#Marion Barber

[nachosforfree]

If you add their ass mass together you get -4

[whibleysims]

[I haven’t properly introduced this couple yet, but here’s Sarah Barber and Reginald II Barber; the Barber family is the newest addition to Whibley, they were created for RBU backstory. They’re good friends with Gordon and Maggie and have been ever since college.]

[mother-lee]

“Looking at Appalachia.” Jesse Barber. 12/1/19. Marion, McDowell County, NC.

[coochiequeens]

This is why we still need Women’s History Month.

By Martha Gill

What was life like for women in medieval times? “Awful” is the vague if definite answer that tends to spring to mind – but this is an assumption, and authors have been tackling it with new vigour.

The Once and Future Sex: Going Medieval on Women’s Roles in Society by Eleanor Janega, and The Wife of Bath: A Biography by Marion Turner both contend that women were not only bawdier but busier than we thought: they were brewers, blacksmiths, court poets, teachers, merchants, and master craftsmen, and they owned land too. A woman’s dowry, Janega writes, was often accompanied with firm instructions that property stay with her, regardless of what her husband wanted.

This feels like a new discovery. It isn’t, of course. Chaucer depicted many such cheerfully domineering women. The vellum letter-books of the City of London, in which the doings of the capital from 1275 to 1509 were scribbled, detail female barbers, apothecaries, armourers, shipwrights and tailors as a matter of course. While it is true that aristocratic women were considered drastically inferior to their male equivalents – traded as property and kept as ornaments – women of the lower orders lived, relatively, in a sort of rough and ready empowerment.

It was the Renaissance that vastly rolled back the rights of women. As economic power shifted, the emerging middle classes began aping their betters. They confined their women to the home, putting them at the financial mercy of men. Female religious power also dwindled. In the 13th century seeing visions and hearing voices might get a woman sainted; a hundred years later she’d more likely be burned at the stake.

“When it comes to the history of gender relations, storytellers portray women as more oppressed than they actually were”

Why does this feel like new information? Much of what we think we know about medieval times was invented by the Victorians, who had an artistic obsession with the period, and through poetry and endless retellings of the myth of King Arthur managed somehow to permanently infuse their own sexual politics into it. (Victorian women were in many respects more socially repressed than their 12th-century forebears.)

But modern storytellers are also guilty of sexist revisionism. We endlessly retread the lives of oppressed noblewomen, and ignore their secretly empowered lower-order sisters. Where poorer women are mentioned, glancingly, they are pitied as prostitutes or rape victims. Even writers who seem desperate for a “feminist take” on the period tend to ignore the angle staring them right in the face. In her 2022 cinematic romp, Catherine called Birdy, for example, Lena Dunham puts Sylvia Pankhurst-esque speeches into the mouth of her 13th-century protagonist, while portraying her impending marriage – at 14 – as normal for the period. (In fact the average 13th-century woman got married somewhere between the ages of 22 and 25.)

But we cling tight to these ideas. It is often those who push back against them who get accused of “historical revisionism”. This applies particularly to the fantasy genre, which aside from the odd preternaturally “feisty” female character, tends to portray the period as, well, a misogynistic fantasy. The Game of Thrones author George RR Martin once defended the TV series’ burlesque maltreatment of women on the grounds of realism. “I wanted my books to be strongly grounded in history and to show what medieval society was like.” Oddly enough, this didn’t apply to female body hair (or the dragons).

This is interesting. Most of our historical biases tend to run in the other direction: we assume the past was like the present. But when it comes to the history of gender relations, the opposite is true: storytellers insist on portraying women as more oppressed than they actually were.

“The history of gender relations might be more accurately painted as a tug of war between the sexes”

The casual reader of history is left with the dim impression that between the Palaeolithic era and the 19th century women suffered a sort of dark age of oppression. This is assumed to have ended some time around the invention of the lightbulb, when the idea of “gender equality” sprang into our heads and right-thinking societies set about “discovering” female competencies: women – astonishingly – could do 

things men could do!

In fact the history of gender relations might be more accurately painted as a tug of war between the sexes, with women sometimes gaining and sometimes losing power – and the stronger sex opportunistically seizing control whenever it had the means.

In Minoan Crete, for example, women had similar rights and freedoms to men, taking equal part in hunting, competitions, and celebrations.

But that era ushered in one of the most patriarchal societies the planet has ever known – classical Greece, where women had no political rights and were considered “minors”.

Or take hunter-gatherer societies, the source of endless cod-evolutionary theories about female inferiority. The discovery of female skeletons with hunting paraphernalia has disproved the idea that men only hunted and women only gathered – and more recently anthropologists have challenged the idea that men had higher status too: women, studies contend, had equal sway over group decisions.

This general bias has had two unfortunate consequences. One is to impress upon us the idea that inequality is “natural”. The other is to give us a certain complacency about our own age: that feminist progress is an inevitable consequence of passing time. “She was ahead of her time,” we say, when a woman seems unusually empowered. Not necessarily.

Two years ago, remember, sprang up one of the most vicious patriarchies in history – women were removed from their schools and places of work and battoned into homes and hijabs. And last year in the US many women lost one of their fundamental rights: abortion. (Turns out it was pro-lifers, not feminists, who were ahead of their time there.)

Both these events were greeted with shock from liberal quarters: how could women’s rights be going backwards? But that only shows we should brush up on our history. Another look at medieval women is as good a place to start as any.

 Martha Gill is a political journalist and former lobby correspondent

[yearningforunity]

Harlem Barber Shop. Granville County, NC - 1939

Photographer: Marion Wolcott

[starqueen87]

Coretta Scott was the third of four children born to Obadiah "Obie" Scott (1899–1998) and Bernice McMurry Scott (1904–1996) in Marion, Alabama.

She was born in her parents' home with her paternal great-grandmother Delia Scott, a former slave, presiding as midwife.

Coretta's mother became known for her musical talent and singing voice. As a child Bernice attended the local Crossroads School and only had a fourth grade education. Bernice's older siblings, however, attended boarding school at the Booker T. Washington founded Tuskegee Institute. The senior Mrs. Scott worked as a school bus driver, a church pianist, and for her husband in his business ventures. She served as Worthy Matron for her Eastern Star chapter and was a member of the local Literacy Federated Club.

Obie, Coretta's father, was the first black person in their neighborhood to own a truck. Before starting his own businesses he worked as a fireman. Along with his wife, he ran a barber shop from their home and later opened a general store. He also owned a lumber mill, which was burned down by white neighbors after Scott refused to sell his mill to a white logger.

Her maternal grandparents were Mollie (née Smith; 1868 - d.) and Martin van Buren McMurry (1863 - 1950) - both were of African-American and Irish descent. Mollie was born a slave to plantation owner Jim Blackburn and Adeline (Blackburn) Smith.

Coretta's maternal grandfather, Martin, was born to a slave of Black Native American ancestry, and her white master who never acknowledged Martin as his son. He eventually owned a 280-acre farm.

Because of his diverse origins, Martin appeared to be White; however, he displayed contempt for the notion of passing. As a self-taught reader with little formal education, he is noted for having inspired Coretta's passion for education.

Coretta's paternal grandparents were Cora (née McLaughlin; 1876 - 1920) and Jefferson F. Scott (1873 - 1941). Cora passed away before Coretta's birth. Jeff Scott was a farmer and a prominent figure in the rural black religious community; he was born to former slaves Willis and Delia.

Coretta Scott's parents intended for all of their children to be educated. Coretta quoted her mother as having said, "My children are going to college, even if it means I only have but one dress to put on."

[kimberly40]

💈The Interesting History of the Barber Pole:

The barber pole’s colors are a legacy of a long-gone era when people went to barbers not just for a haircut or shave but also for bloodletting and other medical procedures. Red is for the bloody bandages from bloodletting, White is for the bandages the patients gripped and Blue is for patriotism.

During the Middle Ages bloodletting, which involves cutting open a vein and allowing blood to drain, was a common treatment for a wide range of maladies, from sore throat to plague. Monks, who often cared for the sick, performed the procedure, and barbers, given their skill with sharp instruments, sometimes provided assistance.

After Pope Alexander III in 1163 prohibited clergymen from carrying out the procedure, barbers added bloodletting—something physicians of the day considered necessary but too menial to do themselves–to their repertoires. Known as barber-surgeons, they also took on such tasks as pulling teeth, setting bones and treating wounds.

The look of the barber pole is linked to bloodletting, with red representing blood and white representing the bandages used to stem the bleeding. The pole itself is said to symbolize the stick that a patient squeezed to make the veins in his arm stand out more prominently for the procedure.

In Europe, barber poles traditionally are red and white, while in America, the poles are red, white and blue. One theory holds that blue is symbolic of the veins cut during bloodletting, while another interpretation suggests blue was added to the pole as a show of patriotism and a nod to the nation’s flag.

By the mid-1500s, English barbers were banned from providing surgical treatments, although they could continue extracting teeth. Both barbers and surgeons, however, remained part of the same trade guild until 1745.

While bloodletting largely fell out of favor with the medical community in the 19th century, it’s still used today to treat a small number of conditions.

*Pictured is Buford’s Family Barber in Downtown Marion, NC. 2007.

(Information from the History Channel)

[placerdiario]

Coldplay - feelslikeimfallinginlove (director’s cut) from Raman Djafari on Vimeo.

Two friends, lovers, soulmates, a pair of two, searching and ultimately finding each other. This pair traveling between worlds and changing forms, expressed through 15 styles of animation, by 15 animators from across the world.

CREDITS

Director - Raman Djafari @ramandjafari Prod Co - Blinkink @blink_ink Executive Producer - Josef Byrne Head of Production - Alex Halley @alexhalley Producer - Alexander Handschuh @alexhandschuh_ Co-producer - Jon Mealing @jonmealing Commissioner - Sam Seager @seagez

-

ANIMATION COLLABORATORS (in order of appearance)

Tokay - @tokay.tv Dante Zaballa - @dantezaballa Martin Robic - @robic.martin KINEMUS - @kinemus.feed Jack Zhang - @animate_jack Niki Lindroth von Bahr - @niki_lindroth_von_bahr Moera.cf - @moera.cf Gaia Esther Maria - @gaiaesthermaria Aaron Fisher - @aaronfisherdesign Karlotta Freier - @karllikesotto Raman Djafari - @ramandjafari Isabel Garrett - @isabelamelia.garrett Hannah van der Weide - @hannah.frogs Kohana Wilson - @kohana.wilson Ram Han - @ram__han

-

Lead Compositor: John Malcolm Moore @johnmalcolmmoore Compositor: Rob Ward @pliskin97 Comp assist: Maria Cecilia Tedemalm

Compositor: Simon Lucas Howe

Compositor - Simone Ghilardotti Sound design - Ultraherz (Christoffer Jarlbak Overgaard) @ultraherz__ Storyboard artist - Jacob M Wolf @jacobmwolf_illustration Storyboard artist - Joe Totti Animatic editor - James Barber Edit Assist - Calum O’Toole @cal.gorithm Colourist - Andi Chu @andikdc Colour Producer - George Blomiley @gblomers -

ANIMATION TEAMS Tokay: @tokay.tv DOP: Marco Jörger @marcojoerger Set/props: Konstantin Rosshoff @imkr.png Set/props: Julia Estrada @goolzh

Dante Zaballa: @dantezaballa

Martin Robic: @robic.martin Add Animation - Louis Fourel Thanks Pauline Guitton & Rodrigo Goulao de Sousa

KINEMUS: @kinemus.feed Toby Auberg Michelle Brand

Jack Zhang: @animate_jack Additional Animator: Alejandro Edgar @alejandroedgarani

Niki Lindroth von Bahr: @niki_lindroth_von_bahr Set: Nicklas Nilsson Animation: Johanna Schubert 3D print: Nicolas Maurice Intern: Jesper Admund Funck

Moera.cf: @moera.cf Assist animator: Thierno Bam

Gaia Esther Maria: @gaiaesthermaria

Aaron Fisher: @aaronfisherdesign

Karlotta Freier: @karllikesotto Animators: Pauline Guitton & Marion Boisrond

Raman Djafari: @ramandjafari

Isabel Garrett: @isabelamelia.garrett Art dir: Cat Johnston Modelmaker: Rachael Olga Lloyd DOP: Ronnie McQuilla Animator: Andy Biddle Animator: Mai Nguyen Rigging: Robin Jackson Prop assist: Hannah Cooper Studio: Clapham Road Studios

Hannah van der Weide: @hannah.frogs

Kohana Wilson: @kohana.wilson

Ram Han: @ram__han Clean up/character: MyeongJun Kim

[01courtreporter]

marion barber - Google Search

[tonin-terets]

Coldplay - feelslikeimfallinginlove (director’s cut) from Raman Djafari on Vimeo.

Two friends, lovers, soulmates, a pair of two, searching and ultimately finding each other. This pair traveling between worlds and changing forms, expressed through 15 styles of animation, by 15 animators from across the world.

CREDITS

Director - Raman Djafari @ramandjafari Prod Co - Blinkink @blink_ink Executive Producer - Josef Byrne Head of Production - Alex Halley @alexhalley Producer - Alexander Handschuh @alexhandschuh_ Co-producer - Jon Mealing @jonmealing Commissioner - Sam Seager @seagez

-

ANIMATION COLLABORATORS (in order of appearance)

Tokay - @tokay.tv Dante Zaballa - @dantezaballa Martin Robic - @robic.martin KINEMUS - @kinemus.feed Jack Zhang - @animate_jack Niki Lindroth von Bahr - @niki_lindroth_von_bahr Moera.cf - @moera.cf Gaia Esther Maria - @gaiaesthermaria Aaron Fisher - @aaronfisherdesign Karlotta Freier - @karllikesotto Raman Djafari - @ramandjafari Isabel Garrett - @isabelamelia.garrett Hannah van der Weide - @hannah.frogs Kohana Wilson - @kohana.wilson Ram Han - @ram__han

-

Lead Compositor: John Malcolm Moore @johnmalcolmmoore Compositor: Rob Ward @pliskin97 Comp assist: Maria Cecilia Tedemalm

Compositor: Simon Lucas Howe

Compositor - Simone Ghilardotti Sound design - Ultraherz (Christoffer Jarlbak Overgaard) @ultraherz__ Storyboard artist - Jacob M Wolf @jacobmwolf_illustration Storyboard artist - Joe Totti Animatic editor - James Barber Edit Assist - Calum O’Toole @cal.gorithm Colourist - Andi Chu @andikdc Colour Producer - George Blomiley @gblomers -

ANIMATION TEAMS Tokay: @tokay.tv DOP: Marco Jörger @marcojoerger Set/props: Konstantin Rosshoff @imkr.png Set/props: Julia Estrada @goolzh

Dante Zaballa: @dantezaballa

Martin Robic: @robic.martin Add Animation - Louis Fourel Thanks Pauline Guitton & Rodrigo Goulao de Sousa

KINEMUS: @kinemus.feed Toby Auberg Michelle Brand

Jack Zhang: @animate_jack Additional Animator: Alejandro Edgar @alejandroedgarani

Niki Lindroth von Bahr: @niki_lindroth_von_bahr Set: Nicklas Nilsson Animation: Johanna Schubert 3D print: Nicolas Maurice Intern: Jesper Admund Funck

Moera.cf: @moera.cf Assist animator: Thierno Bam

Gaia Esther Maria: @gaiaesthermaria

Aaron Fisher: @aaronfisherdesign

Karlotta Freier: @karllikesotto Animators: Pauline Guitton & Marion Boisrond

Raman Djafari: @ramandjafari

Isabel Garrett: @isabelamelia.garrett Art dir: Cat Johnston Modelmaker: Rachael Olga Lloyd DOP: Ronnie McQuilla Animator: Andy Biddle Animator: Mai Nguyen Rigging: Robin Jackson Prop assist: Hannah Cooper Studio: Clapham Road Studios

Hannah van der Weide: @hannah.frogs

Kohana Wilson: @kohana.wilson

Ram Han: @ram__han Clean up/character: MyeongJun Kim

[nomarsfinery]

Check out this listing I just added to my Poshmark closet: Reebok Dallas Cowboys Jersey Womens Medium Blue Marion Barber Sewn NFL.

[krispyweiss]

Album Review: John Leventhal - Rumble Strip

It’s not until five songs in to John Leventhal’s debut solo album, Rumble Strip, that voices - his and that of his wife, Rosanne Cash - appear for “That’s all I Know about Arkansas.”

Coming after the short instrumentals - maxi-snippets, call them - built on piano (“Floyd Cramer’s Blues”), acoustic guitar (“J.L.’s Hymn, No. 2”) and full-band (the title track; “Tullamore Blues, No. 2”) arrangements, “Arkansas” features Leventhal’s moody, somewhat-muted production values, recalling LPs he’s worked on for Cash, Sarah Jarosz and others.

“Arkansas” gives way to more wordless offerings - “Clarinet Concerto,” an acoustic-electric guitar duet; the languid and brooding “Inwood Hill,” which adds banjo and a melody in the final 30 seconds; and “Meteor,” a crunchy, Americana “Green Onions” rewrite.

This is the point where it becomes clear Rumble Strip is more a collection of song ideas than completed songs. That’s not to say album is unpleasant - because it is not - but with Cash popping up again to duet on “If You Only Knew” and Leventhal singing of the life of a scraping-by musician on “The Only Ghost” - amid short bits like “Marion and Sam” and the Julian Lage-inspired “Who’s Afraid of Samuel Barber” - it is disjointed.

Sequenced as it is, rather than grouping instrumentals and vocal tracks together, the album trickles like an ephemeral stream as dry season approaches, rather than the flowing rivers Leventhal’s created for others while at the board.

So while “Hymn No. 2,” “Arkansas” and the country strut of “Three Chord Monte” are well worth slowing down for, Rumble Strip is ultimately a disappointment - 16 tracks, crammed into 43 minutes that explain why Leventhal has thus far devoted his career to making others sound better; that’s the best use of his considerable talents.

Grade card: John Leventhal - Rumble Strip - C+

2/8/24

[whibleysims]

Gordon gets promoted to Vice Dean of RBU.

[nfliplnews]

[ad_1] USATSI DeMarcus Ware honored past teammates who were physically in attendance during Saturday's Hall of Fame induction ceremony. The former Cowboys and Broncos' pass rusher honored his teammates who were there in spirit, too. Ware said he reserved seats in the crowd for Demaryius Thomas, Ronnie Hillman, and Marion Barber, who each passed away in recent years. "We lost some guys too soon," Ware said of his teammates who have passed away. "I held these seats in my heart for you guys here today. Keep resting in peace."  Thomas, who died in December of 2021, was an integral member of the Broncos' Super Bowl 50 championship team. He also had an infectious smile and became a fan favorite in Denver.  A running back, Hillman was a versatile player who rushed for seven touchdowns for the 2015 Broncos. He passed away in December of 2022 at the age of 31. Also a running back, Barber was an extremely physical player who was the backbone behind several prolific Cowboys offense during the 2000s. Barber passed away in June of 2022 at the age of 38. Ware's speech was full of emotion. He shared a story when he had a gun pointed at his head in a parking lot during an altercation in college. Ware said that he used that moment as inspiration to take full advantage of his opportunities moving forward. Ware also made peace with his father, who was absent during his upbringing.  "I'm telling you now, on the biggest platform of my life, that I forgive you," Ware said to his father.  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[rustedskyprisms]

I remembered being a kid and hearing my grandma refer to Marion Barber as her boyfriend….

[broshpomade]

"Barber Connect UK"

A digest movie of Europe's largest barber expo "Barber Connect UK" held in Telford, England from 6/11 (Sun) to 6/12 (Mon). BROSH was the first Asian country to exhibit at the event.

This time, the BROSH team consisted of ambassador Otahara, deputy manager of MBCC Harajuku head office, Chan Martínez from BROSH EUROPE, and Aaron Otterly and Marion Burlacu from the UK, a total of four barbers.

BROSH barbers: @tawara90 @chan_martinez_ @barber.boy

The BROSH booth was bustling all day long throughout the event, and it was a good opportunity to spread the goodness of BROSH's "made in Japan" to many barber people in Telford, England.

BROSH will continue to participate in events around the world with distributors around the world. Please join us if you are in the area.

【JPN】 "Barber Connect UK" @barberconnect

6/11(Sun)〜6/12(Mon)、イギリスのテルフォードにて開催されたヨーロッパ最大のバーバーエキスポ"Barber Connect UK"のダイジェストムービーをお届けします。 同イベントにはBROSHがアジア初として出展しました。

今回はBROSHチームとして、アンバサダーのMBCC原宿本店副店長の大田原、BROSH EUROPEからはChan Martínez、開催地UKからはAaron OtterlyとMarion Burlacu の総勢4人のバーバーが参加しました。

BROSH barbers: @tawara90 @chan_martinez_ @barber.boy

BROSHブースはイベント期間通して終日終始賑わいを見せ、BROSHが持つ"ジャパンメイド"の良さをイギリスのテルフォードで数多くのバーバー関係者の方々へ発信できた良い機会になりました。

これからもBROSHは世���中のディストリビューターと共に世界各地のイベントに参加致します。 お近くにお越しの際は是非ご参加ください。

#broshupyourstyles

Contact to...

_ info@brosh.jp http://brosh.jp/ 03-6455-0319