Fifth Beatle: Stuart Sutcliffe – Gone But Not Forgotten

 

stuart_sutcliffe5_small

Two guys sitting in a bar having a great time and very much intoxicated, they amusingly mimic a girl singing on stage. They are very humored by this form of entertainment while completely suspended from sensibility. Next thing they know one of them is pinned to the ground and gets the beating of his life! His best friend, John Lennon, tries to defend him the best as he could and even gets his wrist broken in the process. Bludgeoned and almost covered in blood, Stuart Sutcliffe gets kicked in the head extremely hard, which many believed is what triggered the brain hemorrhage that lead to his death in 1962. The Beatles will never be the same again.

Born on the 23rd of June, 1940, Stuart Ferguson Victor Sutcliffe was a quiet, good looking, but very shy lad. He had personal charisma and looks comparable to James Dean. He would often reserve away from the female gender, but still would not have any trouble having them as companions. His passion for art was not just a hobby but more of a way of life. Every stroke of paint that he put onto a canvass was an expression of a different aspect of himself. By the age of 19, he was already considered as one of the most promising and talented students at the Liverpool College of Arts. While Sutcliffe was a gifted artist, he also had an interest with music; this was mainly influenced by his friendship with John Lennon. Stu would hang around with John’s group during gigs and rehearsals while doing his work. This almost brought a concern to his fellow artists that he might abandon his first love, painting. But nevertheless, he was still just as interested in art as he always had been.

As Stu and John’s college years progressed, they developed a remarkable friendship that would be envied almost by everyone around at that time (who wouldn’t!) they would rely on each other for anything anytime. Stu would influence John to express his creative side while John on the other hand, would tell Stu to relax a bit more and teach him how to connect with others. Both of them cherished this and became the best of friends. As Stuart further expounded his skills for art he decided to enter some of his paintings for the John Moore exhibition which was regarded as one of the best around for its type. John(Lennon) was so excited for Stu that he even brought his Aunt Mimi to the exhibit to flaunt his best friend’s work. This also caught the attention of the host (John Moore) and even bought one of Stu’s paintings for an unheard sum of 65 pounds! Having received this large sum of money, Stu didn’t exactly knew what to do with it. Sure he had a few debts here and there or maybe he should buy more painting materials to further support his craft, but instead John convinced him to buy a bass guitar (Hofner President) and join his group, Johnny & the Moondogs. Although Stu didn’t really know how to play and had to turn down John a couple of times, he finally decided to give it a go and this would turn out to be one of the most important decisions that he would make in his life. Never mind that he couldn’t play he would eventually pick it up by self-teaching and “with a little help from his friends.”

Years later George (Harrison) would recall in one interview: “Stu had no idea how to play, we all showed him what we could but he really picked it up by coming around with us and playing onstage.” Although it became clear to everyone including John, that Stuart would never be as excellent a musician as he was a brilliant artist. The group would turn his amp off whenever he couldn’t follow a song or was having a difficult time finishing it. Stu on the other hand, would rather turn his back to the crowd during live gigs for them not to notice his flaw.

However because of this, he was able to embody that distinctive sense of style and mystery to the band’s appearance. Shortly after a few gigs in their local area, the boys got an invitation to play in a club somewhere in Hamburg. But before flying-off, they had to undergo a series of modifications of their band’s name; from Johnny & the Moondogs, to the Silver Beetles, until finally Stu came up with just “The Beetles.” Stuart was thinking of a name that would resemble Buddy Holly & the Cricketts since John and Paul (McCartney) were into them at that time.

Later the second “e” was dropped and instead was replaced by an “a” since John had specified that “we’re a beat group.”

Meanwhile back in Hamburg, a couple were having a lover’s quarrel when the guy, Klaus Voorman (who later went on to design the cover of Revolver) decided to walk out and just wander the streets of Hamburg for some fresh air until he found himself walking into a club and heard a performance by a group of musicians from Liverpool. He was also so enthralled by this and ran back to his (then) lover, Astrid Kircherr, to tell her about them. They began to talk to these boys after the performance and right away there was an immediate connection between Stuart and Astrid. Even though there was a huge communication gap, the two fell in love instantly with each other.

Click On Read More

OFFF Cincinnati 2013:OFFF’s founder, Hector Ayuso – curating the interactive exhibition

English: Offf Logos Deutsch: Offf Logos

English: Offf Logos Deutsch: Offf Logos (Photo credit: Wikipedia)

 

tickets

OFFF Cincinnati is an event for the entire creative community, bringing artists and designers from around the world to share their work and inspiration with you! What differentiates OFFF from other conferences is the passion and diversity of techniques that the presenters share, from analog and handcraft to cutting edge digital processes. Because of last year’s sold-out success, we’ve moved the conference to a bigger venue–theAronoff Center.

Once again, OFFF Cincinnati features some of the world’s biggest names and brightest minds exploring design and technology today, including coders, illustrators, motion graphic designers and more.

Presenters:
Sara Blake (New York)
Jon Burgerman (New York)
Brendan Dawes (Manchester)
Ramon Escolá (Barcelona)
Multitouch Barcelona (Barcelona)
James Paterson (Montreal)
Onur Senturk (Los Angeles)
James Victore (New York)
*Joshua Davis (New York) FRIDAY NIGHT PRESENTATION
*PARTY:  Friday, March 8
OFFF’s founder, Hector Ayuso, is curating the interactive exhibition, ON! Handcrafted Digital Playgrounds, to coincide with the conference. The OFFF Cincinnati celebration continues with the exhibition’s opening eventson Friday, March 8 at the CAC, where you can party with the presenters. The evening starts with a special presentation by OFFF super-star (and ON! exhibition artist) Joshua Davis, followed by a huge night of entertainment with Brooklyn-based DJ /rupture and cool participatory projects by Joshua Davis and Multitouch BarcelonaNOT to be missed.

OFFF1

OFFF Cincinnati 2013 partners: Sterling Brands, AIGA Cincinnati, Deskey Branding, Interbrand, Landor Associates, LPK, P&G Design, Seemless Printing and ArtsWave Coporate Partner: GE Aviation.

 : $50 ($30 students) bit.ly/OFFFCincyTIX

When March 6th, 2013 9:00 AM   through   6:00 PM

 

Related articles:

Anything You Have Experienced In A Regular Singing Lesson, Can Ignite An Amazing New Singing Ability Within You?

Cheerios packaging sold in the U.K.

Cheerios packaging sold in the U.K. (Photo credit: Wikipedia)

Jamon-WhiteIf you have ever taken singing lessons, or even online singing lessons, you have probably been exposed to singing scales. But have you ever wondered why singing training traditionally always involves singing scales? Would you also be curious enough to know why this process holds you back tremendously?

Most people who have taken singing lessons, or have read about how to sing better on the Internet, are encountered with the standard advice that you need to learn how to “breathe correctly” or use “stomach support”. You may have been told you need to “stand with good posture”, or that you should “place the larynx” in a certain position. Perhaps you have even been given instructions to “sing from your mask” or “feel as if you are yawning”.

Unfortunately, this well-meaning advice becomes exceptionally limiting – even destructive – for the majority of people trying to improve their singing voices. The reason will become abundantly clear when you watch the FREE VIDEO that you get on this page.

On the other hand, when you engage in a process – a process that you are about to learn here – through which you develop an extraordinary awareness of your body and mind, you can immediately FEEL the restriction your body and mind have unconsciously been holding on to. The beauty is that you also discover how to RELEASE these restrictions.

You FEEL how muscles that used to become engaged in the attempt to produce sound, can now let go. As a result, you can rather immediately sing with more power but with far less effort. Your voice becomes more flexible and your range increases rapidly.

Most importantly, you FEEL good!

Yes, it feels good to sing – just as it should. You also notice that when it feels good it also sounds good, simply because the sound isn’t restricted. And you SING ON KEY with much greater accuracy.

You now not only sound better than ever before, you can now sing with greater passion, in the style you want to sing. And with this newfound confidence and freedom you can truly bond with the audienceNow you become a singer who is attractive and captivating. Now the audience LOVES you.

… in your local choir or band… or when you sing by yourself for your own enjoyment.
——————————————————————————————————————-
I found these video’s helpful; there are many out there to suited to our personal  interests . As an artist {painter}, as  noted in these  videos, in  expectation  of an  implied  talent.  people often say to me “how do you do that”… No, the  acclimation that talent is innate  may have been be overblown. There is  a lot of  practice, training via self or by an  expert. Admitting to myself to trust and let go, to not be a  champion,  at  will.. Sounds easy?  I have  found ; If   I make  mud out of all  my beautiful  paints–I make mud. Trust yourself. Love mud. Then do something  with  it-step back:  take a trip to the museum and look around  at  all  the mistakes, other  greats   that  you  admire.. Then start asking questions. Just like a child– it is the “why why why”. Looking is a great tool. Feelingly is a  great  tool. Creativity is a  great  tool. Hearing is a great tool.  Although  not equal, we all  possess  these  innately. Even a disability , pronounces itself in another voice. To one extent every gift  vacillates  over on other and each  “endeavor” over another over an other. Trying to do our best and not to be critical is one of  the  tools– I’ve  have had one of the greatest  wrestling matches with. Trying NOT to out think my ‘ intuition’  { what I  think I already know verse what I  don’t know}. What I don’t know is; one of my  greatest  assets { a learning device that  sounds like it has  ricochshaded  to the thousandths}. So  trusting myself when I am ready, when is it time is positive verse putative – the how the “why” can be intra- gated  after the self  interrogation…

…even if sounds like a ‘ learning  element’ that has been consecrated and impounded . Creativity, that has and is a questionable;  thoughtfulness, that keeps re-occurring  {as long as is cognoscente  and it is in an adverbially perspective}.  Feedback,  though  is quite astute in  our  memories.  Regenerate  from others, even with the best of intent, can be difficult and gestational. Perspectives help us sift  through our own filter’s and try to understand other’s.  No small challenge.  I would rather  eat  the  breakfast of  champanions. Cheerios‘s is  Cheerios. Therefore forcing us to value  to what we think or question, commits us to be makers or un -makers of our own  inviability  or the  spinnability of our audience.

Whether is  thought  or action is  congregational,  throughout  yourself,  myself  albeit  friends, a painting, a  memory, a song , a new attempt  of  bringing a  part of  history  albeit  politically antithetic, or a slight kinesthetic action such as shaking someone’s hand- is worth while.

For growth, impairment of even the greatest of our own attributes, is one of our greatest  strengths.

Singing is indeed for everybody

as  writing

as   fashion

as are political speeches.

as are  interpersonal  relationships.

and so forth…

So goes for creativeness.

and  love.

 

Write your first draft with your heart. Re-write with your head.

.

Singing Imageis joyful.

Should Historians “Mind” What’s Been Said? By mcheesaker

who's word's?

According to Google’s new n-gram tool, when researching history, words count.

Literally.

By analyzing over 500 billion words from 5.2 million books in Chinese, English, French, German, Russian, and Spanish, the n-gram tool allows users to track the usage of words from 1500AD onwards. The implications of this tool in terms of historical and cultural research are just beginning to come to light. In the article  “Quantitative Analysis of Culture Using Millions of Digitized Books,” Jean-Baptiste Michel and his fellow researchers suggest that Google’s n-gram can be used to track the emergence of diseases, state censorship and the relative “celebrity” of a given person.

There is no doubt that the n-gram is, and will continue to be, an extremely useful tool in historical inquiry. However, there are some limitations that need to be addressed.

Firstly, the Google n-gram is limited in regards to language. Most of the collected works are written in English. Although this is helpful for me (an Anglophone student from Canada), some of the world’s most spoken languages, like Arabic and Hindi, are not even present in the database.

Furthermore, as Jean-Baptiste Michel notes, the Google n-gram tool simply measures the frequency of words within books, and books alone. Therefore, other publications like newspapers, and academic journal articles are marginalized from each search. The impact of this becomes quite clear when you compare n-gram searches on Google, and an n-gram search that browses through local newspaper clippings like the site, Mining the Dispatch. On Mining the Dispatch, users are able to see the relative frequency of fugitive slave ads that made it into the local Richmond newspaper during the Civil War. Because of its larger scope, and inability to browse through newspapers, this kind of historical deduction cannot be made through Google’s n-gram.

There is no doubt that the n-gram is, and will continue to be, an extremely useful tool in historical inquiry. However, there are some limitations that need to be addressed.

Firstly, the Google n-gram is limited in regards to language. Most of the collected works are written in English. Although this is helpful for me (an Anglophone student from Canada), some of the world’s most spoken languages, like Arabic and Hindi, are not even present in the database

I think it’s also important to note that language, although an important (and often forgotten) indication of culture is certainly not the only one. As historians know, geography, religion and class, all play a critical role in shaping the thoughts, actions and mindsets of a given people. Language is only one small piece of what makes us who we are.

Indeed, Canada, the United States, and the UK, may all be English speaking nations, but we have very different cultures. Just to prove this point, I decided to gauge the relative frequencies of three major sports: baseball, hockey, and football. From 1900-2008, the frequency of hockey was dismal compared to football and baseball. However, this was a search that took into account all English books written during the designated period. I imagine if I were to search a corpus containing only Canadian books, hockey would be mentioned far more frequently..

But more than that, words themselves are limited.

Think about Twitter. Depending on the words we choose to use in our hashtags, our statuses are more searchable. Similarly, if we tweet about a topic that’s trending, what we say is viewed by a larger audience. But what if we don’t use the right words to categorize what we’re saying? What if we type in an extra “s” or add an apostrophe where it doesn’t belong? But more pertinent than that, what if we say one thing, and mean another?

My previous example with sports provides an interesting example. In English, the word “football” can either mean soccer, or American football. In my search, this discrepancy wasn’t accounted for. Therefore, any mention of the word “football,” whether that book was actually talking about soccer or American football, was nonetheless counted. And therein lies another problem with Google’s n-gram: the tool gives us no sense of context.

And for the historian, context is king.

An old Chinese proverb claims that, “If you wish to know the mind of a man, listen to his words.”

After playing around with the Google n-gram, and uncovering its uses, I think this is extremely accurate. However, words are only one investigative tool in the proverbial historical tool-belt that can be used to understand history and culture.

F0r charts and more information visit: http://hist291.wordpress.com/2013/02/03/should-historians-mind-whats-been-said/

Corinne PONDELL Holt – Muhammad Ali Art Show

FRAZIER_II_34_x49__Pastel

COOPMAN_44_x34__Pastel

MUHAMMAD ALI IN ACTION SERIES
“Float like a butterfly sting like a bee” eyes of an eagle, stomach of steel.  His humanitarianism, his dedication to Allah, his charisma, his confidence, his beauty, his will to win (even when being booed), and of course, his hometown, are all reason’s I have chosen Muhammad Ali as my subject for a series of drawings.

I became interested in boxing after watching an HBO special profiling the lives of two boxers about ready to fight each other.  There is an extreme passion, dedication, and discipline to prepare the body for the best physical condition it can be in, so as to beat and not be beaten.  The possible physical damage a boxer puts his body through is extreme.  As a figurative artist I find it absolutely amazing what these bodies endure and how they recover to preform again and again.

One thing that struck me as I watched the boxers fight in slow motion was how graceful the bodies looked as they danced together.  Dancing to find the right opportunity to make a swing most effective.  It is a perfect combination of violence and beauty, coming together to see who is stronger, who is faster, and who will ultimately win the match.  Finding a series of Ali’s fights on DVD, gave me a chance to watch him in action, frame by frame.  I selected the images I found most compelling and captured the power of his and his opponent’s bodies in water-soluble crayon, pen, charcoal, and soft pastels.  I’ve been involved with this project for more than a year and continue to be inspired by Ali as a subject.

_MG_3623 _MG_3624

_MG_3630

http://www.pondellfineart.com

Snow Tiger by YUSEF KOMUNYAKAABY

th - Copy - Copy

Ghost sun half
hidden, where did you go?
There’s always a mother
of some other creature
born to fight for her young.
But crawl out of your hide,
walk upright like a man,
& you may ask if hunger is the only passion
as you again lose yourself
in a white field’s point of view.
In this glacial quiet
nothing moves except—
then a flash of eyes & nerves.
If cornered in your head by cries from a cave
in another season, you can’t forget
in this landscape a pretty horse
translates into a man holding a gun.

Source: Poetry (April 2012).


BIOGRAPHY

In his poetry, Yusef Komunyakaa weaves together the elements of his own life in short lines of vernacular to create complex images of life in his native Louisiana and the jungles of Vietnam. From his humble beginnings as the son of a carpenter, Komunyakaa has traveled far to become a scholar, professor, and prize-winning poet. In 1994, he claimed the Pulitzer Prize and the $50,000 Kingsley Tufts Poetry Award for his Neon . . .

“Painting Abstraction: new elements in abstract painting” by Bob Nickas.

Oregon College of Art and Craft Library:

 “Painting Abstraction: new elements in abstract painting” by Bob Nickas.

 Featured Artist: Michelle Ross

She is well known for her contemporary abstract paintings, which “[traverse] the history of abstraction, design, decoration and the love of language” (here). Her work has been likened to Mondrian, Hans Hoffman, Giorgio Morandi, Agnes Martin, Mary Heilman, and Robert Mangold. Ryan Pierce has stated that “Ross’ paintings are firmly grounded in the tropes and traditions of modernism,” they are “refreshingly free of the gimmicks that crowd a lot of abstraction these days,” and they “link the classical and the modern with grace and reverence, leaving plenty of open space for whatever happens next” (from a 2007 review on PORT).

More images of her recent work can be seen on the Elizabeth Leach Gallery website.

2011-12-05-michelleross

 “Painting Abstraction: new elements in abstract painting” by Bob Nickas.

For this week’s library pick, we have selected a title that showcases many of Michelle Ross’ contemporaries and other artists pushing the limits of abstract painting. The book is Painting Abstraction: new elements in abstract painting by Bob Nickas.

After a prefatory essay on the “persistence of abstraction,” the book is broken up into six parts: “hybrid pictures,” “Rhythm and Opticality,” “Color and Structure,” “Found/Eccentric Abstraction,” “Form, Space, and Scale,” and “the Act of Painting.” About a dozen or more artists have been selected for each section and a short text describes how each particularly addresses some issue related to that section’s theme.

For example, Nickas asks “Is the hand of an artist more visible to us when drawing and line are central to her paintings?” (139). He then demonstrates how this question can be answered in the “affirmative” by a close investigation on the work of Allison Miller. Several large, full-color reproductions of her work follow in order to illustrate his point.

Painting Abstraction is an authoritative compilation that addresses the key issues in the field of abstract painting from the last five years and profiles 80 different contemporary abstract artists including Mark Grotjahn and Amy Sillman. Bob Nickas work is an excellent balance of research, critical analysis, and, what all great art books so often have: art, art, and more art.

2011-12-05-paintingabstraction

British pre-Raphaelite barn owl painting discovery

British pre-Raphaelite barn owl painting discovered
William James Webbe (fl.1853-1878), The White Owl, 'Alone and warming his five wits, The white owl in the belfry sits,' signed with monogram and dated '1856' (lower left), oil on board, 17¾ x 10 3/8 in. (45 x 26.3 cm.) © Christie’s Images Limited 2012

From the Huffington Post:

Attic Owl Painting Sells For Nearly $1 Million At Christie’s Victorian Art Sale (PHOTO)

Posted: 12/17/2012 12:31 pm EST  |  Updated: 12/17/2012 12:31 pm EST

Everyone dreams of finding that one priceless item hiding in the corners of a dust-ridden attic. One UK teacher recently experienced the joy of rescuing such a forgotten antique, all thanks to an old owl painting that turned out to be worth nearly a million dollars.

Jane Cordery, an art teacher in Hampshire, discovered the detailed bird portrait in her attic after attempting to clean the space for a plumber. She’d never seen the ornate owl, but the painting’s intricate brushwork caught her eye and she decided to e-mail a photograph of the find to Christie’s auction house. According to the Daily Mail, One look at the owl and art expert Brandon Lindberg knew that that the work was worth much more than anyone suspected.

The auction house determined that the painting, titled “The White Owl,” was created by pre-Raphaelite artist William James Webbe, and experts valued the work at £70,000 ($113,449). Beyond the British masterpiece’s hefty price tag, it was also revealed that the UK’s Royal Society had exhibited the owl in the mid 19th century, exposing the piece to leading art critic, John Ruskin, who described it as “a careful study” with excellent brown wings.

The attic artwork hit Christie’s auction block last week, far outselling its estimated price — the winning bid was £589,250 ($951,050). Cordery maintains that she had never even seen the painting before her impromptu winter cleaning, while her partner, James Ravenscroft, remembers receiving the work as a present from his mother. “It’s a complete shock,” Cordery told the Daily Pioneer after the sale. “We were not imagining that in our wildest dreams.”

The owl depicted in the painting is a barn owl.

The motto of the painting is inspired by this poem by Alfred Lord Tennyson.

Related articles

Re-posted from (dearkitty1.wordpress.com) who nominated this blog for 2012 Best Blog!

Thank You. I am honored by this wonderful blogger! Of course I don't have all six stars, but as you can see by the re-post above why am so appreciative.

Thank You. I am honored by this wonderful blogger! Of course I don’t have all six stars, but as you can see by the re-post above why am so appreciative.

Denise Burge: Original Dirt (May 14 – September 4, 2011)

Denise Burge: Original Dirt (May 14 – September 4, 2011)

Denise Burge, Louise's Tree's, 1999

Denise Burge, Louise’s Tree‘s, 1999

Cincinnati based artist Denise Burge, approaching quilting from a painting background, views the creation of her work as its subject as well as its medium. Using the storytelling tradition learned in her community while growing up in the foothills of the Smokey Mountains, Burge uses her works as a commentary on everything from her family to the natural environment.
The Appalachian region has a history of folk artists concentrating on storytelling featuring aspects of religion, poverty, and the natural resources of the land. By using the quilt as her medium, Burge interprets what, to her, is a nostalgic and functional form of expression. Exploiting patchwork and sewing techniques as a vehicle for ecstatic pattern, Burge seeks to suggest her compositions as and analog to natural patterns of existence. Her work is constructed with a variety of materials and methods, both recycled and new, suggesting aspects of physical growth and renewal through the process. Shredding, slicing, layering, and turning forms and patterns inside-out, the artists sees her creations as a way to reenact and connect with the transformations that the earth constantly undergoes. Her nostalgia leads her to a romanticized conversation about attachment to our landscape. In the Appalachian landscape, people often see the brutality that can be exerted upon the earth, but also become viscerally connected to land and place as a natural resource and source of vitality. Burge uses her work to contemplate this contradiction and question the complexities of our relationship to our natural world.

Elmhurst Art Museum
150 Cottage Hill Ave.
Elmhurst, Illinois 60126
630.834.0202

Object Imprint artist, Denise Burge

Object Imprint artist, Denise Burge (Photo credit: a stitch in the ditch)

How to Be a Guitar Teacher

 

ZZZZ03

1) Determine whether you have the skill level instrumentally to teach others to play the guitar well and properly. Contact a teacher yourself to see if they think you are ready to teach guitar lessons to another.

2) Go to a few guitar lessons and make notes of how they teach. Think about which aspects of the lesson you like and which aspects you disliked. Then integrate the aspects you liked into your own lessons.

3) Begin gathering materials for lessons from music stands, music books, CDs of concerts or examples. Determine where you will have your lessons. Decide if you will rent a space at a music store, teach at a university or out of your garage.

4) Decide on a fair rate according to your years of experience playing and teaching. This rate can vary from city to city. Usually teaching fees range from $10-$200 a lesson, depending on your notoriety and skill.

5) Advertise your services through word of mouth, newspaper classified ads, magazine ads and school bulletin boards. Consider where you advertise and what type of student you want to work with. If you advertise on college boards, you can get anyone from experienced players to hobbyists.

6) Gather a few students and spread your good services through word of mouth. Hold recitals and opportunities for your students to display their talent and your good teaching abilities.

See Original Post At: http://www.ehow.com/how_2085453_be-guitar-teacher.html