGITATION
A heavy summons lies like lead upon me, / And yet I would not sleep…
—Banquo, Macbeth (2.1.8-9)
“Fair is foul, and foul is fair” (1.1.12-13), the witches say in unison. woods hovers through the fog and filthy air thinking, Fuck a fair one—I get mine the fast way, like Biggie on the “Flava in Ya Ear” remix from ’94. On “Halloween Fell on a Weekend,” woods was talkin’ witchy: “Fair is foul, / Awkward smile.” Nas, for the record, noted how the intrusive gun thoughts were “making every ghetto foul.”
But what’s really foul and utterly unfair—a flagrant foul, a Flagrant 2—is the sleep troubles. “I slept with no dreams,” woods raps. But his dreamless sleep is more of an insomnia. “Methought I heard a voice cry, ‘Sleep no more!” Macbeth says, turning over in the sheets to speak to himself in the third-person, “‘Macbeth does murder sleep’” (2.2.47-48). woods looks a ghost now, a somnolent wanderer: “Asleep on my feet, / Awake when niggas sleep.” The repetition of sleep at the start of one clause and at the end of the next signals the circularity of the story being told. 
We can’t help but summon Nas’s “cousin of death.” And Macduff refers to “downy sleep” as “death’s counterfeit” (2.3.88). woods is restless, “tempest-tossed” (1.3.26), enduring the night where “wicked dreams abuse / The curtained sleep (2.1.62-63). “Headlights splashed the curtains,” woods raps, and instead of sheep he’s “counting every car passin’ in the street.” He may as well be midnight marauding like Lady Macbeth with a taper. When the Doctor notes that Lady Macbeth’s “eyes are open,” the Gentlewoman clarifies that “their sense are shut” (5.1.26-27). Nas, Queensbridge-bred, opens his penthouse lids to “see some cold nights and bloody days.” If only Lady Macbeth had been as alert as Nasir Jones or billy woods.
10.  BLACK MACBETH WILL SEEM AS PURE AS SNOW
The gun, which was described as “little and heavy as a dead child” (G. Dep’s debut was called Child of the Ghetto, as fate would have it), returns to haunt us at the end of “Windbreaker.” The baby image, in Shakespeare’s terms, becomes “doubly redoubled” (1.2.42). When the hurly-burly’s done, it’s the kids who suffer. A generational pain that folds back in on itself. An inheritance of the horrific. Look around: dead babies are everywhere.
Ross speaks of Macduff’s murdered household where he discovered “babes / Savagely slaughtered” (4.3.240-241). Nas delivers a choral ode about how he, as gun, “might have took your first child.” Slick Rick rapped of “a little boy who was misled.” That boy found himself in a woods-like dilemma, calculating the consequences: I’ll do years if I pull this trigger. If not a corporeal death, a death of the spirit. 
The Weïrd Sisters promise Banquo that he’ll father kings—bank on it, they say. And so Macbeth fears Banquo’s children will be the future kings of Scotland, usurping his throne. Macbeth decides: Banquo’s gotta go. Not only his brethren-in-arms, but Banquo’s son Fleance, too. Fleance “must embrace the fate / Of that dark hour” (3.1.156-157), Macbeth determines, all in order to assure his place on the throne. When Macbeth ambushes Banquo in Act 3, Scene 3, Banquo implores his son to “fly, fly, fly” (3.3.25)—he tells him to supa fly, to supa dupa fly. To be fresh, wild, and bold, too—like the Cold Crush would advise.
woods, as Banquo, is drawn into a terminal life, a posthumous life, when he is given the gun. That hand-off arranges his end. “Banquo when I think of my kids,” he raps. “Banquo when I kiss my son in his crib.” This is the Fleance farewell. But woods is unwilling to go the way of Banquo. He doesn’t only want to save his son—he wants to save himself. “Stunningly,” Nas says, “tears fall down the eyes of these so-called tough guys.” woods rebuffs the “heavy as a dead child” gun. The only weight he wishes to feel is his son asleep in his arms.
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11.  THE WOOD[S] OF BIRNAM
It felt wrong knowing niggas is waiting in Hell for him.
—Nas, “I Gave You Power”
“Here’s a knocking indeed!” remarks the Porter in Act 3, Scene 1. He considers the vocation of “porter of hell gate” and mocks the incessant knocking: “Knock, knock, knock! Who’s there, i’ / th’ name of Beelzebub?” (3.1.1-4). Careful what you ask for and be wary of the knocks you answer to. woods can knock the hustle. He’s none-too-anxious to join the mobb of “murd’ring ministers” (1.5.55) we hear about in the Scottish play or Track 4 on It Was Written. Still woods, eventually, commits to composing a kind of murda muzik—equally bloodletting and bloodshedding in its emotional registers and range. “[T]he blood-boltered Banquo smiles” (4.1.138) knowing he’s secured futures for his kids. He rests easy. It’s presupposed that the gun gives power, but on “Windbreaker” we learn that the weapon deprives us of power, leaving us with nothing to pass on but the curse.
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Images:
Photograph of the Nat Karson design used to create the backdrop for the Federal Theatre Project production of Macbeth at the Lafayette Theatre, Harlem, 1936 (detail) | Opening of the Federal Theater Project production of Macbeth at the Lafayette Theatre, Harlem (1936) | Winslow Homer, Hurricane, Bahamas (1898) | Andy Warhol, Gun, black, white, and red on pink (c. 1981-82) | Ravi Zupa, Mightier Than Guns sculpture series, disassembled typewriter, stapler, and scrap metal (c. 2016) | G. Dep, Child of the Ghetto album cover, 2001 (detail) | “Macbeth visits the Weird Sisters (Three Witches) on the blasted heath,” title page by John Gilbert for an edition of Shakespeare’s works (1858–60) | Canada Lee as Banquo in the Federal Theatre Project production of Macbeth at the Lafayette Theatre, Harlem (1936) | Photograph of the Nat Karson design used to create the backdrop for the Federal Theatre Project production of Macbeth at the Lafayette Theatre, Harlem, 1936 (detail)
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carloskaplan · 5 months ago
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Diego Velázquez: Filipe IV (ca. 1623-24)
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Diego Velázquez: Filipe IV (ca. 1653-54)
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whencyclopedia · 2 months ago
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Merrymount Colony
Merrymount Colony (1624-1630 CE) was a settlement first established in New England as Mount Wollaston in 1624 CE but renamed Mount Ma-re (referred to as Merrymount) in 1626 CE by the lawyer, writer, and colonist Thomas Morton (l. c. 1579-1647 CE), best-known, primarily, from his book New English Canaan (a treatise on the Native Americans of the region, natural history, and satiric critique of his colonist neighbors) and the work Of Plymouth Plantation by William Bradford (l. 1590-1657 CE), second governor of Plymouth Colony, in which he is referred to as the “heathen” who established a “school of Atheism” at Merrymount.
Unlike Plymouth Colony, or the later Massachusetts Bay Colony, Merrymount was more of a trade center than a residential/agricultural community but, owing to Morton's liberal attitude toward religion, and the rapport he developed with the Native Americans, became (according to Morton) more successful and popular than its neighbors. Morton encouraged a celebratory atmosphere and, in 1627 CE, had an 80-foot (24 m) tall Maypole erected in the town square and, declaring himself the community's host, welcomed colonists and Native Americans to a days-long festival.
Bradford sent his militia's commander Myles Standish (l. c. 1584-1656 CE) to arrest Morton in 1628 CE, and he was deported back to England. He returned in 1629 CE, however, and again took up residence at Merrymount until he was again arrested and deported and Merrymount burned in 1630 CE. The story of the colony is given in a number of 17th-century CE sources, including those by Morton, Bradford, and John Winthrop (l. c. 1588-1649 CE) of the Massachusetts Bay Colony. The site of Merrymount is now a residential development in Quincy, Massachusetts, but the memory of the settlement as a progressive alternative to the Puritan or separatist models is still celebrated there occasionally by admirers of Morton in the present day.
Mount Wollaston Becomes Merrymount
Morton was employed as a lawyer by the merchant and investor Sir Ferdinando Gorges (l. c. 1565-1647 CE) in 1622 CE, went on a reconnaissance mission for him to North America, returning in 1623 CE, and was then sent back in 1624 CE on an expedition, led by Captain Richard Wollaston (d. 1626 CE) and comprised of 30 indentured servants, to establish a permanent colony for trade some 40 miles (64 km) away from Plymouth Colony. Plymouth Colony had a profitable fur trade established with the Native Americans of the region by this time and, based on Bradford's work, seem to have taken little notice of the new colony, named Mount Wollaston, at first.
In 1626 CE, according to Bradford, Wollaston took some of the indentured servants to Jamestown and hired them out to others. He died at some point the same year and, also according to Bradford, Morton convinced the servants left at Mount Wollaston to rebel against the second-in-command Wollaston had left there (a man named Fitcher), and join him in a venture in which they would all share the profits equally. Once this was accomplished, Morton renamed the settlement Mount Ma-re (from the French mer for “sea” as it was near the coast but a play on “merry”), later known as Merrymount.
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themuseumwithoutwalls · 10 months ago
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MWW Artwork of the Day (4/20/24) Late Medieval India (Vijayanagara Empire, 1336-1646) Gopuram, Minakshi Temple (1623-55) Madurai, Tamil Nadu, India
A gopuram is usually rectangular in form with ground-level wooden doors, often richly decorated, providing access. Above is the tapering gopuram, divided into many stories which diminish in size as the gopuram tower narrows. Usually the tower is topped with a barrel vaulted roof with a finial. Gopurams are exquisitely decorated with sculpture and carvings and painted with a variety of themes derived from the Hindu mythology, particularly those associated with the presiding deity of the temple where the gopuram is located.
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