#jeff bierk

[muirneach]

okay this is interesting to me and me only but (see prev) the bierk family is like a parasocial family group of celebrities to me. why is there so many of them and why are they ALL so good at photorealism oil painting. and then theres their FATHER who is dead but also was an artist. closest thing to peterborough/toronto art royalty

[therealmrpositive]

Thank Goodness it's Thursday Part 10 - Jason X (2002)

In today's review, I find that space may be the final frontier for Jason. As I attempt a #positive review of Jason X #KaneHodder #LexaDoig #LisaRyder #ChuckCampbell #MelyssaAde #PeterMensah #MelodyJohnson #DerwinJordan #JonathanPotts #PhillipWilliams

When it comes to the horrors of space, the biggest threats are often beyond us. A malicious microbe or bloodthirsty creature. An errant meteoroid, or even the lack of gravity and air. It is rarely the problems that we bring from Earth with us, especially something that is as unstoppable and bellicose as these extraterrestrial threats. After over three decades, in 2002, the unstoppable killer…

[puntidifuga]

The Weather Station’s Tamara Lindeman, photo by Jeff Bierk

[sinceileftyoublog]

Pitchfork Music Festival 2021 Preview: 15 Can’t-miss Acts

black midi; Photo by YIS KID

BY JORDAN MAINZER

While yours truly won’t be attending Pitchfork Music Festival this year, SILY contributor Daniel Palella will be covering the actual fest. If I was attending, though, these would be the acts I’d make sure to see. 5 from each day, no overlaps, so you could conceivably see everyone listed.

FRIDAY

Armand Hammer, 1:00 PM, Green Stage

Earlier this year, New York hip hop duo Armand Hammer released their 5th album Haram (BackwoodzStudioz) in collaboration with on-fire producer The Alchemist. It was the duo’s (ELUCID and Billy Woods) first time working with a singular producer on a record (though Earl Sweatshirt produced a track), and likewise, The Alchemist actually tailored his beats towards the two MCs. Haram is the exact kind of hip hop that succeeds early in the day at a festival, verbose and complex rhymes over languid, cloudy, sample-heavy beats, when attendees are more likely to want to sit and listen than dance. And you’re going to want to listen to Armand Hammer, whose MCs’ experiential words frame the eerie hues of the production. “Dreams is dangerous, linger like angel dust,” Woods raps on opener “Sir Benni Miles”, never looking back as he and Elucid’s stream-of-consciousness rhymes cover everything from colonization to Black bodily autonomy and the dangers of satisfaction disguised as optimism. (“We let BLM be the new FUBU,” raps Quelle Chris on “Chicharrones”; “Iridescent blackness / Is this performative or praxis?” ponders Woods on “Black Sunlight”.)  There are moments of levity on Haram, like KAYANA’s vocal turn on “Black Sunlight” and the “what the hell sound is this?” type sampling that dominates warped, looped tracks like “Peppertree” and “Indian Summer”, built around sounds of horns and twirling flute lines. For the most part, Haram is an album of empathetic realism. “Hurt people hurt people,” raps Elucid on “Falling Out of the Sky”, a stunning encapsulation of Armand Hammer’s world where humanism exists side-by-side with traumatic death and feelings of revenge.

You can also catch Armand Hammer doing a live set on the Vans Channel 66 livestream at 12 PM on Saturday.

Dogleg, 1:45 PM, Red Stage

It feels like we’ve been waiting years to see this set, and actually, we have! The four-piece punk band from Michigan was supposed to play last year’s cancelled fest in support of their searing debut Melee (Triple Crown), and a year-plus of pent up energy is sure to make songs like “Bueno”, “Fox”, and “Kawasaki Backflip” all the more raging. Remember: This is a band whose reputation was solidified live before they were signed to Triple Crown and released their breakout album. Seeing them is the closest thing to a no-brainer that this year’s lineup offers.

Revisit our interview with Dogleg from last year, and catch them at an aftershow on Saturday at Subterranean with fellow Pitchfork performer Oso Oso and Retirement Party.

Hop Along, 3:20 PM, Red Stage

Though lead singer Frances Quinlan released a very good solo album last year, it’s been three years since their incredible band Hop Along dropped an album and two years since they’ve toured. 2018′s Bark Your Head Off, Dog (Saddle Creek), one of our favorite albums of that year, should comprise the majority of their setlist, but maybe they have some new songs?

Catch them at an aftershow on Saturday at Metro with Varsity and Slow Mass.

black midi, 4:15 PM, Green Stage

The band who had the finest debut of 2019 and gave the best set of that year at Pitchfork is back. Cavalcade (Rough Trade) is black midi’s sophomore album, methodical in its approach in contrast with the improvisational absurdism of Schlagenheim. Stop-start, violin-laden lead single and album opener “John L”, a song about a cult leader whose members turn on him, is as good a summary as ever of the dark, funky eclecticism of black midi, who on Cavalcade saw band members leave and new ones enter, their ever shapeshifting sound the only consistent thing about them. A song like the jazzy “Diamond Stuff” is likely impossible to replicate live--its credits list everything from 19th century instruments to household kitchen items used for percussion--but is key to experiencing their instrumental adventurousness. On two-and-a-half-minute barn burner “Hogwash and Balderdash,” they for the first time fully lean into their fried Primus influences, telling a tale of two escaped prisoners, “two chickens from the pen.” At the same time, this band is still black midi, with moments that call back to Schlagenheim, the churning, metallic power chords via jittery, slapping funk of “Chondromalacia Patella” representative of their quintessential tempo changes. And as on songs like Schlagenheim’s “Western”, black midi find room for beauty here, too, empathizing with the pains of Marlene Dietrich on a bossa nova tune named after her, Geordie Greep’s unmistakable warble cooing sorrowful lines like, “Fills the hall tight / And pulls at our hearts / And puts in her place / The girl she once was.” Expect to hear plenty from Cavalcade but also some new songs; after all, this is a band that road tests and experiments with material before recording it.

Catch them doing a 2 PM DJ set on Vans Channel 66 on Saturday and at an aftershow on Monday at Sleeping Village.

Yaeji, 7:45 PM, Blue Stage

What We Drew (XL), the debut mixtape from Brooklyn-based DJ Yaeji, was one of many dance records that came out after lockdown that we all wished we could experience in a crowd as opposed to at home alone. Now's our chance to bask in all of its glory under a setting sun. Maybe she’ll spin her masterful remix of Dua Lipa’s “Don’t Start Now” from the Club Future Nostalgia remix album, or her 2021 single “PAC-TIVE”, her and DiAN’s collaboration with Pac-Man company Namco.

Angel Olsen; Photo by Dana Trippe

SATURDAY

Bartees Strange, 1:45 PM, Red Stage

One of our favorite albums of last year was Live Forever (Memory Music), the debut from singer-songwriter and The National fanatic Bartees Strange, one that contributor Lauren Lederman called “a declaration of an artist’s arrival.” He’s certainly past arrived when you take into account his busy 2021, releasing a new song with Lorenzo Wolff and offering his remix services to a number of artists, including illuminati hotties and fellow Pitchfork performer (and tour mate) Phoebe Bridgers. Expect to hear lots of Live Forever during his Pitchfork set, one of many sets at the fest featuring exciting young guitar-based (!) bands.

Catch him at a free (!!) aftershow on Monday at Empty Bottle with Ganser.

Faye Webster, 4:00 PM, Blue Stage

Since we previewed Faye Webster’s Noonchorus livestream in October, she’s released the long-awaited follow-up to Atlanta Millionaires Club, the cheekily titled I Know I’m Funny haha (Secretly Canadian). At that time, she had dropped “Better Distractions”, “In A Good Way”, and “Both All The Time”, and the rest of the album more than follows the promise of these three dreamy country, folk rock, and R&B-inspired tunes. Webster continues to be a master of tone and mood, lovelorn on “Sometimes”, sarcastic on the title track, and head-in-the-clouds on “A Dream with a Baseball Player”. All the while, she and her backing band provide stellar, languorous instrumentation, keys and slide guitar on the bossa nova “Kind Of”, her overdriven guitar sludge on “Cheers”, cinematic strings on the melancholic “A Stranger”, stark acoustic guitar on heartbreaking closer “Half of Me”. And the ultimate irony of Webster’s whip-smart lyricism is that a line like, “And today I get upset over this song that I heard / And I guess was just upset because why didn't I think of it first,” is that I can guarantee a million songwriters feel the same way about her music, timely in context and timeless in sound and feeling.

Catch her at an aftershow on Saturday at Sleeping Village with Danger Incorporated.

Georgia Anne Muldrow, 5:15 PM, Blue Stage

The queen of beats takes the stage during the hottest part of the day, perfect for some sweaty dancing. VWETO III (FORESEEN + Epistrophik Peach Sound), the third album in Muldrow’s beats record series, was put together with “calls to action” in mind, each single leading up to the album’s release to be paired with crowdsourced submissions via Instagram from singers, visual artists, dancers, and turntablists. Moreover, many of the album’s tracks are inspired by very specific eras of Black music, from Boom Bap and G-funk to free jazz, and through it all, Muldrow provides a platform for musical education just as much as funky earworms.

Revisit our interview with Muldrow from earlier this year.

Angel Olsen, 7:25 PM, Red Stage

It’s been a busy past two years for Angel Olsen. She revealed Whole New Mess (Jagjaguwar) in August 2020, stripped down arrangements of many of the songs on 2019′s amazing All Mirrors. In May, she came out with a box set called Song of the Lark and Other Far Memories (Jagjaguwar), which contained both All Mirrors and Whole New Mess and a bonus LP of remixes, covers, alternate takes, and bonus tracks. She shortly and out of nowhere dropped a song of the year candidate in old school country rock high and lonesome Sharon Van Etten duet “Like I Used To”. And just last month, she released Aisles, an 80′s covers EP out on her Jagjaguwar imprint somethingscosmic. She turns Laura Branigan’s disco jam “Gloria” and Men Without Hats’ “Safety Dance” into woozy, echoing, slowed-down beds of synth haze and echoing drum machine. On Orchestral Manoeuvres in the Dark’s “If You Leave”, her voice occupies different registers between the soft high notes of the bridge and autotuned solemnity of the chorus. Sure, other covers are more recognizable in their tempo and arrangement, like Billy Idol’s Rebel Yell ballad “Eyes Without a Face” and Alphaville’s “Forever Young”, but Aisles is exemplary of Olsen’s ability to not just reinvent herself but classics.

At Pitchfork, I’d bet on a set heavy on All Mirrors and Whole New Mess, but as with the unexpectedness of Aisles, you never know!

St. Vincent, 8:30 PM, Green Stage

Annie Clark again consciously shifts personas and eras with her new St. Vincent album Daddy’s Home (Loma Vista), inspired by 70′s funk rock and guitar-driven psychedelia. While much of the album’s rollout centered around its backstory--Clark’s father’s time in prison for white collar crimes--the album is a thoughtful treatise on honesty and identity, the first St. Vincent album to really stare Clark’s life in the face. 

Many of its songs saw their live debut during a Moment House stream, which we previewed last month.

The Weather Station; Photo by Jeff Bierk

SUNDAY

Tomberlin, 1:00 PM, Green Stage

While the LA-via-Louisville singer-songwriter hasn’t yet offered a proper follow-up LP to her 2018 debut At Weddings, she did last year release an EP called Projections (Saddle Creek), which expands upon At Weddings’ shadowy palate. Songs like “Hours” and “Wasted” are comparatively clattering and up-tempo. Yet, all four of the original tracks are increasingly self-reflexive, Tomberlin exploring and redefining herself on her terms, whether singing about love or queerness, all while maintaining her sense of humor. (“When you go you take the sun and all my flowers die / So I wait by the window and write some shit / And hope that you'll reply,” she shrugs over acoustic strums and wincing electric guitars.) The album ends with a stark grey cover of Casiotone for the Painfully Alone’s “Natural Light”; Tomberlin finds a kindred spirit in the maudlin musings of Owen Ashworth.

Get there early on Sunday to hear select tracks from At Weddings and Projections but also likely some new songs.

oso oso, 2:45 PM, Blue Stage

Basking in the Glow (Triple Crown), the third album from Long Beach singer-songwriter Jade Lilitri as Oso Oso, was one of our favorite records of 2019, and we’d relish the opportunity to see them performed to a crowd in the sun. Expect to hear lots of it; hopefully we’re treated to new oso oso material some time soon.

Catch them at an aftershow on Saturday at Subterranean with fellow Pitchfork performer Dogleg and Retirement Party.

The Weather Station, 4:00 PM, Blue Stage

The Toronto band led by singer-songwriter Tamara Lindeman released one of the best albums of the year back in February with Ignorance (Fat Possum), songs inspired by climate change-addled anxiety. While the record is filled with affecting, reflective lines about loss and trying to find happiness in the face of dread, in a live setting, I imagine the instrumentation will be a highlight, from the fluttering tension of “Robber” to the glistening disco of “Parking Lot”.

Revisit our preview of their Pitchfork Instagram performance from earlier this year. Catch them at an aftershow on Friday at Schubas with Ulna.

Danny Brown, 6:15 PM, Green Stage

The Detroit rapper’s last full-length record was the Q-Tip executive produced uknowhatimsayin¿ (Warp), though he’s popped up a few times since then, on remixes, a Brockhampton album, and TV62, a Bruiser Brigade Records compilation from earlier this year. (He’s also claimed in Twitch streams that his new album Quaranta is almost done.) His sets--especially Pitchfork sets--are always high-energy, as he’s got so many classic albums and tracks under his belt at this point, so expect to hear a mix of those.

Erykah Badu, 8:30 PM, Green Stage

What more can I say? This is the headliner Pitchfork has been trying to get for years, responsible for some of the greatest neo soul albums of all time. There’s not much else to say about Erykah Badu other than she’s the number one must-see at the festival.

[et--cetera]

“ I think one of the biggest gifts from Death is for the living to be vulnerable with each other as we experience death in each other’s presence. The trust that death has the potential to create between people, and the space it creates for expression between us can be life-giving – the openness and understanding that people usually come to together through shared grief should be recognized. “  - Jeff Bierk

[dustedmagazine]

Lightman Jarvis Ecstatic Band — Banned (ANTI- / Flemish Eye)

Photo by Jeff Bierk

Banned by Lightman Jarvis Ecstatic Band

On his 2020 album Sundry Rock Song Stock, Yves Jarvis crafted a gorgeously hazy half-hour of canny songwriting, multi-tracked vocals, folky strums and hallucinogenic synths. Just a year later, Jarvis is back with this new collaboration with Romy Lightman, one half of the duo Tasseomancy. Lightman Jarvis Ecstatic Band doesn’t tap into drum circles, guitar shredding or New Age peace-seeking. Instead, theirs is the kind of ecstasy that comes from following your muse wherever it may take you, whether it’s wrapping up an idea neatly in a couple of minutes, or allowing the groove to unspool in loose, meandering jams.

For the most part, following the muse serves Jarvis and Lightman well, creating a sound akin to Olivia Tremor Control or their successors, Circulatory System. “Olamim” is a nicely pitched opener, with tip-toeing bass and pedal-faded guitar leads. The steel drums, bongos and tape effects of “Red Champa” create a pleasingly burbling backing, over which Lightman and Jarvis harmonize “I can understand!” This sound palette is revisited on “Becoming,” which acts like “Ambrosia” from Sundry Rock Song Stock as a wordless palate-cleanser. The tom-toms and bass on “Bone of a Hound” are almost anthemic, but in a shrugging, lo-fi way, and single “Rubber Band” has a nagging guitar riff and celebratory melodic arc. You can feel Lightman and Jarvis reaching for an epic sound but settling into something more modest and endearing. 

When the Ecstatic Band’s experiments fall flat, it can feel like missing out on a group of stoners’ inside joke. The pseudo-hair-metal guitar tones on “Nymphea” and “Lift My Heart” are amusing at first, but grow tiresome on repeat listens. Together, “Slick Oil” and “Stomach Pit” comprise around nine minutes of chattering vocal improv over lacklustre backing — but then, in the final minute of “Stomach Pit,” redemption arrives with some lovely gospel-style voices and handclaps. This moment serves as a microcosm of this frustratingly uneven album: hang in there, ride out the bumpy passages, and something lovely is likely to happen; until those moments pop up, expect to have your patience tested. 

Tim Clarke

[things-to-do-brantford-cana-blog]

Transportation

You can go around Brantford, Canada via rail or bus. Street rail with horse-drawn carriages began in the city way back in the 1800s and this system was eventually converted to electric. The railway station is located just north of downtown Brantford and has daily passengers on the Quebec City-Windsor Corridor. Trains also stop at Union Station in Toronto but buses are becoming more popular nowadays. Brantford Transit serves the city with nine regular routes and there are also more bus companies that operate on different routes within the city like the Greyhound Canada and Go bus service as well as the All-Around Transportation which operates a Paris-Brantford shuttle bus.

Toddler Found Safe, 4 Arrested After Brief Amber Alert

Four people have been arrested after police say an estranged Brantford, Ont., father abducted his two-year-old daughter by breaking down the door of her mother's house. A 37-year-old man was taken into custody and the child handed over to Hamilton police around 4 a.m. following a brief Amber Alert and about an hour of negotiation, police say. Read more here.

 A 37-year-old man was taken into custody after he abducted his two-year-old daughter. According to investigations, they received a 911 call about abduction and assault at a home on Bisset Avenue. A number of people knocked on the front door and when the mother answered, the estranged father broke in through a back door, threatened and assaulted his ex-wife, grabbed the child, and fled into a vehicle with three people inside. Police officers were able to track down the said car, arrested the passengers, and found the father and toddler in a home on Upper Ottawa. The child was safe, uninjured, and appeared to be unaware of the circumstances.

Glenhyrst Art Gallery of Brant in Brantford Canada

Located in Glenhyrst Gardens, Brantford, Canada, Glenhyrst Art Gallery of Brant features contemporary fine art exhibitions, guided tours, classes, lectures, events, and an Art Rental Service. The gallery also offers exciting views both indoors and outdoors. This beautiful property was given to the city of Brantford by Mr Edmund Cockshutt with wishes that the place should be maintained for artistic and cultural pursuits. In 1986, the place was established as a public, nonprofit art gallery. Glenhyrst Art Gallery has a permanent collection of over 600 artworks and has showcased the works of several famous artists in the likes of Derek Boswell, Scott Waters, and Jeff Bierk to name a few.

Making a decision to repair or replace your roof is a big step and may be overwhelming for the homeowner. All too often, roof problems emerge after leaking or the occurrence of another serious damage. The Roofing Company recommends having a periodic inspection, usually, twice a year, to uncover cracked, warped, or missing shingles, loose seams, deteriorated flashings, excessive surface granules or downspouts, and other visible signs of roof problems. If you see any of these signs, just schedule an appointment with The Roofing Company, located in Brantford, Canada, and they will go to your house to fix the problem before it becomes too late.

Link to Map

Glenhyrst Art Gallery of Brant 20 Ava Rd, Brantford, ON N3T 5G9

Get on ON-24 N/ON-403 E from Ava Rd and Paris Rd 5 min (2.5 km)

Follow ON-403 E to Garden Ave. Take exit 41 from ON-403 E 4 min (7.2 km)

Continue on Garden Ave. Drive to Mitchell Ct 5 min (3.1 km)

The Roofing Company 4 Mitchell Ct, Brantford, ON N3S 7G8

[naijawapaz1]

All About Dylan Bierk' Net Worth and Family!

All About Dylan Bierk’ Net Worth and Family!

Born Name Heather Dylan Bierk Birth Place Peterborough, Ontario Height 5 feet 9 inches Nationality Canadian Ethnicity White Profession Actress Net Worth $1 million Sibling Sebastian Bach, Zach Bierk, Alex Bierk, Nick Bierk and Charles Bierk, Jeff Bierk Parents David Bierk

Last Updated on January 6, 2020

Dylan Bierk is a promising young star looking to continue a legacy…

[witchesheal]

Simone Schmidt, aka Fiver, is a Toronto-based musician working within the frame of traditional North American folk music. Her latest album Audible Songs From Rockwood is a series of eleven fictional field recordings, gathered from case files of patients at the Rockwood Asylum for the Criminally Insane between 1854-1881. The rigour of Schmidt’s writing process is shown through the work: Over the course of 2 years, Schmidt pored over the asylum's primary documents - patient files, architectural diagrams, superintendents' diaries -  spinning her findings into historical fiction and, from there, into song. The voices on the record are crafty, witty, evasive, despondent, and lucid. Audible Songs of Rockwood shapes its subject matter as expertly as any old bluesman would, with wit, baseless optimism, sadness, and even joy. Using a strictly acoustic sonic pallet and working with some heavies in the Old Time folk tradition (John Showman, Max Heineman, Chris Coole, Kristine Schmidt) and odd ball instrumentalists (Cris Derksen, Alia O’brien of Blood Ceremony) the performances carry forward potent gateways to explore the tragedy and optimism that gives traditional roots music its soul, while also giving voice to voiceless people, living in the margins of History, out of sight and mind.

The album is accompanied by a book written by fictional ethnomusicologist, Simone Carver, written in the style of the liner notes of Smithsonian Folkways compilations.  It includes lyrics and supplemental information about the historical context of the inmates and their songs along with original artwork by Darby Milbraith, Geneva Hailey, Jennifer Castle, Jeff Bierk and Julianna Neufeld. The package carries questions about the archive as an apparatus of colonial power, definitions of sanity and criminality, and the early settler-colonial agenda foundational to those modes of thought still operating in today’s carceral system.

[bayramovartfndn]

If my work allows a middle-class person to feel compassion or see the beauty in someone who has less than them, the most that the work has accomplished is some spiritual change for the viewer, a kind of undoing of part of the violence of a world order in which poor people are blamed and stigmatized for having less.

Jeff Bierk via Canadian Art 

[sinceileftyoublog]

The Weather Station Live Stream Preview: 2/3, Instagram

Photo by Jeff Bierk

BY JORDAN MAINZER

“You never believed in the robber, but the robber never believed in you,” sings Tamara Lindeman on “Robber”, released back in October and the first taste of her stunning new album Ignorance out Friday via Fat Possum. A culmination of reactions to years of self-education and anxiety over global warming and climate change, Ignorance is filled with references, vailed to various levels, of the nefarious and the victims of nefarious deeds, and the extent to which both parties can perceive the other. Unlike COVID-19, climate change is a lurking game changer from which many people can’t yet feel the concrete effects, or in which people don’t or don’t want to believe, or most cynically, skirted by the greedy through “permission of laws, permission of banks, white table cloth dinners.” “It was all done real carefully,” Lindeman laments, feeling alone for the very fact that even among the supposedly politically like-minded, climate change is relegated to the backburner. The instrumentation, a swath of dancing percussion, piano, swirling strings, panning saxophone, and guitar, threatens to explode or come apart but always remains in control. But like the song’s subject matter, you have a feeling one day it may teeter over the edge.

Ignorance as an album never does go wild, nor is it obsessed with the calm before the storm. It’s instead focused on that limbo where something might be okay or even beautiful at the moment, but you know something’s wrong, and you feel helpless. “My god, I thought, what a sunset / blood red floods the Atlantic,” Lindeman sings on “Atlantic”, shrugging, “I should get all this dying off my mind, I should really know better than to read the headlines,” but then proposing, “Does it matter if I know?” Though she may doubt, she does have to know that awareness is certainly better than nihilism, but it doesn’t make the pain of inevitability any less severe. On piano-led disco jam “Parking Lot”, she solemnly contrasts herself--a performer who has to sing to make a living no matter what catastrophe is happening that day--to a bird who sings out of instinct, who doesn’t know the difference between inside and outside. On the affecting, fluttering “Loss”, she repeats, “Loss is loss is loss,” trying to convince herself that loss, or even just the lack of something, is not all-consuming.

Worth noting is that the other seeming major theme on Ignorance, the end of a relationship, is an effective counterpart to climate-fueled existential dread; on many of the record’s songs, Lindeman pays tribute to letting yourself feel love even when it makes you sad. “I don’t have the heart to conceal my love, when I know it is the best of me,” she sings on “Heart”, later admitting in contrast to previous sentiments, “I will feel all my loss.” In the song’s emotional centerpiece, she embraces her passions: “There are many things you may ask of me, but don’t ask me for indifference / Don’t come to me for distance.” On an album full of lost connections, about divorces as symbolic as they are concrete, Lindeman does question whether she’s doing the right things: “Did I take this way too far?” she asks on closer “Subdivisions”. At the same time, she knows that it’s the robbers who prey on the ignorant, who thrive because of the people who don��t “wear the world like some kinda jacket.” So although, “It does not keep [her] warm / [She] cannot ever seem to fasten it,” Lindeman keeps trying to strengthen the connections, through her heart and mind, well after some have given up, before others will realize it’s too late.

Lindeman performs tomorrow at 5 PM CST on Pitchfork’s Instagram. (The album’s original virtual release show had to be rescheduled to March 11th due to lockdown restrictions in Ontario.) For tomorrow night’s stream, she’ll be fittingly raising money for the Sunrise Movement.

[erichdeleeuw]

[iconist]

Jeff Bierk

[cbc]

Jeff Bierk takes portraits of his friends and prints them — on blankets

[letstalkaboutjulytalk]

Photography: Jeff Bierk

(Source)