#Jan to Apr 2021 Calendar

[tayfabe75]

Tag List: Timeline & Calendar (Part II)

"Tatty" Timeline: 🚧 Under Construction 🚧 In the meantime, please reference this timeline by spicysighs!

Browse by Year: Tags include general information, helpful context, and possible connections

2024 | 2023 | 2022 | 2021 | 2020 | 2019

Browse by Month:

2024:

[ Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec ]

2023:

[ Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec ]

2022:

[ Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec ]

2021:

[ Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec ]

2020:

[ Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec ]

2019:

[ Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec ]

(For 2018 and earlier, click here, or return to the Tags Masterlist!)

[dailybuddhismpractice]

Dates To Remember

Lunar

- 1st Jan, Mile

- 10th Jan, ti zhu (1st)

- 15th Jan, Chap Go Meh

- 1st Feb, lunar day 1

- 8th Feb, Gautama Buddha chut ka. Consecration day / Mason Birthday.

- 10th Feb, ti zhu (2nd)

- 15th Feb, lunar day 15

- 19th Feb, Kuanyin

- 21st Feb, Puxian

- 1st Mar, lunar day 1

- 10th Mar, ti zhu (3rd)

- 15th Mar, chaisen.

- 16th Mar, Cundi pusa

- 17th Mar, Shu yi pusa (28th Apr 2021)

- 27th Mar, Mum BD.

- 1st Apr, lunar day 1

- 4th Apr, Manjushri pusa (put 2 fart mun) mo ngo. Mo 2. Kun fart hung. Prajna.

- 8th Apr, actual Buddha birthday

- 9th Apr, Jing Liang BD.

- 10th Apr, ti zhu (4th)

- 15th Apr, Wesak day ( 8 days retreat )

- 19th Apr (19th May 2022) Ven Master Fa Xuan parinirvana

- 1st May, lunar day 1

- 5th May, Dragon boat /rice dumpling festival.

- 10th May, ti zhu (5th)

- 15th May, lunar day 15

- 1st June

- 15th June

- 19th June, Kuanyin

- 28th June (26th July 2022), Ven Master Chin Kung parinirvana

- 1st July

- 15th July

- 1st Aug Father (20th Sep 2017, same day as cousin bro kong in Eng)

- 6th Aug (4th September 2019), H.E. Tsem Tulku Rinpoche parinirvana

- 15th Aug Mooncake festival

- 24th Aug, Grandma (Sai)

- 26th Aug, Grandpa & Lo Sam.

- 1st Sep

- 15th Sep (Zhun Seng Fo Mu Fart Hui) + Opening ceremony for my 3 sages.

- 19th Sep, Kuanyin

- 29th Sep, Medicine Buddha Birthday

- 30th Sep, Shuyi Birthday

- 1st Oct

- 15th Oct, Choseen, Siak Ancestor day

- 1st Nov

- 15th Nov

- 17th Nov, Amitabha Buddha Day

- 27th Nov, Uncle Chee Mun anniversary

- 1st Dec

- 15th Dec (Western Pureland Mantra Fa Hui)

Ancestor rites.

- SIL (Lee Shu Yi), lunar Mar 17th, 2021 (English Apr 28th, 2021)

- Cheng Meng, done

- Father, lunar August 1st, 2017 (English Sept 20th, 2017)

- Grandma (Sai), lunar August 24th, 2017 (English Oct 13th, 2017)

- Grandpa, lunar August 26th, 1997, (English Sept 27th, 1997), memorial together with Grandma, Lo Sam.

- Ancestor Anniversary, lunar October 15th, 2014, (English Dec 6th, 2014).

- Uncle Chee Mun, lunar November 27th, 2018 (English Jan 2nd, 2019)

Other rites:

August 24th Dorje Shugden day English calendar.

November 18th Je Tsongkhapa day English calendar.

[pure-land-mind-life]

Lunar

- 1st Jan, Mile

- 10th Jan, ti zhu (1st)

- 15th Jan, Chap Go Meh

- 1st Feb, lunar day 1

- 8th Feb, Gautama Buddha chut ka. Consecration day / Mason Birthday.

- 10th Feb, ti zhu (2nd)

- 15th Feb, lunar day 15

- 19th Feb, Kuanyin

- 21st Feb, Puxian

- 1st Mar, lunar day 1

- 10th Mar, ti zhu (3rd)

- 15th Mar, chaisen.

- 16th Mar, Cundi pusa

- 17th Mar, Shu yi pusa (28th Apr 2021)

- 27th Mar, Mum BD.

- 1st Apr, lunar day 1

- 4th Apr, Manjushri pusa (put 2 fart mun) mo ngo. Mo 2. Kun fart hung. Prajna.

- 8th Apr, actual Buddha birthday

- 9th Apr, Jing Liang BD.

- 10th Apr, ti zhu (4th)

- 15th Apr, Wesak day ( 8 days retreat )

- 19th Apr (19th May 2022) Ven Master Fa Xuan parinirvana

- 1st May, lunar day 1

- 5th May, Dragon boat /rice dumpling festival.

- 10th May, ti zhu (5th)

- 15th May, lunar day 15

- 1st June

- 15th June

- 19th June, Kuanyin

- 28th June (26th July 2022), Ven Master Chin Kung parinirvana

- 1st July

- 15th July

- 1st Aug Father (20th Sep 2017, same day as cousin bro kong in Eng)

- 6th Aug (4th September 2019), H.E. Tsem Tulku Rinpoche parinirvana

- 15th Aug Mooncake festival

- 24th Aug, Grandma (Sai)

- 26th Aug, Grandpa & Lo Sam.

- 1st Sep

- 15th Sep (Zhun Seng Fo Mu Fart Hui) + Opening ceremony for my 3 sages.

- 19th Sep, Kuanyin

- 29th Sep, Medicine Buddha Birthday

- 30th Sep, Shuyi Birthday

- 1st Oct

- 15th Oct, Choseen, Siak Ancestor day

- 1st Nov

- 15th Nov

- 17th Nov, Amitabha Buddha Day

- 27th Nov, Uncle Chee Mun anniversary

- 1st Dec

- 15th Dec (Western Pureland Mantra Fa Hui)

Ancestor rites.

- SIL (Lee Shu Yi), lunar Mar 17th, 2021 (English Apr 28th, 2021)

- Cheng Meng, done

- Father, lunar August 1st, 2017 (English Sept 20th, 2017)

- Grandma (Sai), lunar August 24th, 2017 (English Oct 13th, 2017)

- Grandpa, lunar August 26th, 1997, (English Sept 27th, 1997), memorial together with Grandma, Lo Sam.

- Ancestor Anniversary, lunar October 15th, 2014, (English Dec 6th, 2014).

- Uncle Chee Mun, lunar November 27th, 2018 (English Jan 2nd, 2019)

Other rites:

August 24th Dorje Shugden day English calendar.

November 18th Je Tsongkhapa day English calendar.

[narutoevents]

2023 EVENTS!

Open Interest Checks

SasoDei Week 2024

Neji Week 2024

MadaObi Mondays

List of Character Birthdays

Monthly Events

Multifandom - Year of the OTP

November 2023

MadaTobi Big Bang - Artist signups - all Nov

Sakura Zine Preorders - Nov 10th - Dec 10th

Founders Week - Nov 20th - 26th

Rock Lee Week - Nov 21st - 27th

December 2023

NaruHina Month - All Dec

Naruto Vacation Week - Dec 26th - Jan 2nd

Akatsuki Gift Exchange - Gifts Posted ???

2024

January 2024

Naruto Vacation Week - Dec 26th - Jan 2nd

TobiIzu Week - Jan 1st - 7th

ButsuTaji Week - Jan 9th - 16th

ShikaNeji Week 2024 - Jan 15th - 21st

KakaSaku Dead Dove Week - Jan 22nd - 28th

Aburame Shino Week - Jan 22nd - 26th

February 2024

Izuna Week - Feb 4th - 10th

KakaIru Valentines - Feb 8th - 14th

SasoDei Week - Feb 22nd - 28th

March - May 2024

TBA

June 2024

SasuKarin Month - all June

Potential Events????

Gaara Week 2024

Aburame Week 2024

ABOUT | GUIDELINES | FAQS

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Semi-Public Discord Servers

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Past Events

January 2023

Gaara Week - Jan 12th - 19th

February 2023

Izuna Week - Feb 4th - 10th

SasoDei Week - Feb 22nd - 28th

March 2023

FemFounders Week - Mar 4th - 6th

LeeSaku Week - Mar 20th - 26th

Sakura Week (twt) - Mar 22nd - 28th

Kisame Birthday Bash - Mar 17th - 19th

April 2023

KakaIta Week - Apr 24th - 30th

ShikaSaku Week - Apr 28th - May 5th

May 2023

ShikaSaku Week - Apr 28th - May 5th

HashiMito Week - May 1st - 7th

June 2023

MultiFandom Pride Parade - June 3rd - 11th

SakuHina Week (twt) - June 5th - 11th

ShisuSaku Week - June 26th - July 2nd

KakaIru Themed Gift Exchange Signups - All June

Naruto Calendar Contributor Apps - All June

Naruro Rare Pair Month - All June

SasuKarin Month (twt) - All June

MultiSaku Month - All June

July 2023

SasuHina Month - All July

SasuSaku Month (twt) - All July

KakaGai Tanabata - July 7th

HashiMada Week - July 9th - 15th

MinaKushi Week - July 10th - 16th

Team Minato Week - July 24th - 30th

ShisuSaku Weekend - July 28th - 30th

KakaGai Smut Week  - July 30th - Aug 3rd

Naruto Rare Pair Week - July 30th - Aug 5th

August 2023

Hyuga Clan Week (tw) - July 31st - Aug 6th

Founders Tarot Zine - Preorders - all August

NejiTen Month - all August

Kisame Week - Aug 6th - 13th

Kakuzu Week - Aug 9th - 15th

KakaSaku Week - Aug 6th - 12th 

ItaSaku Week - Aug 21st - 27th

September 2023

Founders Tarot Zine - Preorders - close Sept 7th

Naruto Labor Day Mini Bang - Sept 1st - 4th

Kakashi Week - Sept 10th - 17th

Nagato Week Bingo - Sept 12th - 19th

Akatsuki Gift Exchange signup - Sept 12th - Oct 1st

HashiMada Gift Exchange signup - Sept 15th - Oct 15th

GaaSaku Fanfest - all Sept

MadaTobi Big Bang - Writer/Beta Signups - all Sept

MadaTobi Big Bang - Artist Signups - all Sept - Nov

October 2023

SasuNaruSasu Month - all Oct

MadaTobi Big Bang - Artist Signups - all Oct

Naruto Kinktober - all Oct

Akatsuki Gift Exchange signup - Sept 12th - Oct 1st

NejiTen Gift Exchange signup - Sept 29th - Oct 20th

Fest no Jutsu - Work Reveals - Oct 8th

HashiMada Gift Exchange - Sept 15th - Oct 15th

KakaYama Week - Oct 1st - 7th

Shisui Bingo - Oct 15th - 21st

Hashirama Week - Oct 16th - 23rd

ShiIta Weekend - Oct 20th - 22nd

AkaSaku Halloween - Oct 19th - 30th

TobiDei Week - Oct 21st - 29th

KakaGai Halloween - Oct 28th - 31st

Naruto Cookbook Preorders - Oct 15th - Nov 15th

KakuHida Week - Oct 30th - Nov 6th

November 2023

KakuHida Week - Oct 30th - Nov 6th

Tenzo Week - Nov 1st - 10th

MadaTobi Week - Nov 5th - 11th

Sasori Week - Nov 5th - 11th

Nohara Rin Week - Nov 12th - 18th

Founders Week - Nov 20th - 26th

Rock Lee Week - Nov 21st - 27th

2021 Archived

2022 TBA?

2024 >>

[queen-fandom-calendar]

Fandom Events in 2022

Welcome!

The Queen RPF fandom, which largely exists on Tumblr and AO3, is far from dead. A whole host of fandom events are coming up this year!

It is good fandom etiquette not to hold events on top of each other, so this calendar is here to help everyone keep track of what is happening and when.

* * *

JAN

12th to 18th - Johnica Week

FEB

31st (Jan) to 6th - Joger Week

14th to 20th - Jimercury Week

24th to 26th - Tim Staffel Appreciation Weekend

MAR

25th to 27th - Gen Weekend 

APR

MAY

13th to 16th - Poly Weekend

JUN

3rd to 5th - Freddie Mercury Weekend

17th to 20th - Fem!Queen Week

JUL

1st to 3rd - Hurt/Comfort Weekend 

21st to 24th - Maylor Week

AUG

12th to 14th - Rare Pair Weekend

SEPT

5th to 11th - Maycury Week

OCT

NOV

2nd to tba - Queen Daddies

24th to 27th - @frogerweek

DEC

* * *

A full list of events held in 2021 and links to collections!

This blog will reblog event announcements in the fandom and serve as a handy place of reference for anyone planning to hold a new event! If you would like your event added to the calendar, please message or send an ask!

[innotofproject]

Show Notes: Just Above Midtown

This episode focuses on the Just Above Midtown gallery run by Linda Goode Bryant from 1974-1986, as well as the accompanying Changing Spaces exhibition at the Museum of Modern Art from October 9, 2022 to February 18, 2023.

Written, produced, and edited by Eddie Yoffee. Special thanks to Grace Jackson.

Bibliography for this Episode:

Booker, Eric, et al. Just Above Midtown: Changing Spaces. Edited by Linda Goode-Bryant et al., Museum of Modern Art, 2022.

Buhe, Elizabeth. “Just above Midtown: Changing Spaces.” Studio International: Visual Arts, Design and Architecture, 25 Oct. 2022, https://www.studiointernational.com/index.php/just-above-midtown-changing-spaces-review-museum-modern-art-new-york. 

Cotter, Holland. “Jam, a Gate-Crashing Gallery, Expanded the Idea of Blackness.” The New York Times, The New York Times, 6 Oct. 2022, https://www.nytimes.com/2022/10/06/arts/design/just-above-midtown-gallery-exhibit-moma-art.html. 

D’Souza, Aruna. “Senga Nengudi.” 4Columns, 14 Apr. 2023, https://4columns.org/d-souza-aruna/senga-nengudi. 

Harting, Florence. “Nearly 50 Years Later, a Pioneering Gallery for Artists of Color Finally Gets Its Due.” Cultured Magazine, 19 Sept. 2022, https://www.culturedmag.com/article/2022/09/19/gallery-black-artists-exhibition. 

“Just above Midtown: Changing Spaces: MoMA.” The Museum of Modern Art, https://www.moma.org/calendar/exhibitions/5078. 

Mooallem, Stephen. “Linda Goode Bryant's Art Revolution.” Harper's BAZAAR, 15 Sept. 2022, https://www.harpersbazaar.com/culture/art-books-music/a40823603/0164-0288-seeds-of-imagination-september-2022/. 

Pinckney, Darryl. “Just above Midtown.” 4Columns, 13 Jan. 2023, https://www.4columns.org/pinckney-darryl/just-above-midtown. 

Project EATS, 2023, https://projecteats.org/. 

Tavangar, Anisa. “The Big Review: Just above Midtown at the Museum of Modern Art ★★★★★.” The Art Newspaper - International Art News and Events, 4 Nov. 2022, https://www.theartnewspaper.com/2022/11/04/the-big-review-just-above-midtown. 

Additional Sources:

Cahan, Susan, et al. Soul of a Nation: Art in the Age of Black Power. Edited by Mark Godfrey and Whitley Zoé, Tate Publishing, 2017.

Choi, Connie H, et al. We Wanted a Revolution: Black Radical Women, 1965-85: A Sourcebook. Edited by Catherine Morris and Rujeko Hockley, Brooklyn Museum, 2017.

D'Souza, Aruna, et al. We Wanted a Revolution: Black Radical Women, 1965-85, New Perspectives. Edited by Catherine Morris and Rujeko Hockley, Brooklyn Museum, 2018.

D'Souza, Aruna, et al. Whitewalling: Art, Race & Protest in 3 Acts. Badlands Unlimited, 2018.

English, Darby. 1971: A Year in the Life of Color. University of Chicago Press, 2016.

Taylor, Keeanga-Yamahtta, editor. How We Get Free: Black Feminism and the Combahee River Collective. Haymarket Books, 2017.

Whitley Zoé, and Marion Perkins. The Soul of a Nation Reader: Writings by and About Black American Artists, 1960-1980. Edited by Mark Godfrey and Allie Biswas, Gregory R. Miller, 2021.

Podcast transcript available below.

“I can just picture myself going up in the elevator and into this very small gallery. It had a lot of power, of course—this true New York energy… We all felt like we were a part of something, that we were seriously part of some significant leap forward with art, with theory.” — Senga Nengudi, artist.

Hello, and welcome to In, Not Of, a podcast dedicated to providing short histories of alternative art spaces for Black and Indigenous creatives. Today’s episode focuses on the Just Above Midtown gallery and the recent Changing Spaces exhibition produced by the Museum of Modern Art and the Studio Museum in Harlem.

Linda Goode Bryant, the visionary behind Just Above Midtown, or JAM, is actually the source of the title of this project, In, Not Of. When JAM was founded, Goode Bryant described it as being intentionally “in, not of the art world.” The gallery was originally located, as the name suggests, just above midtown, only a little ways away from Manhattan’s commercial gallery district. In 1974, when Goode Bryant opened the gallery, the art scene was primarily white and offered few opportunities for artists who fell outside of the norm. Goode Bryant wanted to provide a space for artists of color to experiment and exhibit their work, and that space became the gallery and laboratory we are discussing today.

JAM faced a number of challenges and obstacles from the very beginning. Beyond the general sentiments of the art world at the time, within the Black community there was a strong divide between representational and non-representational artists. This division rose to prominence in the 1960s alongside the question, “what is Black art”? What followed was a debate about defining a Black aesthetic, and the responsibilities of Black artists to their communities. Some people believed that art needed to provide recognizable messages of a political and culturally-specific nature, which abstract art, in their minds, invariably failed to do. Others were more interested in abstraction and tended to define Black art simply as art made by Black people. The debate existed across coasts, with no sense of national unity. Goode Bryant was interested in providing opportunities to artists from all over the country, regardless of the inevitable butting of heads that would result from that decision.

An early instance of backlash occurred at a solo show for David Hammons in May of 1975. Hammons was already somewhat established in California, where he had begun making a series of “Body Prints,” in which he covered his skin, clothes, and other materials in various forms of grease, made outlines on large white sheets of paper by pressing himself into them, and then covered the grease in powdered pigments. This work is what initially caught Linda Goode Bryant’s eye for JAM, but Hammons had a different display in mind at the gallery. He created sculptures out of non-traditional materials such as greasy paper bags, barbecue bones, and clippings of hair he’d gotten from barber shops. On opening night, there was so much outrage that Bryant took the opportunity to stage an impromptu debate about what kind of materials were acceptable to use in one’s art, finally bringing the audience to the conclusion that, while different from his previous work, the Hammons show still had merit. And since many people, Goode Bryant herself included, were still interested in that previous work, another opportunity presented itself: JAM hosted a print-in workshop in which visitors to the gallery were able to make their own body prints alongside Hammons.

Outside of traditional art shows, JAM’s programming included many types of workshops and other forms of community engagement. One of Goode Bryant’s initial concerns was establishing an infrastructure for Black collectors to engage with artists in order to bolster the community and provide support for the art that was being made. It became clear to her that selling art was about relationships, and so JAM needed to bring people together—this led to the establishment of the Brunch with JAM program, which was a series of lunch-time talks by members of the art world from curators to historians to critics. JAM provided cheap, homemade meals to accompany the series.

In 1980, Just Above Midtown moved from its Fifty-Seventh Street location to a warehouse in Tribeca, providing the gallery with significantly more space than before, which Goode Bryant intended to make full use of. From its very beginning, JAM was a place where Black artists could display their work, not in isolation but alongside their white counterparts. Goode Bryant was looking to explore this concept more, in order to let audiences decide for themselves if there was a real difference in the quality of the works. Of course, the choice to move to Tribeca was not just about including more white artists, but also about bringing the gallery further downtown in order to interact with other experimental artists, and now that they had more space they could also explore various modes of performance art and media that were previously inaccessible.

However, complaints from neighbors about late night events led to JAM having to relocate once again, this time to SoHo in 1984. This was to be the final iteration of Just Above Midtown. At the beginning of this episode, I referred to JAM as not only a gallery, but a laboratory. Goode Bryant herself described the project that way, and one of her goals for the new location was to provide a space for artists to work without the pressures or responsibilities of exhibiting and selling works in a commercial setting. Alongside that conceit, Goode Bryant also wanted to offer opportunities for the incorporation of new technologies in film and sound. As Kellie Jones writes, by the time JAM made its final relocation, “the curatorial process was no longer memorialized in objects but contained in living possibilities that held out ‘an alternative or corrective to the failures of mainstream institutions and ideologies.’”

The original intentions of JAM had evolved and shifted over the years, moving away from involving the Black community in standard consumerist art practices and instead towards a reshaping of the art world’s entire infrastructure. On this level, and on a more practical financial level, Just Above Midtown was not designed to be a permanent space—in many ways, this was a known impossibility, particularly because much of the project was financed with credit card debt that Goode Bryant herself incurred. By 1986, JAM had gotten into hot water with multiple landlords and the IRS, and it was no longer tenable to maintain the space. JAM closed its doors in SoHo in August, but several interdisciplinary projects continued around New York with the support of the staff up until 1989.

Though JAM no longer exists, many of the artists involved in its programming continue to make work today, making use of the creative and professional connections that were forged. Goode Bryant has pursued a number of projects across a variety of media, including her 2003 documentary project, Flag Wars, which explores conflicts around gentrification in a neighborhood in Columbus, Ohio.

More recently, Goode Bryant is the visionary force behind Project EATS, which she founded in 2009. The project has established several neighborhood-based farms in New York, which provide places for community programming, food pantries, farm stands, and even, in one location, prepared food. Alongside the farm sites, Project EATS runs the Art Inside/Out program, which is a series of artist commissions that aims to bring art outside of the museum and into local communities. The program works with several artists who exhibited at JAM, incorporating their art into installations at their farms and creating a spiritual successor to the boundary-pushing work of Just Above Midtown.

Senga Nengudi reflected back on her time at JAM, saying: “It’s sort of like when you throw a rock into a pond and it ripples outward in concentric circles, that’s how JAM was. It just kept expanding from the center, which was Linda. It kept expanding and getting larger and more beautiful.”

The most recent iteration of Just Above Midtown occurred earlier this year in the form of the Changing Spaces exhibition which ran from October 9, 2022, to February 18, 2023 at the Museum of Modern Art. The exhibition was a collaboration between MoMA and the Studio Museum in Harlem, whose current Director and Chief Curator, Thelma Golden, alongside many others, put together a beautiful tribute and re-imagining of the gallery.

Representing JAM at MoMA was certainly a challenge, but one that the organizers successfully met. Reviews of the exhibition were overwhelmingly positive, with visitors remarking on how well curators were able to lay out the different eras of JAM and represent the vast variety of visual art, performances, and collaborations that occurred thanks to the art workers involved with the gallery. Goode Bryant’s record-keeping proved to be essential to the exhibition, as a wall of receipts and messages demonstrated the financial difficulties that faced JAM throughout the gallery’s existence, making clear to audiences the individual work and mutual aid that went into keeping JAM afloat.

The presentation of Just Above Midtown at the Museum of Modern Art was successful not only because of the support the exhibition received, but because so many of the people who were involved with JAM and Goode Bryant are still invested in the cause: MoMA’s exhibition therefore is a celebration of the foundational work Goode Bryant and so many others did in order to make space for artists of color within the art world. While there are obviously still many obstacles facing Black artists today, the Changing Spaces exhibition provides hope by showing that though JAM’s doors may be long closed, the spirit of the gallery lives on.

The information from this episode comes in large part from the exhibition catalog for Changing Spaces, as well as the Museum of Modern Art’s digital record. These sources and accompanying images can be found linked on the podcast’s page.

This has been In, Not Of. Thank you for listening.