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ucflibrary · 4 years ago

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Each December, the UCF Libraries’ Featured Bookshelf celebrates the favorite books of employees of the UCF Libraries. And you know a major thing about librarians and library staff? They love talking about their favorite books. The books listed below are some of the favorite books we read in 2020.

Click on the link below to see the full list, descriptions, and catalog links for our favorite 2020 titles. These 20 books plus favorites from previous years are also on display in the 4th floor Reading Room of the John C. Hitt Library.

And if you find someone has checked the one you’re interested in out before you had a chance, did you know you can place an interlibrary loan and have another copy sent here for you? Click here for instructions on placing an interlibrary loan.

A Furious Sky: the five-hundred-year history of America's hurricanes by Eric Jay Dolin From the moment European colonists laid violent claim to this land, hurricanes have had a profound and visceral impact on American history-yet, no one has attempted to write the definitive account of America's entanglement with these meteorological behemoths. Eric Jay Dolin presents the five-hundred-year story of American hurricanes, from the nameless storms that threatened Columbus' New World voyages, to the devastation wrought by Hurricane Maria in Puerto Rico and the escalation of hurricane season as a result of global warming. Populating his narrative with unlikely heroes such as Benito Vines, the nineteenth-century Jesuit priest whose revelatory methods for predicting hurricanes saved countless lives, and journalist Dan Rather, whose coverage of a 1961 hurricane would change broadcasting history, Dolin uncovers the often surprising ways we respond to natural crises. Suggested by Megan Haught, Student Learning & Engagement/Research & Information Services

Children of the Land by Marcelo Hernandez Castillo With beauty, grace, and honesty, Castillo recounts his and his family’s encounters with a system that treats them as criminals for seeking safe, ordinary lives. He writes of the Sunday afternoon when he opened the door to an ICE officer who had one hand on his holster, of the hours he spent making a fake social security card so that he could work to support his family, of his father’s deportation and the decade that he spent waiting to return to his wife and children only to be denied reentry Suggested by Sara Duff, Acquisitions & Collections

Dark Matter: a novel by Blake Crouch A mind-bending, relentlessly paced science-fiction thriller, in which an ordinary man is kidnapped, knocked unconscious--and awakens in a world inexplicably different from the reality he thought he knew. "Are you happy with your life?" Those are the last words Jason Dessen hears before the masked abductor knocks him unconscious. He awakens to find himself strapped to a gurney, surrounded by strangers in hazmat suits. Before him, a man Jason's never met smiles down at him and says, "Welcome back, my friend." In this world he's woken up to, Jason's life is not the one he knows. His wife is not his wife. His son was never born. And Jason is not an ordinary college physics professor but a celebrated genius who has achieved something remarkable. Something impossible. Suggested by Katy Miller, Student Learning & Engagement

Do Nothing: how to break away from overworking, overdoing, and underliving by Celeste Headlee We work feverishly to make ourselves happy. So why are we so miserable? Despite our constant search for new ways to "hack" our bodies and minds for peak performance, human beings are working more instead of less, living harder not smarter, and becoming more lonely and anxious. This manifesto helps us break free of our unhealthy devotion to efficiency and shows us how to reclaim our time and humanity with a little more leisure Suggested by Katy Miller, Student Learning & Engagement

Eleanor Roosevelt by Blanche Wiesen Cook A study of the complex and political figure of Eleanor Roosevelt begins with her harrowing childhood, describes the difficulties of her marriage, and explains how she persuaded Franklin to make the reforms that would make him famous. Suggested by Richard Harrison, Research & Information Services

From Here to Eternity: traveling the world to find the good death by Caitlin Doughty Fascinated by our pervasive fear of dead bodies, mortician Caitlin Doughty set out to discover how other cultures care for the dead. In rural Indonesia, she watches a man clean and dress his grandfather's mummified body, which has resided in the family home for two years. In La Paz, she meets Bolivian natitas (cigarette-smoking, wish-granting human skulls), and in Tokyo she encounters the Japanese kotsuage ceremony, in which relatives use chopsticks to pluck their loved-ones' bones from cremation ashes. She introduces deathcare innovators researching body composting and green burial, and examines how varied traditions, from Mexico's Dias de los Muertos to Zoroastrian sky burial help us see our own death customs in a new light. She argues that our expensive, impersonal system fosters a corrosive fear of death that hinders our ability to cope and mourn. By comparing customs, she demonstrates that mourners everywhere respond best when they help care for the deceased and have space to participate in the process. Suggested by Katy Miller, Student Learning & Engagement

Indelicacy by Amina Cain A cleaning woman at a museum of art nurtures aspirations to do more than simply dust the paintings around her. She dreams of having the liberty to explore them in writing, and so must find a way to win herself the time and security to use her mind. She escapes her lot by marrying a rich man, but having gained a husband, a house, high society, and a maid, she finds that her new life of privilege is no less constrained. Not only has she taken up different forms of time-consuming labor - social and erotic - but she is now, however passively, forcing other women to clean up after her. Perhaps another and more drastic solution is necessary Suggested by Sara Duff, Acquisitions & Collections

Interior Chinatown by Charles Yu Every day Willis Wu leaves his tiny room in a Chinatown SRO and enters the Golden Palace restaurant, where Black and White, a procedural cop show, is in perpetual production. He's a bit player here too, but he dreams of being Kung Fu Guy-- and he sees his life as a script. After stumbling into the spotlight, Willis finds himself launched into a wider world than he has ever known, discovering not only the secret history of Chinatown, but the buried legacy of his own family, and what that means for him in today's America. Suggested by Sara Duff, Acquisitions & Collections

Outlander by Diana Gabaldon Scottish Highlands, 1945. Claire Randall, a former British combat nurse, is just back from the war and reunited with her husband on a second honeymoon when she walks through a standing stone in one of the ancient circles that dot the British Isles. Suddenly she is a Sassenach—an “outlander”—in a Scotland torn by war and raiding clans in the year of Our Lord . . . 1743. Claire is catapulted into the intrigues of a world that threatens her life, and may shatter her heart. Marooned amid danger, passion, and violence, Claire learns her only chance of safety lies in Jamie Fraser, a gallant young Scots warrior. What begins in compulsion becomes urgent need, and Claire finds herself torn between two very different men, in two irreconcilable lives. Suggested by Katie Kirwan, Acquisitions & Collections

Paradise Lost: a life of F. Scott Fitzgerald by David S. Brown In this comprehensive biography, Brown reexamines Fitzgerald’s childhood, first loves, and difficult marriage to Zelda Sayre. He looks at Fitzgerald’s friendship with Hemingway, the golden years that culminated with Gatsby, and his increasing alcohol abuse and declining fortunes which coincided with Zelda’s institutionalization and the nation’s economic collapse. Suggested by Andrew Hackler, Circulation

Recursion by Blake Crouch Reality is broken. At first, it looks like a disease. An epidemic that spreads through no known means, driving its victims mad with memories of a life they never lived. But the force that’s sweeping the world is no pathogen. It’s just the first shock wave, unleashed by a stunning discovery—and what’s in jeopardy is not our minds but the very fabric of time itself. Suggested by Mary Rubin, Special Collections & University Archives

Solutions and Other Problems by Allie Brosh Brosh’s second book includes humorous stories from her childhood; the adventures of her very bad animals; merciless dissection of her own character flaws; incisive essays on grief, loneliness, and powerlessness; as well as reflections on the absurdity of modern life. Suggested by Sara Duff, Acquisitions & Collections

Spillover: animal infections and the next human pandemic by David Quammen This work examines the emergence and causes of new diseases all over the world, describing a process called "spillover" where illness originates in wild animals before being passed to humans and discusses the potential for the next huge pandemic. The emergence of strange new diseases is a frightening problem that seems to be getting worse. In this age of speedy travel, it threatens a worldwide pandemic. We hear news reports of Ebola, SARS, AIDS, and something called Hendra killing horses and people in Australia; but those reports miss the big truth that such phenomena are part of a single pattern. The bugs that transmit these diseases share one thing: they originate in wild animals and pass to humans by a process called spillover. As globalization spreads and as we destroy the ancient ecosystems, penetrating ever deeper into the furthest reaches of the planet, we encounter strange and dangerous infections that originate in animals but can be transmitted to humans. The author tracks this subject around the world. He recounts adventures in the field, netting bats in China, trapping monkeys in Bangladesh, stalking gorillas in the Congo, with the world's leading disease scientists. He takes the reader along on this quest to learn how, where from, and why these diseases emerge, and he asks the terrifying question: What might the next big one be? Suggested by Megan Haught, Student Learning & Engagement/Research & Information Services

Squeeze Me by Carl Hiaasen It's the height of the Palm Beach charity ball season: for every disease or cause, there's a reason for the local luminaries to eat (minimally), drink (maximally), and be seen. But when a prominent high-society dowager suddenly vanishes during a swank gala, and is later found dead in a concrete grave, panic and chaos erupt. Kiki Pew was notable not just for her wealth and her jewels--she was an ardent fan of the Winter White House resident just down the road, and a founding member of the POTUSSIES, a group of women dedicated to supporting their President. Never one to miss an opportunity to play to his base, the President immediately declares that Kiki was the victim of rampaging immigrant hordes. This, it turns out, is far from the truth. Suggested by Richard Harrison, Research & Information Services

The Lady's Guide to Petticoats and Piracy by Mackenzi Lee A year after a whirlwind grand tour with her brother Monty, Felicity Montague has returned to England with two goals in mind: avoid the marriage proposal of a lovestruck suitor from Edinburgh and enroll in medical school. But the administrators see men as the sole guardians of science. When a doctor she idolizes marries a friend of hers in Germany, Felicity believes he could change her future. A mysterious young woman will pay Felicity's way, if Felicity will let her travel along-- as her maid. Soon they're on a perilous quest that leads them across the promenades of Zurich to secrets lurking beneath the Atlantic. Suggested by Megan Haught, Student Learning & Engagement/Research & Information Services

The Power of Now: a guide to spiritual enlightenment by Eckhart Tolle Much more than simple principles and platitudes, this book takes readers on an inspiring spiritual journey to find their true and deepest self and reach the ultimate in personal growth and spirituality: the discovery of truth and light. In the first chapter, Tolle introduces readers to enlightenment and its natural enemy, the mind. He awakens readers to their role as a creator of pain and shows them how to have a pain-free identity by living fully in the present. The journey is thrilling, and along the way, the author shows how to connect to the indestructible essence of our Being. Suggested by Sandy Avila, Research & Information Services

The Scarlet Sisters: sex, suffrage, and scandal in the gilded age by Myra MacPherson A fresh look at the life and times of Victoria Woodhull and Tennie Claflin, two sisters whose radical views on sex, love, politics, and business threatened the white male power structure of the nineteenth century and shocked the world. Here award-winning author Myra MacPherson deconstructs and lays bare the manners and mores of Victorian America, remarkably illuminating the struggle for equality that women are still fighting today. Suggested by Dawn Tripp, Research & Information Services

The Shifting Realities of Philip K. Dick: selected literary and philosophical writings by Philip K. Dick Philip K. Dick has established himself as a major figure in American literature. The landscape of his imagination features a wealth of concepts and fictional worlds: Nazi-rule in a postwar nightmare; androids and the unification of man and machine; and an existence that no longer follows the logic of reality. This first-time collection assembles his nonfiction writings essays, journals, speeches, and interviews. In these writings he explores issues ranging from the merging of physics and metaphysics to the potential influences of "virtual" reality and its consequences to a plot-scenario for a potential episode of "Mission: Impossible," to the challenge that fundamental "human" values face in the age of technology and spiritual decline.". Suggested by Sandy Avila, Research & Information Services

The Wild Heart of Florida: Florida writers on Florida's wildlands selected and edited by Jeff Ripple and Susan Cerulean Coming from a variety of backgrounds--fiction, journalism, poetry, and environmental writing--the writers turn their talent to one thing they have in common--a love for Florida’s natural beauty and a commitment to preserve it. Their essays--some old favorites, most appearing here for the first time--are both a celebration and a pointed reminder of what we stand to lose. Suggested by Rebecca Hawk, Circulation

There Will Come a Darkness by Katy Rose Pool The Age of Darkness approaches. Who will stop it... or unleash it? For generations, the Seven Prophets guided humanity. Using their visions of the future, they ended wars and united nations-- until they disappeared a hundred years ago. All they left behind was one final prophecy, foretelling an Age of Darkness and the birth of a new Prophet who could be the world's salvation-- or the cause of its destruction. Will it be a prince exiled from his kingdom? A ruthless killer known as the Pale Hand? A once-faithful leader torn between his duty and his heart? A reckless gambler with the power to find anything or anyone? Or a dying girl on the verge of giving up? Suggested by Pam Jaggernauth, Curriculum Materials Center

#featured bookshelf #ucf library #ucf #suggested reading #staff favorites #booklr

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paperclipninja · 6 years ago

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Younger post-ep ramble 6x03

This week’s episode of Younger, ‘The Unusual Suspect’, was a big one. No scenes felt wasted, each one moving the story along and it all felt very purposeful. Despite some capital H hotness and really light and funny moments being scattered throughout, mostly thanks to fave (and only) NYC agent Redmond and the resurrection of some truly classic Diana Trout, there was definitely the sense of tension on the rise. It’s been simmering since the end of this season’s first episode and I feel like this week we have hit an apex.

We open with brunch at Maggie’s and what one can only assume is a time jump (either that or Clare has recovered remarkably well from birthing a baby the size of a four month old) and right away an overarching theme for this episode is established, as Lauren enters raving about the latest hit podcast, Exonerated. I’m gonna come straight out and say that I am so into this premise. The excitement around the table sounded like the break room in my office most days, they definitely nailed the trend of true crime fixation. It immediately allowed for Maggie’s quip about white women loving murder, a delightful array of OTT facial expressions from Liza and Kelsey dropping in that Millennial will be meeting with Audrey Colbert, subject of the podcast, to nab her book before anyone else does. Of course the other big news is that Josh and Clare appear to be happily family-ing it up (though mommy wipes, daddy dipes = vom in my mouth a little bit) and Maggie is dealing with unresolved BoUBT (Back of Uber Birth Trauma). Lauren’s vow to help get Maggie back on the ‘h for hunt’ once again epitomises why I love her character so and I want to record her sympathetic ‘oh Divaaa’ as my ringtone. I just love that Maggie, of all characters, is the one who seems like she should be the most pragmatic when it comes to something like birth yet her coping level is zero here.

You know who else wasn’t coping? Me and my Liza and Charles loving heart as Liza suddenly up and left the brunch because she ‘was late for a thing’, cue the scene that was released as a sneak peek last week that I have definitely only watched a normal number of times *cough*. The set up for The Rubin Museum from the opening conversation was fab and the fact that Charles and Liza are using the podcast to frame up a role play situation is just too much. Obviously I had seen the scene prior to the ep and while it is certainly *insert flames here*, I can’t help but wonder what it would’ve been like not to have expected it (actual combustion probable). I mean regardless, I will never think about a trip to the museum in the same way again. The voice-over narrating what we were seeing was such a great device that is really different to anything the show has done before, it built the anticipation of what was playing out and it felt like a scene from a movie. The moment when Charles turned and came face to face with Liza was a great reminder of how electric the chemistry between these two can be (actual lightening bolts were sighted) and quite frankly, seeing these characters being adventurous and lustful in their relationship is a yes on all fronts. I think the fact it all took place in a place of intellect and culture was extra fitting, it somehow kept the whole thing true to the characters and I am here for the #nerdlove.

The office drama was amped this whole ep and that of course was largely due to the ever growing reign of our season 6 villain, Quinn. With the time jump since last episode confirmed by the fact that Quinn’s book is both published and sitting on the best seller list, Kelsey and Diana’s first encounter with Quinn as she uses the WiFi for a conference call included a) Diana saying goodbye in Mandarin, which was yet another lovely tidbit to add to this character while also setting up the classic Diana we got throughout this ep and; b) some of the best fashion and hairstyles all in one scene (and episode as a whole) ever. I mean the fashion on this show is always next level but this episode in particular took it up a notch: Diana’s high-neck printed electric blue top and Kelsey’s hair/makeup/outfit in the conference room were so stunning I was actually distracted by them.

Kelsey’s office refurb was also noted, loved Liza’s ‘set it (Claw) on fire’ comment and of course, Diana telling Kelsey that now she is publisher, maybe she should stop speaking like a trucker was D. Trout golden line no.1 for this episode. Even better was seeing Kelsey, Diana and Liza settling into this new way of working. I adore the dynamic between these three and the way we’re seeing Diana adjust to her former assistant now being a peer without a fuss is why this show is so wonderful. It would have been easy to have Diana trying to assert herself and maintain some sort of authority, but to see her just want to get on with the work and do the best job she can gives a great credibility to the notion that this character is the best in the industry. I could pretty much write out every Diana Trout line from ‘The Unusual Suspect’ and leave this entire ramble at that (’why is everybody in this country obsessed with true crime? Actual people have died and they’re selling branded beanies on Etsy’ LOLLLLL) but I would then need to do that for Redmond because the fave one and only agent in NYC was back this week and as always, he was in fine form.

The pitch of Audrey Colbert’s book is up there with the funniest scenes of this series, from the creepy af Audrey (A+ casting of Willa Fitzgerald) to Liza and Kelsey trying to play it cool while being hella freaked out to Redmond’s attempt to present a compelling pitch being railroaded by Audrey’s ‘crippling lack of media training’, it was Younger writing and delivery at its finest from start to finish. Seeing Redmond so unnerved by Audrey was unnerving in itself and really, I am so happy with the amount of Michael Urie in this episode. Our next encounter was of course when Kelsey and Liza interrupt his infrared sauna treatment (again, so many hilarious lines, I really feel that a transcript of the entire episode is about the only way to do it justice but may be problematic to pass off as a recap/review…or would it?) and discover that Audrey’s book is being shopped around thanks to the dagger next to Claw on the bestseller list, which = bulk sales = dodgy business = Chinese bots tweeting = Quinn is the worst (math doesn’t lie) = Audrey doesn’t want to be associated with anything suspicious on account of the fact she’s been accused of murdering two ppl (fair). I do want to back this truck up a little though to the way Kelsey and Liza discovered their next big hit was being pitched to half the major publishing houses around town.

Diana Trout hobbling into the office on crutches before dropping the bomb that her injury was the result of being so frazzled upon hearing the news re: Audrey going elsewhere, that she got caught up in her reformer (just go and re-watch this scene, you will not be sorry) is everything I never knew I wanted to see. The reference to Jackie Dunn, who you may remember has been a longstanding nemesis of sorts of Diana’s, was such an utter delight as a long time fan and once again, seeing Kelsey, Liza and Diana all equally vexed by the news was so great and continued to solidify them as a team. I promise no more direct quotes* (*this is a very loose promise), but ‘postpone the power-trip Kelsey, I am handicapped’ in response to Kelsey’s stunned expression upon Diana’s request for espresso, is so outrageously funny and makes this whole scene an absolute stand out on account of its hilarity.

I missed Lauren and Diana interacting this week, however I appreciated seeing Lauren be the wonderful friend she is to Maggie and Josh. Taking Maggie to the support group obviously allowed us to meet Beth, who Maggie engaged for some one on one tutoring (looking forward to seeing where that goes this season) after returning to the store to apologise for running out during the group session. While Maggie was lining up her ongoing therapy, Lauren and Josh shared a sweet and heartfelt moment that highlights why their friendship is such a lovely one on this show. Obviously Josh had told Lauren that he and Clare had a moment that made him think, ‘maybe we should make this relationship work’ and Lauren is following up to see where his head and heart are at.

I absolutely loved said scene between Clare and Josh, when he had finally settled the baby, asks Clare if she wants to go to her bed and then joins her on the floor when she says she sleeps where she can now. There was such a sense of unity and care and it made my heart swell. So in his discussion with Lauren we also find out the baby is named Gemma (last name TBC, for both father and daughter) and when pressed about what he actually wants, Josh reveals that he doesn’t think he and Clare are right for each other. I have said it before, but for all the wacky that Lauren can be, she is the most incredible friend who only wants the best for those around her in such a relentless and genuine way and this scene really highlighted that once again (the line about her dad having such a little bottom though brought us straight back to Lauren light in the best possible way).

The divorce proposal was such a great scene and while I was hoping that perhaps Clare and Josh could work things out, I am thrilled to see that the writers put both these characters on the same page right from the get go. I love that this show constantly bucks stereotypes and expectations of how certain characters and relationships will play out, so to see two adults who have an agreed desire to put their child first but know they need to do so outside a romantic relationship is something really unique on television. I have always enjoyed Josh and Clare’s dynamic and I hope we get to see a real, loving co-parenting arrangement play out.

Kelsey’s interaction with Zane when she is buying a bottle of Dom Perignon to celebrate scoring Audrey’s book (eek!) is my favourite interaction of theirs this season. Their banter was really effortless, Zane’s, ‘you’re not listening’, as he pulled out the cash to pay for the one remaining bottle smooth and a little bit over confident, but really played up that he has something in the works that is legit. I especially love that we later discover both are buying champagne to celebrate the same win. I feel like we also need to stop and appreciate that they were about to drop $400 between them on two bottles of bubbles like it was no big deal. What is this life? How do I get it?

Though admittedly Kelsey deserves a nice glass of something this ep considering all that she is dealing with. I have made no secret that I have struggled with Kelsey’s character these past couple of seasons and no one is more surprised than me at how much I am getting on board with her this season. Kelsey calling out Quinn point blank that she faked her best seller was so good to watch and seeing Liza backing her up and standing her own ground made this extra satisfying. Gah, I just LOVE how Laura Benanti plays Quinn and her stating that ‘the money is real, what else do you need?’ is so cold and matter-of-fact. What I love most about this whole confrontation is that it immediately made me think back to the first time we met Quinn - her whole presentation was about the fact that no one wants your success more than you do and that women helping women is actually holding women back. That right there should’ve been the red flag that her “helping” Liza and Kelsey was not legit.

And so her true motivation for investing in Empirical becomes evident. It had nothing to do with saving an ailing publishing house, it was to ensure her book would be published, she could have some control over how big it would become and be seen to have the support of a reputable publishing house, all in order to gain name recognition so she could successfully run for Senate. In her mind, Kelsey and Liza benefit from the whole thing financially so it’s a win win but she also holds the power so feels like she has the upper hand. Which is why the scene at The Cut (which is so fab, the looks Quinn shoots Kelsey are searing), when audience members question the dagger next to her book, is so damn satisfying. Kelsey’s move to announce Quinn’s run for Senate is so bold, I am very on board and boy oh boy Kels, I think you’ve got yourself quite the adversary. I was very much Liza watching this all unfold, shocked, impressed and a little bit scared for and of Kelsey and what this all means.

Now Liza was late to the event because she was living out the next chapter of the podcast at the Brownstone which we need to discuss, however I first owe some of you an apology. At the end of last week’s ramble I suggested you may need a fire blanket at the ready after seeing the museum scene sneak peek to you know, contain the flames. I fear some of you may have deployed it prematurely (this is not a euphemism though I am very aware it sounds like one) in response to how damn hot that scene was, but I was not to know that we were going to get this later scene, in which Liza just wanders into the townhouse BECAUSE SHE HAS A FREAKING KEY (suspected ep 2, confirmed ep 3, appreciated always) and decides to have a good old snoop at her bf’s mail. Similar to the museum scene, this set up felt more like a movie than a typical Younger episode. There was an ominous weight to it; the music, the lighting, the Charles padding silently up behind her (barefoot again?) and the tension was palpable.

Liza asks Charles about what’s going on, he provides a vague answer about moving some things around before asking her if she’s listened to chapter 7 of Exonerated, which conveniently mirrors almost exactly what just occurred, with Audrey’s ex finding her going through his things. Ok, so this is where it gets tricky for me. This entire exchange, from the way these two fall into that speaking in third person and wrapping a narrative around themselves, the way Charles wraps his arms around her, the way they look at each other, I mean, this whole thing makes my heart spontaneously combust because it is sexy and flirty, dripping with desire and just really really hot *reaches for backup fire blanket*. But then Liza is clearly distracted by that letter and Charles’ deflection and part of me is wondering why on Earth she isn’t pressing him harder for an answer or following up, I mean, we saw how open they were with one another last season, but then the other part of me looks at Liza and thinks, you are a person who has eyes and that whole situation is right there in front of you so I get it, go with it and worry about it later.

I am aware of how long this ramble already is, but I am going to do something a little different here and digress slightly away from the episode itself and put out some conjecture on my part. It could well be completely over-analysing (lol, I’m neck deep into a freaking novella about a 25 min episode of TV, I think that’s a given) but I know that there is concern about Charles behaving secretively and I have seen some people expressing disappointment in this season so far.

For what it’s worth, my take on it is that it might seem as though some of the characters are behaving a little out of character but I feel that actually, the characters are behaving in ways we haven’t seen before because they’re in situations we haven’t seen them in before. As invested viewers we feel like we know these characters as whole people in every aspect of their lives when in fact, we’ve not seen Liza at the top of her game in her career or Josh as a parent or Charles in a romantic relationship or away from the office. So while the way they behave might not be the way we imagined it, to me it isn’t so much out of character as seeing a new dimension of the character. Also, the addition of flaws does not necessarily equate to destroying a character, it builds them out and makes them more real, if anything.

In relation to Charles and Liza’s relationship and the ‘Charles is being shady’ concern, IMO the key purpose of that is to create tension and you can FEEL it building. As crazy as it may sound, I think the Liza/Charles dynamic thrives in the build and resolution of tension and that’s why their moments in this episode felt so electric and hot, it’s like those unspoken, unresolved tension points charge their chemistry. As much as I think I would love to have Charles and Liza sitting around blissfully happy (I mean, I would obvs), the reality is, it’s not that fun to watch. I believe the tension is building towards a resolution of sorts that will actually put them in a better place and move the relationship forward. (*Full disclosure: since writing this I listened to the podcast from ATX fest and Joe Murphy, one of the writers for Younger, said very similar things so if you listened to that podcast I promise I have not just taken what Joe said and pretended they’re my thoughts, I legit had this written and then heard (ngl, I may be feeling a little smug as a result). I’m putting it down to us both being Australian because clearly that is a thing that makes sense).

I also think there is an unsettled feeling this season because the entire premise of this show, the roles these characters played, the interactions we have grown accustomed to week after week, has been completely flipped upside down. As viewers we garner comfort from the routine of watching a show but also from knowing where the players are positioned, how they will behave and what it looks and feels like. I think the writers know exactly what they’re doing and are achieving exactly what they would’ve hoped (apologies writers if this is wildly inaccurate and I’m just assuming things incorrectly left, right and centre) - everyone is sitting in discomfort and it’s largely due to the unfamiliarity of it all. The set up, the way we’re seeing characters etc, it reflects what the characters themselves are experiencing on our screens, which is all kinds of meta and actually pretty cool. But the further you push that discomfort and make viewers sit in it, the greater the impact and more satisfying the resolution. It’s like waiting for a beat to drop in a song, the build up can become almost unbearable but damn it’s good when it lands. That’s how I feel this is all going to go.

That is what I meant by this episode feeling like an apex, it feels as though there’s a limit to how far an audience can be taken in a state of flux without some resolve somewhere. And the writers know this, it’s what they do, it’s WHY we tune in. I’m not suggesting that everything is going to go back to the way it was, the evolution of a show like Younger is exciting and part of the fun is seeing where it goes, but we are three episodes in to a twelve episode season and while we consume it week to week, it ultimately has to make narrative sense across the whole season. It’s as though we’re at the end of an ‘establishing’ phase right now. So I am reserving any judgement until I see how it all comes together, but have no doubt there will be many resolutions and many new points of tension throughout.

Right now, I am thoroughly enjoying all that we’re getting and I think the writing this season has been excellent so far, with moments like the final scene of ‘The Unusual Suspect’ providing us with the first true cliffhanger of the season. Our last bit of Redmond for the ep was peak Redmond (I love that he dashed off to a better table uptown), and of course the big Mercury reveal, YESSS. That moment of realisation washing over Liza’s face, props to Sutton Foster, and I cannot WAIT to see how this all goes down. The prospect of inter-generational team ups of Kelsey/Liza vs. Zane/Charles while members of each team are in relationships with one another is the kind of set up I live for in a TV show. Is it July 10th yet?

#original post #incorrect spelling in link

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acuppellarp · 6 years ago

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Our new minor character, Sawyer Danpae @sincerelysawyer by Shay.

Sawyer Elaine Danpae is 27 years old and spends her days as a docent for the Rubin Museum of Art. She is from New York, NY but she’s lived in NYC for ten years. She is self-assured, observant, laid-back, intelligent, and pensive. She identifies as lesbian and is currently single. People say she looks like Lydia Graham, and in her free time she likes to read, tour museums, travel, and sketch out quick drawings in her pocket notebook. [ Sawyer moved to NYC prior to beginning her senior year of high school. There she met and quickly became friends with Serena Smythe. Friendship blossomed into something more, resulting in Sawyer’s first serious relationship. As time went on Sawyer started to feel uncomfortable with the huge gap in her and Serena’s lifestyles. Sawyer was a scholarship recipient at their high school and had trouble navigating the lavish party life that Serena led. Afraid of how the elite would receive her once it was revealed that she was the heiresses’ girlfriend, Sawyer broke things off between them. ]

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nofomoartworld · 8 years ago

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How to Escape the White Cube and Make Your Dreams Come True

This following is an excerpt of the transcript from the panel that took place at the pop-up art exhibit, No Vacancy II, on April 1, 2017:

Marina Garcia-Vasquez, Creators' Editor-in-Chief: Thank you for joining us for Deconstructing the White Cube, a conversation on curating DIY, alternative, and non traditional spaces. When Irina Makarova, Alison Sirico, and Adam Mignanelli asked if I was interested in moderating a panel for No Vacancy, I was excited to delve into the theme, as everyday on Creators we publish articles that are meant to inspire young artists along their way and show the possibilities and freedom found in making contemporary art. We are in what is currently considered an artist neighborhood, in a pre-war commercial loft building that was built in 1931. It is made up of 10,000 square feet, over four floors. It is a gem of a building and an art opportunity that no longer exists in Manhattan-proper. We are here to discuss the realities and possibilities of making art in New York today. This panel is meant to be a resource and a living conversation. The people that make up this panel have learned by doing, wearing many hats, and juggling multiple projects to see their vision out. Their art practice at its core involves creating and curating community.

Ambre Kelly: I am a co-founder of SPRING/BREAK Art Show, and I am also an artist. Andrew Gori: I am also a co-founder of SPRING/BREAK. I am a filmmaker. Irina Makarova: I am a co-founder of Alt+Esc Platform, organizer of the No Vacancy event, and I am also a writer. Alison Sirico: I am also co-founder of Alt+Esc Platform and co-organizer of No Vacancy. Adam Mignanelli: I started the Ballast Projects, a curatorial program. Brian Whiteley: I am New York artist and founder of the Satellite Art Show.

For the sake of anchoring our conversation can each of you tell us what your definition of a traditional art space is and how this reflects the current art world climate?

Ambre Kelly: Traditional at this point seems to be kind of anything because galleries are closing and on the white box is not necessarily a cool thing to do anymore. I started working in the art world when I moved to NYC In 2006. My first job was with Design Miami and Art Basel and it was traditional to me in terms of building up the temporary walls that are typically white and putting artwork on these walls. When I left my job, I wanted to do something outside of that space. For me as an artist and a tiny collector when I can, I don't show art on my walls. They are green and pink and there is a furniture around it, so I think the art is typically not shown on white walls.

Andrew Gori: In an art fair space and culture, we started seeing a white wall as a something that gets equally distracting as anything else because you walk through a traditional art fair and after a few booths you almost can't see an artwork anymore because you are so used to this sanitized consistent space. The idea of traditional is the classic idea of creation which the architecture and environment should not interact with art work unless its installation. Since the use of traditional space became more acceptable that's being potentially contested which is interesting.

Irina Makarova : The idea of the four white walls has been around for a way too long. Even if it is not a white wall, it still contains a commercial angle to it where gallerists and dealers think primarily about sales and forget to think about the public. They don't transform the space to its maximum potential and that's why we started this project to get away from that.

Alison Sirico: The white wall space represents a hierarchy and having to start from the bottom.

Adam Mignanelli: Some of my first experiences with seeing a fancy looking gallery, you think it is a very intangible thing that's very similar to the way that luxury brands treat themselves and making their stores look and it almost becomes like a standard when you put your suit on if you are going to a certain type of job and if you don't do that, you are not taken seriously. Our goal was to counteract that because it doesn't really work. These walls are metaphorically crumbling behind the people. A lot of the exhibitions I have done have various elements to them but it is always in a weird space or something that I was thinking would not be taking seriously but it was. So the world of creativity is starting to follow these trends.

Brian Whiteley: The white wall space doesn't really invite interaction. The idea of exclusivity put people at a distance. Going back to the art fair motif, seeing some art works you love on the walls basically distances you from them completely because you realize that you can love them only from afar. For what we are doing— the people on the panel— we are trying to make it accessible, democratizing it, and letting people go to the work. We are all creators, so we go to each others studio and we talk art. There is a separation between the commerce and creation and we are trying to find a way to bridge that.

For Andrew and Ambre, in 2009, you established the now highly acclaimed SPRING/BREAK Art Show. Can you give us a brief rundown of the work/collaboration you did leading up to the art fair?

Andrew Gori: It started with a space. We were doing one night shows in the church gymnasium in Nolita. With a bunch of friends we made a gallery together. We had no money, so we paid this church $500 for five hours in Manhattan that we got from the entire group of friends and artists. We got to know the parish manager because we originally had done shows in the gymnasium they owned. So he told us that we seem like people who do stuff and bring people to it. So that lead to the first SPRING/BREAK when we had four stories in a school in Nolita where we could whatever we want.

Ambre: Coming back to the traditional art space question, historically the church was one of the commissioners of art and art was shown in that space. The white boxes didn't exist back then. We were given a space from the church because they are the institution that had the resources for us to do things. In 2011 it was our first show in conjunction with the New Museum's launch of the Ideas Festival. We actually partnered with them. Andrew and I curated our first show at the school that year but as not a part of SPRING/BREAK, more like a test. That worked and it was fun. In 2012, we came up with a theme and that's when we understood what SPRING/BREAK would be.

Marina G-V: In an article, Ambre, you are quoted as saying, "The idea was to create a curator-driven art exhibition that could represent a humble 'improvement' on the art fair model. A unifying theme would envelope the numerous exhibitions in the space, the sales of which would be commandeered by this overarching idea rather than simple trade show tradition." How did you develop your business acumen?

Amber: With my experience of working in the art fair system for many years before even considering to launch SPRING/BREAK. I saw the inner workings, the behind the scenes, and got to know basically everything that happens in an art fair. With SPRING/BREAK, we had to figure out how do we this without sponsors when we are not wealthy? The church was donating the space for us which was amazing. When sales started to happen in the initial years, we learned that we could be a resource for artists and curators who are not dealers. We could actually make business where we could provide services.

Andrew Gori: I had zero business acumen. I think what actually helped me is around the time we started to make SPRING/BREAK, we were broke and we started a consultancy, so we actually would do anything for anybody for money. Just the fact that we were desperate, you know, it is kind of good to suffer sometimes. You will actually learn so much.

Alison Sirico, Irina Makarova, and Adam Mignanelli. Photo by Vivian Wang.

Adam Mignanelli, you are an artist, curator, and design director at Vice Media, can you share with us how you manage to balance your participation in the arts and how all of these experiences bring value. Be honest!

Adam Mignanelli: The number one reason I am able to do all of this is because I am single. I don't really do anything else. I work and I do art stuff. I worked at Vice and quit in order to do art stuff and came back again. Once I went to Kinfolk Studios, a coffee shop, bar, and studio space, and I met the guy who opened it. I proposed to him to do an art gallery show at his bar and it worked. This entrepreneurial spirit worked. I've come back to doing my own work.

The founders of No Vacancy. Photo by Charlie Rubin

For Irina and Alison, in creating the Alternative Escape curatorial team and publication, you work to connect rising stars with new opportunities. What is your definition of new opportunities?

Irina Makarova : The important part is connecting people.

Alison Sirico: The opportunities can include gallery representation, a show, a new friendship or a collaborator. Through organizing events, new relationships form. Also, we are a magazine and we interview a lot of artists who have never been interviewed before, so a lot of times, we are one of the first chances artists have to talk about their work in this kind of public sphere.

Satellite art fair has been lauded for it's experiential and performance driven environment outside of the pristine Art Basel convention center. What is the importance of producing a spectacle? How is that a useful attribute for an artist?

Brian Whiteley: In Miami, they don't have the same art culture that NYC has. Putting on younger experiential artists from spaces and performative programming during Basel is pretty vanilla and becomes a spectacle with these people. For us, it is our everyday life. People came in and they didn't know what's going on. This spectacle is what we want to do. I guess it is a lit bit confusing when you start to blur lines for visitors and art lovers. Miami Art Week is a huge international art week. So many visitors coming there, major collectors, news media, it is just a great opportunity for exposure and collecting. For these people an opportunity to see their artistic vision come out and when we don't hold back it is very powerful for them.

Andrew Gori: One of the things that is constant here with SPRING/BREAK and Satellite, the economics behind it is very important. The real estate situation and just the need for money from people who are probably least expected to do that like Catholic church or a hard rocking South Florida dude who has a hotel who could say "Let's go for it." This space and bunch of other places are still in disrepair because their owners can't afford to bring it back up. It is much easier for young people who have vision do something with it.

Click here to learn more about No Vacancy II.

London's Young People Respond to the Tate Britain Collection

Artist-Curator Stages a Life Along a Horizontal Line

'Manifesta 11' Proves That Possibilities Are Endless, When Curating Is an Art

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i-am-very-very-tired · 5 years ago

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SKIP TO CONTENTSKIP TO SITE INDEX Best of 2019 Television Movies Books Albums Songs Recipes SHOW US YOUR WALL Collecting to Explore ‘Origin, Culture, Form, Function and Race’ This Washington couple has floor-to-ceiling art as well as wearable creations and folk art curiosities. Tony Gyepi-Garbrah and Desirée Venn Frederic at their residence in Washington. Tony Gyepi-Garbrah and Desirée Venn Frederic at their residence in Washington.Credit...Ting Shen for The New York Times By Audrey Hoffer July 31, 2019 WASHINGTON — Desirée Venn Frederic and Tony Gyepi-Garbrah live in a light-filled apartment in the Trinidad neighborhood of Northeast Washington that is small in size but grand in scope. The charcoal walls, stretching up to 15-foot ceilings, hold dozens of paintings, prints, photographs, 100-year-old textiles, collages, drawings, pastels, ceramics and antiques, conferring a museumlike aura on the home. Ms. Venn Frederic is wearing art as well. Her floor-length slip dress, by the Brooklyn-based designer Fe Noel and the Chicago painter Harmonia Rosales, incorporates the image of a Yoruba deity, Oshun. Ms. Venn Frederic said the appeal of the dress was in its “fanciful and disruptive” character. When the couple met four years ago, they were acquiring art individually. “One of the reasons I took an interest in Tony was because he understood legacy-building with art,” she said. She and Mr. Gyepi-Garbrah, 39, plan to marry later this year. ADVERTISEMENT Continue reading the main story “Our environment is a reflection of the ethos and the curiosities we carry individually and as a couple, who we are at our core and what it means to be transcultural,” Ms. Venn Frederic, 37, said. He is a first-generation American born to Ghanaian parents who works as an information technology engineer. He is also a photographer and painter. You have 3 free articles remaining. Subscribe to The Times She is of Geechee and Maroon ancestry. She was born in Freetown, Sierra Leone, and raised in Montgomery County, Md. Through her company, Combing Cotton, she pursues her interest in social equity. Image“God Head” (2011), top, and “Untitled (Red and Black)” (2010), by Victor Ekpuk. “God Head” (2011), top, and “Untitled (Red and Black)” (2010), by Victor Ekpuk.Credit...Ting Shen for The New York Times She also envisions creating a museum of fashion and related ephemera. These are edited excerpts from the conversation. ADVERTISEMENT Continue reading the main story You recently hosted a private tour of your art collection as part of the 2019 Collector’s View series sponsored by Transformer [a gallery in Washington]. What was that like? TONY GYEPI-GARBRAH In true salon style, 75 art aficionados, collectors and artists stood shoulder-to-shoulder talking art, art, art. How do you select works to buy? DESIRÉE VENN FREDERIC Meticulously. I don’t merely collect what I like. I’m attracted to works that challenge the linear understandings of origin, culture, form, function and race. I call these aesthetic triggers. ADVERTISEMENT Continue reading the main story GYEPI-GARBRAH We buy from galleries, art fairs and auctions. We also scour estate sales and private vintage collections. Often we buy directly from the studios of artists with whom we build friendships. I do a lot of research before acquisitions. Is there a piece with an interesting back story? GYEPI-GARBRAH The two mixed-media works by Victor Ekpuk. I went oversees to Galerie SANAA in Utrecht, the Netherlands, to acquire “God Head.” During that time I discovered that Ekpuk was represented by Morton Fine Art [in Washington]. They had “Untitled (Red and Black),” so I bought it too. Now the pair is in conversation. Ekpuk lives in Washington and we’ve become friends. Image Figurative wood sculptures, made in Ivory Coast. Figurative wood sculptures, made in Ivory Coast.Credit...Ting Shen for The New York Times Image Top, “Chocolate City” (2010), by Steven M. Cummings, and “Inventions & Patents” (2014), by Charles Philippe Jean Pierre. Top, “Chocolate City” (2010), by Steven M. Cummings, and “Inventions & Patents” (2014), by Charles Philippe Jean Pierre.Credit...Ting Shen for The New York Times ADVERTISEMENT Continue reading the main story Those little wood statues lined up against the wall on the floor look like toys. VENN FREDERIC They’re Colon figurative sculptures depicting occupations — policeman, doctor, baker — held by colonists in the Ivory Coast between 1893 and 1920. I have a collection of 150. Your photos capture images that span decades and can be read as a history of our times. How do you think photography represents both society today and in the past? GYEPI-GARBRAH Photography is a visual documentation of fleeting moments and changing landscapes, and, in this vein, we believe Steven M. Cummings is a master. “Chocolate City” speaks to forced migrations and the displacement of African-Americans from their native lands. “Fred Meets Fred” is an oversized black-and-white double image of Frederick Douglass that contrasts past and present. A chain dangling lengthwise from top to bottom of the picture separates the two Douglasses. The bicycle wheel symbolizes change and continuance of time. ADVERTISEMENT Continue reading the main story Image A sofa in the apartment by Sharla Hammond. A sofa in the apartment by Sharla Hammond.Credit...Ting Shen for The New York Times Your couch material is unusual. Did you commission the design? VENN FREDERIC We acquired the couch from the visual and textile artist Sharla Hammond, who was inspired by “Afro Blue” [a jazz composition recorded by John Coltrane]. The fabric depicts the heads of five Afro-clad icons — Angela Davis, Betty Davis, Pam Grier, Minnie Riperton and Diana Ross. Above the couch that black-and-white painting seems very in-your-face. VENN FREDERIC It’s “Cow in the Field” by Andrew Cressman. We operated a gallery in Washington and exhibited his works. I continually approached this painting with a sense of wonder and bought it after the show [in 2015]. It takes up a lot of our wall real estate. I appreciate that some pieces overwhelm, and this is one. A version of this article appears in print on Aug. 2, 2019, Section C, Page 12 of the New York edition with the headline: It’s Home, With the Aura of a Museum. Order Reprints | Today’s Paper | Subscribe Show Us Your Wall Art collectors, and what they collect. Olusanya Ojikutu at his house in Bowie, Md., with, left, a detail of one of his own paintings, “Labyrinth of Imagination” (2015), and right, a painting on a wood pallet by Dapo Ojoade. ‘Love at First Sight’ Inspired This African Art Collection 6h ago Left, Olivier Widmaier Picasso, left, and his partner, Matthew Drushel, in their Miami Beach apartment with a Gilles Bensimon photograph “Flowers in the Water” (2011). But Does He Have a Picasso? Dec. 18 Candace Carmel Barasch at home with, from left, “Alex Israel, Self Portrait (Multiples),” 2017 and, on table, his “Syz’s Frozen Yogurt,” 2017. Hollywood at Home in New York Dec. 12 More in Art & Design Shahidul Alam at the Rubin Museum of Art, which is presenting “Truth to Power,” his first museum retrospective in the United States. Christopher Gregory for The New York Times Using His Camera as a Witness and Weapon Dec. 23 Mr. Monkman’s “Resurgence of the People,” from 2019, references art history, from “Washington Crossing the Delaware” to Delacroix’s “The Natchez.” The artist’s alter ego, Miss Chief Eagle Testickle, stands tall, based on a gender non-binary figure in Indigenous cultures. A Cree Artist Redraws History Dec. 19 “In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury” includes weavings by Sheila Hicks made in Mexico in the 1960s, foreground and center wall. Transformed by Mexico, Six Women Broke Barriers Between Art and Design Dec. 22 Editors’ Picks In “The Morning Show,” on Apple TV Plus, Alex Levy (Jennifer Aniston) has to navigate treacherous TV network waters after her co-host, Mitch Kessler (Steve Carell), is fired for sexual misconduct. Hilary B Gayle/Apple The Sexual Predator’s TV Wife Dec. 23 A selection of dishes at Nom Wah Tea Parlor, which has been serving dim sum since the early 20th century. Chinese Restaurants Are Closing. That’s a Good Thing, the Owners Say. Dec. 24 Deepak K. Prasad, left, collected a water sample, while Rishabh Shukla, right, checked the temperature of the Ganges at Byasi, India, in the Himalayas. The Ganges Brims With Dangerous Bacteria Dec. 23 ADVERTISEMENT Continue reading the main story International readers subscribe for $1 a week. Ends soon. See My Options Site Index Go to Home Page » NEWS OPINION ARTS LIVING LISTINGS & MORE Site Information Navigation © 2019 The New York Times Company NYTCoContact UsWork with usAdvertiseT Brand StudioYour Ad ChoicesPrivacyTerms of ServiceTerms of SaleSite MapHelpSubscriptions

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goope-jp-tenmei · 7 years ago

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International Women’s Day

March is Women’s History Month, and today is International Women’s Day. Last year, we marked the occasion with A Day Without a Woman, but this year I wanted to focus on something a bit more proactive. So I’m sharing a stationery round up focused on supporting and empowering women, from art prints to notebooks to greeting cards. Dear Hancock just released this stunning print with illustrations of the imagined desks of twelve historical women who provided great contributions to Fashion, Science, Astronomy, Art, Design, Aviation, Literature, Primatology and Women’s History. Dear Hancock worked with the foundations of each woman to create the illustrations, and prints with some of the individual illustrations (like the Georgia O’Keeffe desk) are being carried in their museum gift shops. Proceeds from the print will be donated to Time’s Up!

From the top, left to right; Sonia Delaunay, Dian Fossey, Vera Rubin, Amelia Earhart, Rosie the Riveter, Marie Curie, Frida Kahlo, Ray Eames, Athena, Georgia O’Keeffe, Jane Austen and Mary Shelley.

Dear Hancock

And even more lady power stationery for International Women’s Day:

From top right:

1. One of four illustrated cards from Paper Parade celebrating International Women’s Day, with messages of women’s empowerment, friendship, and encouragement.

2. I’m absolutely loving the entire International Women’s Day collection from Cardtorial, with notebooks and cards featuring different quotes and phrases in collaboration with several lettering artists – like this design in collaboration with Anne Robin!

3. The Kiss My Pumps collection from Paper Epiphanies is dedicated to empowering women. I love this art print so much!

4. We all get by with a little help from our friends – and I need at least half a dozen of these cards from Emily McDowell

5. Kathryn from Blackbird Press comes up with the most creative ways to celebrate inspiring women in history, like this fold-out card and this Brillian Women Spinner.

6. Dahlia Press has so many fantastic cards and art prints celebrating women’s empowerment, including this beautiful silhouette card with hand lettering. I also love this set of illustrated postcards for political advocacy.

7. Pick your favorite inspiring female figure in this Boss Ladies series from Boss Dotty

8. Pink power suits and an Unbreakable Kimmy Schmidt reference in this card from Party Sally

9. The future is female indeed, from Dahlia Press

10. The perfect card for your favorite boss lady from Ladyfingers Letterpress

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#IFTTT #Oh So Beautiful Paper

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graffiti-vibe-blog · 8 years ago

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Kristin Hersh Premieres 'Bright' Video from ‘Wyatt at the Coyote Palace’ (via HHBTM Records)

Indie rock music legend Kristin Hersh has unveiled the new video for 'Bright', which was directed and edited by beatrice, and filmed by Zoran Drakulić, HFS. This is the second video single from her double album ‘Wyatt at the Coyote Palace’, which Athens-based Happy Happy Birthday To Me Records (HHBTM) is issuing on vinyl. 1000 copies will be pressed and Limited Deluxe versions come with a full color turntable slipmat and color vinyl. This is the third release in the ground-breaking book-CD format that Hersh began with her previous solo album “Crooked” and Throwing Muses’ 2013 release “Purgatory/Paradise”.

2016 was extremely productive for Kristin Hersh,, bringing the release of this double CD/book combination ‘Wyatt at the Coyote Palace’ via Omnibus Press / Overlook Press and completing massively successful tours of Ireland, the UK and USA, not to mention releasing the ' 'Bath White' EP from her power trio 50FOOTWAVE earlier in the year.

Kristin Hersh is most recognized as the front person for the influential art-punk band Throwing Muses, who are being inducted into the Rhode Island Music Hall of Fame in April. She has also found a surprisingly successful career as an author, she has published the critically acclaimed “Paradoxical Undressing” in the UK (released as “Rat Girl” in the USA), a children’s book “Toby Snax,” and “Don’t Suck, Don’t Die,” a highly acclaimed personal account of her long friendship with the late Vic Chesnutt.

‘Wyatt’ is an immersive experience through the use of photographs, illustrations, a collection of true stories, and songs of love and loss, reflecting Hersh’s humor with the pains and travails of a life spent in continual motion. Defined by potent guitars, addictive melodies and poignant lyrics, this release is a serious sign of strength and depth.

This is truly a solo album with Hersh not only writing and singing these songs, but also playing all instruments (including guitar, cello, horns, upright bass and piano and several instruments she built herself). She also incorporates found sounds into these recordings.

"The stories are all true. They happened over the last few decades. The songs were written in the last five years. They're true, too, in a much more oblique way," explains Kristin Hersh. "But it's always felt to me that songs were pushing my life around so they could be born: I live the stories and then the song lives. Very much like children. A baby isn't born because you got pregnant, you got pregnant because a baby was going to be born."

The songs, which were written during a turbulent period in her life, were recorded at her favorite studio in Portsmouth, RI with engineer Steve Rizzo. The prose was inspired by her son Wyatt and his fascination with an abandoned apartment building inhabited by coyotes, often visiting and even filming these creatures during the album’s recording. Yet suddenly his intense fascination came to an end. Hersh comments, “I had so loved his love of the place”.

The vinyl edition of ‘Wyatt at the Coyote Palace’ will be released on Friday, April 7 via HHBTM Records. Fans should order at http://hhbtm.com/item.php?item_id=638&category_id=1

EVENTS 04/28/2017 New York, NY - Rubin Museum of Art - Naked Soul Series 04/29/2017 Pawtucket, RI - Kristin Hersh with David Narcizo, & Fred Abong - The Met for the RI Music Hall Of Fame Induction 07/16/2017 Provincetown, MA - Memoir Workshop w/ Kristin Hersh (July 16-21, 2017) - Fine Arts Work Center 07/19/2017 Provincetown, MA - Fine Arts Work Center 07/23/2017 Dublin, Ireland - National Concert Hall

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dreaminginthedeepsouth · 3 years ago

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[from my files:: Rubin Museum]

* * * *

[parabolamagazine]

"The body is an instrument, and unlike the mind is blessed with a permanent limitation. Thoughts can soar and emotions can roar, but the feet are subject to laws that keep them on the ground. The body lives in the present, doing only one thing at a time. It is a faithful companion in the search for presence when it is given more attention and respect, when one tries to listen to its messages, even though they are expressed in a language foreign to the mind."

--Patty de Llosa, "Befriending the Body," PARABOLA, VOLUME 29, NO. 4, WINTER 2004: FRIENDSHIP.

#parabola magazine #Patty de Llosa #befriending the body #friendship Rubin Museum #female deity

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paperclipninja · 6 years ago

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Younger post-ep ramble 6x03

Kelsey’s interaction with Zane when she was buying a bottle of Dom Perignon to celebrate scoring Audrey’s book (eek!) is my favourite interaction of theirs this season. Their banter was really effortless, Zane’s, ‘you’re not listening’, as he pulled out the cash to pay for the one remaining bottle smooth and a little bit over confident, but really played up that he has something in the works that is legit. I especially love that we later discover both are buying champagne to celebrate the same win. I feel like we also need to stop and appreciate that they were about to drop $400 between them on two bottles of bubbles like it was no big deal. What is this life? How do I get it?

I am aware of how long this ramble already is, but I am going to do something a little different here and digress slightly from the episode itself and put out some conjecture on my part. It could well be completely over-analysing (lol, I’m neck deep into a freaking novella about a 25 min episode of TV, I think that’s a given) but I know that there is concern about Charles behaving secretively and I have seen some people expressing disappointment in this season so far.

#youngertv #younger tv #repost #link issue #liza miller #charles brooks #kelsey peters #zane anders #maggie amato #lauren heller #diana trout #liza x charles #team charles #review #ramble #6x03 #younger season 6

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