#foundations magazine

[garadinervi]

Joan Mitchell: Sunflowers, (adv. in «Artforum»), Hauser & Wirth, Zürich, June 7 – July 25, 2009 [Art: © Estate of Joan Mitchell, courtesy Joan Mitchell Foundation] [Art Books & Ephemera]

[weewookinard]

I discovered that Felix Magazine, the magazine who offered us this incredible photoshoot of Lou Ferrigno Jr and the article with it, is actually giving all of its profits to a foundation who helps empower young women through academic programs.

It's called The Aparecio Foundation and you can donate to help them here!

[monigote001]

The bastard

Amazing edit of the magazine cover by my gal pal @datiz !! ♥️🫵🫂

The drawings:

[2001hz]

Shiseido Foundation ad on The Back of Hanastsubaki Magazine n°556 (1996)

[sbrown82]

So, not only did Harry and Meghan finance this trip with their own resources, their Archewell Foundation just announced three major contributions to support education, culture and community well-being in the areas they visited.

#ShowUpDoGood

[filmnoirfoundation]

The print edition of NOIR CITY Magazine No. 42 is now available on Amazon: https://a.co/d/6WKuD6n

Issue #42 explores the ways in which film noir has endured, and the various forms it's taken over the years. Steve Kronenberg combs through the singular filmography of director David Cronenberg, and the application of the noir style in crime dramas as varied as "Dead Ringers" and "Eastern Promises".

Also in this issue:

Rachel Walther breaks down the various big screen adaptations of James M. Cain’s legendary pulp novel, "The Postman Always Rings Twice"; Andy Wolverton digs into the complicated lives of the female characters in "Act of Violence"; Sloan De Forest untangles the legacy and the impact of Orson Welles’ seminal "Third Man" character, Harry Lime; Danilo Castro dusts off the film noir yearbook to look back at crime dramas starring the Brat Pack; Peter Campion hones in on the importance of the proto-noir gangster film, "The Roaring Twenties"; Paul A.J. Lewis puts readers on to the forgotten and fascinating neo-noir, "A Man In Uniform"; and Matthew Gentile considers the 1994 classic "The Last Seduction", three decades later. Plus film reviews, a themed crossword puzzle, and more.

[vertigoartgore]

David Anthony Kraft's Comics Interview #114 (1992) cover by cover artist Brian Stelfreeze. Source

[jeremyleerennerdotcom]

jeremy's interview with cigar & spirits magazine is now online. have a read to hear him chat about his recovery, his vodka partnership and his philanthropy

[hart-on-my-sleeve]

Found some Jimbles on the honeymoon trip!

I love the last one a lot~

I'll be uploading more when I'm back home, managed to find a ton of wrestling magazines hehe!

[blowflyfag]

WORLD WRESTLING FEDERATION MAGAZINE :  MAY 1990 

YOUTH, SPEED, & FURY

SHAWN MICHAELS FACES BRET “HIT MAN” HART

It promised to be a dream matchup. Bret “Hit Man” Hart and Shawn Michaels, components of the two of the World Wrestling Federation’s most dynamic tag teams-the Hart Foundation and the Rockers, respectively–agreed to test each other’s heralded ralents in a singles bout. What followed was a dazzling display of wrestling scientific and grueling combat. Even after the contest became inflamed to the point that the referee had to call for a double disqualification, each gladiator left with great respect for the other. 

“I didn’t expect anything less.” stated the handsome Michaels, unwinding in the dressing room with his partner Maety Jannetty after the bell. “When you sign on the dotted line against Bret ‘Hit Man’ Hart, you sign to fight a hurricane. I had to give it all I had, and—if you ask me—I came out of the battle looking pretty good.” He touched a bump above his left eye and joked, “This’ll heal fine, and soon I’ll be breaking hearts again. But the first thing on my mind right now is Bret Hart. What I wouldn’t do to step in the ring with him again and gain a decisive victory!”

Several yards down the corridor, the mood was the same. Hart and teammate Jim “The Anvil” Neidhart looked at one another and grinned. 

“Tough kid,” Neidhart muttered.

Hit Man shook his head. “He fought some match. My ears are still ringing from his punches. I’d love to say ‘I didn’t know he had it in him,’ but that’s not true. The reason I wanted this match is that I knew that Shawn Michaels is a fabulous wrestler. I’ll give him this: He knows how to mix it up. I guess next time I’ll have to play a little bit harder.”

In the stands, the fans were almost as winded. The bout had been so intense that it seemed to blur past the spectators. When one man applied a punishing hold, the other was quick with a counter. As soon as the referee broke a clutch, the grapplers were tangled up again. When the combatants decided to start bending the rules, nothing less than a four-man brawl—starring the Rockers and the Hart Foundation—followed. 

“These guys didn’t let up for a single second, observed manager Bobby “The Brain” Heenan, normally on the opposite side of both competitors. “I’m not saying that either of these chumps could beat one of my men, but I still watched the match with interest. Because Hart and Michaels are similar types of wrestlers, I figured I’d see what they use against members of the Heenan family. That’s the key to smart managing, pal. Learn their repertoires and use the knowledge to your advantage.” 

[Bret Hart showed his lightinglike reaction time and his quick reflexes by grabbing Shawn Michaels in a reverse atomic drop when the two ran the ropes.]

Heenan was intrigued by this contest. While the manager is short on praise for his foes, his interests in the Hart-Michaels confrontation can be interrupted as a compliment to both men. By taking meticulous notes on the match, Heenan sent out a clear message: Hart and Michaels are at the top of their profession and pose a threat to every other wrestler.

The information was not news to the battlers. The bout had come about through mutual respect, coupled with the desire to overcome a formidable challenge.

Michaels was clearly the hungrier of the two, and his thirst for greatness was understandable. In Hart he saw an accomplished athlete, solid in technical skills and proficient in fisticuffs, who had “made it” as both a singles and tag team grappler. With Neidhart, Hit Man had held the WWF Tag Team Championship. In individual competition, he had established himself as a contender for the WWF Championship and Intercontinental Titles, and he was even profiled in a special issue of WWF Wrestling Spotlight.

Hart was just as anxious to log a victory. Despite Bret’s apparent youth, he has grown into a hardened veteran of the mat wars, and he wanted to ensure that he had not grown rusty. Hit Man viewed Michaels as one of wrestling’s “new breed,” one who rebels against the conventions of ring combat and who improvises and innovations in each match. The moves utilized by the Rockers impressed Hit Man, and he admitted feeling twinges of envy. Hadn’t he also been labeled a spectacular new force in the early days of the Hart Foundation? From the dressing room entrance, Bret watched the Rockers wage war with the mountainous Powers of Pain. He was reminded of the Foundation’s brace encounter with Andre the Giant in the closing moments of Wrestlemania 2’s battle royal. He wanted a bout with Michaels, to test himself. 

Rather than being divided in its loyalties, the crowd was solidly behind both wrestlers, giving each a rousing cheer as he made his way to the ring with his regular tag team partner. To offer moral support–or, perhaps, when two fiercely determined athletes square off–Jannetty and Neidhart remained at ringside after the bell rang. 

The match began in a sportsmanlike fashion, and it seemed relatively even. They locked up collar-to-elbow, with Michaels backing Bret into the turnbuckles. The Rocker broke the hold, detaching himself from his foe. When they tangled again, Hit Man applied a reverse wristlock. Michaels wiggled, loosened his opponent’s grip, then slipped behind Hart and clamped on a hammerlock. Bret displayed his experience by reversing the maneuver.

The fireworks that would be seen later in the match were ignored in the manner in which Michaels broke the hold. He thrust his elbow backward into Bret’s throat. The gesture was hardly a whack with a closed fist or a kick to the rings, but it qualified as roughhousing.

Hart recovered swiftly. He caught the Rocker in a reverse atomic drop and leveled him with a meteor of a clothesline. A snapmare appeared to disable Michaels further, but the war was just beginning. Whether the Rocker had exaggerated his injuries or recovered from the brink of defeat by pure heart, he still will not say. 

[Shawn Michaels struck with solid skill and dazzling moves. In the end, tempers flared, and a wild, full-fledged brawl ensued.]

What is known is that Michaels began fighting as if he had never been hurt. He slid out of the way of his foe’s elbowdrop and did some fancy spinning in midair to land on his feet after a backflip. Hart turned around to be blasted by a dropkick. Seeing Hit Man sprawled on the canvas, Michaels went for the kill.

His planning was premature. Bret waited for his opponent to mount the top rope before gripping him from underneath and hurling him across the ring. Possibly embarrassed by Michaels’ good showing, Hit Man got tough and unleashed forearms and elbows. 

Tempers were starting to flare. Michaels contained his anger long enough to avoid a side suplex–doing a 360-degree turn while being lifted, landing on his feet and bodyslamming Hit Man. Again, both men ran the ropes. This time, it served neither’s advantage, as they elbowed on another and hit the mat simultaneously.

A classic moment occurs when they rose and took turns exchanging suplex attempts. The defensive skills of each were so refined that neither could accomplish his task. 

Frustrated, they wrestled into the corner. Neither wished to break. Asserting his authority, the referee wedged between them. When separated, they could not wait to duel again. Words were exchanged, then shoves. Bret clocked his adversary. Jannetty stepped onto the apron to argue with– and then punch–Hit Man. Neidhart chimed in and was slugged by Michaels. Within seconds, the ring was flooded with WWF officials trying to restore order in a four-way free-for-all. 

Remarkably, the bad feelings were left in the ring. Each man recognized the others gutsiness, and each will go so far as to compliment the rival tag team. Both the Rockers and the Hart Foundation pledge support for each other if it is needed. 

But if it is not, Bret Hart and Shawn Michaels cannot wait to tear into each other again. 

[dustedmagazine]

Rempis / Adasiewicz / Abrams / Damon — Propulsion (Aerophonic)

The title of this recording is apt. Saxophonist Dave Rempis, vibraphonist Jason Adasiewicz, bassist Joshua Abrams, and drummer Tyler Damon sustain direction and momentum throughout its three lengthy tracks, which are excerpted from a concert that transpired on August 31, 2023 at Elastic Arts in Chicago. But it could just as easily be called Cusp, since it captures the precise moment when the quartet’s leader transitioned from one career phase characterized by intense community engagement to another that will focus upon articulating a mode of improvisational music-making that’s taken decades to develop.

Besides his dogged work as a musician and label proprietor, Rempis is an indefatigable organizer. He’s had a strong hand in the production end of the Hyde Park Jazz Festival and Pitchfork before that, and for 21 years he ran a weekly concert series presenting improvised music for the Elastic Arts Foundation. The latter affiliation came to an end the night that this music was played, when Rempis booked himself to play the final concert of his tenure with Elastic Arts. It fell on the same weekend as the Chicago Jazz Festival, which has often been an occasion when he would choose to play with one of his more enduring ensembles in some smaller venue after the main festival closes for the night. But this time he picked a new combo, albeit one with deep roots. Rempis, Adasiewicz, and Abrams are part of a cohort that came onto Chicago’s jazz scene in the 1990s, and they’ve been appearing on records together in varying combinations for nearly two decades. Damon and Rempis have been frequent collaborators since 2017, when their trio Kuzu (with Tashi Dorji) was first born on Elastic’s stage.

This web of associations is key to the character of the music on Propulsion. Everyone here understands what Rempis is after, and knows how to make it happen. The essence of his aesthetic is a convergence of the micro and macro. He’s committed to total improvisation. The music is made in the moment that is played, and the selection of personnel is his chief compositional decision. But that’s still very much a compositional act, since Rempis wants his improvisations to develop cohesive forms shaped by the imagination of every contributor. Even an unaccompanied passage, such as the incandescent, circular breathing-fueled four-minute line drawn by Rempis’ alto that opens “Egression,” is simply part of a larger, collectively conceived work. While his keening instrumental voice pushes forward, a calmer vibraphone melody wreathes it, and a seething maelstrom of bowed bass and Sisyphean drumming first fuels the progress and then resolves it as the music gently lands night quite fourteen minutes later.

Music like this doesn’t work unless all parties involved are tuned into each other from moment to moment. But it also requires musicians with sufficient recall where the music has recently been to make contributions that make sense as part of a larger developmental arc. While nothing quite matches the experience of being present when such music is being willed into existence, Propulsion comes close enough to deliver the feeling as well of the sound of committed co-creation.

Bill Meyer

[garadinervi]

Joan Mitchell: Drawings, (adv. in «Artforum»), Kukje Gallery, Seoul, October 22 – November 22, 2009 [Art: © Estate of Joan Mitchell, courtesy Joan Mitchell Foundation] [Art Books & Ephemera]

[agirlnamedbone]

Jenny George (pub. in POETRY, 2018)

[basicallyanotherwitchesthing]

Here & Now, magazine, Uni-Com Foundation, August 1974

[alwaysalwaysalwaysthesea]

Dang, beer, get over yourself.

(source: July 10, 1939 LIFE)

[hiyutekivigil]