#1979-84 singles collection

[thesbarchives]

thought it would be good to introduce the series into two parts and by that, i'll first start of w/ the basis of the series + classic!

what it is:

superbook is a christian animated show about two kids and a robot travelling back in time to learn about the bible. the protagonists, chris and joy (who are both neighbours and best friends), learn how to deal with moral dilemmas by experiencing them through time travel and demonstrating what they've seen on their journey in the real world

there are three shows in the franchise: superbook classic, superbook reimagined and gizmogo

as a collective, the franchise was and still is a well loved piece of animated christian media along with veggietales, the story keepers, friends and heroes and the greatest adventure

an introduction to classic:

• also known as animated parent and child theatre (s1) and personal computer travel detectives (s2)

• first started in 1981, ended in 1983-84

• the show is set during the 20th century

• classic was used as a project to introduce christianity to japan

• it was the first christian anime and one of the very first to start the isekai genre. (allegedly) its american debut was the first time in forever that a christian animated show went into syndication after davey and goliath in the states and one of the very first pieces of media to introduce anime to americans (and christians)

• originally, classic wasn't supposed to have the name "animated parent and child theatre". instead, the original name was supposed to be "the family adventure: based on old testament bible stories". this, of course, was changed to the current japanese title and in overseas countries, the show was either named "superbook" or "wonder book". sb's name was solely for the fact that it's a reference to the bible

• in 1979, cbn worked with two psychologists, young and rubicon, to determine what would work for spreading the gospel to japan. it turned out that animation/books were the best option and kids were one of the main sources of marketing because they would be open to the bible

• while it was airing in the us, most christian conservatives hated the show bc of its concept of two kids and a robot travelling back in time

• originally, it was supposed to be a japan-exclusive series. the reason? pat robertson (the creator) thought classic wouldn't be marketable outside japan because the show's originally japanese. it took cbn's marketing director, david clark, to convince robertson to have classic translated into english. while cbn was showing it to an expo in france, it was well received and cbn decided to do the english dub shortly after. the us debut was aired and watched in 10 million households

• the concept of children visiting places in the bible was unheard of during that time of (western) christian animation. it was mostly childlike characters and mascots that was telling children what to do, but not why they should do it (this was before sb showed up).

• (cont.) after sb's success, its sister show the flying house aired a year later, the vatican commissioned osamu tezuka to create the fourth anime about the bible and hanna barbera jumped on the bandwagon 4 years later by creating the greatest adventure which was the first christian western animated show that did the same thing sb did

• in japan, both animated parent and child theatre, personal computer travel detectives and the flying house are all part of what is nicknamed "the tatsunoko bible trilogy"

• the main characters' names were different depending on which geographical dub you were watching. for example, they were sho and azusa (jp), chris and aline (fr), luis and anita (es), chris and joy (en), chris and maria/ri (de) and chris* and susie (it) (*apparently his name was also ricky (?) in the italian dub)

• while she has a surname in the original japanese version, joy, in every single dub, doesn't have a specific surname like chris. her surname in the jp ver is yamato

• when it first aired in japan, cbn didn't realise the show was going to be a success at first. due to the airing, it had a plethora of 4-8 million viewers and the bible became one of the best selling books in japan at the time

• in international dubs, uri is written as chris' cousin. but in the original version, he's written as his brother

─── ⋆⋅☆⋅⋆ ───

so that's pretty much all you need to know about classic! i got some of the information on the official fanpage for sb (no i'm not joking, cbn created a fanpage for the show while reimagined was still in development) so pretty much some of this is factual information

[snackpointcharlie]

The very air itself crackles with excitement as Snackpoint Charlie prepares for an all-new radio broadcast. Tune in for more of the music from elsewhere and beyond that you brain, body and spirit have been thirsting for, 10pm to midnight July 3 on WGXC 90.7-FM in New York’s Hudson Valley and streaming live 24/7 on WGXC.org or download at the link below

Snackpoint Charlie - Transmission 140 - 2024.07.03 https://wavefarm.org/wf/archive/j1kxzx [ ^ click for download ^ ]

PLAYLIST

1) あがた森魚 [Agata Morio] - “女の友情 > 大道芸人 [Female Friendship > Street Performer]” from 乙女の儚夢 [A MAIDEN'S FLEETING DREAM] https://www.discogs.com/master/250286-%E3%81%82%E3%81%8C%E3%81%9F%E6%A3%AE%E9%AD%9A-%E4%B9%99%E5%A5%B3%E3%81%AE%E5%84%9A%E5%A4%A2

2) Hajj Belaid with a New Rhythm - “(B Side 1)” from SILENT MUSIC

3) Tom Zé Fabrication Defect - “Defect 6: Esteticar” from COM DEFEITO DE FABRICAÇÃO https://www.discogs.com/master/54552-Tom-Z%C3%A9-Fabrication-Defect-Com-Defeito-De-Fabrica%C3%A7%C3%A3o/image/SW1hZ2U6MTE4NjczMDI=

(underbed throughout:) Pinchas Gurevich - “Spittledripping”

4) Hermanos Gutiérrez - “El Fantasma” from SONIDO CÓSMICO https://hermanosgutierrez.bandcamp.com/album/sonido-c-smico

5) Meril Wubslin - “La main” from FAIRE ÇA https://merilwubslin.bandcamp.com/album/faire-a

6) Rochereau with Orch. African Fiesta - “Madina” from THE SOUND OF KINSHASA - GUITAR CLASSICS FROM ZAIRE https://www.discogs.com/master/638357-Various-The-Sound-Of-Kinshasa-Guitar-Classics-From-Zaire

7) Arooj Aftab - “Bolo Na (feat. Moor Mother)” from NIGHT REIGN https://www.aroojaftab.com/

8) Laila Sakini - “Like a Gun” from LIKE A GUN https://futuraresistenza.bandcamp.com/album/like-a-gun

9) 愛麗 [Ellie (Alice Choy)] w/The Stylers – “相思湖 [Acacia Lake]” from 送你一朵勿忘我 + 珍重離別 [GIVE YOU A FORGET-ME-NOT + CHERISH THE FAREWELL] https://www.discogs.com/release/12622415-%E6%84%9B%E9%BA%97-%E9%80%81%E4%BD%A0%E4%B8%80%E6%9C%B5%E5%8B%BF%E5%BF%98%E6%88%91-%E7%8F%8D%E9%87%8D%E9%9B%A2%E5%88%A5

10) Scott Tuma - “Gone to Turin” from A WEST BOUND BROOK / GONE TO TURIN https://profaneilluminations.bandcamp.com/album/a-west-bound-brook-gone-to-turin

11) Souled American - “Two of You” from FROZEN https://souledamerican.bandcamp.com/album/frozen

12) Landless - “My Lagan Love” from LÚIREACH https://landless.bandcamp.com/album/l-ireach

13) Bhutan Balladeers - “The Day You Were Born” from YOUR FACE IS LIKE THE MOON, YOUR EYES ARE STARS https://bhutanballadeers.bandcamp.com/album/your-face-is-like-the-moon-your-eyes-are-stars

14) Alastair Galbraith - “Lockdown in Lagash” from LAGASH https://nicemusiclabel.bandcamp.com/album/060-lagash

15) "Blue" Gene Tyranny - “The White Night Riot (1979)” from REAL LIFE AND THE MOVIES: VOLUME 1 https://bluegenetyranny.bandcamp.com/album/real-life-and-the-movies-volume-1

16) Carl Michael von Hausswolff & Chandra Shukla - “Kecak! (Sanghyang)” from TRAVELOGUE [BALI] https://cmvonhausswolffreleases.bandcamp.com/album/travelogue-bali

17) Songs: Ohia - “United or Lost Alone” from JOURNEY ON: COLLECTED SINGLES https://secretlycanadian.com/record/journey-on-collected-singles/

[daggerzine]

MY FAVORITE RECORDS OF 2021!

MY 20 FAVORITE RECORDS OF 2021

Ducks Ltd- Modern Fiction (Carpark)

Chime School- S/T (Slumberland)

Monnone Alone- Stay Foggy (Emotional Response)

The Chills- Scatterbrain (Fire)

Lucy Dacus- Home Video (Matador)

The Reds, Pinks & Purples- Uncommon Weather (Slumberland)

Civic- Future Forecast  (Flightless)

Florry- Big Fall (12XU)

Rachel Love- Picture in Mind (self released)

The Umbrellas- S/T (Slumberland)

Swansea Sound- Live from the Rum Puncheon (HHBTM)

Shoestrings- Expectations (Shelflife)

Dummy- Mandatory Enjoyment (Trouble in Mind)

The Catenary Wires- Birling Gap (Shelflife)

The Exbats- Now Where Were We (Goner)

Lou Barlow- Reason To Live (Joyful Noise)

Smoke Bellow- Open for Business (Trouble in Mind)

Massage- Still Life (Mt St. Mtn)

Divine Horsemen- Hot Rise of an Ice Cream Phoenix (In the Red)

Quivers- Golden Doubt (Ba Da Bing)

WAIT HERE’S 20 MORE (21-40)

Flowertown- Time Trials (Paisley Shirt)

Chris Brokaw- Puritan (12XU)

The Armoires- Incognito (Big Stir)

The Legal Matters- Chapter Three (Futureman)

Soursob- S/T (Hozac)

The Suncharms- Distant Lights (Sunday Records)

The Boys with the Perpetual Nervousness- Songs From Another Life (Bobo Integral)

John Sharkey III- Shoot Out The Camera (12XU)

Karen Peris- A Song Is Way Above the Lawn  (Bella Union)

Grand Drifter- Only Child (Subjangle)

Wavves- Hideaway (Fat Possum)

Boyracer- Assauged (Emotional Response)

The Black Watch- Here & There (Atom Records)

The Scientists- Negativity (In the Red)

Astral Brain- The Bewildered Mind (Shelflife)

Torres- Thirstier (Merge)

Painted Shrines- Heaven and Holy (Woodsist)

Sorrows- Love Too Late…the real album (Big Stir)

Beach Youth- Postcard (Shelflife)

Chubby & the Gang- The Mutt’s Nuts (PTFK)

  WAIT….HERE’S 25 MORE (41-65)

The Telephone Numbers- The Ballad of Doug (Meritorio)

Naked Raygun- Over the Overlords (Wax Trax)

Kevin Robertson- Sundown’s End (Futureman)

Goon Sax- Mirror II (Matador)

Dolph Chaney- This is Dolph Chaney (Big Stir)

The Brothers Steve- - Dose (Big Stir)

Guardian Singles- S/T (Trouble in Mind)

Matthew Sweet- Catspaw (Omnivore)

The Orange Peels- Celebrate the Moments Of Your Life (Minty Fresh) 

Mythical Motors- A Rare Look Ahead (self released)

The Swindon Lot- The Scariana Trench (Braxeling)

Corvair- S/T (Paper Walls/ WIAIWYA)

Kiwi Jr- Cooler Returns (Sub Pop)

Dinosaur Jr- Sweep it into Space (Jagjaguwar)

The Reflectors- Faster Action (Time for Action Records)

Eleventh Dream Day- Since Grazed (Thrill Jockey)

Damon & Naomi with Kurihara – A Sky Record (self released)

Scott Gagner- Bloodmoon (1977)

The Spires- Era Was (Artificial Light)

Ward White- The Tender Age (VF 14 Records)

The Gerunds- Hitsville, PA  (Uranium Rush)

David Christian & the Pinecone Orchestra- For Those We Met On the Way (Tapete)

Motorists- Surrounded (Bobo Integral) 

The Bevis Frond- Little Eden (Fire)

Teenage Fanclub- Endless Arcade (Merge)

  MY 10 FAVORITE COLLECTIONS

The Jazz Butcher- Dr Cholmondley Repents…  (Fire Records)

Tar- Tar Box (Chunklet)

The Dents- 1979-’80 Cincinnati (Hozac)

Monkey 101- Rust, Smuts and Heart Rot (Sister Raygun)

True West- Kaleidoscope of Shadows: The Story So Far  (Bring Out the Dead)

Trini Lopez- The Rare Reprise Singles (Omnivore)

The Palace Guard- All Night Long: An Anthology 1965-1967 (Omnivore)

Tangled Shoelaces Turn My Dial - The M Squared Recordings and more, 1981​-​84 (Chapter Music)

Linda Smith- Till Another Time: 1988-1996  (Captured Tracks)

Well Wishers- Spare Parts (self released)

  MY 10 FAVORITE REISSUES

Versus- Let’s Electrify! (Teenbeat)

Come- Don’t Ask Don’t Tell (Fire)

The Saints- The Most Primitive Band in the World (Radiation)

The Clean- Boodle, Boodle Boodle  and Tally Ho 7’ (both on Merge)

Lilys-  A Brief History of Amazing Letdowns (Frontier Records)

The Gun Club- Fire of Love and Miami (Blixa Sounds)

Adam Roth and his and of Men- Down the Shore, Original Motion Picture Soundtrack (Hozac)

Oh OK- The Complete Reissue (HHBTM)

Richard Hell & the Voidoids- Destiny Street (Omnivore)

Colin Blunstone- One Year (Sundazed)

 MY 10 FAVORITE EPs/singles

Ducks Ltd- Get Bleak (Carpark)

Tapes Waves- Bright (Emotional Response)

Jetstream Pony- Misplaced Words (Shelflife)

Massage- Lane Lines (Mt St Mtn)

Papercuts-Baxter’s Bliss (self released)

The Persian Leaps- Drone Etiquette (Land Ski records)

The Black Watch- The White EP (Atom)

The Resonars- “Gold to Blue” (Hypnotic Bridge)

Savak-  “Dealers” (digital single)

I Was a King- Twilight Anniversaries (self released)

[randomvarious]

The Nils - “Scratches & Needles” Someone’s Gonna Get Their Head to Believe in Something Song released in 1984. Compilation released in 1992. Punk Rock / Pop Punk

The history of the Nils is like that of so many punk bands: a band that was so good and had so much promise, but whose dreams of success were unfortunately dashed. Led by brothers Alex and Carlos Soria, the Nils formed in Montreal in 1978 when Alex was only 12 and Carlos, 15. Alex had a natural knack for picking up guitar concepts very quickly and assumed the roles of both lead singer and guitarist while Carlos played bass. By 1979, the Nils were playing live in Montreal and in ‘83 played with the Ramones and then with X. They were becoming a known entity in Montreal despite not having released a single.

By ‘84, they began to gain a buzz outside of their city. The song “Scratches and Needles” appeared on LA punk label Better Youth Organization’s (BYO for short) Something to Believe In compilation and was deemed by a lot of people to have been the album’s best track. This was ostensibly the beginning of something great for the Nils.

But BYO never followed up. The Nils went on release two EPs and an album between 1985 and 1987, but a confluence of corrupt and greedy people, bellied-up labels, and drugs ultimately did them in. There always seemed to be something holding them back. Sometimes it was of their own making, but a lot of times it wasn’t. There were a lot of unfortunate circumstances with people who didn’t hold the Nils’ best in mind that were controlling their fate.

The phenomenal “Scratches & Needles” was inspired by a night out between Alex Soria and three of his friends when they were 16. They found themselves at a basement party with a bunch of older, leather-clad punks who were on some serious drugs (probably heroin). Alex and his friends loved punk rock, but they hadn’t adopted its lifestyle or nihilistic ethos. Johnny C, a friend who was with Alex that night, recounts on his blog:

A young man, who from the moment we walked in struck us as really fucked up, began hurting himself. Badly. He had taken a beer bottle cap and began scratching the underside of his arm with it over and over again, his flesh turning pearly white until it began to bleed. The blood didn’t even stop this poor soul, and he didn’t show any indication of being in pain. I don’t know how many times that bottle cap went up and down that arm, but it was a sickening sight we never forgot. Not long after that we left and breathed a huge collective sigh of relief when we got outside, for once looking forward to the normalcy and safety of our suburban homes. On the following Monday at school, Alex told me he had written a song about what happened that night called “Scratches and Needles” and showed me the lyrics. Little did he know then what he wrote that weekend would ensure that we’d never forget that party. To our astonishment, it has become a Canadian punk classic.

The Nils specialized in pop punk before it was really a trendy thing. Pop punk, in 1982, when “Scratches & Needles” was written, was like power pop that used punk elements. The Nils seemed to take an inverse approach, playing punk rock with pop elements. There were other bands doing it, like Bad Religion, but the Nils weren’t aware of them back then.

“Scratches & Needles” layers a bunch of noisy and scratchy punk chords, both deep and high, and fashions them into energetically catchy melodies. Alex passionately narrates the shocking encounter from that basement party, chastising the guy who was making himself bleed as someone who was just embarrassingly craving attention. Despite its dark lyrics, the song emanates a hopeful and optimistic vibe, and Soria’s anthemic chorus, followed by his awesome solo in the final leg, only adds to those warm feelings.

A song that initially appeared to be the launching pad for the Nils’ success. They had the potential to be recognized as one of North America’s great punk bands, but unfortunately, due to a myriad of reasons, stalled out.

[judgment1964]

Top 100 Favorite Albums

1. Trout Mask Replica [Captain Beefheart & His Magic Band, 1969] 2. Paul's Boutique [Beastie Boys, 1989] 3. Judgment! [Andrew Hill, 1964] 4. The Hot Rock [Sleater-Kinney, 1999] 5. The Band [The Band, 1969] 6. 1977-1983 [Kleenex/Liliput, COMP, 2011] 7. Portrait of the Artist as a Young Man [Louis Armstrong, COMP, 1994] 8. Jack Johnson [Miles Davis, 1971] 9. Rain Dogs [Tom Waits, 1985] 10. Ghetto Blaster [Red Aunts, 1998] 11. Wild Honey [The Beach Boys, 1967] 12. The Transfiguration of Blind Joe Death [John Fahey, 1965] 13. Shiny Beast (Bat Chain Puller) [Captain Beefheart & The Magic Band, 1978] 14. Mode For Joe [Joe Henderson, 1966] 15. Come Out, Come Out [cub, 1995] 16. The Nightfly [Donald Fagen, 1982] 17. Big Band and Quartet in Concert [Thelonious Monk, 1963] 18. Swordfishtrombones [Tom Waits, 1983] 19. Good Old Boys [Randy Newman, 1974] 20. Crystal Gazing Luck Amazing [Compulsive Gamblers, 2000] 21. Mambo Nassau [Lizzy Mercier Descloux, 1981] 22. The Definitive Collection [Chuck Berry, COMP, 2005] 23. Gobi. The Desert EP [Monolake, 1999] 24. Arthur [The Kinks, 1969] 25. Dig Me Out [Sleater-Kinney, 1997] 26. The Great Reunion [Louis Armstrong/Duke Ellington, 1963] 27. whokill [tune-yards, 2011] 28. Watertown [Frank Sinatra, 1970] 29. The Yellow Princess [John Fahey, 1968] 30. Mose Allison Sings [Mose Allison, COMP, 1963] 31. Money Jungle [Ellington/Mingus/Roach, 1963] 32. Empyrean Isles [Herbie Hancock, 1964] 33. Odyshape [The Raincoats, 1981] 34. Orphans: Brawlers, Bawlers & Bastards [Tom Waits, 2006] 35. Highway 61 Revisited [Bob Dylan, 1965] 36. London Calling [The Clash, 1979] 37. Black Up [Shabazz Palaces, 2011] 38. Way Out West [Sonny Rollins, 1957] 39. Critical Beatdown [Ultramagnetic MCs, 1988] 40. Point of Departure [Andrew Hill, 1965] 41. Ultraglide in Black [The Dirtbombs, 2001] 42. Everybody Down [Kate Tempest, 2014] 43. Love, Power, Peace: Live at the Olympia, Paris, 1971 [James Brown, ARCHIVAL, 1992] 44. Complete Town Hall Concert 1947 [Louis Armstrong, ARCHIVAL, 1983] 45. NTS Sessions 1-4 [autechre, 2018] 46. Homogenic [Björk, 1997] 47. Faust [Faust, 1971] 48. Modern Vampires of the City [Vampire Weekend, 2013] 49. Singles - 45's and Under [Squeeze, COMP, 1982] 50. Star Time [James Brown, COMP, 1991] 51. Germfree Adolescents [X-Ray Spex, 1978] 52. Mars Audiac Quintet [Stereolab, 1994] 53. Safe as Milk [Captain Beefheart & His Magic Band, 1967] 54. Labour of Lust [Nick Lowe, 1979] 55. The Richard D. James Album [Aphex Twin, 1996] 56. The Velvet Underground [The Velvet Underground, 1969] 57. Droppin' Bombs [Trouble Funk, COMP, 1998] 58. The B-52's [The B-52's, 1979] 59. One Beat [Sleater-Kinney, 2002] 60. Jesus of Cool [Nick Lowe, 1978] 61. Small Faces [Small Faces, 1966] 62. Flamingo [Flamin' Groovies, 1970] 63. Saxophone Colossus [Sonny Rollins, 1956] 64. In My Own Time [Karen Dalton, 1971] 65. Giants of Jazz [Henry "Red" Allen, COMP, 1980] 66. Sonny Rollins/Sonny Stitt Sessions [Dizzy Gillespie, COMP, 1976] 67. Night at the Village Vanguard [Sonny Rollins, 1958] 68. Fear of a Black Planet [Public Enemy, 1990] 69. Five Guys Walk Into A Bar... [Faces, COMP, 2004] 70. The Singles [Bikini Kill, COMP, 1998] 71. Doc at the Radar Station [Captain Beefheart & The Magic Band, 1980] 72. Too Much Too Soon [New York Dolls, 1974] 73. 1928 Sessions [Mississippi John Hurt, COMP, 1979] 74. 12 Songs [Randy Newman, 1970] 75. Misterioso [Thelonious Monk, 1958] 76. Sgt. Pepper's Lonely Hearts Club Band [The Beatles, 1967] 77. Out to Lunch! [Eric Dolphy, 1964] 78. Small Change [Tom Waits, 1976] 79. At Folsom Prison [Johnny Cash, 1968] 80. Nikki Nack [tune-yards, 2014] 81. Village Green Preservation Society [The Kinks, 1968] 82. Atrocity Exhibition [Danny Brown, 2016] 83. The Blues and the Abstract Truth [Oliver Nelson, 1961] 84. Hokey Fright [The Uncluded, 2013] 85. 1999 [Prince, 1982] 86. Twin Fantasy (Face to Face) [Car Seat Headrest, 2018] 87. Monk's Music [Thelonious Monk, 1957] 88. Live in Tasmania [John Fahey, 1981] 89. Bitches Brew [Miles Davis, 1970] 90. Piñata [Freddie Gibbs/Madlib, 2014] 91. Mother 2 [Keiichi Suzuki, Hirokazu Tanaka, Hiroshi Kanazu, 1994] 92. Nation Time [Joe McPhee, 1971] 93. Oylam [Judith Berkson, 2010] 94. Tijuana Moods [Charles Mingus, 1962] 95. Live at Montmartre [Stan Getz, 1977] 96. Blowout Comb [Digable Planets, 1994] 97. The Hissing of Summer Lawns [Joni Mitchell, 1975] 98. Clear Spot [Captain Beefheart & The Magic Band, 1972] 99. Martes [Murcof, 2002] 100. Complete 1937-1941 [Lionel Hampton, COMP, 1976]

[i2m1]

150 fave songs 2 years ago

1.   Stand By Me…………………………………………………………...Ben E. King

2.   Strawberry Fields Forever……………………………………………...The Beatles

3.   Neighborhood #1 (Tunnels)……………………………………………Arcade Fire

4.   Runaway………………………………………………...Kanye West feat. Pusha T

5.   God Only Knows………………………………………………….The Beach Boys

6.   Heroin……………………………………………………The Velvet Underground

7.   Desolation Row…………………………………………………………Bob Dylan

8.   Hey Jude………………………………………………………………..The Beatles

9.   (White Man) In Hammersmith Palais……………………………………The Clash

10.  In The Aeroplane Over The Sea………………………………..Neutral Milk Hotel

11.  In The Mouth A Desert…………………………………………………..Pavement

12.  Be My Baby…………………………………………………………..The Ronettes

13.  Everything In Its Right Place……………………………………………Radiohead

14.  I Know It’s Over………………………………………………………..The Smiths

15.  Astral Weeks………………………………………………………...Van Morrison

16.  All My Friends…………………………………………............LCD Soundsystem

17.  Five Years…………………………………………………………….David Bowie

18.  Waterloo Sunset…………………………………………………………The Kinks

19.  Folsom Prison Blues (Live at Folsom Prison)……………………......Johnny Cash

20.  Killer Queen…………………………………………………………………Queen

21.  Say It Ain’t So……………………………………………………………...Weezer

22.  Family Affair……………………………………………..Sly & The Family Stone

23.  Worst Behavior………………………………………………………………Drake

24.  Video Games………………………………………………………...Lana Del Rey

25.  I Want You Back……………………………………………………The Jackson 5

26.  Say Yes……………………………………………………………….Elliott Smith

27.  Earth Angel…………………………………………………………..The Penguins

28.  I Want To Hold Your Hand……………………………………………The Beatles

29.  Good Morning, Captain……………………………………………………….Slint

30.  Digital Love……………………………………………………………...Daft Punk

31.  My Girls…………………………………………………………Animal Collective

32.  All I Want…………………………………………………………….Joni Mitchell

33.  Race For The Prize………………………………………………The Flaming Lips

34.  The Message……………………………...Grandmaster Flash & The Furious Five

35.  Avril 14th……………………………………………………………...Aphex Twin

36.  Ode To Viceroy……………………………………………………..Mac DeMarco

37.  God……………………………………………………………………John Lennon

38.  Once In A Lifetime………………………………………………….Talking Heads

39.  At Last…………………………………………………………………..Etta James

40.  Rollin’ Stone………………………………………………………..Muddy Waters

41.  Happiness Is A Warm Gun…………………………………………….The Beatles

42.  Bizarre Love Triangle…………………………………………………..New Order

43.  One………………………………………………………………………………U2

44.  1979…………………………………………………………...Smashing Pumpkins

45.  Sounds Of Silence……………………………………………..Simon & Garfunkel

46.  Gimme Shelter…………………………………………………The Rolling Stones

47.  A Day In The Life……………………………………………………...The Beatles

48.  Hey Ya!………………………………………………………………….....Outkast

49.  Pyramids………………………………………………………………Frank Ocean

50.  Falling For You…………………………………………………………..…Weezer

51.  Candy Says………………………………………………The Velvet Underground

52.  Heart Of Gold…………………………………………………………..Neil Young

53.  Another Morning Stoner………….And You Will Know Us By The Trail Of Dead

54.  Good Vibrations…………………………………………………..The Beach Boys

55.  Just Like Heaven………………………………………………………….The Cure

56.  Thunder Road…………………………………………………...Bruce Springsteen

57.  Life On Mars?………………………………………………………...David Bowie

58.  A Whiter Shade Of Pale……………………………………………..Procol Harum

59.  Fight The Power……………………………………………………..Public Enemy

60.  When Doves Cry…………………………………………………………….Prince

61.  Wanna Be Startin’ Somethin’…………………………………….Michael Jackson

62.  Radio Cure…………………………………………………………………...Wilco

63.  Where Is My Mind…………………………………………………………...Pixies

64.  You Got Me………………………………………….The Roots feat. Erykah Badu

65.  The Weight……………………………………………………………….The Band

66.  Stay Free…………………………………………………………………The Clash

67.  I Watched The Film The Song Remains The Same…………………Sun Kil Moon

68.  Coronus, The Terminator……………………………………………..Flying Lotus

69.  Mystery Train…………………………………………………………Elvis Presley

70.  White Winter Hymnal………………………………………………….Fleet Foxes

71.  Alright……………………………………………………………..Kendrick Lamar

72.  Drunk In Love…………………………………………………Beyonce feat. Jay-Z

73.  Hannah Hunt……………………………………………………Vampire Weekend

74.  Banquet………………………………………………………………….Bloc Party

75.  Flashing Lights…………………………………………...Kanye West feat. Dwele

76.  Alone Again Or……………………………………………………………….Love

77.  (Sittin’ On) The Dock Of The Bay…………………………………...Otis Redding

78.  Accordian……………………………………………………………….Madvillain

79.  Feels Like We Only Go Backwards………………………………….Tame Impala

80.  Crazy………………………………………………………………..Gnarls Barkley

81.  Serve The Servants…………………………………………………………Nirvana

82.  Protect Ya Neck…………………………………………………….Wu-Tang Clan

83.  Working Class Hero…………………………………………………..John Lennon

84.  Teeth Like God’s Shoeshine………………………………………..Modest Mouse

85.  Sunday Morning…………………………………………The Velvet Underground

86.  There Is A Light That Never Goes Out………………………………...The Smiths

87.  The Kids Are Alright……………………………………………………..The Who

88.  Hold On, We’re Going Home……………………………Drake feat. Majid Jordan

89.  The Boxer……………………………………………………...Simon & Garfunkel

90.  Mr. Brightside…………………………………………………………..The Killers

91.  Subterranean Homesick Blues…………………………………………..Bob Dylan

92.  Thirteen…………………………………………………………………….Big Star

93.  Planet Caravan………………………………………………………Black Sabbath

94.  Everything Is Embarrassing…………………………………………...Sky Ferreira

95.  Goodbye Yellow Brick Road……………………………………………Elton John

96.  Every Single Night…………………………………………………….Fiona Apple

97.  Say You Will………………………………………………………......Kanye West

98.  Nude……………………………………………………………………..Radiohead

99.  Running Up That Hill (A Deal With God)………………………………Kate Bush

100. Things We Said Today………………………………………………..The Beatles

101. The Wind Cries Mary……………………………...The Jimi Hendrix Experience

102. Wish You Were Here………………………………………………….Pink Floyd

103. Maps……………………………………………………………Yeah Yeah Yeahs

104. You Got Lucky……………………………….....Tom Petty & The Heartbreakers

105. Ocean Man…………………………………………………………………..Ween

106. Two Weeks…………………………………………………………..Grizzly Bear

107. A Change Is Gonna Come…………………………………………….Sam Cooke

108. Sunday………………………………………...Earl Sweatshirt feat. Frank Ocean

109. Paper Planes………………………………………………………………..M.I.A.

110. Bohemian Rhapsody………………………………………………………..Queen

111. Here……………………………………………………………………..Pavement

112. Roxanne………………………………………………………………..The Police

113. Tell Me Why………………………………………………………….Neil Young

114. You Never Give Me Your Money……………………………………The Beatles

115. A Message To You Rudy……………………………………………The Specials

116. Yonkers………………………………………………………..Tyler, The Creator

117. Clint Eastwood……………………………………………………………Gorillaz

118. Idioteque………………………………………………………….........Radiohead

119. Jesus, Etc.…………………………………………………………………...Wilco

120. What’s Going On……………………………………………………Marvin Gaye

121. Needle In The Hay………………………………………………......Elliott Smith

122. Back Of Your Head…………………………………………………….Cat Power

123. I’m Only Sleeping…………………………………………………….The Beatles

124. Really Love…………………………………………...D’Angelo & the Vanguard

125. Get Got……………………………………………………………….Death Grips

126. Svefn-G-Englar…………………………………………………………Sigur Ros

127. Psycho Killer………………………………………………………Talking Heads

128. Aerodynamic…………………………………………………………...Daft Punk

129. Sound And Vision…………………………………………………...David Bowie

130. N.Y. State Of Mind……………………………………………………………Nas

131. Watching The Detectives………………………………………......Elvis Costello

132. Such Great Heights……………………………………………The Postal Service

133. Nuthin’ But A G Thang………………………..Dr. Dre feat. Snoop Doggy Dogg

134. Postcards From Italy………………………………………………………..Beirut

135. Losing My Religion……………………………………………………….R.E.M.

136. Let’s Stay Together……………………………………………………...Al Green

137. Ever Fallen In Love?…………………………………………………..Buzzcocks

138. Redemption Song……………………………………………………..Bob Marley

139. Wouldn’t It Be Nice…………………………………………......The Beach Boys

140. New Slaves…………………………………………………………...Kanye West

141. Street Fighting Man…………………………………………..The Rolling Stones

142. Rolling In The Deep………………………………………………………...Adele

143. Like A Rolling Stone…………………………………………………..Bob Dylan

144. Butterfly…………………………………………………………………...Weezer

145. Ex-Factor……………………………………………………………...Lauryn Hill

146. BTSTU……………………………………………………………………Jai Paul

147. A Milli………………………………………………………………….Lil Wayne

148. Since U Been Gone………………………………………………..Kelly Clarkson

149. (What’s So Funny ‘Bout) Peace, Love And Understanding?……...Elvis Costello

150. September……………………………………………………Earth, Wind, & Fire

[foresthillsirisgardens-blog]

     Bluebird Haven Iris Garden is a Victorian show garden in the foothills of the Sierra Nevada Mountains of California. An acre of landscaped iris, daffodils, wildflowers, and a variety of shrubs and trees are surrounded by acres of row-cultivated iris. During the bloom season over 100,000 iris will be displaying their vibrant colors. Our garden features a Victorian gazebo, park benches, paths for viewing and selecting your favorite irises, and picnic tables for a leisurely lunch. We have a wide selection of outstanding iris varieties for you to choose from, featuring both antique and moderns.

Bluebird Haven Iris Garden may be reached at

(530) 620-5017

or e-mail mhess1863@innercite.com. Mary Hess said she would welcome anyone, service clubs or individuals, wishing to volunteer to help in her garden.

Printable Order Form-Page 1 (HTML Version)

Printable Order Form-Page 2 (HTML Version)

Catalog Key

Class      TB    Tall Bearded (greater than 28" tall)        MTB    Miniature Tall Bearded (small bloom, TB height)        BB    Border Bearded (15"-28" tall)        IB    Intermediate Bearded (15"-28" tall)        SDB    Standard Dwarf Bearded (less than 15" tall)        MDB    Miniature Dwarf Bearded (less than 8" tall)        AB    Arilbred, Oncobred, etc.   Bloom Time      E    Early        M    Medium        L    Late        Re    Rebloomer (blooms spring and fall or winter)   Color Type      Self    Iris of a single color        Bitone    Standards and Falls different shades of the same color        Bicolor    Standards and Falls of different colors        Blend    Two or more colors blended together        Plicata    Stitched, spotted or stippled color on different colored background        Halo    Falls have a distinct solid rim of  a color different from center   Description      S    Standards; the upper blossom petals        F    Falls; the lower blossom petals        B    Beard; the clustered hairs on the falls  

Mail Order Information

SOMETHING NEW! I now have over 4000 different cultivars in the garden. I did two huge rare iris garden rescues in the last two years. I have been asked to list my entire inventory, whether they are ready to sell or not for tracking purposes.  I have about 500 new to me entries going in and I am dropping those I've lost. In doing so, those that I have 5 or fewer of will be listed but no price (NFS- not for sale). Those will not be for sale in 2018. This year's catalog will be very fluid. Garden rescues are always challenging. Names will come and go as the bloom season progresses and I establish what I really have. I am also adding "RARE" to those found in two or fewer commercial gardens in the U.S. They need saving from extinction.With that, we are happy to announce our 2018 catalog!  This listing replaces all previous catalogs and price lists.  We offer a carefully selected variety of irises for your garden, including a rainbow of different colors, a variety of styles, different heights and bloom times.  Please use the order form above for your order and send in as soon as possible to ensure availability of all your selections.  Depending on the size of your order, you will receive one or more BONUS selections of our choice (but we love hints) with your order.  Minimum order is $10.00.

Terms

All prices are net. CA residents please add 7.25% sales tax.   Shipping fees are as follows:  There is a minimum $8 shipping and handling fee. Mississippi area please add $2, East Coast add $4.  Please include $8 for 1-9 iris, $9 for 10-14 iris, $10 for 15-19 iris, $12 for 20-24 iris.  Add $.50 for each iris after that.   Payment in full must accompany each order.  Your canceled check is notification of receipt and acceptance of your order.  Make checks payable to BLUEBIRD HAVEN IRIS GARDEN.  Sorry we do not take credit or debit cards or PayPal.

Shipping

We can ship anywhere in the U.S.  Since shipping is by USPS, please show a complete delivery address.  The main shipping season is July and August.  We do not ship outside the US.  Order Cutoff Date:  No orders will be accepted after August 15.

Substitutions

Supplies of plants are limited to available stock.  If we are out of stock on a particular iris, we will substitute a similar colored variety (of equal or greater value) only with your permission.  If you have specific irises you wish us to substitute with, please indicate them on your order.  PLEASE ORDER EARLY!  We try to list iris that we feel can meet all of the year's demand, but sometimes we do fall short.  PLEASE list several alternate varieties for substitutions OR give me a hint as to what goal you have in mind for your garden so that I can better serve your needs if you choose to accept substitutes.  We also often use your alternate list for our bonus iris.

Guaranteed Plant Quality

Our irises are guaranteed true to variety name.  Open your shipment as soon as it arrives.  If you cannot plant the rhizomes within a few days, store them upright in a cool, well ventilated place until planting.  If you are dissatisfied, we will replace or refund your order if you notify us of a problem within 14 days, and return the iris. We'll pay return shipping.  We cannot be responsible for weather or growing conditions in your garden.  Planting instructions are included with each order.

2375    

AACHEN

   Mahoney, J. 1982/83    TB    32    M    Self    RARE Laced and ruffled light red purple, yellow hafts veined greyed orange; B: yellow orange with 3/4" horns    NFS        3938    AACHEN ELF    Kennedy, G. 1984/84    MTB    20    M    Bicolor    RARE S:yellow, F:lavender, edged yellow, B:yellow    5.00        2210    

ACCENT

   Buss, W. 1952/53    TB    46    M    Bicolor    S:medium light yellow, F:rose-red, lines at haft on pale yellow ground, B:orange    5.00        1660    

ACCLAMATION

   Corlew, G. 1978/80    TB    35    M    Self    RARE Medium yellow with lighter center on falls, B:darker yellow    7.00        2465    

ACE OF CLUBS

   Hager, B. 1983/84    SDB    10    M    Self    RARE Yellow self, black signal; B:yellow    5.00        1298    ACROBAT    Williamson, B. 1977/80    TB    35    ML    Bitone    RARE S:medium violet, blended plum brown from midribs, 1/4" plum brown edge, F:silver lilac, 1/4" plum brown edge, B:lemon, tipped white    7.00        3831    ACROPOLIS    Berry, S. 1929/29    TB    48    EM    Bitone    S:mid blue-purple, F:dark blue-purple, B:yellow, tip blue-white    SO         618    

ACTRESS

   Keppel, K. 1975/76    TB    35    EM,Re    Self    Wisteria violet, Indian orange in throat, B:white base, bright orange tips    6.00        4080    AD ASTRA    Babson, S. 1964/67    TB    38    M    Halo    RARE S:medium yellow, F:white, edged yellow, B:white, tipped yellow    NFS        1009    ADAM    Craig, T. 1962/62    TB    38    EL    Self    RARE S:vineyard red, F:same but brighter    NFS        1309    

ADVENTURE BAY

   Plough, G. 1978/79    TB    36    EM    Bicolor    S:majolica yellow with pink infusion in center, F:dauphin violet with muted brown hafts, 1/4" blended border, B:nasturtium orange    7.00        2600    

AFFAIRE

   Blyth, B. 1992/93    TB    36    EM    Bicolor    S:blue-grey, F:greenish mustard, yellow around B, tan wash    8.00         997    AFTER DARK    Schreiners 1963/63    TB    44    EM    Self    RARE Dark violet-blue-black, B:deep red    6.00        3775    AFTERGLOW    Sturtevant, G. 1917/17    TB    36    M    Self    RARE Grayish lavender shading to rich yellow thru center, B:bronzy orange    NFS         855    

AFTERNOON DELIGHT

   Ernst, R. 1983/85    TB    36    M    Bicolor    S:lightly laced lt golden tan with lav infusion, F:lav with 1/8" golden tan border, gold shoulders, white infusion near yellow B; ruffled    8.00        3956    AGATINE    Schreiner, R. 1959/59    TB    34    M    Bitone    RARE S:copper brown-red, F:mahogany red    NFS        2601    

AGE OF INNOCENCE

   Kerr, F. by Stockton Iris 1994/94    TB    38    M    Halo    RARE PS:pure white, F:white, edged with sky blue rim, B:yellow, flaring    7.00        2003    

ALABAMA BOUND

   Foster, F. 1979/79    TB    36    E-M    Self    Big ruffled white self, lines deep in throat, B:orange; fluted    6.00        2448    

ALADDIN'S WISH

   Murawska, A. 1943/45    TB    32    E-L    Self    Blue plicata with brushed cream (gold) radiating through flower like sunrays; strong fragrance, unusual    5.00        3781    ALBERT VICTOR    Barr & Sons 1885/85    TB    40    M    Self    RARE Lavender violet self, blue lav. spear, B:bluish white, orange tips    NFS        1651    

ALBICANS

   Lange, J. collected 1860    SPC    20    E    Self    RARE Very old antique, white, somewhat fragrant; listed by some as PRINCESS OF WALES    7.00        4355    ALCALDE    Babson, S. 1968/68    TB    40    M    Self    Deep indigo violet self, B:blue    NFS        2985    ALCAZAR    Vilmorin 1910/10    TB    36    ML    Bicolor    S:mauve, F:dark purple, bronze and yellow center with veins,B:orange    6.00        2826    ALLEPO PLAIN    Sass, J. 1941/41    TB    30    L    Plicata    S:reddish brown on white, yellow at midrib, F:white, reddish brown speckled rim, yellow at haft with veins, B:yellow-orange    NRS         22    

ALI BABA

   Lyon, D. 1951/52    TB    38    M    Bitone    RARE Very pleasing color combination on this older variety. S:light red-brown, F:dark red-brown; B:gold w/ maroon flecks; fragrant    6.00        2284    ALICE HARDING    Cayeux, F. 1933/33    TB    36    M    Self    Soft medium yellow, semi-flaring, B:bright orange; strong fragrance    NFS        4193    ALL AFLAME    Plough, G. 1968/69    TB    37    EML    Bitone    RARE S:tangerine-orange, F:cadmium-orange, B:marigold-orange    NFS         894    

ALL THAT JAZZ

   Denney, D. 1981/82    TB    36    M    Bicolor    S:light yellow, F:dark wine, lines at haft, B:yellow    7.00         315    

ALLAGLOW

   Tompkins, C. 1958/58    TB    37    ML    Self    Sunburst gold, blended butterscotch and copper-yellow; colossal bloom    5.00         297    

ALLAH

   Doriot, H. 1956/57    IB    15    VE    Bitone     RARE S:light lavender blue, ribbed green, F:parrot green-brown, edged blue, B:orange tipped white; slight ruffle    3.00        2353    

ALLEGIANCE

   Cook, P. 1957/58    TB    38    M    Bitone    S:violet-ultramarine, F:roslyn blue, B:med blue, tipped yellow; Dykes Medal 1964    6.00        4221    ALLINE ROGERS    Kleinsorge, R. 1949/49    TB    34    M    Blend    Blend of pink to rose and gold at haft, B:orange    NFS        2936    

ALLURA

   Brown, O. 1968/70    TB    34    M    Self    RARE Lavender blue self, edges of F deeper, lighter in center, B:white brushed lemon    NFS        3935    AL-LU-WE    Sass, H. 1932/32    TB    40    M    Bicolor    RARE S:yellow, pink wash, F:red, tan rim, lighter midline, yellow haft with maroon veins, B:orange    SO        1682    

ALMOND BLOSSOM

   Craig, T. 1953/53    TB    40    M    Self    RARE Clear peach-blossom-pink, baby pink at haft, B:ibis pink; Good pink color for an older variety, lines at haft, GBF    SO         962    ALMOST GLADYS    Ensminger, A. 1978/82    TB    34    ML    Bicolor    RARE S:white with pink flush at base, F:coral pink with 1/4 inch white edging, B:red    7.00         494    

ALPINE CASTLE

   Blyth, B. 1979/79    TB    36    E-M    Self    S:white with faint blue infusion at edges, F:white, deepening from blue to violet at edges, B:tangerine    7.00        3838    ALPINE GLOW    Kleinsorge, R. 1944/45    TB    40    L    Self    RARE Rose tones with lilac influence, brown shading at haft, B:gold orange    NFS        2602    

ALPINE JOURNEY

   Blyth, B. 1983/84    TB    38    E-EM    Bicolor    S:snow white, F:golden yellow, B:golden yellow    8.00        2565    ALTA CALIFORNIA    Mohr-Mitchell 1931/31    TB    48    M    Bicolorf    RARE S:mustard yellow, F:olive, buff flecked, dotted, and veined, B:yellow-orange    5.00         463    

AM I BLUE

   Denney, D. 1977/77    BB    20    E    Self    RARE S:pale blue with intense navy blue infusion through midribs and styles, F:pale blue, B:deep navy blue    NFS         909    

AMADEUS

   Tompkins, C. 1989/89    TB    37    ML    Self    RARE A ruffled and flaring silver toned, orchid lilac blended with pale chicory blue, B:lemon white, tipped orange pink    7.00        2354    

AMAS

   Foster, M. 1885/85    TB    24    E    Bitone     Dark blue violet bitone, white at haft    5.00        1306    

AMAZON PRINCESS

   Nichols, H. 1971/73    SDB    14    E    Self    

Lemon yellow, B:orange with vivid red-brown halo on F

       4.00        3359    AMBASSADEUR    Vilmorin 1920/20    TB    40    M-L    Bicolor    S:smoky lavender, F:velvety purple- maroon, haft white, veined maroon, B:orange; yellow center, dark wire rim    6.00         946    

AMBER BEAUTY

   Schreiners 1982/82    TB    37    ML    Self    RARE Ruffled full golden yellow with amber cast,  S: slightly lighter, F: darker lines at haft,  B:rich gold    7.00         490    

AMBROSIA DELIGHT

   Niswonger, D. 1982/84    TB    36    M    Bicolor    S:white, F:orange, B:orange; slightly ruffled    7.00        3355    AMENTI    Sass, H. 1935/36    TB    36    L    Bicolor    S:grayish-yellow vinaceous, F:light violet mauve, buff edge, haft to end of B yellow with gray veins, B:yellow    6.00        4312    AMERICAN CLASSIC    Schreiners 1996/96    TB    36    E-L    Plicata    S:white, 1"violet blue edge, F:white, 1/2"violet blue plicata edging, B:light blue, tipped yellow; heavily ruffled    NFS         231    

AMERICAN HERITAGE

   Williamson, B. 1975/78    TB    33    E-M    Plicata    RARE Plicata: deep blue-violet on white, 1" purple wash on bottom half of F, B:lemon yellow, tipped lt blue    NFS         512    

AMERICAN SWEETHEART

   Sexton, N. 1983/8    TB    36    M    Bicolor    S:golden brown, F:rich black with gold haft markings, B:golden brown (orange)    7.00        1462    

AMETHYST FLAME

   Schreiner, R. 1957/58    TB    38    ML    Self    RARE Amethyst-orchid with pink sheen, warm amber wash on hafts; Dykes Medal 1963    6.00         252    AMETHYST SUNSET    Welch, W. 1972/73    MTB    12    E    Bicolor    S:light yellow, F:light lavender    5.00         56    

AMIGO

   Williamson, E. 1933/34    TB    34    M    Bitone    S:light lavender blue, F:rich deep velvety pansy purple, lines at haft, thin light blue-white rim, B:orange    6.00         160    

AMIGO'S GUITAR

   Plough,G. 1963/64    TB    36    EM    Bicolor    S:butterscotch with violet midrib, F:blue-violet, B:yellow; white area at haft w/ veins.    5.00         38    

AMITOLA

   Sass, H. 1935/36    TB    32    L    Blend    RARE S:blend of light lavender and buff w/ yellow undertones, F:light violet and lavender blending to buff yellow edge, B:yellow    NFS        1284    

AMOROUS EMBRACE

   Nelson, J. 1988/87    TB    34    M    Self    RARE Ruffled and laced baby-ribbon pink, B:tangerine    NFS        2874    

ANEMBO

   Bootes, G. 1958/59    TB    40    EML        RARE Light yellow self, lighter area in F; (name means peaceful)    5.00        3329    ANGEL BRIGHT    Rees, C. 1965/66    TB    36    M    Self    RARE White self with brilliant gold on haft, B:orange    NFS         876    

ANGEL CHOIR

   Schliefert, A. 1970/70    TB    32    M    Self    RARE Fluted pure white, B:pale yellow    5.00        1613    ANGEL SYMPHONY    Meek,D. 1979/79    TB    34    EM    Self    RARE White, heavy texture veining with hint of green, B:orange, tipped white    6.00         689    

ANGEL UNAWARES

   Terrell, C. 1970/70    TB    38    EM    Self    RARE Ruffled snow white, B:white, slightly yellow at haft    6.00        2603    

ANGELS IN FLIGHT

   Messick, V. 1995/95    TB    37    M    Self    White self with blue infusion up S and in middle of F, B:cream; ruffled    8.00        4067    ANGELS IN THE ARCHITECTURE    Silvers, T. 2017/17    SPX            Plicata    

S:white ground, blue-purple wide edge, F:white, blue-purple 1/2" rim, distinct purple veins at haft, B:orange, thin bluish end    

   NFS        4232    ANGIE    Smith, C. 1957/59    TB    36    M    Self    Imperial purple self    5.00        1119    

ANNA BELLE BABSON

   Hager, B. 1984/85    TB    36    M    Self    Intense deep pink; B:narrow tangerine    8.00        3536    ANNA ELVIRA NASH    Callis, E. 1939/41    TB    34    L    Self    RARE Light wine to pink toned self, darker on hafts and rims, B:white    5.00        2818    ANNE LESLIE    Sturtevant, G. 1917/17    TB    27    M    Bicolor    S:white, F:red -violet, white haft with heavy red-violet veining, yellow styles, B:yellow, tips brown    5.00        2124    

ANNE NEWHARD

   Weisner, J. 1948/40    TB    38    VL    Bitone     RARE S:med blue-grape F:rich velvety purple-black B:white/maroon/yellow    NFS        2115    ANNE-MARIE CAYEUX    Cayeux, F. 1928/28    TB    36    E    Blend    RARE Soft rosy-heliotrope with greyish amber, B:orange; great vigor, pinkish violet in effect    NFS         429    

ANON

   Gibson, J. 1974/75    TB    40    M    Plicata    S:carrot red, F:amber-yellow on rim, flushed brown-lemon on yellow-white ground, garnet-brown hafts, B:tangerine; ruffled and fluted    SO        2604    

ANSWERED PRAYERS

   Keppel, K. 1994/95    TB    36    EM    Bitone    S:sea shell pink F:white w/ shell pink rim, B:deep orange, lighter tip    NFS         15    

ANTHEM

   Schreiner, R. 1956/58    TB    40    M    Self    RARE Fuchsia-purple shot rose with bronze border, B:white base, yellow tips; wide flaring falls    6.00        2994    ANTIGONE    Cayeux, F. 1939/39    TB        M    Self    RARE Golden yellow self, B:bushy yellow-orange    NFS         87    ANTIQUE IVORY    Schreiners 1972/72    TB    36    ML    Halo    RARE Creamy white with light yellow border on S and F, B:yellow    6.00        3325    APACHE    Farr, B. 1926/26    IB        M    Bitone    S;copper vinous purple, lighter at base, F:dark crimson brown, heavy veining at haft on white, B:yellow    NFS        1275    

APACHE ROSE

   Meek, D. 1982/82    TB    36    EM    Plicata    S:cream-brown with gold wash, F:cream-brown, peppered brownish plum, gold halo, B:burnt orange; ruffled    6.00        1841    

APPLE VALLEY

   DeForest,F. 1958/58    TB    38    M    Self    RARE White, tinted pink, hafts deeper pink, B:pinkish tangerine; laced edges    NFS        2020    

APPLEBLOSSOM PINK

   Boushay, J. 1973/74    IB    18    E-M    Self    S:orient pink, F:white in center, darker pink at edges and hafts, B:white; short, very pretty    6.00        2858    

APPLEJACK

   Schreiner 1968/68    TB    37    L    Blend    Blend of russet brown to honey-peach, white w/ lines at haft, white line 1" below B, B:light orange; vigorous    6.00         636    

APPRECIATION

   Hager, B. 1983/83    TB    40    M    Bicolor    S:buff tan, gilt edge, F:orchid lavender, red-brown hafts, B:yellow    NFS         715    

APRICOT BLAZE

   Gibson, J. 1970/71    TB    37    M    Bitone    RARE S:apricot-buff, F:cream overlain by copper-amber, B:bright orange    NFS        4177    APRICOT GLORY    Muhlesteirn, T. 1948/48    TB    36    EM    Self    RARE Apricot self, hafts flushed deeper, B:apricot    SO         676    

APRICOT SUPREME

   Tompkins, C. 1951/51    TB    40    ML    Self    RARE Apricot-toned shell-pink, B:geranium red    5.00         964    

APRIL HOPE

   Gibson, J. 1979/80    TB    36    M    Bicolor    S:buff yellow-orange, F:violet with deeper violet veins, 1/4 inch brown rim, light brown hafts, B:yellow-orange; ruffled and serrated    6.00        4315    APROPOS    Babson, S. 1963/64    TB    38    M    Bitone    RARE S:pastel lavender, F:deeper lavender and still darker midvein, B:blue; ruffled    NFS        2979    ARABI TREASURE    Burnett, M. 1962/63    IB    18    E    Self    RARE Deep violet self, darker around beard, B:wide fuzzy blue    5.00         971    

ARABIAN TAPESTRY

   Niswonger, D. 1983/83    TB    34    M    Self    Ruffled reddish brown with violet blaze in center of F, B:gold    7.00        1710    

ARCADIA BUTTERCUP

   Milliken, C. 1947/47    TB    30    E,Re    Self    RARE Sparkling deep golden yellow    NFS        3570    ARCHEVEQUE    Vilmorin 1911/11    TB    24    M    Bitone    RARE S:deep purple violet, F:velvety raisin purple, B:orange, maroon tips;    6.00         383    

ARCTIC BLUSH

   Austin, L. 1958/58    TB    40    M    Self    RARE Pale pink, B:tangerine; large bloom    5.00        3545    ARCTIC WINE    Brown, A. 1963/64    IB    21    EM    Self    RARE Deep wine-red self, darker haft, B:bronze    5.00        4358    ARDIMAC    Sundt, E. 1959/59    AB/TB    26    EM    Bitone    RARE S:violet purple, F:maroon, black signal, hafts and styles veined, B:black    NFS        2449    

ARGENT

   Forbes. J. 1882/82    TB        M    Self    RARE Med grape, white at haft to below B with dark grape lines 3/4 way down F, B:white base yellow tips    6.00         165    

ARGUS PHEASANT

   DeForest, F. 1947/48    TB    38    EM    Self    Rich golden honey brown, bright coppery sheen, B:old gold; large bloom, somewhat flaring, Dykes Medal 1952; still a popular brown    7 .00        2312    ARIANE    Cayeux, F. 1935/35    TB    40    M    Plicata    RARE White ground with medium purple veining. Falls look like color was wiped and smeared in center, B:yellow    5.00        1026    ARKANSAS GIRL    Sexton, N. 1982/82    TB    36    M    Self    RARE Lightly laced green-gold, B:green-gold    NFS        2065    

ARKANSAS SKIES

   Rowlan, H. 1981/82    TB    35    M    Self    RARE Pale violet blue self, B:yellow, variable short blue-tipped horn    7.00        1121    

ARPEGE

   Schreiners 1966/66    TB    36    E    Bicolor    RARE S:mottled very light lavender-blue, F:dark blue-purple-violet, white at haft w/ lines, B:orange with blue tip; fades, GBF    6.00        4044    ARRIVEDERCI    Keppel, K. 2013/14    TB    37    ML    Bicolor    S:pale peach, soft lavender midrib, F:warm lavender blend, slight blue center, B:orange, lavender white end; heavily rufflled    NFS        3299    ARROYO    Schreiners 1973/74    TB    36    M    Self    RARE Dark brown self, feather tip of blue below brown-red-copper beard    NFS        2357    

ART SHOW

   Keppel, K. 1989/90    TB    34    M    Bicolor    RARE S:maise yellow blended peach beige except edge, F:cordovan red with 1/4" maise edge, upper 1/3 maise, striped cordovan, B:red orange; fragrant    9.00        2295    

ASHA MICHELLE

   Blyth, B. 1981/82    TB    38    M-ML    Bicolor    RARE S:lemon, F:creamy white, lightly stitched rose brown, lines of violet on F w/ midrib line part way down, B:yellow    6.00        3707    ASPENGLOW    Loomis, by E. Long 1956/56    TB    36    M-L    Self    RARE Rich full well formed saffron yellow; slightly ruffled, strong well branched stalks.    NFS        3395    ASTRO FLASH    Schreiners 1976/76    TB    37    M    Blend    Rich blend of golden brown with henna accent, heart-shaped area of blue on F, B:yellow to gold    NFS        1051    

ASTRO FLIGHT

   Rowlan, H. 1983/84    TB    33    ML    Self    RARE Lightly laced and ruffled wisteria blue self, darker lines at haft, B:yellow with 3/4" blue horn    7.00        3810    AT DAWNING    Kirkland, J. 1933/35    TB    36    M    Bicolor    RARE S:pale pink-mother of pearl, gold base, F:rose-pink, white haft gold lined, B:golden orange; better in shade    NFS        1056    

ATLANTIC RIPPLES

   Powell, L. 1974/74    TB    35    E-VL    Self    RARE Ruffled blue orchid, lighter at haft, B:blue    NFS        3779    ATROVIOLACEA    Todaro,A. 1856/56    MDB    6    EE    Bitone    RARE S:red-violet, F:deeper red-violet, B:thin white    6.00        2268    

ATTENTION PLEASE

   Mohr, H. 1973/74    TB    34    M    Plicata    RARE S:lilac purple with a few flecks of white, F:specturm violet on white ground washed with cream, B:orange-brown    7.00        3854    AUBURN    Kleinsorge, R. 1945/45    TB    39    E    Self    RARE S:coppery henna brown, F:sa,me with wide blue patch below B, B:orange    NFS        4077    AULD LANG SYNE    Spahn, F. 1981/82    TB    35    EM    Bitone    S:creamy pink, F:peach pink, B:bright tangerine; ruffled    8.00        2309    AUREA or I. VARIEGATA    variety id 1938    TB        E    Self    RARE Has varigated leaves of yellow and green. Waiting for bloom.    NFS        2855    

AURIFERO

   Mohr-Mitchell 1923/27    TB    40    M    Bitone     RARE S:soft lavender, F:flaring lavender flushed rose, white at haft with rich gold veining, B:golden yellow    5.00        3916    AUSTRALIS    Todaro, A. 1861/61    TB        M        RARE S:pallid blue-violet, veining red-brown, F:pale violet, gray inner haft, B:white, tipped yellow at base, projecting; nice fragrance    8.00         5    

AUTUMN APRICOT

   Thimsen, A. 1987/88    TB    30    M,Re    Bitone    RARE S:light orange, F:light orange, cream area below B,  B:red; ruffled    8.00        1186    

AUTUMN BLUSH

   Black, P. 1983/84    TB    33    EM    Bicolor    RARE S:mauve-pink with paler edge, F:cream with greenish cast, amber-rose hafts, pale pink suffused halo, B:deep sienna; ruffled and laced, frag    NFS        3138    AUTUMN CIRCUS    Hager, B. 1990/90    TB    34    E, Re    Plicata    S:white, lightly peppered blue-violet to solid edge, F:white, bold lines radiating from B, blue-violet plicata edge, B:white, blue tip    8.00         254    

AUTUMN DELIGHT

   Austin, L. 1952/52    TB    28    M,Re    Bitone    RARE S:amethyst pink, F:deep rosy mulberry, yellow haft with lines to end of B, B:yellow orange    5.00         809    

AUTUMN ECHO

   Gibson, J. 1973/75    TB    36    E,Re    Plicata    S:yellow speckled garnet-brown, rim flushed yellow, F:canary yellow, speckled garnet-brown, garnet-brown rim, small white signal, B:orange    7.00        2807    

AUTUMN KING

   Sass, H. 1924/24    TB        M,Re    Bitone    RARE S:light bluish purple. F:darker w/ lighter rim, B:white base, yellow tips    6.00         732    

AUTUMN LEAVES

   Keppel, K. 1972/74    TB    34    M    Bicolor    S:brownish yellow, F:maroon with brown edges, B:orange-yellow; ruffled    7.00        2848    

AUTUMN QUEEN

   Sass, H. 1926/26    SDB    12    E,Re    Self    RARE White;  rebloomer    6.00        1684    

AUTUMN ROSEMIST

   Austin, L. 1960/61    TB    34    M,Re    Bitone    S:misty buff pink, F:soft crimson pink, 1/4" darker rim, yellow at haft w/ lines, B:bright orange-yellow    5.00        1685    

AUTUMN ROSYCHEEKS

   Austin, L. 1963/63    TB    32    EE,Re    Bitone    RARE Light fuchsia-pink, mulberry cheeks on falls, lines at haft, B:red-orange; Wanted by many antique collectors.    5.00        1604    

AUTUMN SUNSET

   Lapham, E. G. 1939/39    TB    32    M,Re    Bitone    S:pale buff yellow w/ pale reddish violet wash, F:darker reddish violet w/ buff yellow blended rim, copper red at haft, B:yellow    5.00        3463    AUTUMN TWILIGHT    Brown, G.P. 1971/71    TB    33    M, Re    Bicolor    S:brownish yellow, F:lavender with brown edging, hafts ecru with lavender veins    6.00        1686    

AUTUMN VELVET

   Brown, G. P. 1962/62    TB    33    EM,Re    Bitone    RARE S:deep carmine, F:darker carmine with a velvety sheen, B:gold-bronze; short bloom stalks    6.00         742    

AVALON BAY

   Hamner, B. 1973/74    TB    36    M,Re    Self    RARE Ruffled bluebird blue, B:yellow, tipped blue    NFS        1192    

AVENGING ANGEL

   Williamson, B. 1980/84    TB    38    ML    Self    Ruffled burgundy red, B:burgundy    7.00        2606    

AWAKENING

   Meek, D. 1994/94    TB    35    ML    Self    S:deep pink with slight lavender infusion, F:pink to ivory from B to above lower rim, tan hint at haft, B:henna, lav-blue; sweet fragrance    NFS        2802    

AZTEC BURST

   Blyth, B. 1993/94    TB    38    VE    Bicolor    S:white, F:apricot to light orange, B:apricot tangerine    NFS         50    AZTEC COPPER    Kleinsorge, R. 1939/39    TB    38    M        RARE Lovely blend of smokey violets and coppper; slight fragrance    8.00         519    AZTEC STAR    Niswonger, D. 1981/81    SDB    12    M    Bicolor    RARE S:pale yellow, F:red, edged pale yellow, deeper yellow in throat, B:pale yellow    4.00        1243    AZURE LUSTER    Weiler,  J. 1981/82    TB    36    M-L    Self    RARE Ruffled clean light azure-blue, lighter area around B, maroon lines deep in throat, B:yellow; semiflaring, pronounced fragrance    7.00        2399    

AZURE WHIR

   Durrance, J. 1992/92    TB    35    E    Self    Ruffled light blue-grey self, B:light yellow tipped blue    NFS 

http://www.bluebirdhavenirisgarden.com/siteV2/catalog.html

[caveartfair]

The Overlooked Black Women Who Altered the Course of Feminist Art

Lorna Simpson, candid. Courtesy of the Brooklyn Museum.

In 1977, the Combahee River Collective, a black feminist organization, gathered in New Jersey for their second retreat, where they worked together to formulate a collaborative letter.  

The Heresies Collective, whose membership consisted predominately of white women, had just published its third feminist art journal, titled “Lesbian Art and Artists,” but had neglected to feature a single woman of color. The Combahee River Collective, which was formed to raise consciousness about race and gender issues, had assembled to craft a response.

“We find it appalling,” they wrote, “that a hundred years from now it will be possible for women to conclude that in 1977 there were no practicing Black and other Third World lesbian artists.”

The critical debate that it provoked was an expression of the complex and often tumultuous relationship between mainstream feminism and the black women who were so often excluded from it—a tension that continues today. The activities undertaken by black women to push back against their erasure, in the late ’60s through the early ’80s, effectively amounted to a desire for a revolution.

It is from this fervor that a current exhibition at the Brooklyn Museum gets its title: “We Wanted A Revolution: Black Radical Women, 1965-85.”

The show, which is one part of the museum’s year-long initiative to reimagine feminist art, “A Year of Yes,” highlights the work of black women artists during the height of second-wave feminism and serves as a record of their stories—to be remembered for the next hundred years and beyond.

Emma Amos, Sandy and her Husband, 1973. Courtesy of the Brooklyn Museum.

At the exhibition’s core are the many artist-run organizations that were developed during this time.

Among those represented is Emma Amos, the only woman and youngest member of the Spiral collective, one of the earlier groups included in the show. Spiral was conceived in 1963 against the backdrop of the Civil Rights movement. Its founding members, Romare Bearden, Norman Lewis, Charles Alston, and Hale Woodruff, met weekly to discuss the evolving role of black artists in the midst of social and political change.

The group would eventually invite Amos to join them after requesting to see examples of her work, a procedure that, she observed, other (male) members were not subjected to.

Amos’s work reflects the isolation she experienced in Spiral, as well as in the art world at large. In Sandy and Her Husband (1973), for instance, Amos painted her self-portrait, Flower Sniffer (1966), so that it appeared to hang on a living-room wall—her body is hunched over and her eyes pivoted in a fixed gaze at a couple embracing in the middle of the room. Amos is inside the painting, within the scene, and yet she is still found on the periphery.

Another figure featured prominently in the exhibition, Dindga McCannon, had invited a group of black women artists to her home in Brooklyn in 1971. Kay Brown and Faith Ringgold were among those who attended. The meeting, and the many that followed, would eventually lead to the formation of the Where We At (WWA) collective and one of the first professional exhibitions of black women artists. That June, the self-titled group show opened at Acts of Art Gallery in New York’s West Village.

Where we at, Cookin & Smokin Poster, 1972. Courtesy of the Brooklyn Museum.

Betye Saar, The Liberation of Aunt Jemima: Cocktail, 1973. Courtesy of the Brooklyn Museum.

“We Wanted A Revolution” features a rich collection of works and texts by the artists of WWA. McCannon’s three-dimensional collaged painting of a female warrior, Revolutionary Sister (1971), and Elizabeth Catlett’s jarring bronze bust of a black man staring blankly through the crosshairs of a target are both on view.

Elsewhere in the show, Betye Saar offers an emblem of the Black Power Movement with Liberation of Aunt Jemima: Cocktail (1973)—a rendition of a molotov cocktail that highlights the violent clashes between activists and law enforcement, as well as the aggressive, commercialized stereotyping of black femininity.

Crucially, many of the artists and activists featured in this exhibition had their hands in both the black feminist and black power movements of the ’60s through the ’80s. But their contributions were often overlooked.

One such figure is Ringgold, whose voice in this show displays just how intertwined the issues of gender and race were and still are. Ringgold, who was a key early member of WWA, appears in many forms throughout this history.

Moved by her concerns about the activist and former Black Panther party member Angela Davis’s imprisonment in late 1970, for instance, Ringgold set out to create a mural for the inmates at the Women’s House of Detention on Rikers Island. She conducted a series of interviews with the female inmates, in which many explained that they wanted to see narratives of women outside of typical domestic roles.

Faith Ringgold, For the Women’s House, 1971. Courtesy of Rose M. Singer Center, Rikers Island Correctional Center. © 2017 Faith Ringgold / Artists Rights Society (ARS), New York. Courtesy of the Brooklyn Museum.

Ringgold would ultimately create the large-scale painting For the Women’s House (1971) to be hung in the lobby of the facility. The mural, which is featured in the exhibition—only the second time it’s been shown since its removal from the island in 1999—is sliced into eight triangular scenes, with each one imagining different futures for these women, from shooting hoops on a basketball court to addressing the nation as the president of the United States.

The work represents a hopeful, revisionist view of the world—one in which women share the same mobility as their male counterparts.

The show spotlights not only groups and collectives, but also the protests and activities of community-run spaces that became the nexus for black art at the time.

Linda Goode Bryant’s Just Above Midtown (JAM), founded in 1974 and dedicated to showcasing artists of color, is one such example. Bryant and many other artists connected to JAM wrote critical letters in response to the outrage of an exhibition titled “The Nigger Drawings,” at Artists Space in 1979, which appear in this show.

In the later ’70s and ’80s, political expressions about the intersection of race and gender were seen more and more through the lens of personal narrative and performance. Senga Nengudi created anthropomorphous renderings of flesh-toned panty hose that were evocative of the female form, such as Inside/Outside (1977). Her works were often used as props in public performances.

Later works by Carrie Mae Weems and Lorna Simpson display a careful examination of the narratives around black identity. Weems’s Family Pictures and Stories (1978–84), for instance, aimed to challenge common perceptions of the black family as being broken and destructive, while Lorna Simpson’s iconic captioned images—the first of which, Gestures/Reenactments (1985), is displayed here—offer a complex reading of a black man’s experience as both victimizing and empowering.

Installation view of Elizabeth Catlett, Target, 1970, in “We Wanted A Revolution.” © Jonathan Dorado. Courtesy of the Brooklyn Museum.

By capturing this history, the exhibition hopes not only to revise the feminist canon, but also to fill in the backstory behind feminist and civil rights movements today. And it does not shy away from institutional critique—an article on display recounts an open hearing of women artists held at the Brooklyn Museum in 1971 and titled, “Are Museums Relevant to Women?” Nor does it try to overshadow the individual stories and perspectives of the artists it includes.

“One of the most important things that feminist art history has brought to the world is significant contributions to this idea of revisionism, of revising history, rewriting history, and writing people back into history,” says the exhibition’s co-curator Catherine Morris, senior curator of the Sackler Center for Feminist Art.

Including a show about black women within “A Year of Yes” emphasizes the dangers of a single narrative and the importance of engaging in more nuanced discussions about racial and gender inequality. “In order to effectively envision our future, we need to be able to talk honestly about our past,” Anne Pasternak, the museum’s first woman director, notes in the catalogue.  

This transparent and self-critical approach shaped the way that the institution brought the exhibition together. A year and a half ago, in the early stages of its preparation, the museum invited a group of artists—who would eventually be featured in the show—to have a discussion with curators about the exhibition.

Jan van Raay, Faith Ringgold (right) and Michele Wallace (middle) at Art Workers Coalition Protest, Whitney Museum, 1971. Courtesy of Jan van Raay. © Jan van Raay.

Courtesy of the Brooklyn Museum.

“It became clear that these artists wanted to tell this story themselves,” says Morris, who curated the exhibition alongside Rujeko Hockley, now an assistant curator at the Whitney. The two “became concerned about not wanting [the exhibition] to be written like it was a history that [they] were discovering,” and so made it a priority to privilege the voices and opinions of the artists over their own.

It’s accompanied by a robust catalogue featuring a carefully curated selection of historical texts that provide an additional opportunity to engage with these women’s voices. Together, the exhibition and catalogue form a kind of pseudo-curriculum, a comprehensive (and long-overdue) excavation of these women’s histories over 20 years.

Indeed this show is a grand achievement for the artists, curators, and historians involved, and is a welcome resource for the many young women who have long been taught that feminist art, political art, and art in general didn’t include faces like theirs.    

While the show raises timely questions about intersectional feminism, female representation, and gender inequalities—all urgent themes in Trump’s America—perhaps most pertinent is the show’s insistence on reminding us that black women have long faced the perils of a world in which their voices are silenced.

In this sense, “We Wanted A Revolution”  is the realization of a dream—for us all to finally sit back and listen.

—Yelena Keller

from Artsy News

[junker-town]

UCLA and USC are bringing 'Showtime' back to LA college basketball

For the first time in six years, both UCLA and USC have good basketball programs.

TEMPE, AZ — Steve Alford is a happy man.

Standing outside of the visitors’ locker room at Wells Fargo Arena, taking questions from the assembled media on hand, the coach of the UCLA Bruins finally has a moment to relax.

His star player, Lonzo Ball, is fine despite tweaking his right ankle earlier in the night.

His team, now ranked No. 3 in the country, is also fine after surviving a trap game at Arizona State. Two nights later, UCLA would travel to Tucson to face a top-ten Arizona team and win that game, too.

UCLA went 7-0 in the month of February, a month it entered on a two-game losing streak. The Bruins are playing a fun, entertaining brand of basketball, and they might be playing it better than any other team in the country at the moment.

Indeed, life is good right now for Alford and UCLA. In a year when the Lakers are near the bottom of the NBA standings and the Clippers are, well, the Clippers, the Bruins are the best show in town.

That doesn’t mean they are the only show in town, however. And while they are helping to make the city of Los Angeles into a college basketball town again, that’s an undertaking that can’t be done alone.

* * *

If February was a dream for the Bruins, it was a nightmare for the USC Trojans.

USC finished February with four straight losses and did not post a victory against a team ranked higher than No. 10 in the Pac-12 standings. The last of those losses was the one that hurt the most, a game in which Andy Enfield’s team led the Sun Devils by 10 points with less than three minutes remaining before going on to lose by one.

“We're going to come back even harder,” Trojan forward Bennie Boatwright said after the loss. “We won't sulk on it. We just need to wash our hands and move on.”

Despite the skid, USC is still in good shape to earn an at-large bid into the NCAA Tournament. It began the season at a torrid pace, winning 14 consecutive games.

No win was bigger than the one that came on January 25 inside the Galen Center when the Trojans took care of then-No. 8 UCLA, sending the Bruins home with an 84-76 loss.

Photo by Jayne Kamin-Oncea/Getty Images

The victory marked Enfield’s first win against a nationally-ranked UCLA team, a moment he’s been building towards ever since infamously telling his players back in 2013, "If you want to play slow, go to UCLA."

That comment was made just months after Enfield rose to fame at Florida Gulf Coast and Dunk City, leading the Eagles to a Sweet Sixteen trip before being hired away by the Trojans.

He took some criticism for the quote (that first USC team finished 11-21, while the Bruins went to the Sweet Sixteen), but the reasoning behind it was sound. Enfield wanted the rivalry to be as competitive as it used to be, and after four years, it finally is.

The fourth-year coach has been a force on the recruiting trail, bringing in four-star prospects like Boatwright, Jordan McLaughlin, Elijah Stewart, and Chimezie Metu. He has also made the school an attractive place for high-profile transfers, welcoming in former Duke point guard Derryck Thorton Jr. and Louisville small forward Shaqquan Aaron.

The epitome of a players’ coach, Enfield has been quick to accept criticism and deflect praise throughout the season. That was true after the Trojans’ collapse in Tempe.

“We aren’t going to put the blame on anybody except me,” said Enfield. “It’s a collective effort and we’re in this together. We've had a great season with some tough losses as of late, so now we have to bounce back.”

The Trojans got back to their winning ways last week by thumping Washington State and Washington inside the Galen Center, keeping them on the right side of the bubble heading into the Pac-12 Tournament.

When asked for his thoughts on his team’s NCAA Tournament chances, junior shooting guard Elijah Stewart didn’t seem concerned in the slightest.

“I feel like we should be fine,” Stewart says. “We just have to take it game by game, but I’m not worried about that.”

Barring a surprise, USC should hear its name called on Selection Sunday for a second consecutive year, something that hasn’t been done since the days of O.J. Mayo, Nick Young, and Taj Gibson.

For the first time in six seasons, they will be joined in that tournament field by crosstown rival UCLA.

* * *

The Bruins are 28-3 and are led by the always calm, always cool Lonzo Ball.

Ball’s name is cool. The way he walks onto the floor for pregame warmups — behind the rest of his jogging teammates — is cool.

Ball never shows too much emotion, because caring too much about anything isn’t cool.

At one point in the Arizona State game, he tried a nifty but ill-advised behind the back pass to save the ball underneath his own basket, and it led to a pair of Sun Devil free throws. Seconds later, he stood with his foot over the lane line, daring an official to call a lane violation.

He gets away with these things because he’s Lonzo Ball, the best player on one of the best teams in the country. You may have seen him pulling up from 30 feet to hit a dagger three-pointer, or flying high for alley-oops once not thought to be possible.

Oregon led UCLA by as many as 19 points. Then Lonzo Ball took over and willed the Bruins to victory: https://t.co/eJUnmm80Ua http://pic.twitter.com/YHHoc7v8zI

— SB Nation CBB (@SBNationCBB) February 10, 2017

But while Ball (or his father) might make the majority of the headlines, UCLA’s full cast of characters is plenty deep.

There’s TJ Leaf, the imposing freshman forward that is second on the team in scoring. The coach’s son, Bryce Alford, has made more three-pointers than any power conference player in the country. Isaac Hamilton, Thomas Welsh, and Aaron Holiday are all averaging double figures as well.

Holiday is scoring at a clip of 13 points per game and plays starter minutes for Alford, but the point guard has come off the bench in all 31 games this season. He started every single game in his first season.

“I just have to come in with an aggressive mindset,” says Holiday. “Coming off the bench cold, you can’t be passive. So being aggressive gets me going and helps everyone in the long run.”

One more bench player, freshman Ike Anigbogu (a raw but talented big) rounds out a seven-deep rotation for the Bruins that few teams across the country can match.

“It's a fun group to coach and a fun group to be around,” Alford said after the win in Tempe. “I think we are really starting to grow and hit our stride. We're playing good basketball right now so hopefully we can continue that.”

The city of Los Angeles loves a winner, and the legendary Pauley Pavilion — notoriously tough to fill when the home team is struggling — has been hopping since December.

The Bruins are averaging more than 10,000 fans a game at home, and the fact that they lead the conference in road attendance is evidence that their brand just as strong as it used to be.

To watch a UCLA game now is to watch any UCLA game ever. The Bruins play in the same arena, in the same neighborhood, wearing the same uniforms they have since the 1960s.

Pauley can still rock like it did back in the good ol' days (if you don’t know what those days entailed, block out five hours and ask a UCLA fan). Getting to a game entails driving through swanky areas like Beverly Hills, Brentwood, or Bel-Air.

The jerseys still have the same four letters arcing across the chest, and the blue and gold coloring reeks of old school, blue blood, college basketball tradition.

From 1962 to 1976, the Bruins went to the Final Four on 13 separate occasions. They’ve been back to the sport’s promised land just five times in the past 40 years, however, and their last trip was in 2008.

Photo by Jed Jacobsohn/Getty Images

Throughout the season, the narrative has been “UCLA has Final Four potential if it could only play defense.” Alford and company have been hard at work trying to change that, and they may have hit a breakthrough.

His team hasn’t given up more than 80 points in a game since that late-January loss at USC, and they haven’t had to slow down their high-octane offense to achieve that. The Bruins have won all nine games since that loss, scoring at least 95 points in four of them and reaching triple digits twice.

“We've done a really good job of defending in this stretch,” says Alford. “Our defense is getting better, our efficiency is getting better, and you can see that every time we get a stop and get out into transition, that's when we are very good.”

* * *

The story goes like this.

In 1979, a USC alum and businessman named Jerry Buss purchased the Los Angeles Lakers. Buss had two goals for his new franchise: Make the team good, and make the entertainment level just as high.

He modeled some facets of the team’s arena after a popular Santa Monica club, which included dimming the crowd lights and turning the Forum Club into the hottest nightclub in the city.

Photo by Stephen Dunn/Getty Images

Basketball-wise, he wanted the Lakers to play an up-tempo, high-offense brand of basketball. Specifically, he wanted his games to feel like the ones played between the Trojans and Bruins at the college level.

Those Lakers would go on to be known as Showtime, winning a total of five NBA titles while putting on the most entertaining show in basketball in the process.

It’s a reach to say that college basketball in Los Angeles will ever return to the consistent levels of excitement that pre-dated and inspired those Laker teams, but we could be in the first stages of something close.

UCLA doesn’t play slow anymore. In fact, no team in the country plays at a more efficient and fast pace than the Bruins do.

On the other side of town is USC, a team with far less tradition but a future that is nearly as bright.

Luckily, the city is big enough for the both of them.