Sir Patrick Stewart, Brooklyn's coolest knight, has been doing what he can to fit in as a New Yorker, namely enjoying the sunsets over South Slope and folding his pizza like a true native (although his subway etiquette still leaves something to be desired). But one thing sets Stewart and his wife apart in his Brooklyn neighborhood, and he's had enough of it.
"I think we are probably the only residents of Park Slope who don't have a stroller," said Stewart to Intelligencer on Thursday, at the presentation of the IWC Filmmaker award. "I'm actually beginning a campaign — well, I actually began it with Mayor Bloomberg — about banning strollers."
It's no use trying to blend in with the baby-pushers, either. "It wouldn't work. Look at me," he said. "We do eat a lot of kale, but we don't have a stroller."
Read more posts by Noah Hurowitz
via multitask suicide
Normally, a journalist making this pronouncement wouldn’t also report “objectively” about RuPaul that same day, but editors at LGBT website Advocate.com think this lack of ethics and professionalism by writer Parker Molloy is A-OK. It perfectly summarizes the current state of post-disruption journalism and its unhealthy addiction to Twitter, as well as the brain drain that has happened in LGBT media.
When not expressing hate for subjects of her reporting, Molloy is part of the eyeroll-inducing “hashtag activist” movement currently infecting the internet. Rants and beta male humorlessness once limited to blogs and social media are now creeping into other outlets. In a sign of the times, The Advocate, a venerable and respected LGBT print magazine founded almost 50 years ago, is now a separate entity from Advocate.com. The website is overseen by a separate editorial team who favors bloggers and tweeters like Molloy over journalists; quantity over quality. Molloy’s specialty is trafficking in outrage, the basest coin of the internet, and Advocate.com is harnessing Molloy’s background as a search engine marketer in its current deathmatch with HuffPo Gay Voices.
Why does Molloy, who is transgender, fucking hate RuPaul? Ru used the word “shemale” recently on RuPaul’s Drag Race and has unapologetically used a number of other taboo words over several decades, like “tranny” and what-not. Imagine that, a drag queen breaking a taboo! Any entertainer deals with hecklers, and Molloy is one of RuPaul’s. Heckler culture has grown stronger as we devolve into a society of media consumers, where everyone is a critic. The only difference between a heckler and a critic is manners, and now hecklers are apparently considered journalists.
Disdain for drag in general and RuPaul in particular has occasionally flared up from folks who transition from male to female with the zeal of a religious convert. They often dabble in online heckling like this before they inevitably flame out. The internet allows these shut-ins to spend their waking lives online, agreeing with like-minded victim cultists who share their views of acceptable transgender thought and behavior. These trans folks have developed their own pseudo-academic jargon like cis-het, which means “cisgender heterosexual,” which itself means “non-transgender straight person.” Most trans folks throwing around cis-het would have been labeled cis-het themselves a few years ago. It’s noteworthy that the most vocal anti-RuPaul hecklers are trans women who are primarily attracted to women. These newly-minted queers are derided as Social Justice Warriors (SJWs) by the anti-heckler movement. The burgeoning backlash forming on 4chan and Reddit mocks SJWs as privileged pseudo-activists who seek to hurt others using the hard-earned weight of actual political movements.
Bret Easton Ellis calls these online hecklers Generation Wuss, oversensitive precious snowflakes raised on smugfuckery via LiveJournal, Twitter, and Tumblr. They exist in every subculture and demographic, and these internecine battles rarely move beyond a community squabble. In the LGBT community a hallmark of this online “activism” is little direct face-to-face interaction with the larger community or our critics. Their primary idea of activism is insulting someone they don’t like with a tweet or post involving the crutch word fuck. So fucking brave! Like all hecklers, their attention-seeking behavior helps these self-haters feel better about themselves.
While experienced activists seek to build bridges and establish empathy between cultures, these elitists’ ideas of success involve extracting apologies from media figures for perceived slights. This just drives intolerance underground, where it manifests in more pernicious ways, winning very few over to a new way of thinking and entrenching everyone. Witness #CancelColbert.
Long-simmering anger about RuPaul hit a boiling point this month. Ru had been getting away with a different “You’ve Got She-Mail” gag on the show for a long time, but a recent episode aired a “Female or Shemale” segment, asking participants to guess whether a closeup was a drag performer or a non-trans woman. This evoked a sordid history of similar media, like Maury Povich episodes and websites presenting similar quizzes to identify the trans woman among non-trans women. In trans-land, shemale is probably the most taboo of the taboo words in the lexicon. It was popularized through its use in the most transphobic book ever written, The Transsexual Empire: The Making of the She-Male.
The term has come to be used almost exclusively in pornography and sex work. It easily beats out tranny, he-she, shim, and a host of hilariously offensive rhyming slurs like chicks with dicks, dolls with balls, sluts with nuts, or guys in disguise. I have personally expressed my concern about the term shemale directly to the Drag Race producers. They have issued an apology. Remarkably, the hecklers also sought to extract concessions from LGBT media watchdog GLAAD for not acting quickly enough. Effective activism takes time and involves negotiation, and I was amazed to see that GLAAD felt they had to defend themselves for not racing to Twitter and “solving” things there.
Just as gay people can be homophobic, trans people can be transphobic, and it’s not just limited to RuPaul’s recent controversy. One of Molloy’s other targets is my friend Calpernia Addams, one of many trans entertainers who came up through working in clubs as showgirls before making a gender transition. For much of the 20th century, this was the trajectory of most trans women, working alongside drag performers, but living full-time as women outside of work. As trans people become more visible and come out sooner, we have many more employment options. Recent transitioners like Molloy, who did not identify as gay before transition, are more likely to have other options, but they also often have a disdain for gay and drag culture. This is nothing new. Christine Jorgensen, who transitioned amidst an unprecedented media frenzy in 1952, was virulently homophobic and sought to distance herself from being associated with gay people. This separatism between drag and trans persists, similar to separatism some seek between crossdressers and those who live full-time in their chosen gender. Trans separatists like Molloy also spend a lot of time fighting online with lesbian separatists, some of whom reject trans lesbians the same way these trans lesbians want little to do with crossdressing or drag. The internalized transphobia behind this separatist impulse happens in any community that is finding its voice, and it’s flaring up again in the trans community.
Among the most problematic behaviors by trans separatists like Molloy is use of the term drag queen as a transphobic slur against other trans women whose politics they don’t like, including Addams and trans model Carmen Carrera. Carerra appeared on RuPaul’s Drag Race prior to transition, so she is compromised and complicated from a separatist’s point of view. After I complained privately to Advocate.com editor Lucas Grindley about Molloy’s recent deliberate slurs against Calpernia, Grindley claimed Molloy’s attack was merely an “error.” Calling assimilated transgender people drag queens or crossdressers is a transphobic slur as time-honored as using their old names or former gender pronouns as insults. As I patiently explained to Grindley, if I publish a piece reporting that “Parker Molloy is a self-hating skin transvestite,” then tweet a half-assed non-apology, my use of a transphobic slur is not an error. It would be neither journalistic nor ethical, and more reputable editors would consider it a firing offense. Grindley has refused to speak with me by phone, and has refused to meet with me in person, and has refused to let me run an op-ed (hence this piece). I tried every avenue to resolve this dispute like professional journalists. Grindley is apparently too busy heckling Calpernia on Twitter about "Ugly Hearts,” her typically sweet and quirky song about internet bullying. Turns out Grindley is just further evidence of the heckler-as-journalist trend.
So now this professional dispute is public, and the dirty laundry is getting aired. The usual suspects are trolling on Twitter, and no one is really listening to each other. I used to spend a lot of time arguing on the internet. I came to see it as a form of procrastination. A search of USENET will find the exact same arguments getting rehashed by trans people since the dawn of the internet. Each new wave of users has to develop their views and voice by whatever technology is ascendant at the time, but arguing on Twitter is like debating via bumper stickers. It’s the worst of two worlds: heckling and gotcha-style journalism.
LGBT reactionaries have been throwing drag performers under the bus since the movement’s origins. You’ve seen them; elitists in our community upset at flamboyance at Gay Pride parades and so on. Transsexual women in the media who step outside the lines of “acceptable” behavior and language get the same transphobic shaming. Respectability politics will always be in conflict with drag, an art form with countercultural subversion at its heart. When these parvenus create new taboos around language, they’re practically begging drag queens and kings to violate these taboos. If it’s a choice between siding with the language police and siding with offensive artists, I’ll always side with the artist willing to risk the consequences of making an offensive joke. The right to offend people is a cornerstone of the LGBT movement, and I will always defend anyone who offends our community’s finger-wagging schoolmarms. Every movement and community needs jesters.
A few years ago I helped restore Queens At Heart, a rare color documentary of pre-Stonewall Manhattan LGBT social life. There was no separation of drag and trans, nor was there 25 years later in Paris Is Burning. We’re all in this together. Some elitists have even proclaimed that RuPaul isn’t trans. Guess I’d better burn my first edition of Leslie Feinberg’s seminal work, Transgender Warriors: Making History from Joan of Arc to RuPaul. My transgender tent proudly includes crossdressers like Dennis Rodman, or drag queens like RuPaul, or people who identify as shemale, or those throwing around the word tranny, or those whose antics anger or embarrass me. They’re still part of my trans family.
For the record, I don’t fucking hate @RuPaul. I’ve respected and admired Ru for a quarter century. I also respect and admire everyone at World of Wonder, who have created more positive transgender media depictions than any production company in history, from Transgeneration, to Becoming Chaz, to Drag Race, to my own work with them. They have been honored by the industry and the community time and again for their unwavering commitment to covering overlooked segments of the LGBT community, like their remarkable Big Freedia: Queen of Bounce, currently nominated for a GLAAD Media Award for Outstanding Reality Series.
Speaking of peanut butter, this week I picked up the new RuPaul candy bar, because proceeds benefit our local LGBT shelter. Then I picked up some Viva Glam lip color at MAC, which has raised millions for AIDS research since they took a risk and made Ru their face 20 years ago.
via firnas hose
Here on this corner of the internet, we see a lot of abandoned places. For some of them, we can even understand how circumstances might have led their abandonment. This however, is a head-in-hands kind of moment.
The Castello di Sammezzano is a show-stopper, a jaw-dropper. Hidden away in the Tuscan hills of Northern Italy, this electrifyingly beautiful Moorish castle was built a whopping 400+ years ago in 1605, but more than two decades, it’s been sitting empty, neglected, vulnerable to pillaging and to the elements.
There are 365 rooms in the Castello di Sammazzano, one for every day of the year. The Moroccan-style palatial villa is a labyrinthe of exquisitely tiled rooms, each one intricately unique. Originally built by a Spanish noble, Ximenes of Aragon in the 17th century, it wasn’t until the 19th century that the castle would find its arabian identity and be transformed into the etherial palace it resembles today.
(c) Dan Raven
This is all owed to the its inheritor, Marquis Ferdinando Panciatichi Ximenes, a largely forgotten but key cultural, social and political figure in Florence when the city was the capital of Italy. Ferdinando, who lived and died at the property, spent 40 years planning, financing and realizing this exotic castle that would become the most important example of orientalist architecture in the country– only to be left to ruin at the hands of modern-day investors.
After the Marquis’ death at the end of the 19th century, there was a period of uncertainty for the property and historical records appear to be rather patchy. During the war, the Germans came looting, stealing mainly from the castle’s surrounding park that had once been considered the largest and most exotic in Tuscany. They took many important statues and fountains of Moorish style, as well as an entire bridge and a grotto featuring a statue of Venus. When the war ended, the castle became a luxury hotel, restaurant and bar.
Unfortunately there appears to be no photographs of the villa during this period, I couldn’t even get the name of the hotel, which reportedly closed its doors in 1990. For a decade, it stood without a master of the house until in 1999, a British company ceremoniously bought the Castello di Sammezzano at auction. But the castello would remain lifeless.
The plan for Sammezzano called for an 18-hole championship golf course and a large sports facility and clubhouse. But construction hadn’t yet begun when the investment company ran into “economic issues” and the castle was forgotten, left to fall into disrepair. The exterior damage by vandals and the weather is fairly evident. On the inside, many windows were broken, railings cut, chandeliers and rosettes stolen.
It wasn’t until 2013 that a local non-profit committee was founded to help raise awareness of the increasingly decaying castle. They have no ownership of Sammezzano but they help to arrange and promote public openings. And while the Comitato FPXA (after the initials of Ferdinando Panciatichi Ximenes of Aragon) has been doing their part, the property has been quietly sold to the global developer, Palmerston Hotel & Resorts.
On their website, their to-do list includes several worldwide projects, including the Castello Sammezzano, which they intend to develop into a luxurious sporting resort, incorporating a boutique hotel, apartments, spa and country club with golf, tennis and various sporting amenities. They have obtained all necessary planning approvals and claim redevelopment is scheduled to commence in 2014.
Another luxury hotel development might not be the fairytale ending we were necessarily waiting for, but here’s hoping this arabian castle will finally be restored to its former glory– and maybe they’ll let us come round for a mint tea under those otherworldly ceilings.
Stay tuned for updates on the Comitato FPXA facebook page.
The post This Amazing Technicolor Castle has been Abandoned for more than 20 Years appeared first on Messy Nessy Chic.
Of the thousands of examples of quirky material culture that I have seen in Berkeley, my favorite is a giant orange on Spruce Street. It has nothing to do with Roald Dahl, but everything to do with old, weird America, a brilliant phrase coined by Berkeley’s extraordinary cultural writer Greil Marcus.(...)
Read the rest of How quirky is Berkeley? The Giant Orange of Spruce St. (553 words)
I nearly spilled cereal on my keyboard when I read the headline
via multitask suicide ("interesting approach to the camp collar - not using facings, but instead just attaching a one piece collar stand/collar combo.")
Summer casual proposal - soft and relaxed collar and shirt styles for the summer. Made in an open weave cotton.
What believers save for their suffering
LENT ends today, Holy Thursday. After 40 days of fasting and reflecting, the world's 1.2 billion Catholics can prepare for Easter—and finally sink their teeth into a chocolate bar, light up a cigarette, quaff a coffee or pour themselves a well-deserved single malt. Though the faithful give up life's material luxuries for spiritual purposes, their wallets also benefit. Looking at the most common items that people eschew—like alcohol, cigarettes and fast food—Catholics living in Dublin will have saved the most, around $780 if they resisted all the vices in our index. Cutting out 20 cigarettes a day makes up the bulk of the savings, $468. Meanwhile in Lisbon, where the prices of similar goods are less, Catholics wouldn't even save that amount if they gave up all the daily treats. In Nigeria, where around 15% are Catholic, those in Lagos would save most by denying themselves fast food. Wine and beer save believers the most cash in São Paulo, Brazil, the country home to the most Catholics in the world.
"Rocket Row" along the west side of the Arts and Industries Building before the National Air and Space Museum was built, 1959. Accession 11-009, Smithsonian Institution Archives, Neg. no. 73-7185.
Rendering of the new United States National Museum, now the Arts and Industries Building, designed by Adolph Cluss and Rudolph Schulze. Record Unit 95, Smithsonian Institution Archives, Neg. no. SIA2011-1079.
Etching of the new United States National Museum, now the Arts and Industries Building, designed by Adolph Cluss and Rudolph Schulze. Record Unit 95, Smithsonian Institution Archives, Neg. no. SIA2011-1080.
Curators look on as three totem poles are installed in the Northwest Range near the Rotunda of the United States National Museum, now the Arts and Industries Building, by several laborers. Record Unit 95, Smithsonian Institution Archives, Neg. no. MNH-5792.
The Water Transportation Hall, also known as "Boat Hall," located in the Northeast Range of the United States National Museum, now the Arts and Industries Building. Record Unit 95, Smithsonian Institution Archives, Neg. no. AI-18997.
Crowds flock to the Arts and Industries Building in the early 1950s after the Exhibits Modernization Program gave the history displays a new look. Record Unit 95, Smithsonian Institution Archives, Neg. no. MAH-48169.
Photocrome postcard of the north facade of the Arts and Industries Building, circa 1955. Accession T90126, Smithsonian Institution Archives, Neg. no. SIA2013-01060.
Smithsonian Institution Archives located on the second floor, northeast section, of the Arts and Industries Building. The stack range, storage, and cubicle work station area are shown here, 1979. Record Unit 95, Smithsonian Institution Archives, Neg. no. SIA2011-1487.
Workers prepare a hot air balloon to hang in the Rotunda of the Arts and Industries Building. The centerpiece of the Charles Eames exhibit "Photography and the City: The Evolution of an Art and a Science," which opened June 6, 1968, the balloon was used to illustrate the method used to take the first aerial photo in the United States. Accession 11-008, Smithsonian Institution Archives, Neg. no. OPA-1353-15.
The "1876: A Centennial Exhibition," a recreation of the Philadelphia Centennial Exhibition in 1876, in the Arts and Industries Building and opened May 10, 1976. Record Unit 95, Smithsonian Institution Archives, Neg. no. 77-3205.
On this day in 1879 ground was broken for the construction of the United States National Museum building, now known as the Arts and Industries Building. Its concrete foundations were begun on April 29th and the brick-work of the walls on May 21st. The main walls would be completed by November 1st.
Closed to the public since 2004, the Arts and Industries Building began undergoing a repair and restoration project to fix and upgrade the exterior of the building in 2009. Unfortunately due to financial reasons, the building will not reopen at the end of 2014 as originally planned. It was to have held an interim program called Smithsonian Innovation Space, but after a year of program planning and financial review, the Smithsonian concluded that the cost of rehabilitating the building for public use and operating it exceeded its available funding sources at this time.
The exterior of the building has been structurally stabilized and the Smithsonian will continue to explore options to reopen the building, but it will remain closed to the public until further notice. For more information about the history and renovation of the Arts and Industries Building please see the video below.
Although the truck won't have an onboard noodle maker turning out plates of lagman, the truck -- which is scheduled to hit the streets in the coming days -- will be serving Uyghur style kebabs, sold on skewers or inside wraps.
Via Eater Boston.
I don't know
but I keep pressing buttons
439-442. Mercury Fastening His Heel-Wings by François Rude - Musée du Louvre, Paris
is this like one of those hypothetical trolley questions?
Putin fielded this question at his annual telethon, along with other more serious queries about the crisis in Ukraine and – asked by Edward Snowden – Russia's domestic spying.
my favorite line in all of cinematic history
You've probably seen the deeply disturbing reports of pro-Russian separatists in eastern Ukraine telling Jews to "register" with their would-be break-away government. But there are reasons to be skeptical.
saved to ask finnish coworker for verification
Bus seats in Finland - for the unsocial people, like me.
Rule number one in Finnish public transport culture: Don’t sit next to anyone. Unless the seats are like this.
In every other cases fill the spots from window seats. Then standing up seats. If the bus gets crowded sit next to someone but sit as far as possible from the other person and turn your head to look to the completely different direction. Don’t say a word.
And if you’re the one sitting next to window pray all the gods that the other person leaves before you, because otherwise you’d have to speak to him/her. Usually it’s something like “Umm..ileavenow”. Remember, no sorries or smiles. Just say it as low and fast as possible without making any eye contact.
legit advise for people visiting finland. that “ileavenow” is “mä jään täs” in finnish. it’s okay if you don’t pronounce it perfectly right because the only reason someone would talk to strangers in public transport is to ask them to move, so they will get the hint.
BUT! usually just things like putting your phone away and rustling your bag and looking like you are about to leave will do the trick. no need for words.
….and this is how you wait for a bus in finland:
Reblogging because of that picture. So true. And familiar.
This is the most bizarre thing I’ve ever seen…what the actual fuck. It almost seems like a joke but I feel like it’s actually serious????
This is very true and something every tourist should remember
multitask suicide: shall we go on another field trip?
I admit that I always assumed it was from "dessins-animés"; I stand corrected
this has kind of been my default bar
via SuburbanKoala ("Yo' clubhouse about to get overrun")
From fat-washed spirits to olive oil-infused cocktails, here are five reasons why you should pay Backbar another visit.
The Tech reports both its national fraternity and MIT have suspended Delta Upsilon, based at 526 Beacon St. in the Back Bay, for "inappropriate behavior during unsanctioned events" over January break.
No word if a horse in the dean's office was involved.
Bonus fun fact: Animal House producer Ivan Reitman belonged to a Delta Upsilon chapter at McMaster University.
Plenty of tradition and handcraft—combined with high-tech, where it outperforms handcraft: That is NOMOS Glashütte. All our movements are built in-house and by ourselves in Glashütte. This also applies to our watches—Tangente, Orion, Zürich and all the other models—many of which are already considered classics.
via Gizmodo Sploid
Rev. Laura Everett considers violence in Boston over the past year:
Since the Boston Marathon, 235 people have been shot in Boston, 35 people senselessly killed in “those places, to those people.” How is that “Boston Strong?” I grieve the collective trauma, suffering and senseless deaths of the Boston Marathon. Yet how is 35 dead any less senseless? When we chant or buy “Boston Strong,” which Boston are we talking about? Boston is a divided city. Which Boston is strong?
The house at 27 Hansborough St. exploded around 9:20 p.m., sending twelve people to the hospital - two with serious injuries - the Boston Fire Department reports.
The apparent natural-gas explosion pushed the house off its foundation and led to its partial collapse. The resulting fire went to three alarms.
Residents of surrounding homes were evacuated. National Grid gave the OK to let them return around midnight.
Mass. Ave. was still blocked off, from Putnam St to around City Hall, during my morning walk to work. The guy I talked to (who was standing outside, waiting to be let him back into his apartment in the center section of the building) said everybody got out okay, including pets, though there was some sort of harrowing rescue from a window on the fourth floor. Apparently the building has multiple courtyards, which helped to contain the fire.
via firehose ("see also the Kazakhstani woman eagle hunter: http://www.reuters.com/video/2012/03/08/female-eagle-hunter-reaches-new-heights?videoId=231446109 ")
|firehose shared this story from BBC News - Home:|
|see also <a href="http://www.reuters.com/video/2012/03/08/female-eagle-hunter-reaches-new-heights?videoId=231446109">http://www.reuters.com/video/2012/03/08/female-eagle-hunter-reaches-new-heights?videoId=231446109</a>|
A photographer who snapped what could be the world's only girl hunting with a golden eagle says watching her work was an amazing sight.Continue reading the main story
Most children, Asher Svidensky says, are a little intimidated by golden eagles. Kazakh boys in western Mongolia start learning how to use the huge birds to hunt for foxes and hares at the age of 13, when the eagles sit heavily on their undeveloped arms. Svidensky, a photographer and travel writer, shot five boys learning the skill - and he also photographed Ashol-Pan.
"To see her with the eagle was amazing," he recalls. She was a lot more comfortable with it, a lot more powerful with it and a lot more at ease with it."
The Kazakhs of the Altai mountain range in western Mongolia are the only people that hunt with golden eagles, and today there are around 400 practising falconers. Ashol-Pan, the daughter of a particularly celebrated hunter, may well be the country's only apprentice huntress.
They hunt in winter, when the temperatures can drop to -40C (-40F). A hunt begins with days of trekking on horseback through snow to a mountain or ridge giving an excellent view of prey for miles around. Hunters generally work in teams. After a fox is spotted, riders charge towards it to flush it into the open, and an eagle is released. If the eagle fails to make a kill, another is released.
The skill of hunting with eagles, Svidensky says, lies in harnessing an unpredictable force of nature. "You don't really control the eagle. You can try and make her hunt an animal - and then it's a matter of nature. What will the eagle do? Will she make it? How will you get her back afterwards?"
The eagles are not bred in captivity, but taken from nests at a young age. Female eaglets are chosen since they grow to a larger size - a large adult might be as heavy as seven kilos, with a wingspan of over 230cm. After years of service, on a spring morning, a hunter releases his mature eagle a final time, leaving a butchered sheep on the mountain as a farewell present. "That's how the Kazakh eagle hunters make sure that the eagles go back to nature and have their own strong newborns, for the sake of future generations", Svidensky says.
He describes Ashol-Pan as a smiling, sweet and shy girl. His photographs of her engaging in what has been a male activity for around 2,000 years say something about Mongolia in the 21st Century.
"The generation that will decide what will happen with every tradition that Mongolia contains is this generation," says Svidensky, who showed Ashol-Pan's family the photographs on his laptop. "Everything there is going to change and is going to be redefined - and the possibilities are amazing."
i did a poster for the mountain goats and erin mckeown and i realized i forgot to actually mention it on the thing where i am ostensibly supposed to be posting art
4 colors on white paper, edition of 63
thank you industry print shop in austin texas, who did a truly amazing job on this
thank you alyson west for organizing everything and tolerating all my amateur hour nonsense
thank you john darnielle for the impeccable art direction and for being just the coolest
thank you erin mckeown for also being the coolest and incredibly kind (note the free album download on her website—-IT IS SO GOOD)
and thank you trudy, whose last name i do not know, for doing the actual selling of the posters and for keeping me company before the show!
i have thought about screen printing posters for musicians every day for like 6 years now—-that the first one i did was for my favorite band, and furthermore came out looking pretty okay seems OMINOUS.
anyway since i can’t help but disclose process stuff, here are some links to some of the material/inspiration/reference used in making the poster:
Walton Ford - Der Panterausbruch
Pieter Bruegel the Elder - Hunters in the Snow
tMG - Deuteronomy 2:10
tMG - Sourdoire Valley Song
tMG - Ox Baker Triumphant
Erin McKeown - The Politician
Erin McKeown - Histories
Hand-Painted Wing Scarf ($60.00). This is so gorgeous. Of course, I’m picturing it in blacks and grays, with subtle iridescence and silver highlights, and … yeah.