Pinned Between

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She walked that kaleidoscope scene
pinned between that flat
cooled glass, chewed edges dated,
colored raised and faded.
Without a trace the scar
was the perfect mark.
The unbroken embrace,
wearing an odd dress.

Pairs of sorrowed shoes,
tied necklaces.
The letters lettered gold,
raised and braised.
There were wars to retrace,
prayer to be spoken.
Hands to raise, collar bones broken,
cold coals turned over.

Open grace, spines of books,
the scar, still the unbroken embrace.

She saw the forgiving, the setting,
a rock sliced.
For a ring sliced in guillotine time
harnessed like chalk words.
Slapped together, erased,
shifted the sugar.
Then flour floating down
the ashed snow.

A rolling stone gown reminisce,
kaleidoscope address.
The fading scar, the bird’s recall
a Siamese cat’s fall.
The wired coo coo clock,
outside the held phone call.
One lonely sigh, a forgiven stay,
a tomorrow sing along.

Will-owing the age of sight.
Younger roots bearing to the right.

A rolling stone gown reminisce,
kaleidoscope address.
The fading scar, the bird’s recall
a Siamese cat’s fall.
The wired coo coo clock,
outside the held phone call.
One lonely sigh, a forgiven stay,
a tomorrow sing along.

Woven deed made, a baked chicken.
Tobacco leaves, the tucked skin

Poem By Heather Whitley Gibson

Yesterday’s Moth

A cloth thread
it was yellow; shinning
bright steel blue
cob webs; recyclability
drips design retractable
and Tuesday received
buckets freely
I see a moth
from yesterday poems on
a blank piece of paper
cloth; thoughtfully pinned
inside made
thoughtfully re-read intimately
exhaust/senescent
tube; in my heart
leering down
it’s sinful weakness

My ears are doing-that
windshield-wiper
thing-slowed-down
wiping out
hands off; buzzards; leftover
ground down white wrapped yarn
the bones of a coat; hung hanger
wreck debris aged
falling of the bone
in waves; falling off the bone
in waves; it just comes
nothing hurts
it’s supposed to

 

Poem By Heather Whitley Gibson

Love and Fake Antiques

 

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‘But I bought it in a French antiques store, I paid five hundred for it’, pleaded the woman of the older couple dressed as if they had fallen from an Edwardian picture postcard. The onlookers looked on embarrassed for this obviously respectable couple. The Antiques Roadshow appraiser of antiques stood with bowed head in silence not wishing to add to the couple’s embarrassment. The wife with the powdered face and antique lace hair-net was not giving up easily.

‘This is genuine French antique’, she pleaded with a raided voice that was now bordering on shrill, ‘We bought it while we were on our honeymoon in antique stores in Versailles fifty years ago’. It had now become a collective buying decision. The blame shift was obvious to those near enough to hear and certainly to the antiques appraiser.

The lady appraiser of antiques was hoping some of the production team from The Antiques Roadshow would intervene but nobody rode to her rescue. She reached out and put her hand gently on the fur trimmed sleeve of the irate ladies coat.

‘ I am sorry but as I said this is a reproduction of an antique, it was ‘aged’ by unscrupulous people and then sold to unsuspecting people like you who were very honest and too young to have the  knowledge to see it was a fake’, gently reasoned the appraiser in her most reassuring voice.

‘She said we were stupid’, the lady in the hairnet address this to her husband who stood with hunched shoulders and a look of resignation on his care worn concerned face.

’Dear, it was a long time ago, perhaps we should just forget about it and accept what this nice woman tells us, it is not an antique, the antiques store is to blame so let’s go home’, pleaded the suffering man as he looked at her with loving soft eyes.

‘It is your fault, you and your , ‘we must buy a nice French antique as a reminder of our honeymoon’, well this is where another of your stupid ideas have got us’, the woman in the net wagged her head and shoulders as she quoted her embarrassed husband in an even more shrill voice which bordered on a scream.

‘It wasn’t even your money, it was my daddy’s money you spent on that worthless French Antique’, continued the woman in the net. ‘Daddy was right, you were a fake, a pretender, an imitator of a real man’, screamed the woman at her now very pale and downcast husband. ‘All we had that we cherished after fifty years was that now worthless antique,’ she poked him in the chest with her bone like finger.

‘A fake for a fake, it was to be the start of a great collection of French antiques, you said, an heirloom for out children,’ she continued to poke him even harder. The Antiques roadshow Antiques appraiser was between two minds, ‘should she interfere in this now domestic row or should she just quietly slip into the crowd’. ‘Well now we have no French Antiques and we certainly have no children, you were a fake there too’. The lady in the net was crying now and her pokes were devoid of energy just open handed pats against the flat of his chest.

He reached for her shoulders and gently pulled the lady in the net into his embrace. He kissed the top of her head and turned her away from The Antiques Roadshow appraiser of antiques. She gestured to the worthless example of fake French Antiques that lay almost forgotten on the green blaze of the antique card table. He waved it away with a flick of his wrist saying, ‘Give it to charity, we have forgotten about it already, our son is waiting in the car for us.’

Reality dawned on the antiques appraiser and on the near faces in the crowd. ‘Could I not have pretended, just this once’, silently The Antiques Roadshow antiques appraiser admonished herself with sad tears in her eyes.

Author’s Profile

My name is Patrick, I have collected and traded in antiques and collectibles all over the world since the early 1970’s. I like to find nice french antiques for nice people. In these articles I will share with you my insights into many aspects of dealing and collecting antiques and related with antique stores.

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.

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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)

 

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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:

Love

The character for ai, the ‘love’ that one person
feels for another, suggests that although the
word is now used as freely in China as elsewhere,
love was once considered a highly
spiritual emotion. Some sages believed it to be
a form of giving that should be extended not
only to those closest to us, but to more distant
members of society as well.
In the center is the ‘heart’ pictogram.
Above and below ‘heart’ are the characters
for ‘breath’ and ‘graceful movement’. Love,
therefore, can be seen as a kind of inspiration.
It breathes life into the heart, and brings grace
to the body.

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/