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@The Liaison Collaborative
Each year we collaborate to make a quilt for each of us using the same guidelines. Last year our blocks were all the same size, but we each used a different color palette...mine was red and I posted my finished quilt a few weeks ago. The block design was freeform and scrappy. We make a determined number of blocks for our own quilt, and for the other. At the end of the 12 months, the blocks are put together by each quilter, and then finished on my long arm quilting machine. Her's was a palette of greens with reds and some pinks. It is quilted now and on its way home.
Spread from a collaborative sketchbook project with Jon MacNair.
santiagouceda.tumblr.com/post/12523554811/moleskin-project
Jon's website:
A real collaborative effort as Scottish Railway Preservation Society's Class 37/4, 37403 "Isle of Mull" leads West Coast Railways stock through Hartford on a Rail Adventure-operated working to return the locos and stock after being in action on various UK Railtours charters over the weekend.
The train had run as a Class 1 to Crewe to allow enthusiasts a further opportunity to ride behind the Class 37, prior to running ECS to Carnforth as 5Z93 1629 Crewe to Carnforth Steamtown.
I always try to take advantage of what makes my collaborators so special. So when I met Oceane who's also a passionate dressmaker, we set up the studio!
@alyzee_babylone
Gilbert Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His poem "The Revolution Will Not Be Televised", delivered over a jazz-soul beat, is considered a major influence on hip hop music.
His music, most notably on the albums Pieces of a Man and Winter in America in the early 1970s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul. His recording work received much critical acclaim, especially for The Revolution Will Not Be Televised. AllMusic's John Bush called him "one of the most important progenitors of rap music", stating that "his aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career."
Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012. Scott-Heron received a posthumous Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture (NMAAHC) that officially opened on September 24, 2016, on the National Mall, and in an NMAAHC publication, Dream a World Anew. In 2021, Scott-Heron was inducted into the Rock and Roll Hall of Fame, as a recipient of the Early Influence Award.
Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott, was an opera singer who performed with the Oratorio Society of New York. His father, Gil Heron, nicknamed "The Black Arrow," was a Jamaican footballer who in the 1950s became the first black man to play for Celtic Football Club in Glasgow, Scotland. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School, after impressing the head of the English department with some of his writings and earning a full scholarship. As one of five Black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him: "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.
After completing his secondary education, Scott-Heron decided to attend Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson, with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement (BAM). The Last Poets, a group associated with the Black Arts Movement, performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?"[18] Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.
Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at University of the District of Columbia (then known as Federal City College) in Washington, D.C. while maintaining his music career.
Scott-Heron began his recording career with the LP Small Talk at 125th and Lenox in 1970. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.
Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice: "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."
In 1974, he recorded another collaboration with Brian Jackson, Winter in America, with Bob Adams on drums and Danny Bowens on bass. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. In 1975, he released the single "Johannesburg", a rallying cry for the end of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.
A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1978. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.
In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.
Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs: Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.
Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line: "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh." The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. "Message to the Messengers" was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:
They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.
— Gil Scott-Heron
In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.
On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.
After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.
Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.
In April 2009, on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.
In 2010, Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.
Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.
The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".
Scott-Heron described himself as a mere participant, in a 2010 interview with The New Yorker:
This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.
The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.
In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.
Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a trip to Europe. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.
He was survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and is a member of Lost Boyz.
Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.
In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.
Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.
Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.
Scott-Heron's memoir, The Last Holiday, was published in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:
The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.
At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley was not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate. According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron "introduced me [Rackley] from the stage as his son".
In 2011, Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but by March 2016 further information on the matter was not publicly available.[69] Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016. In December 2018, the Surrogate Court ruled that Rumal Rackley and his half sisters are all legal heirs.
According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. The case was decided in December 2018 with a ruling issued in May 2019.
Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".
Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:
Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".
Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:
Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.
Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:
In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".
Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".
In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.
Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]".[81] As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.
Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".
In the 2018 film First Man, Scott-Heron is a minor character and is played by soul singer Leon Bridges.
He is one of eight significant people shown in mosaic at the 167th Street renovated subway station on the Grand Concourse in the Bronx that reopened in 2019.
A Leopard 2 A6 takes part in a live fire range at CFB Petawawa during Exercise COLLABORATIVE SPIRIT, September 23, 2016.
Photo: Cpl Colin Barrie, Garrison Imaging Petawawa
PA05-2016-0226-033
Hayat & Nahed finish puzzle. Said they’d rather be in a palm tree country than doing a palm tree puzzle.
Camera:Hasselblad 500C/M
Lens:Carl Zeiss Planar 80/2.8T*
Film: FUJI PRO400
Follow my Instagram →instagram.com/kazuyukikawahara
Marie-Anne Kronqvist invited anyone who wanted to participate in her artwork for the Art Promenade. The theme this year is Meeting. When the collaborative painting is done it will hang in the gallery.
Original image courtesy of PhotosNormandie.
www.flickr.com/photos/photosnormandie/25776188770/in/fave...
Rephotographed off the monitor with the iPhone6 Plus shooting in PANO-Vision mode.
A portion of this display can be seen in the photo I uploaded two clicks back, though there it was partially blocked. Those static cling notes sound pretty cool. (It's 2020 though: about time someone invented little notes that could static cling themselves to every known material on Earth) :P
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Office Depot, 1969-built (as World Bazaar), Poplar Ave. near S. Yates Rd., Memphis
A collaborative diptych - taken for a group 52.5 of 2010.
My friend Diana (Di's Eyes') and I met for lunch and took a photowalk around Little Italy.... we took doors, buildings, murals, reflections and then found a small shop that had masks. It was Ash Wednesday just after Mardi Gras... we started snapping and when put together thought they were the best. We had a wonderful afternoon for a fun project!
The image I took is on the left and Diana's is on the right her photostream is:
www.flickr.com/photos/44177780@N06/
I must say this has been the best project for me I collaborated with two special people from the group, one close and one far!
R-Wing Starfighter
A collaborative design project
This is one of the ships where I started to get a bit more ambitious with the play features. The cockpit has a cool slide mechanism, while the leg of the R can raise and lower by the turn of the 2x2 pearl gold dome on the side. Elliot wanted this ship to be brown (not the best space color), so I tried a steampunk ascetic. Elliot had a fun time picking out gold accents for my to include.
One cold weekend afternoon, I was looking for something to do with my three year old in the house. We went to our Lego room, "What do you want to build?", "A spaceship," Star Wars obsessive Elliot answered, "an E-Wing!" I knew that the Lego fan site From Bricks to Bothans held a letter based starfighter contest years before, but I was willing to give it our own try.
During the build I developed our own set of self imposed RULES:
1. The ship has to be in the shape of the letter
2. It must be strong enough for a three year old to play with it without breaking
3. The primary color and cockpit location are chosen by Elliot
4. Any piece Elliot finds (that matches the color scheme) MUST be incorporated into the build
5. What Elliot says, goes. So if he wants a play feature or design element, I had find a way to make it happen
As the project progressed the builds became more and more complex and the rules became more flexible. We finished the letters of Elliot's first name and then he wanted his middle name. During the second set of letters I tried to incorporate more complex play features.
These creations sit in display in his room and he loves playing with them and creating self invented narratives and worlds. Working with him helped stretch my skills and introduced him into the process of design.
All 13 of these ships were on public display at Brickworld Chicago 2019. Please let me know if you saw them there and what you thought!
Esta foto es deDANIELA, editada por mi... a decir verdad es mi segunda colaboración, la primera ha sido con mi queridisimo salaboli</a>
This is a collaborative work with Danielita this photo is hers and I post process it
NOT SURE WHICH ONE I LIKE MOST SO I UPLOAD BOTH/ NO ESTOY SEGURA CUAL ME GUSTA MAS ASI QUE SUBI AMBAS
A Leopard 2 A6 takes part in a live fire range at CFB Petawawa during Exercise COLLABORATIVE SPIRIT, September 23, 2016.
Photo: Cpl Colin Barrie, Garrison Imaging Petawawa
PA05-2016-0226-101
I had a fabulous idea this morning.
You'll shoot one half of a disposable camera, and then send it to me to shoot the other half and get it developed. We will have the same theme which can be determined based upon our preferences!
Please let me know if you are interested :) Send a flickr mail!
This would be so much fun!
In 1975, Northern Counties Motor and Engineering Co (Wigan) collaborated with Foden Ltd (Sandbach), the well-known truck manufacturer, to produce a semi-integral double-deck bus intended to compete with commercial chassis manufacturer Leyland. Leyland had merged with traditional bus making rival Daimler, however, at the time, Leyland were experiencing production and quality problems. It therefore seemed an oppotune moment for Foden to break back into the PSV market with the Foden-NC bus. In the event, only seven Foden-NC's were sold, going to Greater Manchester PTE (x 2), West Midlands PTE, West Yorkshire PTE, Derby City Transport, and Potteries Motor Traction. Although one of these (for South Yorkshire PTE) had an East Lancs body, which strictly speaking made it a Foden-EL! An eigth chassis was also produced, but was only ever used as a test bed, receiving just the lower saloon of its NC double deck body. The test-bed chassis later being sold to R Bullucks of Cheadle, who broke it up. The model never went into series-production, although Derby's 101 was the last built and would have been the nearest to a production type of any of the prototypes. Sadly. the Foden-NCs Achilles’ heel was its unreliable Foden built Step-Down transfer box in the transmission line. However, the thirsty fuel drag of the Allison gearbox didn’t help either. Derby did eventually converted their Foden-NC over to a Voith D851 transmission line, but it didn’t prevent it from being prematurely scrapped in the 1980’s
WVT 900S (pictured), was Potteries Motor Traction’s example (No900), which was purchased in 1978. After its withdrawal in the 1980’s, it was put to one side pending a decision on its future. Enquiries were made by interested parties to acquire the bus for preservation, but PMT’s insistence on a high asking price ruled out any possibility of that happening. Ironically, on the takeover of the Company by First Bus Plc, the Foden-NC was quickly disposed of to a Barnsley scrap dealer and broken up, without prior warning.
The picture shows 900 parked up behind Hanley Garage in its withdrawn condition on a wet and dismal 16th March 1991.
Here's the WMPTE example: www.flickr.com/photos/8050359@N07/2126531859/
And the WYPTE example: www.flickr.com/photos/8050359@N07/1259934449/in/set-72157...
The Liaison Collaborative is an innovative, intimate events company based entirely within Second Life. The Boutique and The Garden are housed here and opens to the public every 7th through the 30th.
pessoavirtual.wordpress.com/2015/10/07/dia-de-evento-the-...
...sometimes I just don´t get that right face what I would like to...if you think is easy to collaborate with own child you are wrong :o) for sure!
for Karolina´s 365 project
151/365
Collaborative installation, graphite and gesso wall drawing, natural material installation sculpture, 2014
This installation was part of Project Space 2014 in Salem OR. It was a collaboration with Craig Goodworth consisting of wall drawing and installation sculpture.
In ecology, the boundary or transition between two distinct environments is referred to as an ecotone. These boundaries are at times very sharp. In some instances, the boundaries may be poorly defined - bleeding into one another. While ecotones afford rich sources of nourishment, it is not always safe, obvious or familiar. Ecotone is the basis, or ground of collaboration between Andrew Myers and Craig Goodworth.
PHOTOGRAPHY Published in Print
"In recent years collaborative art practices have been elevated to the mainstream of music culture and book print production, artistic collaborations have now become one of the most popular ways that artists can choose to operate in order to cross over to larger audiences." -Tomitheos
Copyright © 2012 Tomitheos Photography Published in Print - All Rights Reserved
Explore #225 July 14th 2012
Collaborative paperweaving, using prismacolor painting by Linda Pearson, woven with variegated cotton threads, macramé knotting. Framed in blond wood edge frame with plexiglass. 21" x 25" 2023 Sold to Kathy and Richard Buck
see detail www.flickr.com/photos/dembicer/52703611842
Donald Trump has done quite a bit of damage to the ideals and the people of this country. However, he couldn't have gone this far without the help of the Republican Party. Mitch McConnell, Paul Ryan, and other Representatives and Senators have been complicit in Trump's actions. Members of his own staff and commentators sign non-disclosure agreements, banning them from saying anything bad about Trump. They say nothing. It's party before the people. They are the silent collaborators of this administration. And, we the people will not forget that.
Both Sarah Huckabee Sanders and Kellyanne Conway work in the White House. Both are likely bound by non-disclosure agreements not to speak ill against the president or his family. Trump requires these agreements for most of his staff. However, by dodging questions and repeating Trump's misleading missives, they, too, are silent collaborators.
See all the posters from the Chamomile Tea Party! Digital high res downloads are free here (click the down arrow on the lower right side of the image). Other options are available. And join our Facebook group.
New! Follow the history of the last eight years of our country's political intransigence through a six-part exhibit of these posters on Google Arts & Culture.
This is the progress so far for my two beach sections. Comments/feedback/ideas are welcomed! I'm undecided about what to put on the left hand section.
A collaborative work with Sylvie Peraud. All the pieces are independant. Just a clic and you can modify all the jewelry pieces.