#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…?

[finalskies]

Angel Byrd, the OC I’m using for a Scum & Villainy campaign. Still playing with her design. I rolled a Critical Success for gathering disguises for our upcoming museum gala heist and I couldn’t help doodling something for the occasion.

[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.

[travelonourown]

Mon 12/7

After breakfast, we took the bus to Trafalgar Square and the National Gallery. This art museum is truly overwhelming, with hundreds of masterpieces from the Renaissance to the early 20th century. And the Gallery building itself is spectacular. There’s no way to see it all in a single day, so we did a few hours until we were saturated. After all that art we went outside to the Trafalgar Christmas market and had a late lunch of German sausages and mulled wine. We realized we could just make it to Evensong at Westminster Abbey at 5pm, so away we went. The Abbey is magnificent as always (the coronation of King Charles will happen there in 2023), and the men’s ATB choir was very good. The anthem was a complex and beautiful setting by Byrd. Following the blissfully short service, we started our walk home over the Westminster Bridge and realized we both needed a cocktail :).We found an upscale steak restaurant near the London Eye, and stopped for a drink and a rest stop. Elena had a Pornstar Martini and Edward had a 15yo Scotch. We completed our walk back to the hotel and took a well-deserved rest.

[ifreakingloveroyals]

Through the Years → Mette-Marit, Crown Princess of Norway (755/∞)

21 November 2022 | Old craft traditions, modern Norwegian design and a working community with a focus on belonging and creative joy were among the ingredients of the dress that Crown Princess Mette-Marit handed over to the National Museum's collection. (Photo by Annika Byrde/Simen Sund/NTB/Det kongelige hoff)

[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?

[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.

[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].

fonts.adobe.com. (n.d.). Tenso | Adobe Fonts. [online] Available at: https://fonts.adobe.com/fonts/tenso#fonts-section [Accessed 29 Oct. 2023].

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].

Mikki Kendall (2020). Hood Feminism. Bloomsbury Publishing (UK).

Nancy, J.-L. (2018). Portrait. [online] Lit Z. Available at: https://www.proquest.com/docview/2133405358/bookReader?accountid=8226 [Accessed 13 Oct. 2023].

RSPH (2019). #StatusofMind. [online] Rsph.org.uk. Available at: https://www.rsph.org.uk/our-work/campaigns/status-of-mind.html [Accessed 16 Oct. 2023].

Select Model Management. (n.d.). Ralph Souffrant | Select Los-angeles. [online] Available at: https://www.selectmodel.com/los-angeles/model/ralph-souffrant [Accessed 15 Oct. 2023].

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].

Varvel, W.N. (2014). The Lady Speaks. [online] BrownBooks.ORM. Available at: https://www.proquest.com/docview/2360920533/bookReader?accountid=8226&parentSessionId=2mDNUIpEv70RrCDpGxyI4Opw7N7aQ%2FBKwUHYYwHhOhc%3D&ppg=16

[Accessed 19 Oct. 2023].

Volti, I. (n.d.). BentoGrids. [online] bentogrids.com. Available at: https://bentogrids.com/ [Accessed 12 Oct. 2023].

WDD. (n.d.). What is the Bento UI Trend, and How Can You Get Started? [online] Available at: https://www.webdesignerdepot.com/2023/07/what-is-the-bento-ui-trend-and-how-can-you-get-started/#:~:text=As%20with%20a%20lot%20of [Accessed 19 Oct. 2023].

www.youtube.com. (2019). The subconscious effect of typography | Samantha Byrd | TEDxYouth@NIS. [online] Available at: https://www.youtube.com/watch?v=RG7ElWcdfPU [Accessed 30 Oct. 2023].

Zelazko, A. (2019). Why Is the Mona Lisa So Famous? In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/story/why-is-the-mona-lisa-so-famous. [ Accessed 11 Oct. 2023].

Showalter, J. (2021). User Flow Diagram Basics. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=cvYhuowazh0 [Accessed 23 Nov. 2023].

Websites

It's Nice that

Youtube

TikTok

Pinterest

Laws of UX

[finalskies]

Heir’s favorite posts of 2022

It’s that time of year again: the end. So I get to talk about my favorite things I posted. It’s funny, I feel like I really didn’t draw that much more than last year, and I certainly didn’t get any better. If anything, I’ve probably regressed. But even then, in these past few months I’ve probably felt more joy about drawing than I have in a long time. In a way, it feels like I’ve removed all my expectations for myself and I just... I just get to draw whatever I want, and it doesn’t matter if it looks sucky to me. “Face didn’t come out right? That’s fine, it still looks cute. It doesn’t look as good as it used to? No worries, you’ve done it before and you’ll do it once more. And even if you don’t, you can still have fun with it and make people happy.”

Maybe I’m just finally done with being mean to myself about my drawings. Maybe I just wanna draw cute/silly stuff for my friends. Because, as I’ve said before, you don’t have to be great and powerful to make something that makes a great and powerful difference in someone’s day. Anyway...

Ol’ Reliable Applejack. This is one of the first drawings I made with my new tablet, and the first one that made me think “Okay... I can still do this.” Even before my bestest most favorite tablet broke, I hadn’t been feeling the whole “drawing” thing in awhile. As simple as this looks, it felt like a real turning point.

.

Internet Fuzz Queens. As a very young child, I had this idea in my head that all my favorite cartoon characters lived in a community together and they would hang out and stuff. This is was an extremely self-indulgent comic that required specific knowledge of four different fandoms, and I want to do more like it. I love my blorbos and I want to see them hang out together.

.

Angel Byrd. My OC turned space kangaroo in my Scum and Villainy campaign. I’m glad I got to give her a little more pizzazz. I forgot to mention it in the original post, but the reason her dress has a tummy window is because she’s planning on smuggling museum artifacts in her pouch lol. We’re actually doing the second part of the heist tomorrow, wish us luck!

.

Kaysee Cadet! A character I made for a dnd Humblewood campaign. I really love how this came out. Ultimately I did settle on the orange fur, but maybe I’ll do something with that black fur design at some point. Gawd I’ve grown really attached to this character. They’re autistic, and they’re not native to the setting of the campaign, so “common” isn’t their first language. It’s been really difficult for them to navigate the world, and some people have been quite cruel to her, including her own family. All she wants is love, and they try SO HARD to help people despite everything, and we’re getting to the part in the campaign where the party transitions from “ragtag group of weirdos forced together” to “found family.” But tragedy struck in the last session of the year, and now it’s more of a “darkest hour” moment. And I’m just... I love my blorbos, especially the ones I made up ;_;

.

Give Trans Girls Swords. Winter is this lovely artist’s sheep fursona. I’d been wanting to draw them for awhile, she has such an appealing design. This was so fun to draw, I love making things for friends and also giving trans girls swords.

I really want to make my own fursona one of these days...

.

 Miss Pie’s Monsters. It was... so nice to see the monster gang again. MPM is absolutely one of those projects that I never stopped thinking about, never lost hope that I could finish it one day, even those it’s been years since its last real update. I’m happy with myself for sticking to the update schedule I promised, even if I was calling it close sometimes lol. I hope people liked seeing them again. And to the people that I know liked seeing them again: first, I love u, I hope I can continue to update it in the coming year. I can’t wait to reveal who the Captain of the guard really is.

Stay fantastic, I hope we all have a better 2023. Or at the very least, make it through it together. <3

[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

[trascapades]

🎨#ArtIsAWeapon #ExhibitClosing @theastergates “Theaster Gates: Young Lords and Their Traces" closes at the @newmuseum this Sunday, February 5. Tickets and info about this weekend's closing celebrations including live music performances at www.newmuseum.org (Link in @newmuseum BIO).

📍235 Bowery, New York, NY 10002

Reposted from @newmuseum 🎶 Join us this Friday, Saturday, and Sunday to celebrate the final weekend of “Theaster Gates: Young Lords and Their Traces,” with a series of live musical performances featuring Gates (@theastergates) and his frequent musical collaborators, The Black Monks.

A through line in Gates's artistic practice, the work of The Black Monks is rooted in Black music of the South, with links to Eastern monastic ascetic traditions. Throughout the weekend, Gates and The Black Monks will present impromptu performances featuring their unique gospel soul chant reverberations accompanied by organ activations of the installation "A Heavenly Chord," located on the Fourth Floor. Free with Museum admission.

Click the link in our bio for more information on ticketing and events...

Theaster Gates honors the radical thinkers who have influenced his practice by sharing objects, letters, and archives that hold the spirit and memory of his dearly departed. From bell hooks’s bell to Russian scholar Robert Byrd’s archive of literature and academia to Arthur Jafa’s eulogy for Virgil Abloh, Gates’s personal museum gives shape to his grief.

#TheasterGates #YoungLordsAndTheirTraces #Exhibition #NewMuseum #BlackArt #BlackArtists #BlackGirlArtGeeks

[theloniousbach]

JOHN COLTRANE NON-IMPULS-IVELY

With this listening exercise, I have tried to overcome the Saint John Coltrane syndrome. That is, can I hear John Coltrane as a gigging jazz musician—in the clubs, recording at the invitation of Rudy Van Gelder or others. That THE Quartet scrambled for gigs and not everyone showed up every time, that he was a sideman—and not just with Miles Davis and Thelonius Monk, that there were unevennesses (Miles fired him for drugs after all), that the distinctive style was always there and fixed.

I am not a follower of the literal Church of Saint John Coltrane in San Francisco nor one who followed his spiritual recordings beyond A Love Supreme (itself so vaunted I rarely play it), but he is a secular “saint,” if you will, for being a defining force on the saxophone, including popularizing the soprano sax; for composing a number of stunning tunes to the point that ”the Coltrane changes” are a thing; and for leading one of the handful of important long-standing jazz ensembles (okay the Modern Jazz Quartet, both Miles Davis’s Quintets (with Coltrane in the first one), Ornette’s, Bill Evans with Scott LaFaro and Paul Motian which wasn’t long-standing alas, who else?).

The upshot is that I don’t feel I can put on Coltrane casually and when I do it’s those Impulse albums with McCoy Tyner, Jimmy Garrison, and Elvin Jones full of important compositions.

I did know the sole Blue Note album Blue Train with the title cut and Moment’s Notice (and, oh, yeah, the wonderful I’m Old Fashioned) and, for similiar reasons, Giant Steps on Atlantic with even more amazing tunes (the title cut, Impressions, Naima, and Mr PC), but those are also part of the permanent museum exhibit.

Fortunately, there’s a collection of all the Prestige recordings Coltrane ‘58 which is too big and wanders a bit to be revered. But what a collection for the incremental growth of the sheets of sound approach—and yet he is not simply running scales but saying significant things over nifty tunes. Song for Ernie on Soultrane and Everytime We Say Goodbye is the tune right after My Favorite Things on that Atlantic album were both favorites going in. But Stardust, Lush Life, and a whole album of blues are in there.

What a treat to hear him with the Red Garland Trio; Kenny Burrell; Lee Morgan, Curtis Fuller, and Kenny Drew on Blue Train; Freddie Hubbard and Donald Byrd; Tootie Heath, Louis Hayes, and Art Taylor as well as Philly Joe and Jimmy Cobb from the Miles days. Part of being simply Impulsive was to not share solo space with other horns. Yes, Eric Dolphy was on Africa/Brass (including for arrangements) and the second Village Vanguard session, but he too is a saint.

An important but not surprising discovery is the album Ole and its expansive title cut which adds Spanish/Mexican music to a palette that went to Africa/Brass and India. Dolphy’s on that one with Freddie Hubbard too and the title cut makes for an appealing trance.

The point, proven to my satisfaction, is that John Coltrane showed up to gigs and recording sessions and paid his dues and delivered magic most of the time. He’s fun and worth listening too. His legend won’t break for considering it more accessible.