#amy pabst

[rumade]

Teeny tiny pineapple block quilts by artist Amy Pabst

Here's some with my hand to give you an idea of scale on each block:

I did get to chat a little with Amy while she was in her gallery zone. She said she works often with silks, including reclaimed ones, and she finger presses her work rather than using an iron. The pastel rainbow piece above is called Soft Pride, measures 41cm x 41cm, has 11,925 pieces, and took her about 4 weeks to make. She does not use a magnifying glass while she works, relying purely on her eyesight, but she does make sure to take regular eye rest breaks every 10-20 minutes.

Sharp Dressed Man; 33cm x 33cm, 5,700 pieces.

[aaronafgash]

10 NEW SONGS - 4/14/24

It’s become clear that when you’re not completely ignoring your whole ass job, writing a whole ass article becomes much more difficult - who knew! Still aiming to get these out every week, just might not be a Friday / same day situation. Alas.

1. Hold Up - Sasha Keable

Sasha Keable has quietly dropped some gems in the past 4 to 5 years (I was shocked to discover that she’s the featured artist on Disclosure’s “Voices”, a song I've adored for years), but this single might be her best release to date. She confidently sings here over jazzy, electronic keyboard chords, giving us some modern … dare I say … Amy Winehouse vibes? At the very least, she sounds more like Amy than whatever the fuck is happening with this Back to Black movie.

2. Illusion - Dua Lipa

This sounds like early Dua, and I mean that in the best way possible. She’s been getting a weird amount of hate in the pop world - I think it’s hard to follow an album as incredible as Future Nostalgia, but none of these songs are bad at all. Leave her be!

3. The Kill - Maggie Rogers

A clear highlight from a really strong album in Don’t Forget Me, I fuckin’ love this. Her harmonies here are top notch, and the upbeat country / folk vibe she has going works so well with her voice and songwriting. This song is so good that I actually looked up tickets to her Milwaukee show in the middle of typing out this blurb.

4. Espresso - Sabrina Carpenter

Just a fun little girly-bop bop with bonus track vibes - I think she put this out for Coachella promo? Regardless, happy to add this to the library. 

5. Nasty - Tinashe

Tinashe has quietly released some bangers since she blew up back in the day with 2 On - add this one to the list. I would go feral if I heard this drunk in a bar. I will go feral when I pay way too much to hear it at a bar via TouchTunes.

6. Player Two - Jordan Ward

Jordan Ward doesn’t miss and this is catchy as hell. Looks like it’s going to be featured in a movie I’ve never heard of based on the title - interesting. It kind of sounds like a cross between disco, yacht rock, and R&B.

7. Ash Roth! - Asher Roth

I was a MASSIVE Asher Roth fan back in the day, so I was thrilled to see that he dropped a new album this weekend. This was a clear highlight for me, as Asher introspectively reflects on himself and his career over a laid back beat, reminiscent of his Pabst & Jazz era. Dude can really rap and I’ve always said that. I’m also realizing now that he’s released multiple albums since 2020 that I never listened to, so that’s a rabbit hole I will absolutely be going down in the near future. At one point, a video existed on the internet of Asher Roth singing "Just Friends" by Musiq Soulchild live on stage, and while I can no longer locate this video, seeing that told me everything I needed to know about Asher Roth. I'll bet you had no idea I had this much to say about Asher Roth. I can't even explain it, I surprise myself too.

8. TWUG (That’s What U Get) - Jean Deaux

A great R&B beat and a solid vocal performance from Jean Deaux. I always find myself wanting more from her projects when I listen through, but she’s released great individual songs over the years. 

9. magic - strongboi

Knew literally nothing about them before writing this but have since discovered that strongboi = Alice Phoebe Lou + a producer / collaborator? Alice Phoebe Lou fucking rocks, as does this song! Slayyy, niche indie queen. This sounds like a breezy summer day and I'm loving every second of it.

10. How? - Dhruv

Another artist I know very little about, but my god, Dhruv has a beautiful voice. I could listen to this man sing all day.

[brookstonalmanac]

Birthdays 11.15

Beer Birthdays

Carry Nation; temperance nut job, terrorist (1846)

Gustave Pabst (1866)

Bob Leggett (1953)

Five Favorite Birthdays

Poul Anderson; writer (1926)

Christina Applegate; actor (1971)

Paul Desmond; jazz saxophonist (1924)

P.D. Eastman; writer (1909)

Virgil Thomson; composer (1896)

Famous Birthdays

Nat Adderley; trumpet player (1931)

Alice Ambrose; philosopher and logician (1906)

Winthrop Ames; director and screenwriter (1870)

Karl Benz; German engineer, inventor (1844)

Marc Brown; author and illustrator (1946)

Alfred Capus; French journalist, author, and playwright (1858)

Andrew Carnegie; businessman (1835)

Cris Carter; Minnesota Vikings WR (1965)

Katie Cassidy; actres (1986)

Chris Claremont; English-American author (1950)

Gail Collins; journalist and author (1945)

Kathryn Crosby; actress and singer (1933)

Maurice Denis; French painter (1870)

Bucky Dent; New York Yankess SS (1951)

Lope de Vega; Spanish playwright and poet (1562)

Joe DiMaggio; New York Yankees OF (1914)

Lars Eighner; author (1948)

Takayo Fischer; actress and singer (1932)

Jill Flint; actress (1977)

Roelof Frankot; Dutch painter and photographer (1911)

Shelagh Fraser; English actress (1920)

Mark Frost; author and screenwriter (1953)

Kate Gleason; engineer (1865)

Amy Grant; pop singer (1960)

Harley Granville-Barker; British actor and director (1877)

Franz Xaver Gruber; Austrian organist and composer (1787)

Charlaine Harris; author and poet (1951)

Jill Hennessy; Canadian actor (1968)

Stephanie Hsu; actress (1990)

Jeffrey Hunter; actor (1926)

Ilja Hurník; Czech composer and playwright (1922)

Ba Jin; Chinese writer (1904)

Albert Henry Krehbiel; painter and illustrator (1873)

John Larriquette; actor (1947)

Bob Lind; singer-songwriter and guitarist (1942)

Peg Lynch; actress and screenwriter (1916)

Donovan McNabb; Philadelphia Eagles QB (1976)

Ricardo Montalban; actor (1920)

Lenny Moore; Baltimore Colts HB (1933)

Bill Morrissey; singer-songwriter (1951)

Patrick Nagel; artist, illustrator (1945)

Noel Neill; actress (1920)

Herschel Savage; porn actor (1952)

Mary Anne Schimmelpenninck; English author and activist (1778)

Ernst Schröder; German mathematician (1841)

Jean-François Séguier; French astronomer and botanist (1703)

Percy Sledge; pop singer (1941)

Laurence Stallings; writer (1894)

Ben Stein; speechwriter, actor, creationist wingnut (1944)

Edward Traisman; invented Cheez Whiz, freezing process for McDonald’s fries (1915)

Woody Woodpecker; cartoon (1940)

Alexis Wright; Australian author (1950)

Takaaki Yoshimoto; Japanese poet and philosopher(1924)

[mirandamckenni1]

Liked on YouTube: How Are Quasiparticles Different From Particles? || https://www.youtube.com/watch?v=le_ORQZzkmE || For more information on membership go to https://ift.tt/m3F5nkP and use code PBS PBS Member Stations rely on viewers like you. To support your local station, go to:https://ift.tt/6UvZbJI Sign Up on Patreon to get access to the Space Time Discord! https://ift.tt/T7s23aV The device you’re watching this video on is best understood by thinking about positive and negative charges moving around a circuit of diodes and transistors. But the only elementary particle actually flowing in the circuit is the negatively charged electron. And yet those flowing positive charges are there, in the form of a particle you may never have heard of. Check out the Space Time Merch Store https://ift.tt/fkNlOZc Sign up for the mailing list to get episode notifications and hear special announcements! https://ift.tt/JNZDXqE Search the Entire Space Time Library Here: https://ift.tt/dOEL7hg Hosted by Matt O'Dowd Written by Fernando Franco Félix & Matt O'Dowd Post Production by Leonardo Scholzer, Yago Ballarini, Pedro Osinski, Caique Oliveira, Adriano Leal & Stephanie Faria Directed by Andrew Kornhaber Associate Producer: Bahar Gholipour Executive Producers: Eric Brown & Andrew Kornhaber Executive in Charge for PBS: Maribel Lopez Director of Programming for PBS: Gabrielle Ewing Assistant Director of Programming for PBS: John Campbell Spacetime is produced by Kornhaber Brown for PBS Digital Studios. This program is produced by Kornhaber Brown, which is solely responsible for its content. © 2022 PBS. All rights reserved. End Credits Music by J.R.S. Schattenberg: https://www.youtube.com/user/MultiDroideka Special Thanks to Our Patreon Supporters BIg Bang Supporters Devin Wiley Ryan Salsamendi Steffen Bendel Gautam Shine Bryce Fort Peter Barrett David Neumann Leo Koguan Alexander Tamas Morgan Hough Amy Hickman Juan Benet Vinnie Falco Fabrice Eap Mark Rosenthal David Nicklas Quasar Supporters Glenn Sugden Vikram Vaka Alex Kern Ethan Cohen Stephen Wilcox Christina Oegren Mike Conroy Mark Heising Hank S Hypernova Supporters Ankur Anand Ryan Moser David Giltinan Ivari Tölp Vyce Ailour Brandon Paddock Ken S Gregory Forfa Kirk Honour drollere Joe Moreira Bradley Voorhees Marc Armstrong Scott Gorlick Paul Stehr-Green Ben Delo Scott Gray Антон Кочков John R. Slavik Mathew David S. Cerutti Donal Botkin John Pollock Edmund Fokschaner Joseph Salomone chuck zegar Jordan Young John Hofmann Matthew Pabst Daniel Muzquiz Gamma Ray Burst Supporters Justin Lloyd Chuck Lukaszewski Edward Hodapp Kevin Tillery Cole Marc Forand D. Delair Walter Montalvo Andrea Galvagni Larka Jerry Thomas Nikhil Sharma Alexander Gruber Jonathan Cordovano John Anderson Scott Hannum Paul Widden Bradley Ulis Craig Falls Vivaan Vaka Kane Holbrook Ross Story teng guo Sujasha Gupta Vaka Mason Dillon Harsh Khandhadia Thomas Tarler bsgbryan Sean McCaul Susan Albee Frank Walker Matt Q MHL SHS Terje Vold James Trimmier Anatoliy Nagornyy comboy Andre Stechert Paul Wood Kent Durham jim bartosh Nubble Ramon Nogueira The Mad Mechanic Ellis Hall John H. Austin, Jr. Diana S Faraz Khan Almog Cohen Alex Edwards Ádám Kettinger MD3 Endre Pech Daniel Jennings Cameron Sampson Geoffrey Clarion Russ Creech Jeremy Reed Eric Webster David Johnston Web Browser Michael Barton Mr T Andrew Mann Isaac Suttell Devon Rosenthal Oliver Flanagan Bleys Goodson Robert Walter Mirik Gogri Mark Delagasse Mark Daniel Cohen Nickolas Andrew Freeman Shane Calimlim Tybie Fitzhugh Robert Ilardi Eric Kiebler Craig Stonaha Graydon Goss Frederic Simon Tonyface John Robinson Jim Hudson A G David Neal justahat John Funai Tristan Bradley Jenkins Daniel Stříbrný Luaan Cody Thomas Dougherty King Zeckendorff Dan Warren Patrick Sutton John Griffith Daniel Lyons DFaulk

[deamazed]

@bledyshka: now look for some money. we deserve a big lunch.

Look at me, shaking my little pot. Spare change, anyone? Spare change? Give me a fucking break. I refuse to be the penniless little cunt that Nick’s making me out to be — did you know he bought The Bar with my money? He mopes around about me giving my parents, who built my trust fund from the ground up, a silver penny when they look at me with that hm, Amy, we’re in a real tight spot glance. But now, my money is nothing more than a sodden urinal cake in a trough that stinks of beer-piss and whiskey. Great. He’s drained me, like a fucking cash cow.

“Don’t be dramatic.” I used to starve myself. In-between bouts of pizza and Pabst, I’d wilt under the cold hard truth that nobody stays a size zero forever. Except maybe me. Nick thinks I’m everything — my metabolism is as quick as my wit (!) — but that’s what men like. Tight asses. Tight cores. Big tits. Some pornographic Wonder Woman without shuddering at the sight of pizza grease.

(It got too much for me, and goddamn, I’m persistent. He’d burp, and I’d wince. He’d fish the next slice out from its soggy box and I’d roll my fucking eyes until he realised this isn’t what adults do. Adults fast. Adults moderate. Adults pay the consequences of their actions when their fucking jeans make the outline of their cocks a little too bulgy to be sexy. My sweet, charming, sexy husband became a lump in a pair of joggers. It doesn’t matter what those simpering bitch women say when they twirl their hair round their fingers and giggle into their breathtaking husbands, nobody finds it sexy when they don’t keep up with you. (Perhaps that’s where we went wrong. Perhaps that’s why I find myself here, now, a brand new woman! A stupefying, fantastic (Nick’s word. Flippant, don’t you think?) woman who cuts through the used-tissues-and-hair-gel bullshit to birth myself again. I create me. Not the other way round.)

“You don’t want to sit on a man’s lap for the sake of a club sandwich.” Because that’s what it comes down to — tits out, skirt so high you can practically see the outline of each asscheek against whatever counter you drape yourself on. I’m tired of being on display for a man whose sticky fingers smell like a cloying beef and beer combo. 

[aliveandfullofjoy]

idea stolen from my beloved @if-only-angels-could-prevail. it's officially been two weeks since my covid vaccine, i'm putting a cap on my quarantine viewing log. of the 528(!!!) movies i've watched since march 2020, these are my 75 favorite first-time feature-length viewings and my 15 favorite first-time short viewings, in alphabetical order!

feature-length:

Ace in the Hole (dir. Billy Wilder, 1951)

American Utopia (dir. Spike Lee, 2020)

The Band's Visit (dir. Eran Kolirin, 2007)

Beau Travail (dir. Claire Denis, 1999)

Blood Simple (dir. Joel Coen, 1984)

But I'm a Cheerleader (dir. Jamie Babbit, 1999)

Cameraperson (dir. Kirsten Johnson, 2016)

Closely Watched Trains (dir. Jiří Menzel, 1966)

A Cottage on Dartmoor (dir. Anthony Asquith, 1929)

Crip Camp: A Disability Revolution (dir. Nicole Newnham and James Lebrecht, 2020)

Crossing Delancey (dir. Amy Micklin Silver, 1988)

Daisies (dir. Věra Chytilová, 1966)

Design for Living (dir. Ernst Lubitsch, 1933)

Dick Johnson is Dead (dir. Kirsten Johnson, 2020)

Distant Voices, Still Lives (dir. Terence Davies, 1988)

Divorce Italian Style (dir. Pietro Germi, 1961)

Driveways (dir. Andrew Ahn, 2019)

Eat Drink Man Woman (dir. Ang Lee, 1994)

Education (dir. Steve McQueen, 2020)

The Father (dir. Florian Zeller, 2020)

First Cow (dir. Kelly Reichardt, 2019)

The Freshman (dir. Fred C. Newmeyer and Sam Taylor, 1925)

The Hero (dir. Satyajit Ray, 1966)

The Hitch-Hiker (dir. Ida Lupino, 1953)

Kuroneko (dir. Kaneto Shindo, 1968)

L'Atalante (dir. Jean Vigo, 1934)

Le Bonheur (dir. Agnès Varda, 1965)

Le Notti Bianche (dir. Luchino Visconti, 1957)

Like Father, Like Son (dir. Hirokazu Kore-eda, 2013)

Local Hero (dir. Bill Forsyth, 1983)

Love & Basketball (dir. Gina Prince-Bythewood, 2000)

Lovers Rock (dir. Steve McQueen, 2020)

Mad Max 2: The Road Warrior (dir. George Miller, 1981)

Malcolm X (dir. Spike Lee, 1992)

Meek's Cutoff (dir. Kelly Reichardt, 2010)

Metropolis (dir. Fritz Lang, 1927)

Mikey and Nicky (dir. Elaine May, 1976)

Monsoon Wedding (dir. Mira Nair, 2001)

My Neighbors the Yamadas (dir. Isao Takahata, 1999)

Never Rarely Sometimes Always (dir. Eliza Hittman, 2020)

Nights of Cabiria (dir. Federico Fellini, 1957)

Nomadland (dir. Chloé Zhao, 2020)

One Sings, the Other Doesn't (dir. Agnès Varda, 1977)

Only Angels Have Wings (dir. Howard Hawks, 1939)

Pandora's Box (dir. G. W. Pabst, 1929)

Pennies from Heaven (dir. Herbert Ross, 1981)

Pickup on South Street (dir. Samuel Fuller, 1953)

Quo Vadis, Aida? (dir. Jasmila Žbanić, 2020)

Red, White and Blue (dir. Steve McQueen, 2020)

Rocco and His Brothers (dir. Luchino Visconti, 1960)

Romeo + Juliet (dir. Baz Luhrmann, 1996)

Rushmore (dir. Wes Anderson, 1998)

Scattered Clouds (dir. Mikio Naruse, 1967)

The Sea Wolf (dir. Michael Curtiz, 1941)

Seven Samurai (dir. Akira Kurosawa, 1954)

Sleepless in Seattle (dir. Nora Ephron, 1993)

Sound of Metal (dir. Darius Marder, 2019)

Stop Making Sense (dir. Jonathan Demme, 1984)

Sweet Smell of Success (dir. Alexander Mackendrick, 1957)

Symbiopsychotaxiplasm: Take One (dir. William Greaves, 1968)

The Taking of Pelham One Two Three (dir. Joseph Sargent, 1974)

Tea and Sympathy (dir. Vincente Minnelli, 1956)

They Shoot Horses, Don't They? (dir. Sydney Pollack, 1969)

Three Colors: Red (dir. Krzysztof Kieślowski, 1994)

To Wong Foo, Thanks for Everything! Julie Newmar (dir. Beeban Kidron, 1995)

Two for the Road (dir. Stanley Donen, 1967)

Uptight (dir. Jules Dassin, 1968)

The Watermelon Woman (dir. Cheryl Dunye, 1996)

Wendy and Lucy (dir. Kelly Reichardt, 2008)

What the Constitution Means to Me (dir. Marielle Heller, 2020)

Whisper of the Heart (dir. Yoshifumi Kondo, 1995)

Who Framed Roger Rabbit (dir. Robert Zemeckis and Richard Williams, 1988)

Within Our Gates (dir. Oscar Micheaux, 1920)

Wolfwalkers (dir. Tomm Moore and Ross Stewart, 2020)

A Woman Under the Influence (dir. John Cassavetes, 1974)

shorts:

Asparagus (dir. Suzan Pitt, 1979)

Bambi Meets Godzilla (dir. Marv Newland, 1969)

Black Panthers (dir. Agnès Varda, 1968)

Coming Out (dir. Cressa Maeve Beer, 2020)

Fireworks (dir. Kenneth Anger, 1947)

The House is Black (dir. Forough Farrokhzad, 1963)

The Human Voice (dir. Pedro Almodóvar, 2020)

Kapaemahu (dir. Joe Wilson, Dean Hamer, and Hinaleimoana Wong-Kalu, 2020)

The Meaning of Life (dir. Don Hertzfeldt, 2005)

The Music Box (dir. James Parrott, 1932)

An Occurrence at Owl Creek Bridge (dir. Robert Enrico, 1961)

Popeye the Sailor Meets Sindbad the Sailor (dir. Dave Flesicher, 1936)

Uncle Yanco (dir. Agnès Varda, 1967)

World of Tomorrow, Episode Three: The Absent Destinations of David Prime (dir. Don Hertzfeldt, 2020)

Zero for Conduct (dir. Jean Vigo, 1933)

:')

[elisabethlesourdfan]

LULU

Un film de

Georg Wilhelm Pabst

Loulou, une fille perdue, dont le riche amant, Peter Schön, a pour fiancée la fille du ministre de l'Intérieur, contraint ce respectable bourgeois à la rupture et parvient à se faire épouser. Follement épris, Schön supporte mal, pourtant, de découvrir, le soir de ses noces, Loulou en train de papillonner avec trois soupirants empressés, dont son propre fils, Alwa. Il somme Loulou de laver son déshonneur en mettant fin à ses jours. La jeune femme préfère retourner contre lui l'arme qu'il lui tend. Elle joue les veuves éplorées lors de son procès et n'échappe à son sort qu'en se faisant enlever par ses amis. Devenue la maîtresse d'Alwa, elle le suit dans le tripot clandestin où le jeune homme achève de perdre toute dignité...

(via Loulou (1929) — Chacun Cherche Son Film)

[carnegiemuseumnaturalhistory]

The Bromacker Project Part V: Orobates pabsti, Pabst’s Mountain Walker

In 1995, my first year of field work at the Bromacker quarry, Stuart Sumida discovered a fossil that we initially thought was that of the amphibian Seymouria, based on the size and shape of the exposed vertebrae. This tentative identification made sense, because before our collaboration began, Thomas Martens had discovered in the Bromacker a skull of Seymouria, a creature known from localities in the USA. Months later, while I was preparing the specimen, Dave Berman and I realized the fossil wasn’t Seymouria, and that it belonged to the same unnamed animal that Thomas had collected a partial skeleton of before our collaboration began.

Specimen of Orobates pabsti collected in the 1995 field season. We determined that it is a juvenile. Photo by Dave Berman.

In the 1998 field season I discovered a third specimen, which is by far the most spectacular fossil that I have ever discovered. I found it towards the end of the field season when I pried up a piece of rock from the quarry floor. Upon turning over the rock piece, I saw an articulated foot preserved in it. I couldn’t believe my eyes! I knew that at the Bromacker if an articulated foot was found, the rest of the articulated skeleton should be attached to it. The problem was, we didn’t know if I had discovered a front or a hind foot, so we weren’t sure how the specimen was oriented in the quarry and whether it penetrated the nearby rock wall. Dave carefully lifted another piece of rock and thought the bones exposed in it were part of the shoulder girdle. Unfortunately, closer examination revealed that it was a piece of skull roof—another lobotomy—but, lacking x-ray vision, this is how we find fossil bone at the Bromacker. The good news was that the fossil specimen appeared to parallel the quarry wall.

A film crew from the regional MDR television station visited us early on the day of my discovery to interview Dave and Thomas. The discovery was made after they left, so Thomas immediately notified them. They returned and recorded a reenactment of my discovery. The piece of rock I am holding contains the foot. The rest of the fossil lies in the low mound of rocks in front of me. Photo by Dave Berman, 1998.

Dave and Stuart finish plastering the block. The red flag is a north arrow to indicate the orientation of the block in the quarry. Photo by the author, 1998.

Dave, Stuart, Thomas, then-graduate student Richard Kissel (University of Toronto, Mississauga), and I named the animal Orobates pabsti, which is from the Greek “oros,” meaning mountain, and “bates,” meaning walker, in reference to the Bromacker fossil environment being an intermontane basin. “Pabsti” is in honor of Professor Wilhelm Pabst for his pioneering work on the Bromacker fossil trackways.

We determined that Orobates is very closely related to Diadectes, and like Diadectes, was herbivorous. Orobates differs from Diadectes and other diadectomorphs in the group Diadectidae in a number of features, some of which are as follows: spade-shaped cheek teeth that are oriented on the jaw at an angle of 30–40° to the jaw line, rather than being close to 90°; narrower and shorter vertebral spines; 26 vertebrae between the head and hip (Diadectes has 21); proportions and shapes of individual toe bones; and digit (finger or toe) length.

Holotype specimen of Orobates pabsti, the specimen collected in 1998. If a series of specimens exists of a new species, then the specimen that best represents the species is designated as the holotype. If only one specimen is known, it becomes the holotype by default. Photo by Dave Berman.

The Bromacker has long been famous for its exquisitely preserved fossil trackways. Identification of the particular fossil animal that made a given trackway is almost always very difficult, because body fossils often lack completely preserved hands and feet and typically are not found in association with trackways. As a result, trackways are given their own set of names, called ichnotaxa (“ichno” means track or footprint), which are typically referred to major groups of animals instead of individual species. The Bromacker is unique, however, because nearly completely preserved body fossils occur in a rock unit above the trackways, indicating they are very nearly contemporaneous. Five ichnotaxa are known from the Bromacker, and one of them, Ichniotherium, has been attributed to Diadectidae.

A large slab of rock being inspected for trackways shortly after it was unearthed in the commercial rock quarry. The polygonal patterns in the rock are mudcracks. Photo by the author.

Graduate student and trackway expert Sebastian Voigt (now Director at Urweltmuseum GEOSKOP, Burg Lichtenberg, Germany) often visited us at the Bromacker. In 2000, a time when Diadectes was the only known Bromacker diadectid, Sebastian and his advisor Hartmut Haubold (now emeritus at Martin Luther University Halle-Wittenberg, Germany) proposed that Ichniotherium cottae made two track types, designated as A and B, that differed according to the speed at which the trackmakers moved. This contrasted previous studies that proposed three species of Ichniotherium at the Bromacker.

Once the skeletal anatomy of Orobates became known, Sebastian realized that there were two species of Ichniotherium, and they were made by Diadectes and Orobates, respectively. He invited Dave and me to co-author a paper to present this hypothesis. We supplied Sebastian with information about skeletal differences between Diadectes and Orobates, and Sebastian used these data to firmly establish that Diadectes made Ichniotherium cottae (type B) tracks and Orobates was the trackmaker of trackways formerly identified as I.sphaerodactylum (aka I. cottae type A). Even though the makers of the trackways are now known, the ichnotaxon names are still used when referring to the trackways.

Photographs of trackways of Ichniotherium sphaerodactylum made by Orobates pabsti (top) and Ichniotherium cottae made by Diadectes absitus (bottom). Modified from Voigt (2007).

In Diadectes, the fifth digit of the hind foot is relatively shorter than it is in Orobates, which can be seen in the tracks of I. cottae and I. sphaerodactylum, respectively. Furthermore, in I. cottae trackways, the hind foot track overlaps the track of the front foot, whereas in I. sphaerodactylum the hind foot track typically doesn’t overlap the front foot track. This is because Diadectes has less vertebrae between the head and hip (21 vertebrae) than Orobates (26 vertebrae) does.

Front and hind foot track pair of Ichniotherium sphaerodactylum. Track made by the front foot is above the hind foot track. Digits 1–5 indicated. Modified from Voigt, 2007.

Front and hind foot track pair of Ichniotherium cottae. Track made by the front foot is above the hind foot track. Digits 1–5 indicated. Notice that the hind foot track overlaps the front foot track. Drawings are of different specimens than the one photographed. Modified from Voigt, 2007.

A cast of the holotype skeleton of Orobates pabsti is exhibited in the Fossil Frontiers display case in Carnegie Museum of Natural History’s Dinosaurs in Their Time exhibition. Be sure to look for it once the museum re-opens. And stay tuned for my next post, which will feature the amphibian Seymouria sanjuanensis.

For those of you who would like to learn more about Orobates, you can access the abstract here or contact Amy Henrici here. The publication on the track-trackmaker association can be found here.

Amy Henrici is Collection Manager in the Section of Vertebrate Paleontology at Carnegie Museum of Natural History. Museum staff, volunteers, and interns are encouraged to blog about their unique experiences and knowledge gained from working at the museum.

[deirdreskye]

broke: fiona apple this mitski that sylvia plath virginia woolf sticks and mud and magic and feral feral feral feral male fantasies margaret atwood voice amy dunne was right killing eve jenny holzer anne carson mary oliver sticks mud sticks mud

bespoke: rainbow six siege property brothers newports wendy’s pabst blue ribbon orcs wizards weed HGTV rollercoaster tycoon george costanza 

[cquadavre-debil]

CHAPITRE SECOND

I

           L’immeuble où habitait Pierre était un cube en blocs de béton beige dont la peinture s’écaillait en surface, à la merci des éléments, sous une pyramide rhomboïdale recouverte de bardeau d’asphalte cramoisi – et moisi – qui lui donnait l’allure d’une énorme amanite au pied ventru que trouaient par devant huit fenêtres et dans le chapeau de laquelle était contenu le dernier étage dont les deux balcons en lucarne nous observaient d’un air burlesque. La galerie d’en bas était reliée à cette mycologique charpente par le zigzag d’un escalier central extérieur en forme de double Z superposé :

          Z

          Z

           Le premier pallier après le début des marches correspondait au sommet d’une tour de garde, parallélépipède rectangle debout tel un avant-poste en retrait de l’auberge espagnole, sur le frontispice de l’entrée de laquelle était inscrit, en lettres de bois moulues jaunes couronnant son arche :

          CHAMBRES À LOUER

           Faute d’interphone, Simon cria :

           « Bouchard ! »

           À la fenêtre la plus à l’ouest, en haut, à gauche, où se refléterait bientôt l’incendie crépusculaire, apparut un barbu châtain, maigrichon et blême, aux yeux cernés bleu ciel épaissis de grosses loupes, qui s’éclipsa pour réapparaître sur le seuil de la porte qu'il tint ouverte pendant que nous la franchissions. Pantouflé de laine, en blue-jeans délavé, t-shirt de Nirvana et chemise de bûcheron carreautée rouge et noire, Pierre Bouchard nous souhaita la bienvenue dans son « palace ».

           L’intérieur de l’édifice était spacieux, beige du linoléum au plafond-cathédrale et imprégné d’une âcre odeur de tabac froid. Dans la pénombre au fond du couloir rougeoyait le mot « SORTIE » sur un panneau lumineux au-dessus de la porte arrière qui donnait sur le nord que dominait une dépressive atmosphère appesantie de stratus si lourds qu’ils en effleuraient la cime encore enneigée des monts Valin par-delà le fjordesque panorama de la vallée fluviale.

           Une dizaine de marches de bois nous menèrent droit au cœur ombrageux d’un labyrinthe à la configuration trop bizarre pour être décrite – plateforme trapézoïdale se dédoublant en négatif tel un sablier dont le temps serait écoulé –, puis, plus haut, à gauche, à une espèce de mezzanine qui se répliquait de l'autre côté de la maison, à droite – étages jumeaux où s’entrecroisaient deux corridors perpendiculaires dont celui auquel on aboutissait en grimpant les marches se terminait dans l’obscurité rouge de la sortie d’urgence par où l’on accédait à l’avant-dernier pallier d’un chambranlant escalier de secours longeant les murs latéraux du bâtiment comme une vigne métallique.

           Dans la mansarde où habitait Pierre flottait un parfum de marijuana rappelant à la fois l’arôme de l’eucalyptus et la puanteur de la moufette. On y était accueilli par un évier débordant de vaisselle graisseuse, aperçu du chaos à venir : entre une bibliothèque en mélamine au bord de l’écroulement et un matelas posé à même le sol, sur le plancher s’amoncelaient, jusqu’à trois pieds de haut, des monticules de cannettes de Sleeman et de Pabst Blue Ribbon d’où émergeaient des boîtes de livres et des piles de vinyles près du désordre des vêtements froissés. Les seuls éléments de ce décor qui pouvaient révéler les origines bourgeoises de notre hôte étaient un fauteuil Régence dont il n’avait point encore osé se départir et un tourne-disque où jouait un microsillon de jazz qui enterrait presque le vacarme des voisins dont la dispute conjugale rivalisait avec les infrasons du hip-hop. Nous étant déchaussés, puis frayé un chemin parmi les détritus, nous nous assîmes au bord du lit que Bouchard débarrassa des paperasses qui y traînaient. Sous la fenêtre à manivelle grande ouverte à côté de laquelle il avait pris place, un calorifère à l’eau en fonte, peint du même beige que les murs, chauffait la pièce à plein régime.

           « Qu’est-ce qui se passe à côté ? s’informa Simon.

           – Ah ! Ceux-là… Rien de grave, ils se chicanent souvent comme ça. »

          Puis, sous-entendant quelque grivoiserie :

          « On va bientôt les entendre se calmer. »

           Pierre sortit de la poche avant de sa chemise en damier un joint qu’il alluma, puis, en ayant aspiré quelques bouffées, le tendit à Tremblay qui, à son tour, s’embrouilla la cervelle en s’emboucanant les bronches. Bouchard continua :

           « Aujourd’hui, c’est relax. Revenez dans une semaine, vous allez voir… Quand les gars reçoivent leur chèque, c’est beaucoup plus animé ! J’ai des voisins formidables… Celui d’à côté est schizophrène – il a scié sa télé en deux en pensant y trouver une bombe à désamorcer. Le couple qui se chicane, c’est un rappeur et sa chicks qui font de la pilule. Dans l’autre chambre, à côté de la toilette, ça change régulièrement de locataire – il n’y a pas de bail, on paye au mois. En dessous, c’est tranquille. Par contre, de l’autre bord, ça brasse. En haut, il y a un vendeur de poudre qui a trois blondes en même temps, un drop-out qui fume des boilers, un débroussailleur marocain au chômage et un homo dont les autres se moquent quand on chill aux couteaux sur le poêle en bas. Leur devise est : ‘‘Riche un jour, pauvre le reste du mois !’’ Un gars est mort du sida. Un autre du cancer. Il y a un ex-détenu avec un œil de pirate qui a essayé de se suicider à l’héroïne. Il y a le plus ancien locataire de la maison de chambres, le ‘‘Doc’’, un infirmier militaire à la retraite avec un tatouage en bonhomme-allumettes du Saint qui se fait aussi appeler ‘‘le Parrain’’ et ‘‘le Shylock’’… Tout le monde le respecte. Une fois, un ami du ‘‘pirate’’ est venu le voir en sortant de prison, un Amérindien nerré qui a pris mes lunettes pour m’écœurer en les essayant. Le Doc lui a dit de me les redonner. Ça n’a pas été long. Une autre fois, c’était un des amis du Doc qui sortait de prison ; lui, il était vraiment lourd… ‘‘Le Curé’’… Un ours de six pieds sept dans la soixantaine qui venait de purger douze ans pour meurtre… Il m’appelait ‘‘beau petit gars’’… C’était assez intimidant… Il renchérissait avec une blague douteuse : ‘‘Connaissez-vous l’œil de Dieu ? C’est l’anus : il voit tout.’’ »

          C’est alors qu’on cogna à la porte de la chambre que Pierre alla ouvrir.

[promoter101]

Promoter101 The Podcast Live!!!! on Clubhouse

TUE Feb 23, 9:30 PM EST / 6:30 PM PST

Hosted By Emporium Presents' Dan Steinberg & WORKS Entertainment's Luke Pierce, Featuring Guests: Degy Booking's Ari Nisman, AGI's Nick Storch, AEG Presents' Amy Millhauser Morrison, and Pabst Theatre-Milwaukee's Gary Witt

Direct Link: https://www.joinclubhouse.com/event/M6Ej7zpX

[dorlaiel]

Marguerite Lion dit Margo Lion naît le 28 février 1899 dans la très cosmopolite Constantinople qui ne prendra le nom turc d’Istanbul qu’après la chute de l’empire ottoman. Au milieu des années vingt nous retrouvons Margo Lion à Berlin, ville qui connaît, sous la République de Weimar, une vie artistique et culturelle bouillonnante, et où fleurissent tous les talents et les originalités. La jeune femme se produit comme chanteuse satirico-réaliste et meneuse de revue. Sa voix aux modulations profondes et sa longue silhouette androgyne fascinent un large public. Mariée au célèbre librettiste Marcellus Schiffer, ami et associé du compositeur Mischa Spoliansky, elle est la grande vedette de la revue du Kurfürstendamm. Pour le cinéma, Margo Lion fait une première figuration au temps du muet dans «K13 513» (1926) de Berthold Viertel, titre tiré du numéro d’un billet de banque qui passe de mains en mains dans l’Allemagne en crise de l’immédiat après-première guerre mondiale. Mais l’artiste montre vraiment tout son talent en 1930 en jouant Jenny la prostituée, aux côtés de Albert Préjean et Florelle, dans la version française de «L’opéra de quat’sous» (1930) de Georg Wilhelm Pabst d’après «Die dreigroschenoper» (1928) de Bertolt Brecht, mise en musique par Kurt Weill. Toujours à Berlin jusqu’au milieu des années trente, Margo Lion interprète encore une quinzaine de rôles notamment sous la direction de Anatole Litvak, Max Reichmann, Kurt Gerron. Après le suicide de son époux, elle tourne une dernière comédie musicale «Les dieux s’amusent» (1934) avec Henri Garat et Jeanne Boitel, puis elle préfère quitter une Allemagne désormais aux mains du parti national socialiste. Elle gagne Paris où elle participe encore à neuf films, en général des drames, avec des metteurs en scène comme Pierre Chenal, Julien Duvivier, Marcel Carné, Jean-Paul Paulin pour ne citer qu’eux. En 1939, dans son dernier film de la décennie, elle est la la mère d’une élève de «Jeunes filles en détresse» mise en scène par Georg Wilhelm Pabst. Margo Lion réussit à se réfugier dans le sud de la France après l’invasion allemande de juin 1940. Elle ne retrouve le chemin des studios qu’après la Libération pour occuper pendant plus de trente ans une solide place d’actrice de complément. En 1946, elle est notamment la sœur énergique de Jean Gabin, amoureux fou puis assassin de Marlene Dietrich, dans le film de Georges Lacombe, «Martin Roumagnac». Margo tourne de nouveau Outre-Rhin en 1951 et interprète sous la direction de Emil Edwin Reinert le rôle de Fanni Langkofler, dans «Verträumte tage» avec O.W. Fischer remplacé par Michel Auclair, dans la version française, «L’aiguille rouge». Elle travaille également en Espagne, «Nuit d’orage» (1951) avec le torero Mario Cabré et Anouk Aimée. À la fin de la décennie, elle est, entre autres, la surveillante de l’Institut Smolny que fréquente Romy Schneider, la «Katia» (1959) de Robert Siodmak. À partir des années soixante, Margo Lion est très sollicitée par la télévision et tournera encore un feuilleton à quatre-vingts ans révolus, ayant joué la maman de Annie Girardot dans «Docteur Françoise Gailland» (1975), pour son soixante-cinquième et dernier film. Margo Lion qui fut un temps bien plus célèbre que Marlene Dietrich, dans le Berlin des Années Folles, s’éteint injustement presque oubliée, à quelques jours de fêter ses quatre-vingt-dix ans, à Annecy-le-Vieux, dans le département de Haute-Savoie, le 23 février 1989. © Caroline HANOTTE

[brookstonalmanac]

Birthdays 11.25

Beer Birthdays

Carry Nation; temperance nut job, terrorist (1846)

Gustave Pabst (1866)

Bob Leggett (1953)

Five Favorite Birthdays

Poul Anderson; writer (1926)

Christina Applegate; actor (1971)

Paul Desmond; jazz saxophonist (1924)

P.D. Eastman; writer (1909)

Virgil Thomson; composer (1896)

Famous Birthdays

Karl Benz; German engineer, inventor (1844)

Andrew Carnegie; businessman (1835)

Cris Carter; Minnesota Vikings WR (1965)

Bucky Dent; New York Yankess SS (1951)

Joe DiMaggio; New York Yankees OF (1914)

Amy Grant; pop singer (1960)

Jill Hennessy; Canadian actor (1968)

Ba Jin; Chinese writer (1904)

John Larriquette; actor (1947)

Donovan McNabb; Philadelphia Eagles QB (1976)

Ricardo Montalban; actor (1920)

Lenny Moore; Baltimore Colts HB (1933)

Patrick Nagel; artist, illustrator (1945)

Herschel Savage; porn actor (1952)

Percy Sledge; pop singer (1941)

Laurence Stallings; writer (1894)

Ben Stein; speechwriter, actor, creationist wingnut (1944)

Edward Traisman; invented Cheez Whiz, freezing process for McDonald’s fries (1915)

Woody Woodpecker; cartoon (1940)

[twiddletails]

The last installment of Amy Pabst log cabins. Swipe for maker credits. #quiltfestival2019 #quiltfestival #quiltfestivalhouston #logcabinquilt #virtualquiltshow https://www.instagram.com/p/CBNuaM6HERt/?igshid=1mz35llua83tq

[alainlesourd-14]

Evénement! Pour célébrer le centenaire de l'Atlantide, les Amis de Pierre Benoit, Albin Michel, Les Films du Horla & Les Films du Genièvre organisent deux soirées hommage à Pierre Benoit les 10 et 11 juillet prochains à Gramat et à Saint-Médard-de-Presque! A cette occasion, Gérard de Cortanze présentera le mercredi 10 juillet une conférence sur le thème : "Pierre Benoit et le mythe de l'Atlantide" suivie de la projection de L'Atlantide de Pabst. Le lendemain, dans le "Palais d'Antinéa" des Grottes de Presque sera projeté L'Atlantide de Jacques Feyder. Venez nombreux fêter les cent ans de ce chef-d'oeuvre de Pierre Benoit! @gerarddecortanze #pierrebenoit #gramat#grottesdepresque #atlantide #antinea

[plusorminuscongress]

New story in Politics from Time: Democrats Pick Milwaukee for 2020 National Convention

(MILWAUKEE) — Democrats chose Milwaukee on Monday to host Democrats’ 2020 national convention, setting the party’s standard-bearer to accept the presidential nomination in the heart of the old industrial belt that delivered Donald Trump to the White House.

Democratic National Committee Chairman Tom Perez chose Milwaukee over Houston and Miami after deliberations lingered longer than party leaders or officials from the three finalist cities had expected.

The convention is scheduled for July 13-16, 2020.

It will be the first time in over a century that Democrats will be in a Midwest city other than Chicago to nominate their presidential candidate. Instead, the political spotlight will shine for a week on a metro area of about 1.6 million people. Once dubbed as “The Machine Shop of the World,” the famously working-class city also is known for its long love affair with beer and as the birthplace of Harley-Davidson motorcycles.

Republicans are set to gather in Charlotte, the largest city in battleground North Carolina, on Aug. 24-27, 2020.

Democrats see plenty of symbolism in Milwaukee after a bitter 2016 election defined by Hillary Clinton being nearly swept in what her campaign aides had confidently called a “Blue Wall” across the upper Midwest and Great Lakes region. That band of states twice sided with President Barack Obama, but Clinton held only Minnesota, ceding Wisconsin, Michigan, Ohio and Pennsylvania — a combined 64 of the necessary 270 electoral votes — as white working-class voters flocked to Trump.

The president won Wisconsin and its 10 electoral votes by about 23,000 votes out of almost 3 million cast, the first time since 1984 that Republicans claimed the state in a presidential election. Afterward, Clinton took withering criticism for not once visiting Wisconsin as a general election candidate.

Since then, Wisconsin voters have re-elected Democratic Sen. Tammy Baldwin, ousted Republican Gov. Scott Walker in favor of Democrat Tony Evers and the state’s first black lieutenant governor, Mandela Barnes.

Wisconsin Democrats pointed to those midterm election results as they lobbied Perez and DNC officials, and presidential candidates already are paying attention. Minnesota Sen. Amy Klobuchar came to Wisconsin in one of her first trips as a declared candidate.

“A lot people feel that we lost (in 2016) because this area had been ignored — whether it’s from a political standpoint or whether it’s from a governing standpoint,” said Barnes, one of the members of the convention bid committee. Holding the convention in Milwaukee, Barnes added, says “we are ready to reinvest in the Midwest, that the Midwest matters again.”

In a political twist, Milwaukee officials have said the Republican Walker was instrumental in winning the convention. Democratic Party proceedings will play out in the new 17,500-seat arena that Walker helped build for the NBA’s Milwaukee Bucks by securing public financing from state lawmakers. Walker later lobbied GOP-leaning business leaders and donors to support Milwaukee’s effort to land the DNC.

Democratic officials in Washington said picking a convention site is as much about logistics as anything else, even as they acknowledge political optics and potential story lines.

On the logistics front, Milwaukee may have pulled somewhat of an upset, given its small footprint compared to Houston and Miami, cities long accustomed to hosting major events. Houston put on the Super Bowl as recently as February 2017.

Milwaukee organizers pitched their city — the Democratic stronghold of Wisconsin — as a resurgent downtown beyond just the arena and convention facilities. Home to some of the country’s biggest brewers, including Pabst, Schlitz, Miller and Blatz, the metro area has a redeveloped downtown, a hotel capacity exceeding 17,000 rooms and a new downtown streetcar line that opened in November.

Still, the city had to prove it has the overall capacity to satisfy the demands of tens of thousands of delegates, party activists, donors and media that will descend next summer.

DNC officials have said that the question wasn’t about hotel rooms, but whether Milwaukee has requisite venues for other convention staples, from daily sit-down breakfast meetings for 57 state and territorial delegations to evening events put on by state parties, corporations, lobbyists and donors. Even as Milwaukee officials insisted they have the venues, some deep-pocketed Democrats in nearby Chicago — a 90-minute drive — stepped in to note their proximity.

Houston and Miami, meanwhile, faced their own challenges.

Miami has an impressive concentration of luxury hotels, but many are in Miami Beach across bridges from downtown. That raised the prospect of delegates spending hours in traffic jams trying to get to convention facilities. The city’s arena also is not as new as in Milwaukee.

Houston had few if any logistical barriers. But according to party officials with knowledge of the process, the city’s organizing committee struggled to come up with the necessary financing without resorting to the oil and gas industry. That’s the city’s bread and butter, but it’s become anathema in Democratic politics because of the fossil fuel industry’s part in climate change. The city’s mayor also is embroiled in a long labor dispute with Houston firefighters — raising worries.

Also, though Houston and Miami are Democratic anchors in their states, Texas and Florida have no Democratic governor or senator between them.

By BILL BARROW, IVAN MORENO and SCOTT BAUER / AP on March 11, 2019 at 12:35PM