#Byrd museum

[desertsquiet]

The Sweetheart of the Rodeo Byrds

[stevie-baby]

Some pictures I got at the Western Edge exhibit at the Country Music Hall of Fame

They haven’t finished installing the exhibit yet (I think Michael Nesmith’s suit, The Hat™, and a few other pieces are still on display at the Troubadour for the remainder of the year). I have more in my camera roll, but I had to post Gram’s iconic white suit (plus Sneaky Pete & Chris’ suits) and his International Submarine Band era jacket. It was such a good exhibit and my poor friend had to listen to me tell every bit of history and fun fact I had because this era and niche of music has been my special interest for years. I also actually accidentally started leading a tour through the exhibit because a few older people started following to listen to all my history rants lol.

[justforbooks]

Trina Robbins

American cartoonist and author whose pioneering work in comics included being the first female artist to draw Wonder Woman

The American illustrator and writer Trina Robbins, who has died aged 85, began her career in comics in her native New York in the 1960s as a contributor to the counterculture newspaper East Village Other. She also drew and wrote strips for Gothic Blimp Works, an underground comic.

Then came comic strips, covers and spot illustrations for the underground publications Berkeley Tribe and It Ain’t Me, Babe, often described as the first feminist newspaper, before before she put together an all-women comic, It Ain’t Me, Babe Comix (1970), followed by the anthology All Girl Thrills (1971) and the solo comic Girl Fight Comics (1972).

Her black heroine, Fox, was serialised in Good Times (1971) and another of her characters, Panthea, who first appeared in Gothic Blimp Works (1969), was a regular in Comix Book (1974-76).

She also became one of the 10 founders of Wimmen’s Comix, an all-female underground comics anthology published from 1972 to 1992, and in the late 70s was a contributor to High Times, Heavy Metal, National Lampoon and Playboy.

Later she adapted the 1919 novel Dope, by Sax Rohmer, for Eclipse Comics (1981-83) and wrote and drew Meet Misty (1985-86) for Marvel. She was also the first woman to draw Wonder Woman, in The Legend of Wonder Woman (1986).

Robbins’ wider interest in the history of girls’ comics led her to co-write a book about the genre, Women and the Comics (1986), with Catherine Yronwode, and later A Century of Women Cartoonists (1993), followed by a number of biographies of female comic pioneers, including Nell Brinkley, Lily Renée, Gladys Parker and Tarpé Mills.

Born in Brooklyn, she grew up in Queens, where her mother, Bessie (nee Roseman) was a teacher. Her father, Max Perlson, was a tailor who later wrote for Yiddish-language newspapers and published a collection of stories, A Minyen Yidn (1938), that was turned by Trina into a comic anthology in 2017.

At the age of 10 she graduated from reading wholesome animal comics to Millie the Model, Patsy Walker and others with female protagonists. The Katy Keene comic was especially influential, as it encouraged Robbins to make paper dolls and design clothing for them. She was also a huge fan of the jungle adventuress Sheena.

Having discovered science fiction at 14, Robbins began attending conventions, and at one such gathering she met the short story writer Harlan Ellison. At 21 he was five years her senior, but they dated briefly and he later wrote her into his film The Oscar (1966) as Trina Yale, played by Edie Adams.

Trina attended Queens College before studying drawing at Cooper Union, although she dropped out after a year. In 1957 she married the cartoonist Art Castillo; they moved to the Bay area of Los Angeles until he disappeared to Mexico and the relationship ended.

Working for a time as a model for men’s magazines, she was a cinema usherette when she met Paul Robbins, whom she married in 1962 following Castillo’s death. Her new husband wrote for the LA Free Press, which gave her access to the Byrds, Bob Dylan and other musicians, and she began making clothing to sell to musician friends, including Mama Cass.

Returning alone to New York in 1966 (she and Robbins eventually divorced, in 1972), she opened a boutique called Broccoli on East 4th Street, making clothes for exotic customers and having flings with a number of them, including the Doors’ singer Jim Morrison and the activist Abbie Hoffman; she also had longer relationships with Paul Williams, editor of Crawdaddy magazine, and the cartoonist Kim Deitch, with whom she set up a cartoon art museum on East 9th Street.

Her clothes-making got her into a song by Joni Mitchell, who wrote in Ladies of the Canyon that “Trina wears her wampum beads / She fills her drawing book with line / Sewing lace on widows’ weeds / And filigree on leaf and vine”.

After she had sold her boutique in 1969 and began to make her living in comics, there was no looking back.

Apart from her writing and illustrating activities over the years, in 1994 she became one of the founders of Friends of Lulu, a US-based charity that promotes the reading of comic books by women and the participation of women in the comic book industry.

Her later work on the history of women in comics produced three further books, From Girls to Grrrlz (1996), The Great Women Cartoonists (2001) and Pretty in Ink (2013).

She also wrote a number of books for children, starting with Catswalk: The Growing of Girl (1990), and including the Chicagoland Detective Agency series (2010-14) of bizarre high school mystery adventures.

For adults she wrote The Great Women Superheroes (1996), Eternally Bad: Goddesses With Attitude (2001), Tender Murderers: Women Who Kill (2003) and Wild Irish Roses: Tales of Brigits, Kathleens and Warrior Queens (2004).

Her most recent comic was Won’t Back Down (2024), a pro-choice anthology.

She is survived by her partner, Steve Leialoha, a daughter, Casey, from her relationship with Dietch, and her sister Harriet.

🔔 Trina Robbins, writer and illustrator, born 17 August 1938; died 10 April 2024

Daily inspiration. Discover more photos at Just for Books…?

[angeloftheodd]

Y2K Hippie Girl ✌️🌈🩵

I went to see a Byrds cover band last Sunday at The Long Island Museum. 💜 I first visited this place during the y2k era, and I happened to be wearing y2k fashion this time. It was a nostalgic coincidence. ✨

I recently fell and hurt my foot, so I haven’t been as active recently online or IRL. I limped the short distance from the car to my seat and back, but the groovy show was worth it!

🍒 My Instagram (angel0fthe0dd) 🍒

🦋 My Bluesky (angeloftheodd) 🦋

🍓 My TikTok (angeloftheodd) 🍓

[euripidesredux]

Extended credits for Museum at Tomorrow episode 5

Below the cut are all of the folks who I used (and asked to be credited) for recordings in Museum at Tomorrow episode 5- specifically, the "This is not for You" recordings.

(The list was too long for podcast episode descriptions)

These recordings were mixed into the soundscape of the show, heavily processed- so you may or may not be able to pick out your voice. Each unique recording is preserved as rhythem, timber, and shape within the episode.

Thank you for your work in creating the canvas of this piece.

Kate Bullen

K R Forsyth

Vega Jacobsen

Charlie

Rovi

Grace Gamble 

Wesley Lee Balete

Charlie Sloykowski

JC Hendry

Courtney Brothers

Arabella McDonald

Hanc Finestra

Katie H

Galacticguppy 

Beck Smith

GreenHeronHive

Micheal Vee

Mira Singer

Laurent J.L. Hall

Carley Mothersell

woaaah

cmt

November_Clouds

Elliott Neptune

Enrica Jossi

Ace

Jahan Shah 

Morgan Galagher

Niall LG

  Bates

Caroline Mincks

Daniel Kurtz

AJ Fidalgo

Tani

Shura

Zedek H

Halebop

Malia Northstar

Greg Ruddick

Solstice Hannan

Jessamy Thomison 

Cassie A.

Rachel Spokony

miss mr meow

Arti Richardson

Mattie J.

Geddy Cary-Avery,

 Ophelia Cary-Avery

Sophie Kaplan

X Speaks

Devin

Craux

Cap

Joe R

Ray Goldberg

Mog

The Marble System

Tina Case

Kate Bullen

Marionette

LD

Maddy Searle

Remi P

Meg Taylor

Beth

Evan Tess Murray

Amanda Jones

Amanda Ehrhardt

Nathan Fisentzou-Haji-Leonti

Johanna Andersson

Tess Huth

@faeriebullshit

Olivia Lion

Ange

Bridget M. Mueting

Wil Williams

Katie Utke

aceofgames

Savy Stay

Graham Rowat

Meredith

spaceacebreakface 

Molly Walsh

Belinda Parker

Erin Celovsky

liz

Caden Osojnak

Danniac 

Ray Schrader

Atlas Byrd

AJ. S.

JayseHasNoGrace

Fay Blackmore

Sharon Peterson

Katharina Abschlag 

Izzy

Ace Tayloe

kat B

Siz Hart

moth

Kathryn Cox

G. Honnigford

Pine Gonzalez

sisyphus

Essay

artie eigengrau

Rook Davis

Izzi Mata

grayson

Tamara Jones

Willow

G.F.

Leigh sharpe

Zelda MacFarland

Arkyn Wolf

Elany

Elaine Wiley

Mary Lewis-Phillipps

Claudia Elvidge

Kei Burke

Katie Vargas

Karleen Preator

Alicia Babich

Jonathan Sciance

Étoile

Hayden Laver

Barrett Vann

S Kramer

Maya Hiers-Lairson

judas

Archer Hickerson

Malinda

Nicole Liang

LF Haye

Louis Carroll

Stefanie K.

Autumn Wang 

jayvin

Badger Merriweather

Aiden

Sender Paulson

vexxervee

Rob Weiner

Peril

Lotte Schmidt 

fynn

Lor

Josie D. 

Jaryn Tyson

Common Blue Icarus

resplendeo

Claire Alpern

skelejor

Matt Weiss

M Zemlock

Kay Eileen

Callisto Holmes

Rhys

Noah Quinn

Sarah Elizabeth

Willow Belden

Amanda McCormack

Esrah Del Carlo

sunny

the Hartmans

Lee Ann Eden

Bob Proctor

Clueless

deda eliensis

Ohallo

Tara Schile

Marzi 

Flameheart Dryad

Sarah Lambrix 

JB Segal 

Ellis C

Ash

Autumn

Jaime Tamar

Haze Peers

Moose

Erin Bevan

Luci Tomich

Bryn

Michael W.

Kim Fukawa

Amy Strieter

Petra Hall

Mal

Charlie Rayshich

Susan Weiner

Everett Blackthorne

Vergess

Tor

ArionWind

M. Alti

N. B. Green

Aiden Nicholson

Jacky Rubou

Nura Lawrence

Gwen Clancy

Ollie M.

Caroline

Duo

Iris

ML Beck

Ray Makowski

Eljay Rich

MV8

Michelle Pigott

Rachel Pfennigwerth

Janika

Jamie Gump

Mason J Miller

Ella Watts

Cole

Mady Oswald

Valerie "ShinyHappyGoth" Kaplan

Anne Baird

Emily Ricotta

el-draco-bizarro

Ansel Burch

Nathan Sowell

LM Heß

Cy

Richard Peers

[aaliyahunleashed]

#OnThisDay September 19, 1999 Aaliyah snaps a photo with American film director, producer, and screenwriter Jeffrey W. Byrd @byrdjeff while on set of the “Holiday” music video for Naughty by Nature.

For Aaliyah’s scene, fans walk into a Hip Hop Museum that contains a very small hip hop gallery for the visitors viewing pleasure. On a digital pad, fans select various hip hop artist who digitally appear before them; one of the options being Aaliyah. After hitting “Enter”, a realistic digital hologram-like figure of Aaliyah appears while dancing to the music.

"Holiday" is the fourth and final single released from American hip hop trio Naughty by Nature's fifth album, Nineteen Naughty Nine: Nature's Fury. The album itself was released on October 5, 1999.

WHAT ELSE HAPPENED AROUND THIS TIME FOR AALIYAH (1999) >> Aaliyah had just appeared at the 1999 MTV VMA’s two weeks prior (9/9/99) and had just finished wrapping up her scenes for her first movie (Romeo Must Die); Principal photography for the movie ended on July 23, 1999.

[last-flight-of-dickarus]

Would anyone be interested in reading a paper on American involvement in Antarctic exploration pre-WW2? It was my final paper for a maritime history class, and it's one of the best I've ever written.

I used first editions of several explorer's autobiographies, along with letters and photographs from their personal files that have ended up in the archives of the museum I work at.

Highlights include the United States Exploring Expedition being such a disaster that the US didn't return to Antarctica for 80 years and Richard Byrd nearly dying of long-term carbon monoxide poisoning, but surviving to name huge pieces of the continent after his wife and friends and then lead 2 more Antarctic expeditions.

@shark-from-the-park you might like this one

(I also have over a hundred photos from Douglas Mawson, Richard Byrd, and Lincoln Ellsworth's autobiographies and personal correspondence if anyone needs a polar pic dealer)

Polar posting going so good on this site I have 10 wikipedia tabs open and 3 books laying around to understand the shitposts

[dankusner]

‘Project a Black Planet’ a history-making survey of Pan-African works at the Art Institute -

The Art Institute of Chicago’s “Project a Black Planet: The Art and Culture of Panafrica” is massive, featuring 350 works of art, with paintings, sculpture, video and audio, as well as historical objects and ephemera spanning a century.

As you travel room to room, the seldom-heard voice of Marcus Garvey and soothing contemplations of Audre Lorde wash over you.

Co-curator Antawan Byrd, associate curator of photography and media at the museum and an art history professor at Northwestern University, said this exhibition — which runs through March 30 and will travel to Barcelona, Brussels and London after its debut here — is likely the first of its kind.

“The museum has a very strong track record of mounting exhibitions that feature Black artists,” said Byrd.

“For example, there was a fantastic show that I helped organize on the Medu Art Ensemble, which is an anti-apartheid South African artist collective, a few years ago.

But on this scale, to my knowledge, it’s pretty unprecedented.”

This interview has been condensed and edited for clarity.

Q. So, let’s start at the very beginning with a definition. What is your definition of Pan-Africanism?

A. For me, Pan-Africanism is a philosophy. It’s an ideology. It’s a worldview that is about solidarity among Black people worldwide. It’s an idea that essentially claims that the fates of Black people globally are intertwined, and that through cooperation, through forms of solidarity, a better, more equitable future becomes possible.

Q. How does this exhibition realize that definition?

A. It’s less about wanting to realize that definition than it is about showing how artists and ordinary people throughout the long 20th century have been influenced by that idea. So, how have they been influenced by the idea of solidarity on a global, worldwide scale? And so, the exhibition tries to introduce the audience to different ways that Pan-Africanist ideas have inspired the work of artists.

Q. The Art Institute is co-presenting this exhibition with the Museum of Contemporary Art in Barcelona and KANAL-Centre Pompidou in Brussels. Why do this right now?

A. As a curator and art historian, I’m always interested in analyzing the history of exhibition-making. Pan-Africanism as an idea was always latent in a lot of other exhibitions, and sometimes it took different terms. So, Black Transnationalism or Afro-Modernity or Afropolitanism, but there had never been a robust analysis of Pan-Africanism and its influence on art and culture. So, we felt that because we’ve had all of these precedent exhibitions, now is the time to actually try to realize this project. Beauford Delaney. Self-Portrait in a Paris Bath House, 1971. Knoxville Museum of Art, 2018 Delaney purchase. © The Estate of Beauford Delaney.

Q. Is there one piece in this exhibit that you believe captures the essence of the Pan-African art movement?

A. One that resonates with me a great deal is a self-portrait by the African American artist Buford Delaney. It’s called “Self-Portrait in a Paris Bath House,” and it was made in 1970, and it was one of the last self-portraits that Buford Delaney ever produced.

For many people, they’re familiar with Delaney’s portraits of other people: James Baldwin or Marian Anderson, for example, or the work that he did in abstraction. But this self-portrait is powerful because throughout his life, he always wanted to travel to Africa, and he was never able to act on that desire. And so, he depicts himself at the center of a kind of African imaginary. He’s sitting on a wooden stool that makes references to West African Ashanti royal culture. He has adorned himself with beads and other accessories that allude to East African Maasai culture. And then, surrounding him in this painting, are these references to Egyptian hieroglyphs.

… He’s projecting himself at the center of an African worldview. To me, that speaks to the title of the show, but also, it speaks to how very little details, very sort of powerful details that we sometimes overlook, can have a huge influence on the way that the artist sees themselves. Ebony G. Patterson. Invisible Presence: Bling Memories, 2014. Courtesy of the artist and Monique Meloche Gallery, Chicago.

Ebony G. Patterson, “Invisible Presence: Bling Memories,” 2014.

Courtesy of the artist and Monique Meloche Gallery

Q. “Project a Black Planet” features several Chicago artists. Did you know from the start that you wanted to showcase so many local artists? Or did that happen over time?

A. Because of Chicago having a central role in the Pan-African movement, we wanted to honor that by highlighting artists that have been based in our city. And there are many different ways that appears in the exhibition.

We have someone like Kerry James Marshall, who is a titan when it comes to contemporary art in Chicago, so he’s prominently featured in the exhibition. We also have a large set of mural reproductions by Hale Woodruff, who studied at the School of the Art Institute and who lived in Cairo, Ill. We have a large-scale installation by Ebony G. Patterson, an artist who lives between Chicago and Kingston, Jamaica. And then, we have more historical figures like Margaret Burroughs. I mean, there’s a fantastic self-portrait of her in the exhibition appearing alongside an African mask, and Margaret Burroughs, of course, founded the South Side Community Art Center in the 1940s and then 20 years later founded the DuSable Museum. So, we really felt it was important to address the different ways in which Chicago intersects with this global history of Pan-Africanism.

Q. There are hundreds of artifacts from around the world that are displayed here, from album covers to washbasins. Why did you include those items among the paintings and sculptures?

A. Early on in the planning of the exhibition, we knew that the show had to be responsive to the different registers of Pan-Africanist engagement. And when I say registers, essentially, I mean that Pan-Africanism has influenced fine artists, it’s influenced musicians, it’s influenced ordinary people. So, it’s an idea that completely evades hierarchy. There’s no hierarchy to Pan-Africanist expression, irrespective of your social background, your political allegiances, etc. Like, everyone is able to be brought on to a kind of Pan-African stage, essentially. And so, for us, we wanted the exhibition to move between these different registers. Benny Andrews. Revival Meeting, 1994. High Museum of Art, purchase with funds from Alfred Austell Thornton in memory of Leila Austell Thornton and Albert Edward Thornton, Sr., and Sarah Miller Venable and William Hoyt Venable.

Benny Andrews, “Revival Meeting,” 1994.

High Museum of Art

Q. There are themes of decolonization, of self-determination, but there are also themes of joy here, right? How important was it for you to have that showcased in this exhibit, these moments of Black joy and peace and calm?

It was very important for us. I think that oftentimes, when people think about Pan-Africanism, they immediately go to the political. And there are the political sort of engagements represented in the show, for sure. But at the same time, there’s always a sense that political struggle is a way of being able to create space for joy and leisure and freedom. And so, it became important to also show that side of Pan-Africanism, and in the exhibition, it manifests in a range of different ways.

For example, one of the early video works that you encounter by Ilana Harris-Babou is called “Reparation Hardware.” And it’s satirical. It’s funny. There’s a fantastic work by the South African artist Nicholas Hlobo that’s also meant to be humorous and light-hearted in some ways. And then you get to a section called “Interiors,” and you have this incredible wall of paintings and photographs and drawings depicting Black subjects within the spaces of their homes, and that’s a space that is all about comfort. It’s all about familiarity and sociality and joy.

I think the experience of the exhibition is such that you’re moving between these two registers. Every time there’s a set of objects that call up an intense political moment, you’re likely to encounter another object that calls up some experience of leisure or pleasure or joy. So, it’s not a show that dwells heavily in the political or the violent, nor does it dwell heavily in the joyous. It’s about bringing them together and almost giving them equal footing. Tavares Strachan. Kojo, 2021. Courtesy the artist and Perrotin. © Tavares Strachan.

Tavares Strachan, “Kojo,” 2021.

Courtesy the artist and Perrotin/© Tavares Strachan

Q. What do you want audiences to walk away from this exhibit with?

A. It’s my hope that audiences, when they leave the show, that they have an understanding of just how complex engagements with Pan-Africanism have been throughout the 20th century. This exhibition is the sort of show that rewards visitors who come back … because it is the kind of show that requires close looking and close listening. But also, it requires you to take things away and come back and reflect on them anew.

[rotterdamvanalles]

Het Holland Pop Festival. 1970

popfestival in 1970, in het Kralingse Bos te Rotterdam.

Het Holland Pop Festival was een driedaags popfestival in 1970, in het Kralingse Bos te Rotterdam. Het muzikale evenement is de geschiedenis ingegaan als Nederlandse versie van het Amerikaanse Woodstockfestival in 1969. Ondanks de regen kwamen er tienduizenden mensen op af. Het grote podium stond opgesteld op het grasveld voor de Plasmolens De Ster en De Lelie aan de rand van de Kralingse Plas.

Het Festival vormde in feite het begin van het Nederlandse gedoogbeleid ten aanzien van het gebruik van marihuana; de vele aanwezige undercover politieagenten traden niet of nauwelijks op tegen de openlijk actieve gebruikers en kleine handelaren.

Hieronder staat het programma van het Holland Popfestival 1970 - Rotterdam, ook bekend als Kralingen Popfestival - Stamping Ground. De organisatie was in handen van Berry Visser, Georges S. Knap, Toos v.d. Sterre en Tinus van Daal (Stichting Holland Pop Festival). Het festival werd gehouden op vrijdag 26, zaterdag 27 en zondag 28 juni 1970. De belangrijkste investeerders waren het Ministerie van Cultuur, Recreatie en Maatschappelijk Werk (CRM) met Garantiesubsidie van fl. 25.000,- en Coca-Cola, met fl. 50.000,-.

Hoofdpodium:

Vrijdag: It's a Beautiful Day - Jefferson Airplane - Stone the Crows - Santana - The Flock - Canned Heat - Hot Tuna - Pentangle - Quintessence - East of Eden (aangekondigd, maar niet opgetreden)

Zaterdag: The Byrds - Family - Dr. John the Night Tripper - Country Joe - Tyrannosaurus Rex - Renaissance (aangekondigd, maar niet opgetreden) - Third Ear Band - Al Stewart - Supersister - CCC folk & blues inc.

Zondag: Mungo Jerry - Chicago Art Ensemble - John Surman - Han Bennink - Caravan - Fairport Convention - Fotheringay - Soft Machine - Pink Floyd

Bijpodium:

The Dream - Bismarck - Oscar Benton Blues Band - Focus - Ekseption - White Rabbitt - Scarry Sally Theater - Nederlands Danstheater - Tamelone - Walking Water Events

En verder: gratis kamperen - gratis medische verzorging - parkeerterreinen - boetieks - lekker luieren in de zon - goedkoop eten en drinken - kunstmarkt - filmprogramma - zwemmen in de Kralingse Plas - kindercrèche - kinderboerderij aanwezig (kinderen beneden de 10 jaar gratis toegang)

Het terrein is geopend vanaf donderdagochtend 25 juni

KRO drive-in show - Lex Harding drive-in show - Dick de Graaf drive-in show - Mojo drive-in show

Kaarten f.35.- in voorverkoop (geldig gedurende het gehele festival)

f.40.- aan het terrein (v.a. 25 juni)

In 1971 verscheen er een film over het festival in Kralingen met de titel Stamping Ground, gemaakt voor een internationaal publiek. De film is ook bekend onder de naam Love and Music en bijvoorbeeld in Duitsland als Rock Fieber. De film is meer dan 35 jaar later zowel op video als in dvd-uitvoering nog altijd goed verkrijgbaar.

Film info: Documentaire, kleur, 90 min., Engels

Regie: Hansjürgen (Jason) Pohland en George Sluizer

Producers: Wolf Schmid en Sam Waynberg

Filmeditor: Roger Spottiswoode

In 1971 werd een boekje uitgegeven met zwart-witfoto's, getiteld Kralingen '70 'n Grote Blijde Bende en voorzien van enige achtergrondinformatie door Bulkboekuitgever Theo Knippenberg. In 2005 organiseerde het museum De Dubbelde Palmboom een fototentoonstelling getiteld Stamping Ground ter gelegenheid van het 35-jarig jubileum van het festival. In 2008 vond in galerie Kralingen in Rotterdam de tentoonstelling Holland Pop Festival Revisited plaats, een tentoonstelling met foto's uit de verzameling van het Historisch Museum Rotterdam (nu Museum Rotterdam), fotograaf Pim Westerweel, memorabilia uit de verzameling van Georges Knap (een van de toenmalige organisatoren) en de presentatie van het ontwerp van het herinneringsmonument voor het Holland Pop Festival door John Blaak. In 2010 vonden er twee tentoonstellingen plaats: Holland Pop Festival. Drie dagen vrijheid, blijheid en muziek in het Kralingse Bos in galerie Kralingen en Holland Pop Festival. Legendarisch festival in het Kralingse Bos in Het Schielandshuis in Rotterdam. Tevens kwam er in 2010 een nieuw boek uit over het festival onder de titel Holland Pop Festival 1970: Drie legendarische dagen in het Kralingse Bos van Peter Sijnke, Marcel Koopman en John Blaak.

Op 21 september 2013 werd het herinneringsmonument voor het Holland Popfestival 1970, ontworpen door John Blaak, in het Kralingse Bos onthuld. Met het beeld voor het Holland Popfestival 70 wordt de herinnering aan deze bijzondere gebeurtenis levend gehouden. In het beeld is een deel van het toenmalige affiche afgebeeld en een sfeerbeeld van de mensenmassa. Daarnaast is een QR-code aangebracht, waarmee bezoekers ter plekke naar onder andere radio-uitzendingen en beeldmateriaal over het festival kunnen luisteren en kijken. De tekst op het monument luidt: "Op 26, 27 & 28 juni 1970 vond in het Kralingse Bos het eerste meerdaagse popfestival van het vasteland van Europa plaats. De organisatie was in handen van Berry Visser, Georges Knap, Toos v.d. Sterre en Piet van Daal." Een tekst met een pijnlijke vergissing. De man die veel van het praktische werk in de organisatie voor zijn rekening heeft genomen en die in de geschiedschrijving een beetje op de achtergrond is geraakt, staat verkeerd vermeld. Piet van Daal moet zijn: Tinus van Daal.

Foto's en Informatie komt van wikipedia.

[captainsoul]

on the note of where i'm from

this is a playlist i made of byrds (and their solos) that remind of this area (gene perfected the sound at times)

i also have this playlist that features a TON of musicians from this region (the stanley brothers are from my county and there's a museum for ralph stanley in town💀)

i am very passionate about appalachian music especially because of the influence it had on 60s folk musicians (joan, dylan, the byrds, etc etc) (i mean i am majoring in app. studies)

this is something i could talk for hours on but i will shut up now and return to my abyss

[colindotpdx]

The Country Music Hall of Fame

A Nashville cathedral to the music and its iconic artists all shown at the height of their talent and success; in chronological order from hill billy fiddlers to the Taylor Swift Education Center where kids are encouraged to come up with song ideas.

Every one of these heroes represents a rags to fame and fortune story based on enormous talent and some luck. It’s the American Dream distilled.

The inner sanctum sanctorum is the Hall of Fame itself; a separate round room with a huge vaulted ceiling and a kind of inverted church spire at its heart. Every one of the members of this club is identically shown with bas relief bronze images and description of how they ended up here.

Democratisation of fame. Will The Circle Be Unbroken..

At the altar of this chapel is the small mural by Thomas Hart Benton completed in 1975 titled *The Sources of Country Music*. It depicts a few different scenes built around a barn dance with everyone having a good ole time. Well almost everyone; the only black face in the picture is playing a banjo separated from the group. There is also a small group of black figures in the far distance working the fields and waving to a passing riverboat.

It’s easy to see this as a statement of 1970s racism - not one of Benton’s other publicly commissioned murals contains a single black character - but reading the history of country music explained on the walls here, it is probably a correct representation of history. The historic museum panels tell us that English, Irish, Scottish undocumented immigrants spread across Appalachia and the fiddle became the community entertainment based on British folk songs and African rhythms. We are told that the banjo was introduced by enslaved Africans but not how or why.

Apparently only Africans played the banjo for 200 years until it fell out of favour with them when “the mean spirited ridicule” of blackface minstrel shows became popular. “Black Americans developed other means of musical expression” ie: created the blues, took their guitars, and left country behind forever. Outta here.

In the 1920s Decca even had two separate record labels - Decca Hill Billy Records and Decca Race Records; one promising “Fiddlin’ and Old Time Singing” and the other “Blues Singing, Hot Dance, and Preaching”. A schism in popular music that never got healed; just like the Civil War still being re-enacted on the campaign trail today.

The other message in the Hall of Fame is that all popular music today - not blues, jazz, soul, hip-hop not THAT popular music but everything else - is just an extension of country. There is even a section that traces the family tree of the Eagles, the Byrds, CSN&Y, Linda Ronstadt and many others to country roots. As if all of the output of Laurel Canyon in Los Angeles was just country without rhinestones. The argument would make a lot more sense if a single one of those artists had ever been inducted into the Country Music Hall of Fame. Which they ain’t.

There are two black artists out of the 155 members of this club, by the way. Charlie Pride makes sense but not sure about Ray Charles.

[sweeterthanmydreams]

Spring Means Baby Hemming-"Birds" part 2 (the Hemming-Byrd Legacy)

[Legacy Challenge Rules] [My Legacy Sheet] [Blank Legacy Sheet] [Intro] [<< Previous] [Next >>]

Friday at 3 PM and it's finally time for baby three! After the most miserable pregnancy (seriously, Ophelia was constantly having angry meltdowns) it's off to the hospital with Ophelia and Lanuola; though Beatrix is disappointed she can't come (again) she gets to hang out at home with baby Ruby and the sitter instead. Lanuola (fresh from work) comforts Ophelia as they wait for the hospital staff to get checked in; dunno why no ones at work 3pm on a Friday, but that's just hospitals for you I guess. Lanuola got caught in the bathroom and had to run so she didn't miss the birth of her third child; being on time was so much easier when Beatrix was born! After another smooth delivery, it's time to say hello to baby Amethyst Hemming-Byrd! Welcome to the--

Wait, there's more?? Welcome to the world, baby Merida Hemming-Byrd. May you and Amethyst always remain close…

…with your sister. Welcome to the world, baby Tourmaline Hemming-Byrd.

Ophelia and Lanuola are going to have their hands full with three new additions to their flock. While they're thrilled to have more daughters, their family planning and floor space have both gone out the window! Can we get a tube-tying while we're here? Before they head home, they get a surprising phone call: Lilliana Kealoha is pregnant again! It looks like their little birds will have plenty of neighbors to play with.

Back at home the babies settle in. Beatrix tries to make progress on her social aspiration, but is already friends with so many people that it's hard. While playing with baby Ruby, Beatrix had the honor of hearing her very first word: "please! She couldn't be more proud. Ruby's mom's begging her to "please" eat her food must have left quite the impression. Bea makes the acquaintance of Amethyst, Merida, and Tourmaline and is very excited to have more playmates in the house. The triplets absolutely will not sleep that night, waking Bea up repeatedly. At some point in all this, Bea gets another loose tooth; hopefully she didn't knock it out climbing in and out of bed. Ophelia briefly loses a star of fame, but she's gets it back just as quickly by sending some expensive violins to her fans. The only casualty is her Emotion Bomb fame quirk but that's quite frankly for the better.

The family heads out to do some work away from home: Lanuola needs to do some mentoring at the gym and Ophelia needs to check the fashion trends at the museum. Little Bea tags along to make some new friends. Ophelia decides the roof the the gym is the perfect place to start a midlife crisis but she's too busy with work and kids to start chipping away at it. Are we maybe looking at a second hot tub joining the household?

While away at work, Lanuola knocks out the last level of her career and is crowned Miss Solar System. Beatrix hangs out at the Community Center with mom and conquers her Aspiration to become a Social Butterfly! Though she's not got much childhood left, she's thinking about trying out her creative side so she can learn how to play the violin mother Lanuola made her. Saturday is also the babys' birthdays! Ophelia makes the rounds aging them up: first Amethyst, then Merida, and finally Tourmaline. They've all developed distinct personalities: Amethyst is Sunny, Merida is Wiggly, and Tourmaline is Cautious. They're all three very different, but they've got the same big smile. Saturday is Ruby's birthday, too! She's aged up to become an inquisitive little bugger; it's going to be hard to keep her out of things! At least they've got some gifts she's meant to get into.

Though it was chock-a-block full of events, Spring is finally over! This was a real midnight-to-midnight experience starting with the birth of Ruby and ending with a quadruple birthday. Hopefully this is the last time I need a two parter; I don't think I'll survive if every season is multi-part in the future. You can find the complete version of Ophelia's family on the Gallery under my ID DreamingTaffy with the name Hemming-Byrd Legacy 1.5 including all five children. The spreadsheet is also up to date if you want to peep the family tree.

Infant milestones have been giving me huge lag glitches so wish me luck dealing with three of them at once; hopefully my game won't freeze up completely. Anyone know if I can hope for them to pick up milestones at daycare instead?

[tamaradoubraomonibeke]

References

The Lady Speaks: Uncovering the Secrets of the Mona Lisa, Brown Books Publishing Group, Dallas, TX. Available from: ProQuest Ebook Central. [1 November 2023].

Bhagwandas, A. (2022). Ugly. [online] Kings Road Publishing. Available at: https://www.proquest.com/docview/2623464080/bookReader?accountid=8226 [Accessed 20 Oct. 2023].

Campaign (2015). Look At Me: Women’s Aid interactive billboard. YouTube. Available at: https://www.youtube.com/watch?v=wEybVOerb9Q [Accessed 23 Oct. 2023].

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Grant, W. (2018). 101 UX principles: a definitive design guide. [online]

Birmingham: Packt Publishing Ltd. Available at: https://ebookcentral.proquest.com/lib/aib/reader.action?docID=5507764&ppg=21 [Accessed 30 Oct. 2023].

Howard Miller, J. (1942). We Can Do It. [Lithography Poster] National Museum of American History. Available at: https://en.wikipedia.org/wiki/File:We_Can_Do_It!.jpg [Accessed 9 Nov. 2023].

Kröger, M. (2021). Extractivisms, Existences and Extinctions. [online] Routledge. Available at: https://www.proquest.com/docview/2810182813/bookReader?accountid=8226 [Accessed 4 Oct. 2023].

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Sound of Life. (2022). Lush Fantasies: An Overview of the Solarpunk Aesthetic. [online] Available at: https://www.soundoflife.com/blogs/design/solarpunk-aesthetic [Accessed 6 Oct. 2023].

TED (2013). Design for All 5 Senses | Jinsop Lee | TED Talks. YouTube. Available at: https://www.youtube.com/watch?v=N6wjC0sxD2o [Accessed 30 Oct. 2023].

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[Accessed 19 Oct. 2023].

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Websites

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[longlistshort]

Keith Crowley “Longwood Run (Nocturne)”, 2019, Oil on linen (left) and “Mooring Fields (Twilight)”, 2021 (right)

Kenny Jensen, “I Didn’t Forget You (The Clearing)”, 2023 (left) and “I Didn’t Forget You (Papa’s Van)” 2023 (right)

Alison Tirrell “untitled (It’s all under control)”

Elizabeth Barenis, “The Creek Drank the Cradle”, acrylic on canvas

The Factory is a massive space in the Warehouse Arts District in St. Pete that houses numerous galleries and artist spaces, as well as the Florida Wildlife Corridor Foundation, Museum of Motherhood (MOMMuseum), Fairgrounds St. Pete, and Daddy Kool Records. This past Saturday (10/14/23) was Second Saturday ArtWalk and there was a lot to see. On this page and the ones that follow are some of the highlights.

In Studio B, a temporary gallery space, was the group exhibition Soft Spoken (images above), which included artists Keith Crowley, Kenny Jensen, Alison Tirrell, Elizabeth Barenis, Raheem Fitzgerald, Kate Cummins, and Alfredo Christiano. This show remains on view by appointment with the artists.

In The Factory’s gallery space was the group exhibition Medium (images below).

Oil paintings by Luke Vest

Laurent Waldron "Road Killer", 2023, Latex and acrylic paint, rubber tire and "Last Rodeo" 2023, Acrylic paint, wirebrush frame

At the Florida Wildlife Corridor's gallery space Wild Space is Mickett/Stackhouse Studio's Circle of Water, a collection of paintings, drawings, and video by artists Carol Mickett and Robert Stackhouse continuing their explorations of environmental issues. This exhibition will remain on view until 1/13/24.

(Work by Mickett/Stackhouse Studio- "Mitigation Paintings: Green Shade Oak, Whale Pump, Mangrove Family, Mangrove Sea Wall, Green Swamp, Green Swamp Aqua Feeder, Whale Pump & Plankton, Shade Oak", Watercolor on paper)

About the above by the artists-

Mitigation Paintings further explore the ways in which natural resources can help to remedy and even forestall the damages of climate change. The swamps, whales and trees depicted are all "carbon sink," in other words they absorb CO2, among their other contributions.

Work by Mickett/Stackhouse Studio

At Heiress Gallery is the contemporary ceramics group exhibition Dirt, which includes work from several Tampa Bay artists including Babette Herschberger, Mike Cannata, Molly Duff, and John Byrd. This show is on view until 11/3/23.

Work by Babette Herschberger

Center sculpture Mike Cannata "Environmental Flux 2", 2023, Ceramics, wood, marble, enamel paint, rust; on the right Molly Duff "Lil'Dicki", 2023, Ceramic, yarn, steel

Mike Cannata, "Environmental Flux 3",2023, Ceramic, enamel paint

John Byrd "Memory Jug for Devotion and Dereliction", 2020, Ceramic, wood, mixed media

Two artists with studios in the building were showing work- Kate Cummins and Jason Hackenwerth. Hackenwerth also curated the Studio B show which has a piece by Cummins included.

Work above by Kate Cummins

Two works from Jason Hackenwerth's exhibition "Pilgrimage"

Finally, a recent addition to The Factory’s spaces- The Museum of Motherhood or MoM Museum.

(Work by Amy Wolf outside Museum of Motherhood)

About the museum from their website-

MoM is the first and only exhibition and education center devoted to the art, science, and herstory of women, m/others, and families inclusive of all reproductive identities. We celebrate the work of mothers and counter narratives that have kept women less visible while educating future generations. The Museum of Motherhood is empowering women and mothers to take their rightful place in the museum world.

MoM is a living museum. We grow, evolve, and transform according to YOU – our members, volunteers, and partners. That is why we encourage great conversations, support thought-provoking exhibits, and offer resources for people to engage in activities centered around identity and culture in a safe and inclusive environment. MoM encourages a deeper understanding of the labor and investment made by those birthing and raising the next generation as well as serving to deconstruct dominant stereotypes in order to increase our overall understanding of the family experience. We are awesomely made!

MoM creates, produces, and presents visual, literary, educational, academic, and performing arts exhibits and education that celebrate, nurture and support individuals with a special emphasis on identity, experience, and community. We keep abreast of changing birth technologies and give voice to a mom-made art movement through our actions while focusing on the social, psychological, physical, and economic realities embedded in these experiences. MoM connects students, women, men, m/others and families through reproductive identity, music, art, activism, and education for cultural, economic, and social awareness. MoM acts as a safe space for healing, inspiration, and illumination.

The current featured artist is Amy Wolf, who recently created work for Dunedin Fine Art Center’s 17th Annual Wearable ART runway fashion show.

Work above by Amy Wolf

[asmakamara]

Wearing the Emivia dress designed by me.

I shaved my head last month and had my first pop-up shop for my brand @AHS.MAH this past weekend. I don’t know what the future holds, but in this present time I’m just making the best of what I have now.

[bbypercocet]