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footprintsinthesxnd · 9 months

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The Lark’s Song

Summary: Florence Lark joined the ENSA to do her part for the war effort. On a daily basis she is surrounding by charming young men, so why would David Webster the any different. His blunt personality seems to draw her in but with the world at war, can they make it through? Warnings: not too many warnings for this chapter, some swearing

When Two Hearts Meet

Florence tapped her foot rhythmically against the wooden floorboards of the stage, as the music played out from the band around her. Some light chattering from the men in the front row distracted her, eyes hovering over the man at the end of the row, who seemed too engrossed in his novel to listen to her singing. As the instrumental section came to an end she took a deep breath, drifting across the stage as she began to sing again.

“We'll meet again

Don't know where

Don't know when”

Florence preferred singing to the English troops, they always knew all the words and would sing along with her. It was in those moments that Florence felt that she was doing the most good to help boost their morale. The American troops, however, seemed disinterested. Too many of them were smoking, playing cards and talking, but the one dark-haired soldier at the front bothered her the most, his nose buried in a red, leather bond novel. A few of the officers at the back watched her intently, swaying along to the music, whether it was more out of respect for her or because they didn’t have any other plans for their Saturday evening. As the song came to an end, a pathetic round of applause followed and Florence found herself excusing herself, leaving the band playing Glenn Millers' ‘In The Mood’.

Florence lit the cigarette, bringing it to her red lips and inhaling the nicotine deeply, warmth filling her lungs until she exhaled, watching as the smoke wafted gently into the starry night sky. She wondered if her brother, Tom, was looking up at the same sky right now. Whether he was looking up at the same moon somewhere in Normandy. Her father probably was. He often sat in the small back garden of their terraced house, looking up at the sky for any planes. He had been in the Royal Flying Corps back in The Great War before it had become the RAF. He’d flown a Bristol Type 22 two-seater fighter plane with his best friend, Eddie. Eddie had sadly lost his life when their plane crashed which was the same accident where her father lost his right leg. He had been desperate to sign up again when war was declared in 1939, thinking that if he went to fight it would spare his son but being 41 and only having one leg meant he wouldn’t be accepted, so he’d signed up for the home guard instead. Florence often wondered whether having a uniform again gave her father a sense of purpose. After their mother died 8 years ago he’d been lost but had put all his effort into raising his two children and being the best father he could. This was probably why both Florence and Tom had such a good relationship with their father.

Florence took another long drag of her cigarette when she was interrupted by someone clearing their throat behind her. She spun around quickly, expecting to see a half-cut paratrooper trying to make some kind of advance towards her. She’d had to fight off her fair share of unwanted attention from soldiers before and she wasn’t afraid to sock it to them. Instead, she was met by a rather handsome, kind-faced man. His lips pulled upwards into a friendly smile but as Florence’s eyes drifted over his frame she couldn’t help but roll her eyes when she saw the red leather-bound book held tightly in his right hand.

“Oh, it’s you. Sorry, I don’t do private shows, if you didn’t pay attention the first time that’s your loss.” She turned her back to him, allowing her eyes to settle once again across the rooftops of Aldbourne.

“It’s nothing personal,” he spoke up, moving to stand beside her. Florence could feel the hairs on her arms prickly in his presence and a light blush spread across her cheeks. “I just think once you hear one singer, you’ve heard them all. It’s always the same songs, the same dances. It just doesn’t hold my interest anymore.”

Florence snorted, turning to face the man who decided it was a good idea to insult her entire career.

“So what do you want, some strip tease or something? I’m sorry if the ENSA is too tame for you, Mr…?”

“David. I’m David Kenyon Webster,” he reached his large hand forward to greet her but she just brushed him off. “Well Mr Webster, I’m sorry if it’s too tame for you. Maybe you should try some of the London clubs if you’d rather have that sort of entertainment.”

David Webster looked rather shocked by her outburst but reached out towards her.

“I didn’t mean it like that. I’m sorry.” He looked at her sincerely. “I’m just not like the others I guess.”

“Well, at least you sat through the whole performance. Most of your comrades either left or started playing cards. I think your officers only stayed out of sympathy.”

David nodded slowly, contemplating what to say next. “If it’s any consolation it’s not your singing. Your voice is beautiful but most of us have sat through quite a few performances and since Normandy, I guess we’ve all lost something.”

Florence nodded understanding, “I understand what you mean. My brother Tom was at Dunkirk. The last time I saw him he was so different. He’s lost the spark from his eyes, the light.”

David placed a hand on Florence’s shoulder, looking down at her, his chocolate eyes glistening under the light of the moon, illuminating his pale features in contrast to his full head of brunette hair. His eyes were tired, dark purple shadows enveloped his eyes and his forehead was wrinkled with worry lines. He was handsome. Florence had rarely found any of the soldiers she sang for actually attractive, many of them thought they were good-looking and certainly acted in that way but David was different. He was the kind of man who didn’t realise how handsome he was.

“Thank you, David.”

He smiled brightly at her. “You’re welcome.”

“So, what book was taking up so much of your attention?” Florence asked, reaching out to grasp the small book, prising it from David’s fingers and fingering the pages carefully. David just watched in amusement as her eyes danced over the pages.

“Oh well, that’s not what I was expecting. I didn’t realise Paratroopers read classic,” she mused, enjoying the feel of his eyes watching her fondly.

“Well most of us don’t. I’m an exception,” he chided, allowing his shoulders to relax now that he no longer felt as though he was under interrogation. Florence handed the book back to him, “I approve. It’s good to know some of you read more things than Dick Tracey and Flash Gordon.”

Webster scoffed, “Yes. I feel that many of them lack the basic, functional skills to hold an adult conversation.”

“Well you’re right there,” Florence smiled up at Webster and he could feel his cheeks heating up under her gaze once more. “It was a pleasure talking to you Webster but I really must be getting back before the boys start to miss me.” She squeezed passed him and Webster chased himself for staring at her like a fool instead of moving aside.

“I look forward to hearing you sing again,” he called after her and to this she just laughed, not bothering to turn around and Webster watched as his hips swayed rhythmically in her red dress as she disappeared.

“Well, well, well. If it isn’t Lover Boy Webster. Who’d have thought the infamous Florence ‘I don’t take shit from anyone’ Lark would let the likes of Webster into her panties,” Leibgott’s dulcet tones called from behind him, followed by the sniggers from Luz and Toye.

“Oh give it a rest, Liebgott and Florence’s panties are none of your business,” Webster snapped, his glare harsh as he watched the three men appear from behind the tent.

“Who knew Webster could be so jealous,” Luz gave a low whistle but Webster wasn’t about to wait around to hear what else they had to say. He extinguished the cigarettes he’d just lit, stomping it out under his boot and following the music back into the tent. Florence's voice called to him, wafting like a soft lullaby and pulling him back inside. She was like some sort of mermaid, dragging him down to the deep but also like a songbird singing life into these dark days. Webster wasn’t sure when he’d become so poetic, especially about a woman but he found himself scribbling notes in the back of his notebook, her name flowing from his pen like he’d been writing it his whole life.

Tags: @georgieluz @iceman-kazansky @yeahcurrahhe-e @lieutenant-speirs @blvestxr @dustyjumpwjngs @theflyingfin @jump-wings @kafka-ohdear @kmc1989 @mads-weasley @docroesmorphine @liptonsbabe @lena-basilone @sweetxvanixlla @hesbuckcompton-baby @ronsparky @allthingsimagines @whollyjoly @bucky32557038ww2 @panzershrike-pretz @malarkgirlypop @hanniewinnix @inglourious-imagines @l13bg0tt

#the larks song #david webster x oc #david webster x reader #band of brothers

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whileiamdying · 7 months

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The Black Woman Artist Who Crafted a Life She Was Told She Couldn’t Have

The sculptor Augusta Savage at work in her studio in Harlem.

At the dawn of the Harlem Renaissance, Augusta Savage fought racism to earn acclaim as a sculptor, showing her work alongside de Kooning and Dalí. But the path she forged is also her legacy.

By Concepción de León Published March 30, 2021

In 1937, the sculptor Augusta Savage was commissioned to create a sculpture that would appear at the 1939 New York World’s Fair in Queens, N.Y. Savage was one of only four women, and the only Black artist, to receive a commission for the fair. In her studio in Harlem, she created “Lift Every Voice and Sing,” a 16-foot sculpture cast in plaster and inspired by the song of the same name — often called the Black national anthem — written by her friend, James Weldon Johnson, who had died in 1938.

The sculpture was renamed “The Harp” by World’s Fair organizers and exhibited alongside work by renowned artists from around the world, including Willem de Kooning and Salvador Dalí. Press reports detail how well the piece was received by visitors, and it’s been speculated that it was among the most photographed sculptures at the Fair.

But when the World’s Fair ended, Savage could not afford to cast “The Harp” in bronze, or even pay for the plaster version to be shipped or stored, so her monumental work, like many temporary works on display at the Fair, was destroyed.

The story of the commission and destruction of “The Harp” and its eventual fate is a microcosm of the challenges Savage faced — and the ones Black artists dealt with at the time and are still dealing with today. Savage was an important artist held back not by talent but by financial limitations and sociocultural barriers. Most of Savage’s work has been lost or destroyed but today, a century after she arrived in New York City at the height of the Harlem Renaissance, her work, and her plight, still resonate.

Augusta Savage at work on the sculpture that would become known as “The Harp.” Credit... via The New York Public Library

“Disagreeable complications”

Savage, born Augusta Christine Fells in Green Cove Springs, Fla., in 1892, was the seventh of 14 children. She started making animal sculptures from clay as a child, but her father strongly opposed her interest in art. Savage once said that he “almost whipped all the art out of me,” according to the Smithsonian American Art Museum.

Savage arrived in Harlem a century ago in 1921 in the early years of the Harlem Renaissance. She was nearly 30; had already been twice married, widowed and divorced; and had a teenage child, Irene, whom she left in the care of her parents in Florida. She applied and was accepted to the Cooper Union art school, and completed the four-year program in three years. She took the surname Savage from her second husband, whom she divorced. In 1923, she married Robert L. Poston, her third and final husband. Poston died a year later.

The year she married Poston, Savage was one of 100 women awarded a scholarship to attend the Fontainebleau School of Fine Arts in Paris. But when the admissions committee realized that it had selected a Black woman, Savage’s scholarship was rescinded.

In a letter explaining the decision, the chairman of Fontainebleau’s sculpture department, Ernest Peixotto, expressed concern that “disagreeable complications” would arise between Savage and the students “from the Southern states.”

Savage did not accept the rejection quietly. “She used the Black press to make the limits that she was facing known to the larger national and international public,” Bridget R. Cooks, an art historian and associate professor at University of California, Irvine, said. “She had a real determination and sense of her own talent and a refusal to be denied.”

In the years after the Fontainebleau episode, Savage was commissioned to create busts for prominent African-American figures such as the sociologist and scholar W.E.B. Du Bois and the Jamaican activist Marcus Garvey. She also created “Gamin,” a painted plaster bust portrait based on her nephew that became one of her most well-known pieces, praised for its expressiveness. (It was later cast in bronze.)

“Gamin” earned her a Julius Rosenwald fellowship in 1929 to travel to Paris, which had become a refuge for Black artists, including the painter Palmer Hayden and the sculptor Nancy Elizabeth Prophet. Savage studied at the Académie de la Grand Chaumière and had works displayed at the Grand Palais and other prominent venues.

When she returned to Harlem in 1932, she opened the Savage Studio of Arts and Crafts, where she taught prominent artists such as Jacob Lawrence, Gwendolyn Knight, Norman Lewis and Kenneth B. Clark. Clark later turned to social psychology and developed, with his wife Mamie, experiments using dolls to show how segregation affected Black children’s self-perception.

The community-driven education that Savage championed is part of the African-American tradition, Dr. Cooks said, because Black people have historically been excluded from formal academic spaces. “But for her to open her own school is something entirely different,” Dr. Cooks added. “That is becoming a business person. That’s taking on a leadership role for which she doesn’t have any models in terms of Black people in the art world and Black women in particular. ”

In 1934, Savage became the first African-American member of the National Association of Women Painters and Sculptors (now the National Association of Women Artists). In 1937, she worked with the W.P.A. Federal Art Project to establish the Harlem Community Art Center and became its first director. Eleanor Roosevelt, who attended its inauguration, was so impressed with the center that she used it as a model for other arts centers across the country.

Gwendolyn Bennett, Sara West, Louise Jefferson, Augusta Savage and Eleanor Roosevelt in 1937. Credit... The New York Public Library/Schomburg Center

“She created a pathway for careers for Black artists,” Tammi Lawson, the curator of the art and artifacts division of the Schomburg Center, which has the largest holding of Savage’s work, said. “She taught them, she gave them the tools, and she got them work.”

Sandra Jackson-Dumont, the director and chief executive officer of the Lucas Museum of Narrative Art in Los Angeles, agrees. “She, for me, represents someone who believed that she wasn’t compromising her studio practice or who she was by teaching and bringing people along,” said Ms. Jackson-Dumont, adding that Savage understood “how to use the system’s resources to catalyze folks.”

Yet the later years of Savage’s artistic career were marked by adversity. After taking a hiatus to work on her sculpture for the World’s Fair, Savage returned to the Harlem Community Art Center to find that her job had been filled. She briefly tried to establish the Salon of Contemporary Negro Art in Harlem in 1939, but the gallery lasted only three months.

“Joe Gould’s Teeth,” a 2016 book by the historian Jill Lepore, revealed archival evidence that Gould, an eccentric writer, had harassed Savage by calling her incessantly, insulting her, following her to parties and telling people she had agreed to marry him. In the early 1940s, Savage abruptly left her home in Harlem for a farmhouse in Saugerties, N.Y., in the Catskill Mountains, where she continued to make busts and teach local children. In Harlem, the community art center she had founded was closed in 1942 when federal funds were cut during World War II.

Savage remained in Saugerties until Gould died in 1957 and she only later returned to Harlem. She died in relative obscurity in March 1962 of cancer, at 70.

“A blueprint for what it means to be an artist that centers on humanity”

Jeffreen Hayes, who is now a curator and the executive director of Threewalls, an arts nonprofit in Chicago, was a graduate student at Howard University when she learned about Augusta Savage’s work. A professor mentioned the sculptor in passing during a section on the Harlem Renaissance.

“I remember my professor showing slides of Augusta Savage,” Dr. Hayes said, “and then we just kind of moved on.”

Dr. Hayes, though, was struck by this story of a resilient Black woman whose greatest works have been lost but who made a life as an artist, teacher, arts center director and community organizer against the backdrop of Jim Crow laws and the Great Depression.

“I don’t think about Augusta Savage as someone who only made objects,” Dr. Hayes said, but rather as someone who “has really left behind a blueprint of what it means to be an artist that centers humanity.”

In 2018, Dr. Hayes curated the exhibition “Augusta Savage: Renaissance Woman” at the Cummer Museum in Jacksonville, Fla., which aimed, according to the catalog, to “reassess Harlem Renaissance artist Augusta Savage’s contributions to art and cultural history in light of 21st-century attention to the concept of the artist-activist.”

“Savage’s artistic skill was widely acclaimed nationally and internationally during her lifetime,” the catalog reads, “and a further examination of her artistic legacy is long overdue.”

At a moment when discourse has centered on the artistic and political role of public art and monuments, the continuing absence of a work like “The Harp” becomes even more acute.

After the Civil War, as cities evolved in the 19th and 20th centuries, sculptors formed close alliances with architects, such that parks, town squares and other public spaces were designed with sculptures in mind. Unlike paintings, which are typically housed in museums, sculptures and monuments hold an outsized symbolic value because of their presence in public life.

“Your public art should align with a community’s values,” said James Grossman, the executive director of the American Historical Association. “Every generation, each state should step back and say, maybe it’s time for somebody else” to be honored.

Savage with her sculpture “Realization” in 1938. Credit... Andrew Herman, via The New York Public Library/Schomburg Center

In assessing “Augusta Savage: Renaissance Woman,” the Times art critic Roberta Smith noted of another Savage sculpture titled “Realization”: “It never made it beyond its forcefully modeled nearly life-size clay version. It’s heartbreaking to think the difference its survival might have made.”

Recently, in the context of questions over Confederate monuments, there have been calls to recreate Savage’s “The Harp” and display it at the National Museum of African American History and Culture in Washington.

Savage viewed her own legacy with humility, putting the emphasis on the success of her students. In a 1935 interview in Metropolitan Magazine, she said, “I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work.”

Dr. Cooks said she “would disagree” with Savage’s assessment of her own work; “I think everybody would,” she added. For Dr. Cooks, it’s clear that Savage saw her legacy as “someone who could set up opportunities for other people who were younger than her, to have the space to build a Black infrastructure, essentially, so they could succeed.”

In this sense, Savage’s legacy lies as much in the life she built for herself as in the work she made for the world, as evidenced in surviving film of Savage guiding students or creating sculpture in her studio.

In her work at Threewalls, Dr. Hayes said she aims to honor Savage’s mission: to “build a larger ecology that intentionally builds a relationship with community,” as Dr. Hayes put it.

Dr. Hayes didn’t have the support of people like Savage to guide her in the art world early on. “I feel really good that I can pass on that wisdom to the next generation coming up,” she said.

A correction was made on:

March 31, 2021 An earlier version of this article misstated the surname of the director and chief executive officer of the Lucas Museum of Narrative Art in Los Angeles. She is Sandra Jackson-Dumont, not Dumont-Jackson.

A correction was made on April 5, 2021 An earlier version of this article misstated the year of Joe Gould's death. He died in 1957, not 1954. When we learn of a mistake, we acknowledge it with a correction. If you spot an error, please let us know at [email protected].

#the new york times #concepción de león #augusta savage #harlem #harlem renaissance

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pixoplanet · 2 years

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It's November 9th, 🌌 Carl Sagan Day! On this day in 1934, the brilliant Carl Edward Sagan was born in Brooklyn, New York, USA. A trip with his parents to the 1939 New York World's Fair sparked Carl's lifelong interest in science. He was fascinated by scientific exhibits that turned a flashlight beam into a crackling sound and the sound of a tuning fork into a wave on an oscilloscope. He was also enthralled by an exhibit featuring the technology that would replace radio – television. The future held wonders!

Carl never lost his childhood passion for science. After he graduated from the University of Chicago with BA, BS, MS, and PhD degrees, he had a distinguished career as a professor at first Harvard and then Cornell. But that was just the foundation of his illustrious career.

He went on to become America's pre-eminent astronomer, planetary scientist, cosmologist, astrophysicist, and – the role he is most famous for – science communicator. It seemed at the time that his crowning achievement was the 1980 blockbuster PBS documentary series "Cosmos," which he wrote, produced, narrated, and starred in.

But Carl went on to do so much more. He wrote popular books such as "Pale Blue Dot," "The Demon-Haunted World," and "Contact" (which Hollywood turned into a movie starring Jodie Foster). He helped send the first physical Earth messages into outer space – the Pioneer Plaque and the Voyager Golder Record. He convinced NASA to turn Voyager's camera back toward Earth to take a picture of us from six billion kilometers away before the space probe left the solar system. This resulted in the famous "Pale Blue Dot" image.

Carl Sagan died of pneumonia much too young at the age of 62 on December 20, 1996. The world misses you immensely, Carl. ☮️ R.I.P… Jamiese of Pixoplanet

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cantsayidont · 9 months

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March through May 1988. While the Evanier/Spiegle BLACKHAWK revival was prompted by Steven Spielberg's interest in doing a BLACKHAWK feature film as a follow-on to RAIDERS OF THE LOST ARK, this controversial Howard Chaykin miniseries feels a fair bit like RAIDERS: a slick, stylish, rather cynical adventure story about a square-jawed heel and a saucy, two-fisted dame who save the world from fascism when they're not too busy bickering, in a nostalgia-bait setting full of visual allusions to '30s and '40s advertising and propaganda art.

Although Chaykin was certainly familiar with the Blackhawks (and had done covers and a couple of backup stories for the Evanier series), he indulges in some obligatory late '80s revisionism, dismissing or discarding some familiar elements of the feature (for instance, the characters laugh off the possibility of a Blackhawk Island, a staple of the earlier series) and tinkering with some details. Perhaps his most significant move was to reaffirm that Blackhawk was Polish, as shown in the first Blackhawk story in MILITARY COMICS #1 (by Will Eisner and Chuck Cuidera) back in 1941. Later versions of Blackhawk's origin had claimed he was American and had merely been flying for the Polish Air Force at the time of the 1939 Nazi invasion, but Chaykin was having none of that: The Blackhawk of this series is Janos Prohaska (a name borrowed from a veteran Hollywood stuntman who'd worked on STAR TREK and other movies and TV shows), a broad-shouldered, left-leaning (and, this being a Howard Chaykin story, Jewish) schlub from Krakow who spends a lot of the story under fire for "premature antifascism" from a Red-baiting Southern senator who's also a secret Nazi agent.

(Special note needs to be made of the exceptionally creative lettering of Ken Bruzenak, without which this series would be much less than it is, and also the effective color work of Steve Oliff.)

Exactly when this story is supposed to be set is a little vague. One of the pastiche magazine covers suggests that it takes place in June 1941, about the time MILITARY COMICS #1 went on sale, but the story concerns the theft of an American atomic bomb, and the U.S. already seems to be at war, so who knows! Chaykin is not Roy Thomas, who would undoubtedly have sweated such details.

The villain is none of Blackhawk's past opponents, but rather a newly created character, British fascist and disgraced Hollywood star Sir Death Mayhew, a very thinly veiled pastiche of Errol Flynn, obviously informed by Charles Higham's muckraking 1980 bio ERROL FLYNN: THE UNTOLD STORY, which alleged that Flynn was a Nazi spy. Other biographers have challenged Higham's evidence and conclusions (although even the most generous accounts of Flynn's life are pretty seamy), but by the '80s Flynn was long dead, this was after all a comic book, and Mayhew is a pretty effective (and thoroughly risible) villain. Probably the biggest disappointment is that we don't ever actually see Mayhew's earlier encounter with Blackhawk, who he says had previously exposed him as a Nazi spy, and there's never really a clash between the Blackhawks and Mayhew's fascist White Lion squadron (which ends up basically carrying the water for Mayhew's mad plan to give himself "a Viking funeral").

The original BLACKHAWK series eventually introduced a Lady Blackhawk, blond adventuress Zinda Blake, but Chaykin creates his own version: a feisty American-born Communist expat, Natalie (Gurdin) Reed. She's a flight engineer as well as a pilot, although her primary function is to spar with Blackhawk. It's not hard to envision this scene with Harrison Ford as Janos and Karen Allen as Natalie:

One of the biggest complaints levied against this series is that the other Blackhawks get short shrift: They don't show up until well into the story, one of them is killed off-handedly, and they don't have much to do other than be exasperated with their boss.

Nonetheless, this was, believe it or not, the first time in their long history that all the Blackhawks actually got full names, including "Chop Chop" (Weng Chan), who subsequently became a supporting character in the John Ostrander/Graham Nolan HAWKWORLD series in the early '90s.

Your reaction to this series will likely depend on how you feel about the Blackhawks. If you'd never heard of them beyond perhaps glancing past their WHO'S WHO entry, it's a pretty good time — the story has some missed opportunities (including surprisingly little aerial action), and marginalizing the rest of the team is definitely a flaw, but it's entertaining in its slick '80s way, and it's more cohesive than a lot of Chaykin's other work from this period (e.g., AMERICAN FLAGG!, THE SHADOW, BLACK KISS, TIME²). Hardcore Blackhawk fans (and I guess there are still a few) generally hate it, and certainly for purists, the Evanier/Spiegle series is likely to be far more satisfactory. Also, Chaykin's particular schtick is something of an acquired taste, and if you're not a fan, his customary abrasive cynicism may be a bit much. However, you can tell he was having fun, which counts for a lot. He even manages to work in the Blackhawks' "HAWKAAAAA" battle cry at the end, though not their jaunty theme song:

This miniseries, originally released in what DC used to call its "Prestige Format," apparently didn't sell as well as anticipated; for a long time, you could find copies in comic shop bargain bins for a fraction of the cover price, which is how I first read it. However, in 2020, DC finally, miraculously, reprinted the series in trade paperback (as BLACKHAWK: BLOOD & IRON), also tossing in the 1989 SECRET ORIGINS entry (by Marty Pasko, Grant Miehm, and Terry Beatty), which attempts, with fair success, to square Chaykin's version with the original Eisner/Cuidera story, and the now hard-to-find ACTION COMICS WEEKLY Blackhawk serial by Mike Grell, Rick Burchett, and Pablo Marcos, which is set after the war and is basically a straightforward pastiche of the early years of Milt Caniff's STEVE CANYON newspaper strip. I actually find the ACTION COMICS WEEKLY serial significantly more cynical and abrasive than the Chaykin series, although Burchett's art is nice. DC hasn't bothered to reprint the short-lived BLACKHAWK ongoing series of 1989–1990, by Pasko (and later Doug Moench) and Burchett, which is just as well: Also set in the late '40s, it follows on from the ACW serial, but is a pretty much unmitigated disaster, full of puzzling creative choices, including some bizarre (and misogynistic) abuse of Natalie Reed. The art is fine (although the interiors never live up to Burchett's excellent covers), but it can't save the muddy, mean-spirited storyline, which is often confusing and intermittently preposterous in a way that clashes with the intended gritty tone, making it highly missable even for completists.

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timetravellersguide · 2 years

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Timely Notice:

The management office wants to clarify that Agent X’s ghostly, nearly transparent 1940 Pontiac touring sedan is definitely NOT the famously missing Ghost Pontiac.

Absolutely not. Definitely not the Ghost.

Definitely a different car. Besides, Agent X’s Pontiac has glowing Neothane tires, and the missing vehicle’s tires are white.

Now, management would appreciate it if we could all stop calling the police to report the rediscovery of a long lost auto icon.

These reports are unsubstantiated and hurtful. So hurtful, in fact, that every time the cops show up Agent X has to abruptly leave work for a mental health day.

We will just have get comfortable with the fact that, while the breathtaking 1940 Ghost Pontiac may never be found, it is surely in the hands of someone who loves it. Maybe even someone who tenderly washes it with ammonia-free cleaner in the Time Agency parking lot every Friday afternoon. Maybe.

V/r,

Agent Kay

#pontiac #automobile #vintage cars #vintage Pontiac #1940’s #classic cars #time travel #1940s cars #ghost Pontiac #history #automotive #automotive history #Neothane tires #goodyear #weird cars #car history #1900s

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danielpico · 2 years

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https://gloomthzine.com/2019/10/29/the-headless-girl-sideshow/

The Headless Woman was a very popular carnival attraction in the 1930s-40s. This macabre display was originally brought to the USA by a German man who claimed to be “Doctor” Egon Heineman. It features the body of a woman missing her head, with tubes and devices erupting from her bare neck. The woman moves and appears to live- through the marvel of Doctor Heineman’s miraculous skill.

The Headless Women appears alongside a tragic tale of an accident that befell an innocent young woman and the talented “doctor” who helped her to continue to live through medicine- despite having lost her entire head.

The displays were super effective and suddenly copied by carnivals and sideshows all around North America and Europe. One even appeared in the 1939 New York World’s Fair! In some sideshows she is named Olga in others Tina or Yvette.

Of course it is an illusion, the model wears a mask of mirrored panels that reflect the tubing and black background to give the appearance of having no head. It’s very effective and unsettling despite!

https://youtu.be/IgNfoOM_UBk

#headless #head #circuss

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dd20century · 1 month

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A.M. Cassandre: Master of the Twentieth Century Poster

“Designing a poster means solving a technical and commercial problem….in a language that can be understood by the common man”. --

Before A.M. Cassandre

A.M. Cassandre was one of Twentieth Century Europe’s most influential graphic designers and illustrators. Born on January 24, 1901, as Adolphe Jean-Marie Mouron to French parents living at the time in Kharkov, Ukraine. (1) “He spent his childhood years living and roaming between Russia and France, before he finally moved to Paris with his parents in 1915” (2) due to the political unrest in Ukraine at the time. (3) As a young man in Paris Cassandre studied at École des Beaux-Arts and at the Académie Julian. (1)

Portrait of A. M. Cassandre (c. 1930). Photographer unknown. Image source.

Cassandre’s Early Career

In Paris during the 1910s, advertising posters were extraordinarily popular, and Cassandre had no trouble finding employment with a poster printer. While the designer took his inspiration from Cubism and Surrealism which were the predominant artistic movements of the period, he was a leader in the Art Deco movement, which is “characterized by the use of angular, symmetrical geometric forms’ and adulation of the modern machine. It was during the early 1920s that the designer began signing his posters as “Cassandre”. (2)

Cassandre’s posters were so successful that he was able to open his own design house in 1922, but the poster that made him famous was created several years later in 1925. The “Au Bucheron” poster created for a cabinet maker won first prize at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes and was widely reprinted. (2)

A. M. Cassandre, Au Bucheron (1925). Image source.

Cassandre’s Design Philosophy

In the late 1920s Cassandre “set up his own advertising agency called Alliance Graphique, serving a wide variety of clients” (1). Best known of those are Dubonnet and Compagnie Internationale des Wagons-Lits. (1) Cassandre designed his posters so that they could be easily seen and understood from moving vehicles, using only capital letters in his posters as he believed them to be easier read from a distance. (3) “He … [initiated] the concept of the Serial Poster – a group of posters that conveys a whole interesting idea through rapid succession” (2).

A. M. Cassandre, poster for Dubonnet, (1932). Image source.

Cassandre as Type Designer and Innovator

He was also an innovator and master in the use of airbrush techniques. Cassandre developed several famous typefaces: Acer Noir in 1935, and “Peignot, which was successfully exhibited at the 1937 World’s Fair in Paris” (2). For Cassandre, “type does not exist on its own, but is integrated with the image to create the unified concept of the design”(3). The Peignot typeface experienced a revival during the 1970s, when it was used for titles on several popular movies and television programs including “The Mary Tyler Moore Show (and its production company, MTM Enterprises)” (4).

A. M. Cassandre, Peignot font ,(1937). Image source.

Cassandre’s Interests Beyond Poster Design

During the 1930s Cassandre not only “taught graphic design at the École des Arts Décoratifs and then at the École d'Art Graphique” (1) but became active in designing theatre sets and costumes. (2) In 1936, his works were exhibited at the Museum of Modern Art in New York City. (1) The attention from the exhibition garnered Cassandre’s firm work designing covers for Harper's Bazaar in New York City. (2)

A. M. Cassandre, Cover for Harper's Bazaar (October, 1939). Image Source.

Cassandre’s Life During World War II

World War II had a dramatic effect on Cassandre’s life and a disastrous effect on his career. Just before the war he divorced his wife whom he married in 1924. At the age of 38, he joined the French Army and served until the fall of France after which he was demobilized. He lost his business and never again achieved the success he had prior to the war. (1)

Cassandre in the late 1940s and 1950s

After the war, Cassandre found work designing for the theater. During the remainder of the 1940s and throughout the 1950s, he worked with several Parisian fashion houses of his career most notably Hermès and Yves Saint Laurent. Cassandre designed scarves for Hermès and advertisements and posters for Yves Saint Laurent. (1,3) In addition, he was responsible for the iconic Yves Saint Laurent logo that is still in use today. (3)

In the late 1950s Cassandre turned down an offer to become “director of the French Arts Academy at the Villa Medici in Rome” (3). He left his home in Paris and moved to the French countryside where he had hoped to design and build his own home and establish “a world-class art institute” (3). Unfortunately, those ambitions were never realized as Cassandre continued to battle depression. After two years in the country, he returned to Paris. (2)

A. M. Cassandre, Logo for designer Yves Saint Laurent (c. 1958). Image source.

Cassandre’s Tragic End

In 1967 Cassandre’s depression caused him to attempt suicide. Sadly, his second attempt on June 17, 1968 was successful; Cassandre took his own life in his apartment. (2)

A. M. Cassandre’s Work in Books and Museums

A book on Cassandre’s work, The Poster Art of A. M. Cassandre was published in 1979, and Cassandre’s son, Henri Mouron published a study of his father's work in 1985. In 2012, A.M. Cassandre’s work appeared in the “Shaping Modernity: Design 1880–1980" exhibition at MoMA. (2)

In 2024 Cassandre’s posters were included in a show "Art Deco: Commercializing the Avant-Garde” at Poster House in New York City. (1) In addition to the collections at MoMa is work can be found in Paris at Musée des Arts Décoratifs, Paris; in London at the Victoria and Albert Museum; and in Japan at the Hokkaido Obihiro Museum of Art.

Cassandre’s Legacy

A. M. Cassandre will be remembered for his iconic Art Deco posters, which celebrated luxury transport and modern machine technology of his time. He’ll also be remembered for helping to establish graphic design as a distinct professional discipline (3) and for the “belief that design should effectively communicate ideas, laid the groundwork for modern graphic design principles” (5).

References

Wikipedia. com, (22 May, 2024). Cassandre. https://en.wikipedia.org/wiki/Cassandre

Retrographik.com, (n.d). A.M Cassandre, The Legendary Art Deco Poster Artist. https://retrographik.com/a-m-cassandre-art-deco-poster-artist/

Artyfactory.com, (n.d.). A. M. Cassandre (1901-1968). https://www.artyfactory.com/graphic_design/graphic_designers/cassandre.htm

Wikipedia. com, (31 March, 2024). Peignot (typeface) https://en.wikipedia.org/wiki/Peignot_(typeface)

Scottishschools.info, (n.d.). Graphic Designer A.M Cassandre Facts. http://www.scottishschools.info/Websites/SchSecWhitehill/UserFiles/file/Higher%20Art%20Homework/Graphic%20designer%20AM%20Cassandre%20facts.pdf

#cassandre #graphic design #illustration #advertising

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jim-fetter-illustrations · 2 months

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Altered future by Big Oil.

It's 1957 in Lincoln Nebraska, and a full size system was successfully demonstrated by RCA Labs on a 400-foot strip of public highway at the intersection of U.S. Route 77 and Nebraska Highway 2, a series of experimental detector electronic circuits buried in the pavement were paired with a series of lights along the edge of the road. The detector circuits were able to send impulses to guide an automobile to drive itself without any driver.

The first self driving car was born.

Yeah, we developed Self-Driving automobiles way back in 1957!?!?

And you thought this was a recent technology???, The self driving car???,...... Nope, we've been working on it since the 1939 world's fair when they introduced this technology to the world, telling the tale it would be possible by the 1960's and implemented into America's infrastrutture by the 1970's to 1990's.

So by 1996 no one would be driving cars, and we would all be driven in cars that drive themselves..............................

So What Happened to that Dream?????

We are still waiting for that automation of the 1939 World's Fair in New York to be a reality because the powers that be had other plans for you driving privileges that profited THEM more than it benefitted you!

Just press a button on the dash of your car, it flashes "Electronic Drive" and the car starts to drive itself. The system can sense another car up to a mile ahead to slow down, a voice comes over the radio to give directions of coming exit's approaching so you can take control of the vehicle to make the turn off.

This was all in the 1950's technology by RCA Labs.

This was all "Shelved" by patents bought by the Oil industry.

Ya see General Electric (GE) owned RCA Labs back in the 1950's, and GE had a division called GE Oil & Gas that had investments in the petroleum industry to the tune of 2 billion, and back in the 1950's that was a shit load of money, and the Oil industry didn't want efficient self driving automobiles, they liked the wasteful driving habits of Americans leisure time drivers that waisted millions of gallons of gas just driving around doing nothing productive, to drive for the sake of driving.......... and besides self driving cars controlled by electric computers was leaning towards the electric car that would burn no gasoline made by Big Oil...........

Just think if we had electronically managed to drive automobiles by electricity imbedded in the highways, like electric trains and trams work,..... and eventually adapted to the Electric car technology........... global warming might not be a problem today.

This is why all the marvels of the 1930's to the 1950's never came to be, .....Big Oil,............ and Republicans and Democrats have been supported by Big Oil all along the way, and Fuck the Consumer, and the consumer still to this day supports both parties like they are actually representing the people,............ they aren't, they represent whomever supports the government, which is Big Oil, and Big Pharma, and a few other Banking entities that caused the Bailouts.......... where the taxpayer had to bail them out or America would have gone bankrupt,............ so thank goodness American Banking was saved and only the individual Americans went bankrupt and lost everything, as we saw in so many situations......

Keep voting for the people who fuck you the most, the republicans and the democrats, that's what they like to see, that they are in control and your the slave.............. to change that only voting independent across the board. Or just do what you have been doing and nothing changes................ and Big Oil and Big Pharma will continue to control your livelihood.

#altered future by big oil #everything is not what it seems #guided america

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joandfriedrich · 3 months

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More of a spiritual question.

I read Thoreau's "Walking" and the reference to the "west" are interestinga and quite beautiful. I have thought about this a lot, could Friedrich traveling to the West in Little Women, have more of a symbolical meaning? City where he is moving is never mentioned. This does make me think a lot what we have talked about Little Women, being a wish-fulfillment (west referring to a paradise/dreams).

"Every sunset which I witness inspires me with the desire to go to a West as distant and as fair as that into which the sun goes down. He appears to migrate westward daily, and tempt us to follow him. He is the Great Western Pioneer whom the nations follow. We dream all night of those mountain ridges in the horizon, though they may be of vapor only, which were last gilded by his rays. The island of Atlantis, and the islands and gardens of the Hesperides, a sort of terrestrial paradise, appear to have been the Great West of the ancients, enveloped in mystery and poetry. Who has not seen in imagination, when looking into the sunset sky, the gardens of the Hesperides, and the foundation of all those fables?"

"The West of which I speak is but another name for the Wild; and what I have been preparing to say is, that in Wildness is the preservation of the World. Every tree sends its fibers forth in search of the Wild. The cities import it at any price. Men plow and sail for it. From the forest and wilderness come the tonics and barks which brace mankind".

Sorry for the delay, I wanted to make sure I gave you a good answer.

I know that back in the 19th century, going West was seen as the best place for opportunities for jobs and was seen as untouched land, hence why it was so often referred to as "The Wild West". It was a place to rebuild your life, start fresh and have more space, it was seen as not only new and exciting, but also freeing. Oddly enough, whenever I think of West and East, I always think East as being beginnings with the sun rising in the east (Beauty and the Beast anyone?), and West as the sun setting, the end of a journey. But to America at this point in time, East had represented the old world and confinement, while the West was new and freeing. It is a theme that continues even in the 20's with The Great Gatsby, where the East Egg was for the "old money", tradition, born into wealth, while the West Egg was the "new money" where people worked hard to get the wealth they earned.

Friedrich first deciding to go West, before finding out Jo loves him back, could be a chance for him to start anew, something for his nephews, but also a chance to get away from, what he believed at the moment, the unrequited love he has. When he finds out Jo does love him, he goes West still to earn money so that, instead of starting a new life without Jo, he can earn enough to start a new life with Jo. Even though they would continue to live in Concord, which is obviously East of the U.S., the West had allowed them the chance to start a new life together.

It is interesting to think that the idea of moving West as a family was out of the question for them, that instead of wanting to go forth into a wild and freeing world, Jo and Friedrich were more than happy to remain in the familiar world they knew, one filled with family and comfort, which shows just how much family has meant to them both, particularly Jo, who the West may have truly appealed to. While it was luck that Aunt March has left her Plumfield, which helped to get Friedrich home sooner, it again shows that rather than selling the house for a boatload of money and use it to move away, Jo immediately has plans for her new life, and finds that she doesn't need to go far from home to get the kind of life she would be more than happy to live in.

To quote the Wizard of Oz (1939), Dorothy learns, "...If I ever go looking for my heart's desire again, I won't look any further than my own back yard. Because if it isn't there, I never really lost it to begin with!" Jo as a child has dreams of doing something spectacular, looking for adventure and fulfilment, and while she never out right states it, it feels as if she would want to leave her home. But as she grows up, she learns that she could find the fulfillment she longs for in her own hometown, and that despite her desire to explore the world, she will always want to come home and be near the family she loves above all else. To hear Friedrich going West breaks her, as if he was going to a different continent, and back then, the West felt like that, and she was heartbroken to lose a part of her family, which is also a part of her heart.

In the end, the West represented new chances and adventure, but also separation and loss, and ultimately, there is a feeling that Alcott wanted to tell us that sometimes it's ok to just simply want to stay in the home you know rather than going out beyond what you know, because as long as you are happy, why leave?

#little women #friedrich bhaer #henry thoreau #henry david thoreau #jo march #louisa may alcott

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newberyandchai · 11 months

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Thimble Summer (1939)

Let us journey into the distant past... to 84 years ago.

Thimble Summer is mostly a collection of shorter stories that take place across one summer from the perspective of one young girl. There isn't really a thread (pun intended) that connects the stories aside from the main character finding a silver thimble while combing through the dried-up riverbed near her home, which she believes is lucky due to a much-needed rainstorm coming shortly after she finds it.

The girl, Garnet, raises a pig to show at the state fair and wins first place, hitchhikes into town on a whim after being embarrassed by her brother, gets locked in the local library with her friend overnight by accident, and has a few other "adventures" before the summer ends. In short, it's mostly a snapshot into what life might have looked like in the time of my great-grandparents.

1939 saw the official end of the Great Depression, but I would imagine that the book was actually set a few years before then, right in the middle of the country's economic crisis. One of the first scenes in the book involves Garnet finding a bill in the mailbox and worrying about how her father will react when he sees it. The book's other chapters don't indicate that the U.S. is in the middle of a depression in any way, but maybe to some kids, the effects of the Depression were really only felt through witnessing their parents' reactions to household finances.

No cell phones, no air conditioning, few TVs, the world freshly out of "the war to end all wars"... This book made me nostalgic for my own summers in elementary school. Sure, I was still spending hours on Neopets.com in the evenings, but during the summer days I spent a lot of time walking barefoot on the hot sidewalk, riding my Razor scooter in loops around the house over and over again, and drinking cold glasses of milk with ice cubes in them while watching shows like Codename: Kids Next Door after lunch.

And of course with nostalgia comes the inevitable comparison with life as it is now: working from home for the third year in a row, staying in pajamas until noon or later because why not, sipping on a Dunkin iced coffee and getting lost in subtle Instagram advertising until I force myself to put the phone down and get back to work. Not only has life changed by growing up in general — replacing bike rides to the library on fresh, dewy mornings with runs to the grocery store an hour before closing to pick up cat kibble — but post-pandemic life is a total 180 from what it was before. I used to cherish days spent at home on the couch, but now I crave any excuse to get out of the house and return to a sense of structure.

If I had a summer vacation like Garnet, even a beautiful one full of adventure, I think I would eventually wish for it to end and return to a predictable daily routine — maybe sooner than I would expect.

...with all that being said, this delightful little book gets an 8/10 from me and is certified Recommendable. Reading it was like taking a brief break from reality to a time before commercials, spam, popups, road rage, stranger danger, contactless food delivery, and all the other modern facets of everyday life that feel disconnected from the way I experienced life in childhood. I think we all deserve to experience that break once in a while.

#booklr #books #currently reading #newbery #newberyaward #newberymedal #reading #thimble summer

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terahillsingapore · 2 years

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The Orlando Potter Building NY

The Orlando Potter Building is for me one of the most mind-blowing earthenware acknowledge of New York City (and US). This is a special piece of workmanship. Lay back, appreciate and take as much time as necessary to find every one of the subtleties and intricacy of construction and remember it's 120 years of age.

This is one more extraordinary structure and area to sit and respect the marvels of New York City's Engineering. When you plunk down on a seat in the City Lobby park you are encircled by structures that made New York City history and remember your optics since there is a great deal to see .The Orlando Potter Building is a genuine stunner and has a ton of class, polish and allure, it's likewise encircled by lofty structures like the line park building (1 block north) that was until 1903 the tallest structure on the planet.

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There was a wonderful and enormous four story Mailing station, beaux-expressions style (picture 1910) at the intersection of Broadway and Park Line Road that was wrecked in 1938 as a result of a land-rights debate between the city and government specialists. The Mailing station space was added to the city corridor park for the 1939 World's Fair.

On the south of the Orlando Potter Building is the city lobby; Design excellence of it's own, The most established City Corridor in the country that actually houses its unique legislative capabilities, New York's City Lobby is one of the best engineering accomplishments of its period (1803-1812). City Lobby is an assigned New York City milestone and its rotunda is an assigned inside milestone too. Furthermore, obviously directly before the Orlando Potter Building is the Woolworth Working by Cass Gilbert, an elite structure and a piece of New York City's greatness and history. There is all over the City Lobby Park extraordinary structures that are to be found. Remember that like in all New York City, what you see today isn't the very scene that was there while the Structure and encompassing Structures were fabricated, many changes were made and are as yet made today. For instance the Primary known building on this site was a block Presbyterian Church by the American Planner John McComb (1763 - 1853) likewise will known for the New York City Lobby. At the point when the Presbyterian Church chose to fabricate another structure uptown in 1856, the part was isolated in two and a triplet of companions that included Orlando B. Potter purchased the south part for more than $300,000 (that would be about $6.500,000 in the present Dollars) As you can see New York City was at that point at the turn of the twentieth century a solid and significant Land city. The threesome raised a five-story stone design building known as The Recreation area Building.

The paper "The New York World established in 1860-toke office in the Recreation area Building and afterward was known as the World Structure. January 31, 1882 a horrible fire obliterated the structure totally and 12 individuals lost their lives. Orlando B. Potter was extremely reprimanded for the materials utilized in view of the power and speed of the fire. Orlando Potter felt culpability for individuals that lost there lives in the misfortune and simultaneously was a decent money managers and perceived how required to have been turned the page on such an occasion he likewise lost more than $200.000 above protection and a big part of his pay was lost. He zeroed in on tracking down the legitimate materials (flame resistant) so such a sensational occasion wouldn't repeat. It likewise made a public discussion about how structures were fabricated and with what sort of materials. Recall that at the overlaid age (end of the nineteenth hundred years) a 11-story building was considered as a major structure and was actually the start of the high rise region in view of designing improvements of the 1880 that had empowered development of tall multi-story structures. This definition depended on the steel skeleton- - instead of developments of burden bearing masonary. It's miserable to say however history previously demonstrated utilize that out of misfortunes come cures and it's out of that misfortune that Orlando Potter found the materials to fabricated a structure that would be for that period a significant step in the right direction flame resistant development; block, earthenware and steel. He likewise demonstrated that you needn't bother with marble or fine stones to make a magnum opus. The Potter Building is a magnum opus encompassed by the beasts in the local that draw in individuals like magnets and leave the Orlando Potter Building obscure yet it has not a really obvious explanation to begrudge them as a result of its extraordinary Engineering idea, plan and creation. Its fastidious subtleties were finely created to make a show-stopper,

The Orlando Potter Building development started in April 1883 and was finished in 1886. Structural Students of history give the name "Potter" to this building since Potter, Orlando Brunson, a Delegate from New York; brought into the world in Charlemont, Franklin Region, Mass., Walk 10, 1823; went to the locale school, Williams School, Williamstown, Mass., and the Dane Graduate school, Cambridge, Mass.; concentrated on regulation; was owned up to the bar in 1848 and started practice in Boston, Mass.; in 1853 he moved to New York in 1853 and worked in the improvement of a sewing machine business (Grover and Pastry specialist Sewing Machine Co.) were he was President until 1876; he was an unmistakable figure in the New York Progressive faction yet fruitless for political decision in 1878 to the Forty-6th Congress; chose as a leftist to the Forty-eighth Congress (Walk 4, 1883-Walk 3, 1885); declined to be a possibility for renomination in 1884; individual from the Fast Travel Commission of New York City 1890-1894; passed on in New York City, January 2, 1894; interment in Greenwood Burial ground. (Source: True to life Registry of the US Congress, 1771-Present.)

Orlando Potter didn't just find the material he needed to utilize yet in addition the right Modeler for the gig Norris G. Starkweather. Norris Garshom Starkweather, who marked his name N. G. Starkweather, was conceived Garshon Norris Starkweather in Windham District, VT in 1818. In 1830 we was an apprenticed to a manufacturer and turned into a worker for hire all alone in 1845. Norris began his profession as a Designer in Philadelphia in 1852 with Joseph C. Hoxie and turned into a full accomplice in 1854 however the organization didn't stand the test of time and was broken up that very year. Norris G. Starkweather began his own training and was exceptionally dynamic with chapel plan. In 1855 he planned the Primary Presbyterian Church in Norristown, Dad, The principal Baptist Church in Camden, NJ (Camden is a town in New Jersey simply on the opposite side of Philadelphia) and the main Presbyterian Church in Baltimore. Norris left Philadelphia of Baltimore in 1856 due to the Baltimore Presbyterian Church to oversee the development that endured 5 years. In Baltimore Norris was seen and protected different commissions with manors and the rebuilding of the Barnum's City Lodging in Baltimore. In 1860 he shows up in Washington D.C with an office. During the nationwide conflict time frame Norris is signed up for the 6th Regiment of Maryland Infantry, Organization F. He is assembled August 27, 1862 and gathered out May 24, 1864. In 1868 he his back in Washington in organization with a Philadelphia developer named Thomas M. Cultivator. The association went on until 1871 and from that date until 1881 Starkweather is recorded without anyone else. Between that period a few undertakings were achieved like the Cooke's Line, the redesigning of St. John's Congregation in Georgetown, the Foundation Working for the Community of the Appearance.

In 1881 Norris G. Starkweather leaves Washington D.C for New York, opens an office with a youthful Draftsman named Charles E. Gibbs. They had there first office at 37 Park Column, moved to 822 Broadway from 1882 till 1884 and at 132 Nassau Road from 1884 - 1886 yet in 1885 the association disintegrated and Norris moved in at 325W 23rd Road. The significant commission of the firm was the Orlando Potter Building.

Norris G. Starkweather passed on December 18, 1885 preceding the culmination of the Potter Building and was covered in Bridgeport, Connecticut. The Orlando Potter Building Is more modest than it's esteemed neighbors yet has it's very own allure. With just 11 stories high it truly draws in the eye. The monstrous (dark base) red block and earthenware shaded brownstone makes the structure seems to be an interruption in the scene on account of its dark base, red tone and Compositional styles. I put styles with a "s" in light of the various styles that were utilized; a few compositional history specialists consider it the "Sovereign Ann style" however it is more a lovely blend of Renaissance Recovery, Pioneer Restoration and, surprisingly, Neo-Grec It is an extraordinary illustration of the Block and Earthenware toughness, for more than a century it has endured New York's super weather conditions cycles yet required no rebuilding for quite a long time. The dark base is a solid metal design covered with bitumen to keep away from untimely rusting. The structure sits on a half block and two corners from Park Column Road, Beekman Road and Nassau Road. It has on the ground level stores all over and a sum of 59 lofts with the entry at 145 Nassau Road. The front façade that was and is made to be seen from Park Line Road is a momentous piece of craftsmanship and detail work. The structure looks very basic yet the more you notice it (with optics) more you understand its intricacy with various fenestration designs at each floor, a ton of block examples of all shapes that give a feeling of complicity

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eppysboys · 2 years

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Salvador Dali illustrations for chapters of Billy Rose’s autobiography Wine, Women and Words

“Now, when Billy came to write his autobiography Wine, Women and Words, he convinced Salvador Dali to supply the illustrations. Billy met Dali when he was producing events at the World’s Fair in 1939. Rose helped Dali get his Dream of Venus exhibited at the fair. The two became freinds with Dali even painting Billy a series of paintings The Seven Lively Arts as a mark of his respect in 1944. When these were lost in a fire at Billy’s home, Dali gave him a new painting called ‘Rock ‘n’ Roll’ in 1956 which was also the name of a perfume Dali was hawking.So Billy had Dali supply the sketches for his autobiography first published in 1948. Each sketch illustrated a different chapter which reflected on some important event in his life–like his work in theatre or more particularly Billy’s marriage to his second wife Eleanor Holm who he met while still married to Fanny Brice during the production of Aquacade. There was three versions of the book. The American version is the one you really want to collect as it has more pictures than the British version. Well, whaddya know, I got the British one. It’s a fine book, full of neat stories which are well matched by Dali’s drawings.” Paul Gallagher, 2019, Flashbak

#Salvador Dali #Billy Rose #Art #Wine Women and Words

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astrologyandlife · 3 years

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uranus in taurus + climate science: part i

for a couple of years, i have been very interested in the relationship between uranus' current station in taurus and the increasing focus on what's occurring with earth's climate. i was also hoping to make some predictions as to what we are going to see over the next several years given this relationship. so, i decided to compile those findings here for you guys to take a look as well! i want to note that this survey is very U.S. and western-centric, and i welcome any discussion that take into account broader global trends or even just ideas you guys have about the topic!

part i. the pattern

i first took a look at the previous cycle to try and understand a little bit more about the cultural patterns and key events surrounding uranus' movement through the signs, starting with...

uranus in taurus (1934-1941): the great depression; sandwiched between ww1 and ww2, most countries were struggling financially, with the stock market crash of 1929 kicking off the great depression. the financial strain on germany is a significant cause of actions leading to the second world war, which began toward the end of this cycle. out of this crisis came the New Deal, which would completely revolutionize the U.S. economy and financial system. some relevant info/aspects:

10/24/1929 - aries uranus bi-quintile virgo neptune 0°31' (the confident speculation and attitude of the roaring 20's brought on by uranus crumbled as the stock market bubble burst when neptune entered virgo and reality set in)

09/01/1939 - aries jupiter semi-square taurus uranus almost exactly (considered the day ww2 began, sudden change of luck for the worse with taurus representing the economy and aries war)

late 1941 - taurus uranus trine virgo neptune (a lack of scrutiny towards hitler allowed him to continue accruing power)

05/03/1942 - taurus saturn exactly conjunct taurus uranus at 29° (fateful, the beginning of a very dark period of suffering, restriction, and fear)

uranus in gemini (1941-1948): the holocaust + ww2; ww2 was in full swing at this point, and the holocaust began in 1941 after the nazi regime took hold in germany. the holocaust began after a systemic and calculated effort to scapegoat and smear jewish people through the media and government of the time. this was a period of deep unrest and uncertainty, ended only when the war came to a close in 1945. some relevant info/aspects:

uranus was opposite of sagittarius, known for open-mindedness and acceptance of other cultures, ethnicities, etc.

late 1941 + early 1942 - cancer jupiter semi-square gemini uranus (a negative shift of luck)

late 1941 + early 1942 - gemini uranus trine libra neptune (once again lack of scrutiny towards leaders, but this is more favorable for them to manipulate the masses through media, communication, and diplomacy due to the influence of air signs)

1943-1945 - gemini uranus sextile leo pluto (positive transformation is beginning, specifically in relation to new technologies and a societal shift)

01/01/1945 - gemini uranus sextile leo pluto -0°14' (the conclusion of germany's final offensive, where they lost and the war was largely coming to an end with germany's defeat becoming clear)

mid-1946 - libra jupiter trine gemini uranus (a period of good luck and peace post-war)

late 1947 - leo saturn sextile gemini uranus (economies shift towards stability as industries like television, automobiles, and consumer products begin to take center stage; commercials get their start during this year)

from just these two time periods alone, some interesting patterns appear to be emerging. from here on out, we will just examine the meaning of the sign uranus sits in:

uranus in cancer (1948-1955): the baby boom; finally, with the war over marked a distinct and significant shift in attention to the homefront. there was a need to focus on revitalizing the economy and on domestic life. and with that came the baby boom. during this time, the largest number of babies was born. there was also an influx of new household appliances and pastimes at this time. uranus in leo (1955-1961): the civil rights movement; during this cycle there was a huge shift in focus on the rights of black people in America, who were unfairly treated. famous figures like rosa parks, martin luther king jr., and malcolm x rose to fame as they pioneered change, socially and legally. this laid the groundwork for several other civil rights movements to follow. uranus in virgo (1961-1968): women's liberation movement; birth control, women's rights in the workplace, and second wave feminism were all relevant issues in the public. the vietnam war also begins, with its popularity highest during uranus' time in this sign. uranus in libra (1968-1974): anti-war sentiment and peace movements; there is a shift away from blind patriotism as opposition to the war grows. during this time, there is emphasis on peace and harmony, with the hippie subculture beginning to form. tensions between superpowers were also cooled off by this time. uranus in scorpio (1974-1980): a sexual revolution; during this time, there were several things going on, from abortion rights and new forms of birth control, to the beginning of the aids crisis, to gay rights. complete liberation for many groups came during this time, with revolution and rebellion on many people's minds. uranus in sagittarius (1980-1988): laissez-faire capitalism; ronald reagan pushed for trickle-down economics, which saw tax cuts for the rich. this was an explosion of culture, too, with many of the most iconic pieces of media being created at this time. conservative politics began its rise during this time as well, with religious freedom mixing into politics. uranus in capricorn (1988-1995): rebellion against power; the themes of the last two uranus signs culminated during this time, with a shift towards rebelling against power and figures of authority. there was a slow development of technology like video game systems, as well as an influx of companies started by ambitious individuals. uranus in aquarius (1995-2003): the rise of the internet; during this time, the internet became part of daily life for people, who could now connect with anyone across the world. google, amazon, social media, etc. all got their start during this time. people were able to express themselves and learn new things in entirely new ways. uranus in pisces (2003-2010): the market crash; this is the second economic downturn during this cycle, which occurred due to the housing bubble bursting. wall street received a bailout, but many businesses went under and people were forced into desperate situations as a result. uranus in aries (2010-2018): the #metoo movement; during this time, several movements from third-wave feminism to lgbtq+ rights to blm rose to notoriety, and all for good reasons. the injustices of the system were put under a hot spotlight for all to see as illusions of true equality broke down. there is a shift in focus to individual rights and what some may call "identity politics," where there was a move to respect everyone's identity and rights.

in part 2, we will look specifically at uranus in taurus and what it means for us over the next five years. stay tuned!

#i was going to do this all in one part but it got super long #so stay tuned!!#astrology #other #uranus

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dweemeister · 3 years

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The complete list of films featured in 2021′s “31 Days of Oscar” marathon

What follows is the exhaustive list of all 403 short- and feature-length films featured on this blog over the last thirty-one days for the 31 Days of Oscar marathon. This number is up from last year’s count of 327 and is the second-highest number of films I have ever featured in this marathon (behind the 410 films from 2016). Despite the number, this remains only a fraction of the nearly 5,000 films that have been nominated for Academy Awards. This year’s marathon was harder to plan than usual due to the fact it was presented in alphabetical order - with the exception of any write-ups I did.

BREAKDOWN BY DECADE 1927-1929: 7 1930s: 44 1940s: 63 1950s: 63 1960s: 46 1970s: 25 1980s: 29 1990s: 28 2000s: 25 2010s: 43 2020s: 30

Year with most representation (2020 excluded): 1940 (ten films) Median year: 1964

And now, the list. Best Picture winners and the one (and only) winner for Unique and Artistic Production are in bold. Asterisked (*) films are films I haven’t seen in their entirety as of the publishing of this post.

A.I. Artificial Intelligence (2001)

Ace in the Hole (1951)

Adam’s Rib (1949)*

The Adventures of Robin Hood (1938)

After the Thin Man (1936)*

Airport (1970)*

Aladdin (1992)

Albert Nobbs (2011)

Alexander’s Ragtime Band (1938)

All Quiet on the Western Front (1930)

Almost Famous (2000)

An American in Paris (1951)

Anastasia (1956)

Anatomy of a Murder (1959)

Annie (1982)

Around the World in Eighty Days (1956)

Arrival (2016)

Au Revoir Les Enfants (1987, France)

The Awful Truth (1937)

Babe (1995)

Baby Doll (1956)*

Ballad of a Soldier (1959, Soviet Union)*

The Band Wagon (1953)

Bao (2018 short)

Ben-Hur (1959)

Berkeley Square (1933)

The Best Man (1964)

Better Days (2019, Hong Kong)*

The Big Chill (1983)*

The Birds (1963)

Birds Anonymous (1957 short)

Black Orpheus (1959, Brazil)

BlacKkKlansman (2018)

Blue Velvet (1986)

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)*

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan (2020)*

The Bridge on the River Kwai (1957)

Brief Encounter (1945)

Brotherhood (2018 short, Tunisia/Canada/Qatar/Sweden)

Cabin in the Sky (1943)

Calamity Jane (1953)

Carol (2015)*

Casablanca (1942)

Casino (1995)*

Charade (1963)

The Circus (1928)

Citizen Kane (1941)

City of God (2002, Brazil)*

Claudine (1974)*

Closely Watched Trains (1966, Czechoslovakia)

Coraline (2009)*

Da 5 Bloods (2020)*

Dances with Wolves (1990)

Death in Venice (1971)*

Destination Moon (1950)*

The Devil and Daniel Webster (1941)

Down Argentine Way (1940)

Dunkirk (2017)

Easter Parade (1948)

The Edge of Democracy (2019, Brazil)*

Educated Fish (1937 short)*

El Cid (1961)*

Elmer Gantry (1960)

The End of the Affair (1999)*

Ernest & Celestine (2012, France/Belgium)

Face to Face (1976, Sweden)*

The Fallen Idol (1948)

Fantasia (1940)

A Fantastic Woman (2017, Chile)*

Far from the Madding Crowd (1967)*

A Farewell to Arms (1932)*

A Few Good Men (1992)*

Five Easy Pieces (1970)*

The Five Pennies (1959)

The 5,000 Fingers of Dr. T. (1953)

Flower Drum Song (1961)

Flowers and Trees (1932 short)

Flying Down to Rio (1933)*

For All Mankind (1989)

For Sama (2019)*

Forbidden Planet (1956)

Forrest Gump (1994)

42nd Street (1933)

Four Days in November (1964)*

The Four Feathers (1939)

The 400 Blows (1959, France)

Four Weddings and a Funeral (1994)*

From Here to Eternity (1953)

Funny Face (1957)

Funny Girl (1968)

Fury (1936)*

Gandhi (1982)

The Garden of Allah (1936)

Garden Party (2017 short, France)

Gaslight (1944)

Giant (1956)

Gigi (1958)

Gladiator (2000)

The Godfather (1972)

The Godfather, Part II (1974)

Goodbye, Mr. Chips (1939)

Gorillas in the Mist (1988)*

Gosford Park (2001)

Grand Hotel (1932)

Grand Prix (1966)*

The Great Beauty (2013, Italy)

The Great Race (1965)

The Great Ziegfeld (1936)

Green Book (2018)

Green Dolphin Street (1947)*

The Green Mile (1999)*

Guess Who’s Coming to Dinner (1967)

Gunfight at the O.K. Corral (1957)

Gunga Din (1939)

Hair Love (2019 short)

Hallelujah (1929)*

Hamlet (1948)

Hamlet (1990)

Hamlet (1996)

Hangmen Also Die! (1943)*

The Happiest Millionaire (1967)

A Hard Day’s Night (1964)

Harlan County U.S.A. (1976)

The Harvey Girls (1946)

Heartbreak Ridge (1986)*

The Heiress (1949)

Hell’s Angels (1930)*

Henry V (1989)

Here Comes Mr. Jordan (1941)

Hero (2002, China)*

Hidden Figures (2016)

The High and the Mighty (1954)*

High Noon (1952)

High Society (1956)

Himalaya (1999, France/Switzerland/United Kingdom/Nepal)*

Home Alone (1990)

Honeysuckle Rose (1980)*

Hoosiers (1986)

The House on 92nd Street (1945)*

How the West Was Won (1962)

How to Survive a Plague (2012)*

I Am a Fugitive from a Chain Gang (1932)

I Married a Witch (1942)*

I Never Sang for My Father (1970)

I Vitelloni (1953, Italy)*

I Wanted Wings (1941)*

I, Tonya (2017)*

Ida (2013, Poland)

Imitation of Life (1959)

In Cold Blood (1967)

In the Absence (2018 short, South Korea)

In the Heat of the Night (1967)

Inherit the Wind (1960)

Inside Daisy Clover (1965)*

Inside Moves (1980)*

It Happened One Night (1934)

It Happened Tomorrow (1944)*

It Should Happen to You (1954)*

It’s Always Fair Weather (1955)

Jackie Brown (1997)*

Jammin’ the Blues (1944 short)*

Jaws (1975)

The Jazz Singer (1927)

Jerry’s Cousin (1951 short)

Jesus Camp (2006)*

Jezebel (1938)

Jim: The James Foley Story (2016)*

Joe’s Violin (2016 short)

The Journey of Natty Gann (1985)

Joyeux Noel (2005, France)

Judgment at Nuremberg (1961)

Julia (1977)*

Juliet of the Spirits (1965, Italy)

Kagemusha (1980, Japan)

The Karate Kid (1984)

The Killers (1946)*

The King and I (1956)

The King’s Speech (2010)

The Kite Runner (2007)

Knights of the Round Table (1953)*

Knives Out (2019)

Kundun (1997)*

La Ronde (1950, France)*

La Strada (1954, Italy)

La Traviata (1982, Italy)*

Lady Be Good (1941)*

The Lady Eve (1941)

The Ladykillers (1955)*

The Last Emperor (1987)

A Letter to Three Wives (1949)

The Life Ahead (2020, Italy)*

Life is Beautiful (1997, Italy)

Life with Feathers (1945 short)

Lili (1953)

Lilies of the Field (1963)

The Lion in Winter (1968)*

Little Caesar (1931)

A Little Romance (1979)

Little Women (2019)

Logan (2017)

The Lord of the Rings: The Return of the King (2003)

Lost Horizon (1937)

Love Affair (1939)*

Love Story (1970)*

Loving Vincent (2017)

The Magic Flute (1975, Sweden)

The Magnificent Ambersons (1942)

Malcolm X (1992)

The Maltese Falcon (1941)

A Man for All Seasons (1966)

The Man Who Knew Too Much (1956)

The Manchurian Candidate (1962)

Maria Full of Grace (2004, Colombia)*

Meet Me in Las Vegas (1956)*

Meet Me in St. Louis (1944)

Mighty Joe Young (1949)*

Milk (2008)

Million Dollar Mermaid (1952)*

The Miracle Worker (1962)*

Mon Oncle (1958, France)

Monsieur Hulot’s Holiday (1953, France)*

Mutiny on the Bounty (1935)

My Fair Lady (1964)

My Favorite Wife (1940)

My Favorite Year (1982)

My Night at Maud’s (1969)*

The Narrow Margin (1952)

The Natural (1984)

Nebraska (2013)

Network (1976)

Night Must Fall (1937)*

Nightcrawler (2014)*

The Nightmare Before Christmas (1993)

Ninotchka (1939)

Nowhere in Africa (2001, Germany)*

Odd Man Out (1947)*

The Official Story (1985, Argentina)*

Oklahoma! (1955)*

Oliver! (1968)

On Golden Pond (1981)*

On the Riviera (1951)*

On the Waterfront (1954)

One Day in September (1999)*

One Flew Over the Cuckoo’s Nest (1975)

One Foot in Heaven (1941)

One Hour with You (1932)

One Potato, Two Potato (1964)*

Only Angels Have Wings (1939)*

Our Town (1940)

Paisan (1946, Italy)

Pal Joey (1957)*

Pan’s Labyrinth (2006, Mexico)

Paper Moon (1973)*

Parasite (2019, South Korea)

The Parent Trap (1961)

A Passage to India (1984)*

Patton (1970)

Pelle the Conqueror (1987, Denmark)*

Period. End of Sentence. (2018 short)

Persepolis (2007, France)

The Philadelphia Story (1940)

The Picture of Dorian Gray (1945)

Pigs in a Polka (1943 short)*

Pillow Talk (1959)*

Pinocchio (1940)

Places in the Heart (1984)*

Poltergeist (1982)

Portrait of Jennie (1948)

Precious (2009)*

The Prisoner of Zenda (1937)

The Private Life of Helen of Troy (1927)*

The Private Lives of Elizabeth and Essex (1939)*

The Producers (1967)

Psycho (1960)

Pulp Fiction (1994)

Purple Rain (1984)

Puss Gets the Boot (1940 short)

Pygmalion (1938)

Quiet Please! (1945 short)

Quo Vadis, Aida? (2020, Bosnia-Herzegovina)*

Rachel, Rachel (1968)*

Ran (1985, Japan)

Random Harvest (1942)

Rashômon (1950, Japan)

Rasputin and the Empress (1932)*

Rear Window (1954)

Rebecca (1940)

Red River (1948)

The Red Shoes (1948)

A River Runs Through It (1992)

Road to Perdition (2002)

Roma (2018, Mexico)

Saludos Amigos (1942)

Same Time, Next Year (1978)*

The Secret of Kells (2009)

Sense and Sensibility (1995)*

Sergeant York (1941)

Seven Brides for Seven Brothers (1954)

Seven Samurai (1954, Japan)

Shadow of a Doubt (1943)

The Shape of Water (2017)

Shaun the Sheep Movie (2015)*

She Done Him Wrong (1933)*

She Wore a Yellow Ribbon (1949)

The Shootist (1976)

The Shop on Main Street (1965, Czechoslovakia)

The Silence of the Lambs (1991)

Silverado (1985)

Singin’ in the Rain (1952)

Sleeping Beauty (1959)

The Smiling Lieutenant (1931)

The Snake Pit (1948)*

Song of the Sea (2014)

Sounder (1972)

The Sound of Music (1965)

The Spanish Main (1945)*

Speedy (1928)

Speedy Gonzales (1955 short)

Spider-Man: Into the Spider-Verse (2018)

Spirited Away (2001, Japan)

Stagecoach (1939)

A Star is Born (1937)

A Star is Born (1954)

A Star is Born (1976)*

A Star is Born (2018)

Star Trek: First Contact (1996)

Star Wars (1977)

Starship Troopers (1997)

The Sting (1973)

A Stolen Life (1946)*

The Story of Three Loves (1953)*

The Story of the Weeping Camel (2003, Mongolia)*

The Strange Love of Martha Ivers (1946)*

The Stranger (1946)*

A Streetcar Named Desire (1951)

Strike Up the Band (1940)

Strings (1991 short)*

The Sundowners (1960)*

Sunrise: A Song of Two Humans (1927)

Superman (1978)

Sweet Bird of Youth (1962)

Swing Time (1936)

T-Men (1947)*

The Tale of the Princess Kaguya (2013, Japan)

Tangerines (2013, Estonia)*

Tenet (2020)

Them! (1954)

Theodora Goes Wild (1936)*

Thirty Seconds Over Tokyo (1944)*

This is Cinerama (1952)*

The Three Musketeers (1948)

Three Orphan Kittens (1935 short)

Time (2020)*

Timecode (2016 short, Spain)

Tom Jones (1963)

Toni Erdmann (2016, Germany)*

Top Hat (1935)

The Triplets of Belleville (2003, France)*

The Truman Show (1998)*

12 Angry Men (1957)

Twilight of Honor (1963)*

Two Girls and a Sailor (1944)*

2001: A Space Odyssey (1968)

Umberto D. (1952, Italy)

The Umbrellas of Cherbourg (1964, France)

Unforgiven (1992)

Up (2009)

Vertigo (1958)

Victor/Victoria (1982)

WALL-E (2008)

Watch on the Rhine (1943)*

Waterloo Bridge (1940)

Weary River (1929)*

West Side Story (1961)

Winnie the Pooh and the Blustery Day (1968 short)

The Wizard of Oz (1939)

Wolfwalkers (2020)

X-Men: Days of Future Past (2014)

You Can’t Take It with You (1938)

Zorba the Greek (1964)*

The 15 nominated short films for the 93rd Academy Awards

The 8 nominees for Best Picture at the 93rd Academy Awards, including the winner, Nomadland

Until next year’s ceremony, folks - February will be here before we know it!

#Oscars #31 Days of Oscar

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