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24 May 23:34

Seventy-Five Years Ago, Women Baseball Players Took the Field

by Miss Cellania

On May 30, 1943, the All-American Girls Professional Baseball League debuted to fill a shortage of baseball players due to World War II. Like the women who filled factory jobs during the war, they stepped up to the plate and proved that women can do what was normally seen as men's work at the time. Betsy Jochum (pictured) was the star batter for the South Bend Blue Sox. Her uniform is now enshrined in the Smithsonian National Museum of American History, but Jochum, now 97, says no one today would know about the league at all if it weren't for the movie A League of Their Own.    

The ballplayers were for the most part factory-town women happy to have the paycheck until the men got home, observes Kelly Candaele, a filmmaker whose PBS documentary about his ball-playing mother was the inspiration for Marshall’s film. “Most of them didn’t approach this thing academically, like, oh, they were pioneers and proto-feminists,” he says. It was decades before they grasped how much they meant to the workplace, how much credibility they conferred on their gender with sheer physical competency, similar to the more than 475,000 Rosie the Riveters who worked in the U.S. munitions industry. If Jochum’s uniform is emblematic of what a little opportunity can do, it’s also threaded with stigma and represents the halting one-step-forward, two-steps-back progress that women faced. When Jochum asked for a raise, her disapproving club owner traded her to Peoria. “If you didn’t do what they told you, you know how that goes,” she says. Instead of accepting the trade she retired in 1948, got her college degree at Illinois State and became a middle school physical education teacher in the South Bend schools.

Read about Jochum and the short-lived All-American Girls Professional Baseball League at Smithsonian.  

(Image credit: The History Museum)

25 May 13:20

Eve: A New Intergalactic Woodcut Print by Tugboat Printshop

by Kate Sierzputowski

Eve is the newest multi-colored woodcut print from Valerie Lueth of Pittsburgh-based Tugboat Printshop (previously here and here). The limited edition print is created from layering four different blocks, each containing a separate color. Once combined, an orange and green hand is seen suspended in the cosmos, flowers and plants growing wildly from the extended limb. The print is currently available for pre-order, with an anticipated ship date of mid-June. You can learn more about the making of Eve, as well as order your own print, on Tugboat Printshop’s website.

07 May 15:06

Dripping Gold Branding For Le Jeune Chocolatiers

by Marta Knas

The visual identity for artisan LeJeune Chocolatiers was inspired by pure gold. Designed by Studio Chapeaux, the branding was influenced by its founder’s, Ivan Le Jeune’s previous career as a Swiss Investment Banker.(...) Read More about Dripping Gold Branding For Le Jeune Chocolatiers (34 words) BRANDING, FEATURED | Permalink | No comment |

The post Dripping Gold Branding For Le Jeune Chocolatiers appeared first on Trendland.

07 May 04:55

Student Stitching

by Cara Ober
Madeline Wheeler Reviews Timelapse, Maryland Institute College of Art’s 22nd Annual Benefit Fashion Show When attending a fashion show, the decisions regarding your own wardrobe choices can be crippling. I was so plagued by this dilemma that I arrived to MICA’s fashion show fifteen minutes late. Slipping into an empty seat in the back of […]
20 Apr 19:39

Let This Supercut of Tarantino's Car Shots Drive You Wild

by Beckett Mufson (

Screencaps via

No adrenaline-pumping Tarantino film is complete without at least a few shots of the camera making cinematic love to a (preferably classic) automobile. Jakob T. Swinney, the editor who showed us the poetry of films' first and final frames and the meaning of fading to white, just released the third installment of a four-part series on Quentin Tarantino, Tarantno: The Driving Shots. In it, he explores the life-and-death drama, casual conversations, and awkward silences the iconic filmmaker uses to move narratives forward—ideally at 60+ mph, on four wheels, and down a long and lonely highway.

"Tarantino is a rather popular topic for supercuts and video essays, so a ton of patterns were already put to good use—pop culture references, trunk shots, low angle shots, deaths, etc," Swinney explains to The Creators Project. "Re-watching QT's films, I realized that many of my favorite scenes take place in a car. Not only does Tarantino conduct crucial narrative movement inside of vehicles (Mr. Orange being shot, Jules 'retiring,' Butch running over Marsellus, etc.), but he shoots them using a large variety of interesting angles that resurface in each film."

He encourages viewers to make sure they watch the supercut all the way through: "My favorite part of the process was coming up with a way to end the video," he says. "I had a lot of fun playing with some different ways, and I'm really happy with the ending I chose." With the teaser for Tarantino's upcoming antebellum bloodfest, The Hateful Eight, now out on the web, we've got visions of galloping horses and exploding carriages—à la Django Unchained—dancing in our heads.

See more of Jakob T. Swinney's work on his Vimeo page and in our coverage below.


What Does It Mean When a Film Fades to White?

Supercut Pairs First and Final Frames of 55 Films

5 Oscar-Nominated Directors, One Supercut

14 Apr 18:09

Cops have killed way more Americans in America than terrorists have

by Xeni Jardin

Police have killed more Americans on U.S. soil since the year 2000 than the Islamist terrorists. Read the rest

05 Apr 03:16

1930 stop-motion movie of a metal-eating bird

by Mark Frauenfelder

[Video Link] "Excerpt from a bizarre early stop-motion animation piece featuring Charley Bowers and a metal-eating bird. The creature devours junk from an auto scrapyard, then lays an egg that hatches and grows into a brand new car! Very impressive FX and way before CGI. Directed by Harold L. Muller." (Via Magic Transistor)