Podcasts about embroidered

Today Rob & Matt talk to Gabe Dixon (who has been the keyboardist for the Tedeschi Trucks Band for over 7 years)  GABE TALKS TO US ABOUT: Being in his first band at the age of 12 and being signed to Curb Records  The Melodica instrument (OTHERWISE KNOWN AS A HOOTER) The Gabe Dixon Band The song "All will be well" (Rob's favorite) and the his live solo album from 2017 (Live from Boston) The compilation album "Parts I've Played" Medeski Martin & Wood Favorite places to play in Nashville The Eagles & Vince Gill What it was lik recording and performing with Paul McCartney and much more! ****** Check out Gabe's latest song (released 6.12.26) "World's Gone By" (as heard at the end of this podcast) Video segment from this interview on our Know Good Music YouTube Channel (https://www.youtube.com/@knowgoodmusic) ****** You can find Gabe on Facebook & Instragram (@gabedixon) Visit his website at : gabedixon.com for tour dates, merch, videos & more Visit the Tedeschi Trucks Band website at : https://tedeschitrucksband.com/ ******* KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info. ********** COPYRIGHT CLAIM: The songs "Manically Free", "All Will Be Well", and "World's Gone By" used with permission from Gabe Dixon. ********** Never Forget to TURN OFF THE TV, ... and TURN UP THE MUSIC!

KEN COOKE (all the way from Australia!)  joins Rob on the podcast today to talk about the great WRECKING CREW The Wrecking Crew was a group of session musicians who performed on some of the biggest music hits in America .. mainly in the 1960s and 1970s. In 2008 a great documentary came out revealing members of the wrecking crew and their contributions to music Rob and Ken go through some of the members and tell you what songs they were on along with the history of the wrecking crew into the 70s and how things all of a sudden changed for session musicians.  Also some of the bands and artists who used the Wrecking Crew on many of their songs. We find out how they got their name and which member absolutely hates that name (a person Ken and Rob has slight run in with) Rob and Ken also go over the documentary and what it covers and some of the bonus material that is on the 2-disc DVD edition. Prominent members that are covered on this podcast are: CAROL KANE (only female member of the Wrecking Crew), EARL PALMER, GLEN CAMPBELL, HAL BLAINE (who was on over 140 top 40 hits)  and ... TOMMY TEDESCO!   Ken actually owns one of tommy's instruments (that was used in some of the music for an Indiana Jones movie). If you go on youtube you can see the video from the podcast of Ken showing Tommy's "Laud". **** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube  and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info. Remember to TURN OFF THE TV and TURN UP THE MUSIC!

SUMMER MUSIC SERIES - 1 of 3 - EP 111 For the summer we are bringing back our all out music podcast covering Music News, Music Books, New Music / Artists and Releases along with our Give It A Listen Segment! Rob is joined today with special (in the studio) Guest Co-Host today - MELANIE THEIL Melanie is well versed in music history and has been a Radio Host for over 30 years starting with WNTI (Hackettstown) as a development director and currently the host every Monday morning (7 am - 9 am EST) on WESS with her show "Freeform Cafe" as the Dawnbird. The podcast starts with some background on Melanie's early years with her father's "home studio", a recent radio list of songs, and how she got the name "dawnbird". Rob and Melanie have some mutual music friends having both grown up in New Jersey. Here are some artists they cover on they mention on this podcast: The rolling stones, Ozzy, Kiss, AC / DC, The Smithereens, The Toadies, Tori Amos, Samantha Fish, Styx, George Thorogood, The Clash, Yes, Joe Bonamassa and more! They end the podcast with "Give it a Listen" and play Samantha Fish's newest single "Don't Say It" off her upcoming LIVE album "Paper Doll (Live) ********* KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube  and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info. ********** COPYRIGHT CLAIM: Samantha Fish's "Don't Say It" used with permission from Peter Noble (at Noble PR)

FROM THE ARCHIVES - Original Airdate of 4.10.2021 New intro by Rob Today Jim (rob) and Mike (matt) talk about the 1976 film THE LAST WALTZ ABOUT THE LAST WALTZ The Last Waltz was a concert by the Canadian-American rock group The Band, held on American Thanksgiving Day, November 25, 1976, at Winterland Ballroom in San Francisco. The Last Waltz was advertised as The Band's "farewell concert appearance", and the concert saw The Band joined by more than a dozen special guests, including their previous employers Ronnie Hawkins and Bob Dylan as well as Paul Butterfield, Bobby Charles, Eric Clapton, Neil Diamond, Dr. John, Joni Mitchell, Van Morrison, Ringo Starr, Muddy Waters, Ronnie Wood, and Neil Young. The musical director for the concert was The Band's original record producer, John Simon. The event was filmed by director Martin Scorsese and made into a documentary of the same title, released in 1978. Jonathan Taplin, who was The Band's tour manager from 1969 to 1972 and later produced Scorsese's film Mean Streets, suggested that Scorsese would be the ideal director for the project and introduced Robbie Robertson and Scorsese. Taplin served as executive producer. The film features concert performances, intermittent song renditions shot on a studio soundstage, and interviews by Scorsese with members of The Band. A triple-LP soundtrack recording, produced by Simon and Rob Fraboni, was issued in 1978. The film was released on DVD in 2002 as was a four-CD box set of the concert and related studio recordings. The Last Waltz is hailed as one of the greatest documentary concert films ever made,[3] although it has been criticized for its focus on Robertson.  In 2019, the film was selected by the Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant". ****** Rob (and co-hosts) will be back in June 2026 with some brand-new podcasts and interviews!  Stay Tuned ****** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube  and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info.

Recently I watched the very interesting 2016 documentary entitled “Rome: Empire Without Limit with Mary Beard”. Ms. Beard, a very readable British scholar, functioned as host and narrator. Regarding Christ, Ms. Beard said, “one Jewish Rabbi had developed new ideas. His name was Jesus. The Sayings of Jesus, as they were called, were only written down later. But it's clear enough that for the Jews he was preaching blasphemy. And at the beginning at least, for the Romans he was just another troublemaker. However exactly the story went, he was arrested, put to trial, and sentenced to death Roman-style, by crucifixion. The Romans must have thought “problem solved”, but it was only the start.

Francesca was named the 2025 Breakout Artist of the Year by Atlantic City's Elephant Talk Independent Music Awards... A few months ago she won the "Homegrown Music Video Award" for "I Just Wanna Be Your Lover Again" at the Garden State Film Festival.  She Just released a new single "Barely Breathing" on April 17th and she will be releasing her new album "Promise of Patience" this summer. ****** Matt and Rob talk to Francesca about her favorite town (s) in New Jersey, the new album, the experience of attending the Garden State Film Festival and taking home an award, the making of the video for "I Just Wanna Be Your Lover" ... and more including the "mystery question"! You can find Francesca on Facebook, Instagram & TikTok (@lovefrancescafuentes).   ****** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube  and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info.   COPYRIGHT CLAIM: The songs "Barely Breathing" and "I Wanna Be Your Lover Again" used with permission from Francesca Fuentes

Rob interviews Space Frehley! Rob has been wanting to interview someone from a tribute band for a long time now ... and what perfect way to start this journey than to interview SPACE FREHLEY (A Tribute to Ace Frehley) and put out the interview on what would have been Ace's 75th birthday. Not only does Space look like Ace (without the makeup) but he talks like him, sings like him and ... damnnnnn... he plays Ace Frehley songs note for note.. including the guitar solos .. he's the real deal folks! Space Frehley pays tribute to one of the greatest rock n' roll showmen in the history of rock n' roll and the history of on of the greatest bands ever ... KISS! This is an interview like no other in that Rob gets not only to talk to Space himself but also his alter ego Aaron. Rob and Space talk about: When they both first got into KISS When they each met the original members of KISS Forming a "non-makeup" Kiss tribute band Space's upcoming shows The show in Teaneck, NJ (where Space met Ace's ex-girlfreind Lara) The new Space Frehley EP "FREH-QUENCY" Space Frehley's Guitar Collection (visit our YouTube channel for video from this segment) and much more!!! **** If you haven't seen Space Frehley in concert go to YouTube right now and check him out. You can find Space's new EP anywhere you get your music.. also find Space on Facebook and Instagram and at his webiste : www.spacefrehley.com Get some really cool SPACE FREHLEY T-Shirts, Sneakers and other cool items at : www.guitarnuttees.com ! ***** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube  and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info. ***** COPYRIGHT CLAIM: Space Frehley's cover versions of the songs, "TALK TO ME" and "RIP IT OUT" used with permission from Space Frehley

Sam and Rob record an impromptu podcast for Record Store Day 2026 Recorded on April 19, 2026  They go over the albums they bought and some other recent purchases (Rob's Flea Market Finds) ARTISTS MENTIONED ARE: Joan Jett & the Blackhearts Marshall Crenshaw Uncle Tupelo Olivia Newton John The Jayhawks The Who Sun Volt and more ***** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube  and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info.   TURN OFF THE TV - TURN UP THE MUSIC

Rob interviews guitarist/vocalist Thom LaFond from the Colorado based band BANSHEE TREE! *** BIO: BANSHEE TREE is an indie psychedelic pop/rock band with sharply-written songs, jazz-inspired guitar solos, saxophone textures, and grooves that nod to the dance floor, they've spent nearly a decade evolving their sound. That fusion reaches a new peak with Bad Luck, a restless and unapologetically diverse album that captures a celebrated band chasing down new horizons. For years, Banshee Tree's evolution took place not in the recording studio, but onstage. A weekly residency at a speakeasy in Boulder, Colorado, gave the musicians an opportunity to reach beyond their origins as a swing band, while the addition of new members — including veterans of Denver's funk and punk-rock scenes — helped broaden the group's influences. Banshee Tree began gigging in other cities, too, busking with street performers in New Orleans and sharing late-night jam sessions with bands in the Pacific Northwest. Before long, their fusion of acoustic and electric styles had grown so wide that Banshee Tree could play virtually anywhere: dubstep festivals in California, EDM bills in Colorado, and bluegrass shows with genre-benders like Leftover Salmon and The Infamous Stringdusters. *** APRIL 17th saw the release of their second studio album BAD LUCK - be sure to check it out.  You can hear some of the new music within this podcast. Rob and Thom talk about the history of the band, songwriting at the Home Depot, AI and how it is effecting the music industry, Marc Ribot, Gloria Gaynor, GONG, Stellar Jay,  the fundraiser for a van and a possible name for the new van... and alot more! Thom picks his mystery question and it's a good one! ********** Check out Banshee Tree at their website : banshee-tree.com There you can find video of their live performances, their bio and you can donate so they can get a new touring van... have your name written somewhere in the van! You can also find the band on Facebook and Instagram **** COPYRIGHT CLAIM: the songs : BRIGHT BLUE LIGHT, LOOK HIGH OVER THE MOUNTAIN, BAD LUCK & STELLAR JAY THEME used with permission from Jim Flammia at All Eyes Media ***** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube  and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info.   TURN OFF THE TV and ... TURN UP THE MUSIC!

A dash of mystery, a sparkle of magic, and all things cozy! Elle interviews fellow cozy authors in this bookish podcast from Authors on the Air. Today on the podcast, meet Lois Winston, author of Embroidered Lies and Alibis–and many more books! Elle and Lois talk about the joys of crafting, where inspiration comes from in the real world, and of course, everything an author could wish to know about New Jersey. Enjoy! Lois's Bio: Lois Winston is author of the Anastasia Pollack Crafting Mysteries, which Kirkus Reviews dubbed “North Jersey's more mature answer to Stephanie Plum.” The series now includes fifteen novels and three novellas. Lois also writes the Empty Nest Mysteries and has written several standalone mystery novellas. Other publishing credits include romance, chick lit, and romantic suspense novels, a series of romance short stories, a children's chapter book, and a nonfiction book on writing, inspired by her twelve years working as an associate at a literary agency. Find Lois and Her Books Online: https://www.loiswinston.com/ ~~~ Elle Hartford's Bio: Elle Hartford writes cozy mystery with a fairy tale twist. The award-winning first book in her Alchemical Tales series, Beauty and the Alchemist, finds amateur sleuth Red mixed up with murderous beasts and moody beauties, and a set of missing books besides! Elle has also written two spin-off series, the cozy fantasy-goes-to-the-beach Marine Magic series as well as Pomegranate Cafe Romance. For other writers and authors looking into “wide” indie publishing, Elle offers coaching as well as the Beyond Writing blog (ellehartford.substack.com) with how-tos and resources. Find Elle Online: https://ellehartford.com

A dash of mystery, a sparkle of magic, and all things cozy! Elle interviews fellow cozy authors in this bookish podcast from Authors on the Air. Today on the podcast, meet Lois Winston, author of Embroidered Lies and Alibis–and many more books! Elle and Lois talk about the joys of crafting, where inspiration comes from in the real world, and of course, everything an author could wish to know about New Jersey. Enjoy! Lois's Bio: Lois Winston is author of the Anastasia Pollack Crafting Mysteries, which Kirkus Reviews dubbed “North Jersey's more mature answer to Stephanie Plum.” The series now includes fifteen novels and three novellas. Lois also writes the Empty Nest Mysteries and has written several standalone mystery novellas. Other publishing credits include romance, chick lit, and romantic suspense novels, a series of romance short stories, a children's chapter book, and a nonfiction book on writing, inspired by her twelve years working as an associate at a literary agency. Find Lois and Her Books Online: https://www.loiswinston.com/ ~~~ Elle Hartford's Bio: Elle Hartford writes cozy mystery with a fairy tale twist. The award-winning first book in her Alchemical Tales series, Beauty and the Alchemist, finds amateur sleuth Red mixed up with murderous beasts and moody beauties, and a set of missing books besides! Elle has also written two spin-off series, the cozy fantasy-goes-to-the-beach Marine Magic series as well as Pomegranate Cafe Romance. For other writers and authors looking into “wide” indie publishing, Elle offers coaching as well as the Beyond Writing blog (ellehartford.substack.com) with how-tos and resources. Find Elle Online: https://ellehartford.com

KEITH HOPWOOD (HERMAN'S HERMITS) INTERVIEW Rob interviews original guitarist for Herman's Hermits Keith Hopwood Keith was in the band from 1963 - 1972 and was a pivotal member during the band's height with the #1 US hits "Mrs. Brown You Have  Lovely Daughter" and "I'm Henry the Eighth, I am".  Other greats songs were "I'm into Something Good", "There's a Kind of Hush" and "Can't You Hear my Heartbeat." Rob talks to Keith about his upcoming show at Chiller Theatre (April 24-26) in Parsippany New Jersey!  This will be Keith's first ever autograph show.  He will be joined by Peter Noone on Saturday April 25th from 1:30 - 2:30 pm where they will be signing their new single "Remember When".  This new single is the first song they've recorded together in 50 years! Rob and Keith also talk about The Beatles, The Ed Sullivan Show, The Jackie Gleason Show, how Herman's Hermits got their name, "Tales of a Hermit" (Keith's book) and more! You can find out more about Keith at his website: www.keithhopwood.com And you can still get your tickets for Chiller Theatre to meet Keith in person ... from their website (www.chillertheatre.com) or at the door the day of the show (s). **** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube  and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info. TURN OFF THE TV and TURN UP THE MUSIC!!!

Get this whole, show FREE on Patreon! Click HERE for a 7-day free trialBen Glaze and EZ lean into fair-use laws to present a WEEKLY review of one of America's top radio shows. Heard all across the US on about 30 radio stations, The Free Beer and Hot Wings Show has grown steadily since it's inception in the late 1990's.In this FULL show on Patreon!Topics:*The gang busted out a cool new called, "Disney or Embroidered Pillow." The idea is that Free Beer says a few words, and the crew has to pick whether the saying is from a Disney film or words embroidered on a pillow. If you get it right, you get a point. Fun!*Steve had breaking news that his young son is now sleeping in a "big boy bed." Yay!*Free Beer interrupts Steve's story with jokes.*Free Beer's "whiny voice" makes an appearance*Free Beer says some sentences minus important words, and creates new ones.*The crew has some fun with "The Body Part Game." Free Beer says a name of a body part that nobody's heard of, and the gang has to guess where in the body the part is. If you get it right, you get "a body part point." Yowza!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

SEINFELD from the Archives - Original air date: July 18, 2020 Back in 2020 when we were "Jim and MIke Talk" we did a podcast on Seinfeld.  It was before we decided to dedicate the podcast to talking about music. We used to have a segment before and after the main theme. What you'll hear today is just the Main Theme which was Seinfeld. We go thru the history of the show and we go thru our top 5 favorite episodes. Just so you know: Jim (is Rob) and Mike (is Matt) Some years later we changed the name to Jim and Mike talk music and then to what you know us now as "KNOW GOOD MUSIC" Enjoy this blast from the past of us talking about one of the greatest sitcoms of all time **** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube and almost anywhere you listen to podcasts. Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic Visit our YouTube Channel where you can see video segments from all of our interviews. Just search "know good music" Please follow / subscribe & review Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content Email Rob at: knowgoodmusicpodcast@gmail.com Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available. Email Rob for all the info.

Here's your local news for Monday, March 23, 2026:We find out why – and how – the city's independent police monitor used AI in their latest annual report,Meet a county board candidate who says infrastructure maintenance and emergency services should be first in line for funding,Continue our coverage of the "Embroidered with Pain" exhibit,Share the local government's calendar for the week ahead,Teach you how to mix up a "Black and Tan,"And much more.

BEE GEES Jive Talkin Podcast - Ms Fab and Rob talk Bee Gees   The History of the Bee Gees  How they got their name (it's not what you think) The formation of the band What made Robin leave the band? The Albums leading up to Saturday Night Fever We delve into the entire SATURDAY NIGHT FEVER soundtrack Who passed up being on the Saturday Night Fever soundtrack Was Ms Fab allowed to go see the movie.. at age 12 ?    What happened with the Bee Gees after the success of Saturday Night Fever, the other brother Andy, the passing of Maurice and Robin and what remains of the legacy.   Also: Rob & Ms Fab's top 5 favorite Bee Gees songs    As Ms Fab & Rob grew are the same age they reminisce about the 70s, the bee gees and their love for music and when it began.. amongst other things like "the tiny violin" .. "the songs that bring tears to their eyes" .. and who would they like to see play the bee gees if they made a feature length bio-pic!   Find out all about the Bee Gees on this Epic podcast ... it's one for the ages ******** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora, YouTube  and almost anywhere you listen to podcasts.   Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic   Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music"   Please follow / subscribe & review   Follow our Instagram & Facebook pages for info on upcoming podcasts and sometimes extra content   Email Rob at: knowgoodmusicpodcast@gmail.com    Know Good Music T-Shirts, Drink Coasters and Embroidered dad hats and winter hats now available.  Email Rob for all the info.   ** Be sure to visit the ROCK BOX MUSIC SCHOOL & STAGE at : https://elizabethfarrellmusic.com/therockbox/ Tell them MS FAB sent you   TURN OFF THE TV - TURN UP THE BEE GEES!

Here's your local news for Thursday, March 19, 2026:We explain what changes under Wisconsin's new breast cancer screening law,Meet an incumbent county supervisor who says local municipalities should have the final say on local issues,Hear the mission behind the "Embroidered with Pain" exhibit,Preview some upcoming events in the experimental music scene,Sit down with a bona fide world-builder,And much more.

Textiles, embroidered with religious imagery, express lay piety in public and private shrinesThis beautifully illustrated volume highlights Jain devotional textiles (choḍs) from the Ronald and Maxine Linde Collection at UCLA's Fowler Museum. Fashioned in the Indian states of Gujarat, Rajasthan, and Maharashtra, these works of velvet and sateen cloth, lavishly embroidered with gold and silver gilt thread, depict Jain mythology, influential spiritual teachers, sacred sites, and ritual traditions. Visualizing Devotion: Jain Embroidered Shrine Hangings (U Washington Press, 2025) delves into the innovative material approaches taken by the creators of choḍs, the captivating religious stories they convey, and the social lives of these objects in Jain communities. They offer a mode of devotional patronage to lay people, who frequently commission them as gifts for places of worship in recognition of deceased relatives or upon completion of important rituals, such as monastic initiation or a lengthy fast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Textiles, embroidered with religious imagery, express lay piety in public and private shrinesThis beautifully illustrated volume highlights Jain devotional textiles (choḍs) from the Ronald and Maxine Linde Collection at UCLA's Fowler Museum. Fashioned in the Indian states of Gujarat, Rajasthan, and Maharashtra, these works of velvet and sateen cloth, lavishly embroidered with gold and silver gilt thread, depict Jain mythology, influential spiritual teachers, sacred sites, and ritual traditions. Visualizing Devotion: Jain Embroidered Shrine Hangings (U Washington Press, 2025) delves into the innovative material approaches taken by the creators of choḍs, the captivating religious stories they convey, and the social lives of these objects in Jain communities. They offer a mode of devotional patronage to lay people, who frequently commission them as gifts for places of worship in recognition of deceased relatives or upon completion of important rituals, such as monastic initiation or a lengthy fast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Textiles, embroidered with religious imagery, express lay piety in public and private shrinesThis beautifully illustrated volume highlights Jain devotional textiles (choḍs) from the Ronald and Maxine Linde Collection at UCLA's Fowler Museum. Fashioned in the Indian states of Gujarat, Rajasthan, and Maharashtra, these works of velvet and sateen cloth, lavishly embroidered with gold and silver gilt thread, depict Jain mythology, influential spiritual teachers, sacred sites, and ritual traditions. Visualizing Devotion: Jain Embroidered Shrine Hangings (U Washington Press, 2025) delves into the innovative material approaches taken by the creators of choḍs, the captivating religious stories they convey, and the social lives of these objects in Jain communities. They offer a mode of devotional patronage to lay people, who frequently commission them as gifts for places of worship in recognition of deceased relatives or upon completion of important rituals, such as monastic initiation or a lengthy fast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

Textiles, embroidered with religious imagery, express lay piety in public and private shrinesThis beautifully illustrated volume highlights Jain devotional textiles (choḍs) from the Ronald and Maxine Linde Collection at UCLA's Fowler Museum. Fashioned in the Indian states of Gujarat, Rajasthan, and Maharashtra, these works of velvet and sateen cloth, lavishly embroidered with gold and silver gilt thread, depict Jain mythology, influential spiritual teachers, sacred sites, and ritual traditions. Visualizing Devotion: Jain Embroidered Shrine Hangings (U Washington Press, 2025) delves into the innovative material approaches taken by the creators of choḍs, the captivating religious stories they convey, and the social lives of these objects in Jain communities. They offer a mode of devotional patronage to lay people, who frequently commission them as gifts for places of worship in recognition of deceased relatives or upon completion of important rituals, such as monastic initiation or a lengthy fast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Wait, what? That's not real moss?! Occasionally, you come across something that blows your tiny mind. That's what happened when, flicking through a World of Interiors magazine in my local library, I discovered the blisteringly brilliant work of my guest this week. It lodged itself in my psyche and I determined to track her down. I did! And here is the resulting conversation. I hope you enjoy it as much as I did! In this Episode, I go and visit extraordinary textile artist Amanda Cobbett in her Guildford, UK studio to see exactly how she machine embroiders her magic realist sculptures inspired by the moss and lichen fragments she collects from the forest floor. If you find the Episode valuable, please help us share it.Find links and further reading at thewardrobecrisis.comSupport the show on Substack - wardrobecrisis.substack.comTell us what you think. Find Clare on Instagram @mrspress Hosted on Acast. See acast.com/privacy for more information.

Romans 8:28 This is one of those verses that gets quoted a great deal, and shows up on kitschy signs and pretty embroidered pillows. But to make it stand alone like that runs the danger of implying that “Everything happens for a reason.” We will deal with the tension between Calvinism and Arminianism that meets in this verse on our pretty pillows.

Paradiso's work is slow on purpose. Quilts built from construction-site materials. Embroidered bodies that make looking feel different. Pansies stitched on leather—soft, tough, tender, defiant. It's queer history told with thread, and it doesn't ask for permission.The feature is live on Substack. The podcast is live now.Read + listen—then send it to the friend who needs a reminder that endurance is also an aesthetic.@john_paradiso_artist#TBQA #TheBureauOfQueerArt #JohnParadiso #QueerArt #LGBTQArt #FiberArt #TextileArt #Embroidery #QuiltArt #QueerArtists #ArtistFeature #ArtInterview #Podcast #ArtPodcast #Substack #QueerArchive #ContemporaryArt #SupportQueerArt #SupportLivingArtists #MexicoCityArt

In this episode, we explore the growing trend of hand embroidery on natural materials and how it's transforming the world of home décor. From lamp shades to window coverings, this design movement brings intricate, artistic detail to everyday furnishings, offering a handmade touch that's as beautiful as it is unique.  We discuss how the resurgence of embroidery in high-end fashion—seen in collections by top designers—has inspired interior designers to embrace this timeless art form. Using sustainable materials like bamboo and seagrass as a foundation, hand-embroidered shades combine earthy textures with versatile, artisan-crafted patterns.  Beyond their aesthetic appeal, these shades also promote a sense of calmness and creativity, making them a perfect addition to mindful, contemporary living spaces. Join us as we uncover how this elegant fusion of traditional craftsmanship and modern design is reshaping interiors and bringing a fresh, sustainable approach to home styling.Read our blog about this  https://mondoro.com/the-rise-of-embroidery-on-natural-shades-a-new-trend-in-home-decor/Support the showThe best way not to miss an episode is to subscribe or follow us on your favorite podcast apps. If you are enjoying the show, please help by rating or reviewing us. This really does help others find the show. A 5-star rating goes a long way! Know someone who would love the show? The biggest compliment you can give is to share it with a friend! The Global Trade Gal Podcast is a production of Mondoro.com. Mondoro specializes in creating, developing, and manufacturing home decor and furniture products for export. If you're interested in learning more, please reach out to Anita directly at sales@mondoro.com. We would love to hear from you! You can also discover more about us through the links below. Check our out website @ Mondoro.com Follow Us on: YouTube: @MondoroCompany LinkedIn @Mondoro Instagram @Mondoro_Company Facebook @MondoroCompanyLtd Pinterest @MondoroCo

a bit of an embroidered dress covers its wooden sheath - #4375 (96R45 161) by chair house 251206.mp3a bit of an embroidered dress covers its wooden sheath◆ 嬉しいことに１日で１万回再生に行ってくれました。なんと５日間で５万回再生となりました。感謝です。ずっと創ってきた特撮短編映画が完成したので公開しました。２０分弱の特撮映..

a bit of an embroidered dress covers its wooden sheath - #4375 (96R45 161) by chair house 251206 (again, William Butler Yeats from May 22, 2025) *** NEW CATCHPHRASE FOR PIANO TEN THOUSAND LEAVES *** " Gentleness, carried on 4,536 leaves of sound " =========================== The Complete Works of Piano Ten Thousand Leaves Vol.1-5 =========================== VOLUME1-5 just released! Gentleness, carried on 4,536 leaves of sound. --- youtube full video: https://youtu.be/keXS3AEO1a4 --- spotify: https://open.spotify.com/intl-ja/album/4bNp2s3LQmQRKW20I9nqg6?si=J3ecOB_ySXKqrtjWViXNgA --- Apple Music: https://music.apple.com/jp/album/the-complete-works-of-piano-ten-thousand-leaves-vol-1-5/1851196335 --- amazon Music: https://amazon.co.jp/music/player/albums/B0G14M9TRF?marketplaceId=A1VC38T7YXB528&musicTerritory=JP&ref=dm_sh_AW167RpyD3hxpUR2jIAjg0SRa --- Line Music: https://music.line.me/webapp/album/mb0000000004ca05e8 --- AWA: https://s.awa.fm/album/79acc2b85cbe01e0a992 --- all music streaming services: https://linkco.re/GqnQvNyP?lang=en ######## Latest Album: 31st SELECTION ALBUM JUST RELEASED ######## "forest moon dream" - the 31st selection album of piano ten thousand leaves youtube: FULL VIDEO with 20 full songs in very high quality sounds https://youtu.be/hRY7rtkp-hw?si=dpSjSeY7rHAyOvtC spotify: https://open.spotify.com/intl-ja/album/0GL5j2gohVbt5rgcbZqslM?si=Al-XczUJTJmNYgpcGbff7w apple Music: https://music.apple.com/jp/album/forest-moon-dream/1843588627 amazon music: https://amazon.co.jp/music/player/albums/B0FTMBPY75?marketplaceId=A1VC38T7YXB528&musicTerritory=JP&ref=dm_sh_dz30EicNlOoEQrCadNDGVEtSW all music streaming services: https://linkco.re/GzFhAvTg?lang=en *** "PIANO TEN THOUSAND LEAVE" COMPLETE WORK ALBUM SERIES START *** Now begins a new challenge: to compile all 4,536 pieces into 91 albums and deliver them to the future. Just as "Ten Thousand Leaves ( Manyoushu ) " carried the hearts of lovers across a thousand years, we hope these piano pieces will reach people a thousand years from now. =================== VOLUME1-5 =================== See the description above. =================== VOLUME1-4 =================== *** youtube full video: https://youtu.be/a77YDMMgv7o *** spotify: https://open.spotify.com/intl-ja/album/3mISdsZNVdEAD2BMxCE0ku?si=2l36hot_TsyV_kCVnKwLBg *** Apple Music: https://music.apple.com/jp/album/the-complete-works-of-piano-ten-thousand-leaves-vol-1-4/1840586819 *** amazon Music: https://amazon.com/music/player/albums/B0FRMNGD1K?marketplaceId=ATVPDKIKX0DER&musicTerritory=US&ref=dm_sh_mFt4isWbmtWKlgKqqHDbRNiff *** all music streaming services: https://linkco.re/m0nqEtsg?lang=en =================== VOLUME1-3 =================== *** youtube full video https://youtu.be/ue7KsUBdLME?si=5UbdJelOAPjqboiJ *** spotify: https://open.spotify.com/intl-ja/album/6BAV5XloL6HDGboFeiE3VF?si=e4E-3zI0RqCt8aQNrnMHrQ *** Apple Music: https://music.apple.com/jp/album/the-complete-works-of-piano-ten-thousand-leaves-vol-1-3/1834912123 *** all music streaming services: https://linkco.re/8RNRdEa3?lang=en =================== VOLUME1-2 =================== *** youtube: full video of 50 pieces 2 hours https://youtu.be/fBmIMLpM10g?si=MQmAdF95M7GCm4Ve *** spotify: https://open.spotify.com/intl-ja/album/1KDM283kVS8x7fO9q79w2v?si=iIJ4sZidSqWW8ah59Y_a1g *** Apple Music: https://music.apple.com/jp/album/the-complete-works-of-piano-ten-thousand-leaves-vol-1-2/1832629621 *** all music streaming services: https://linkco.re/VeA0UreQ?lang=en =================== VOLUME1-1 =================== *** youtube: full video of 50 pieces 2 hours https://youtu.be/YERNF74cvKw?si=6FiU67TOdybggkQk *** spotify: https://open.spotify.com/intl-ja/album/12vCnNiO4EfBz6eVPGhvOr?si=P3cL7RZSTV-87jeswyI8BA *** Apple Music: https://music.apple.com/jp/album/the-complete-works-of-piano-ten-thousand-leaves-vol-1-1/1831717286 *** all music streaming services: https://linkco.re/Y9VNVN23

Welcome to Dior Talks, the podcast series celebrating the 10th edition of Dior Lady Art, hosted by Paris-based journalist Katya Foreman. For this landmark edition, 10 international artists were invited to reinterpret the Lady Dior handbag, each transforming it into a singular artwork. In this episode, we reconnect with French visual artist Eva Jospin, a longtime Dior collaborator known for her monumental installations and sculptural landscapes that blur the lines between architecture, scenography, and sculpture. A graduate of the Beaux-Arts de Paris, Jospin creates immersive environments inspired by baroque gardens, architectural follies, and the dialogue between nature and built form. Her work invites viewers into spaces of reverie, where delicacy and grandeur coexist. For her Dior Lady Art creation, Jospin imagined the handbag as a “portable balcony,” adorned with a golden balustrade echoing the architecture of Dior's historic birthplace at 30 Avenue Montaigne. Embroidered by the artisans of the Chanakya School of Craft in India, the piece is enlivened with lush floral motifs evoking the first blooms of spring. One side features the intricate balcony rendered in 3D, while the reverse offers refined flat embroideries, highlighting contrasts of fragility and resilience. Like her large-scale works, this miniature landscape plays with scale and perspective, transforming an accessory into a poetic object of escape and reflection. This collaboration continues Jospin's creative dialogue with the House of Dior, which began with her scenography for the Autumn-Winter 2021-2022 Haute Couture show. Her Lady Dior becomes not only an accessory, but a dreamlike interlude carried into daily life. Download the episode to step inside Eva Jospin's enchanting world and discover her unique vision for Dior Lady Art #10. Hosted on Ausha. See ausha.co/privacy-policy for more information.

Embroidery continues to be in massive demand in the marketplace and Lori has found a way to leverage the trend into a passive Etsy income. Tune in to hear how she pivoted her experience with embroidered items into a fast growing digital product shop. **"How to Sell Your Stuff on Etsy" is not affiliated with or endorsed by Etsy.com    STUFF I MENTIONED:  ❄️ BLACK FRIDAY SALES: https://www.howtosellyourstuff.com/black-friday-sales     ➡️ Join the Template Drop Membership for weekly templates (commercial use): https://www.howtosellyourstuff.com/offers/b2jFEqce/checkout   ➡️Check out ProfitTree's new product research tool ETSY RADAR: https://lifetime.profittree.io/?via=lizzie87 Get the best profit tracking tool to help you know your numbers AND a product research tool for a one time fee of $67. (completely insane) ✅FREE Etsy Ads Masterclass: https://www.howtosellyourstuff.com/request-etsy-ads-masterclass    ⭐ FIND LORI: Embroidery file website: Www.426Digital.com Embroidered and engraved items: Www.426creative.com Instagram: @426creative TikTok: @426Digital   FAN FAVORITE RESOURCES:

This episode we start to get more into the material culture of the period with court fashion, as we look at the court robes that went along with the updated court ranks.  Granted, we only have a few resources, but from those it does seem like we can construct at least a plausible idea of what the court may have looked like at this time. For more discussion, check out the blogpost:  https://sengokudaimyo.com/podcast/episode-137   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 137:  Courtly Fashion. In the New Year's ceremony, the court officials lined up in front of the Kiyomihara Palace, arranged by their relative court rank, dressed in their assigned court robes.  The effect was impressive—the rows of officials painting the courtyard like the bands of color in a rainbow, albeit one with only a couple of hues.  The fact that they were all wearing the same style of dress and black, stiffened gauze hats only added to the effect.  The individual officers were all but lost in what was, at least in outward form, a single, homogenous machine of government, just waiting for the command of their monarch to attend to the important matters of state. We are covering the reign of Ohoama no Ohokimi, aka Ama no Nunahara oki no mabito no Sumera no Mikoto, aka Temmu Tennou.  Last episode we went over the changes he had made to the family titles—the kabane—as well as to the courtly rank system.  For the former, he had consolidated the myriad kabane and traditional titles across Yamato into a series of eight—the Yakusa no Kabane.   These were, from highest to lowest: Mabito, Asomi, Sukune, Imiki, Michinoshi, Omi, Muraji, and Inaki.  By the way, you might notice that "Mabito" actually occurs in Ohoama's posthumous name:  Ama no Nunahara oki no mabito, which lends more credence to the idea that that kabane was for those with a special connection to the royal lineage. Besides simplifying and restructuring the kabane, Ohoama also reformed the court rank system.  He divided the Princely ranks into two categories:  Myou, or Bright, and Jou, or Pure.  For the court nobles the categories were:                Shou – Upright                Jiki – Straight                Gon – Diligent                Mu – Earnest                Tsui – Pursue                Shin – Advancement Each category was further divided into four grades (except for the very first princely category, Myou, which was only two).  Each grade was then further divided into large, "dai", or broad, "kou". And this brings us to our topic today. Along with this new rank system, Ohoama's administration also instituted a new set of court sumptuary laws. Some are vague in the record—we can just make assumptions for what is going on based on what we know from later fashion choices.  Others are a little more clear.  We'll take a look at those sumptuary laws, particularly those that were directly associated with the new court rank system, but we'll also look at the clothing styles more generally. To start with, let's talk about what we know about clothing in the archipelago in general.  Unfortunately, fabric doesn't tend to survive very well in the generally acidic soils of the Japanese archipelago.  Cloth tends to break down pretty quickly.  That said, we have fragments here and there and impressions in pottery, so we have some idea that there was some kind of woven fabric from which to make clothing out of. And before I go too far I want to give a shout out to the amazing people at the Kyoto Costume Museum.  They have a tremendous website and I will link to it in the comments.  While there may be some debate over particular interpretations of historical clothing, it is an excellent resource to get a feel for what we know of the fashion of the various periods.  I'll also plug our own website, SengokuDaimyo.com, which has a "Clothing and Accessory" section that, while more geared towards Heian and later periods, may still be of some use in looking up particular terms and getting to know the clothing and outfits. At the farthest reaches of pre-history, we really don't have a lot of information for clothing.  There is evidence of woven goods in the Jomon period, and we have Yayoi burials with bits of cloth here and there, but these are all scraps.  So at best we have some conjecture as to what people were wearing, and possibly some ability to look across the Korean peninsula and see what people had, there. There are scant to no reliable records from early on in Japanese history, and most of those don't really do a great job of describing the clothing.  Even where we do get something, like the Weizhi, one has to wonder given how they tended to crib notes from other entries. There is at least one picture scroll of interest: Portraits of Periodical Offering of Liang, or Liáng -Zhígòngtú.  It is said to have been painted by Xiao Yi in the early 6th century, and while the original no longer exists there is an 11th century copy from the time of the Song Dynasty.  The scroll shows  various ambassadors to the Liang court, including one from Wa.  The Wa ambassador is shown with what appears to be a wide piece of cloth around his hips and legs, tied in front.  His lower legs are covered in what we might call kyahan today: a rather simple wrap around leg from below the knee to the foot.  He has another, blue piece of cloth around his shoulders, almost like a shawl, and it is also tied in front.  Then there is a cloth wrapped and tied around his head. It's hard to know how much of this depiction is accurate and how much the artist was drawing on memory and descriptions from things like the Weizhi or Wei Chronicles, which stated that the Wa people wore wide cloths wrapped around and seamlessly tied As such, it may be more helpful to look at depictions actually from the archipelago: specifically, some of the human-figured haniwa, those clay cylinders and statues that adorned the burial mounds which gave the kofun period its name.  Some of these haniwa are fairly detailed, and we can see ties, collars, and similar features of clothing. These haniwa primarily seem to cluster towards the end of the Kofun period, in the later 6th century, so it is hard to say how much they can be used for earlier periods, though that is exactly what you will typically see for periods where we have little to know evidence.  I'm also not sure how regional certain fashions might have been, and we could very much be suffering from survivorship bias—that is we only know what survived and assume that was everything, or even the majority. Still, it is something. Much of what we see in these figures is some kind of upper garment that has relatively tight sleeves, like a modern shirt or jacket might have, with the front pieces overlapping create a V-shaped neckline.  The garment hem often hangs down to just above the knee, flaring out away from the body, and it's held closed with ties and some kind of belt, possibly leather in some cases, and in others it looks like a tied loop of cloth.  There is evidence of a kind of trouser, with two legs, and we see ties around the knee.  In some cases, they even have small bells hanging from the ties.  Presumably the trousers might have ties up towards the waist, but we cannot see that in the examples we have. We also see individuals who have no evidence of any kind of bifurcated lower garment.  That may indicate an underskirt of some kind, or possibly what's called a "mo"—but it could also be just a simplification for stability, since a haniwa has a cylindrical base anyway.  It is not always obvious when you are looking at a haniwa figure whether it depicts a man or woman: in some cases there are two dots on the chest that seem to make it obvious, but the haniwa do come from different artisans in different regions, so there is a lot of variability. We also see evidence of what seem to be decorative sashes that are worn across the body, though not in all cases.  There are various types of headgear and hairstyles.  Wide-brimmed and domed hats are not uncommon, and we also see combs and elaborate hairstyles depicted.  On some occasions we can even see that they had closed toed shoes.  For accessories, we see haniwa wearing jewelry, including necklaces (worn by both men and women), bracelets, and earrings.  In terms of actual human jewelry, early shell bracelets demonstrate trade routes, and the distinctive magatama, or comma shaped jewel, can be found in the archipelago and on the Korean peninsula, where it is known as "gogok".  Based on lines or even colored pigment on the haniwa, it appears that many of these outfits were actually quite heavily decorated.  Paint on the outfits is sometimes also placed on the face, suggesting that they either painted or tattooed themselves, something mentioned in the Wei Chronicles.  We also have archaeological examples of dyed cloth, so it is interesting that people are often depicted in undyed clothing.  There is one haniwa that I find particularly interesting, because they appear to be wearing more of a round-necked garment, and they have a hat that is reminiscent of the phrygian cap: a conical cap with the top bent forward.  These are traits common to some of the Sogdians and other Persian merchants along the silk road, raising the possibility that it is meant to depict a foreigner, though it is also possible that it was just another local style. If we compare this to the continent, we can see some immediate difference.  In the contemporaneous Sui dynasty, we can see long flowing robes, with large sleeves for men and women.  The shoes often had an upturned placket that appears to have been useful to prevent one from tripping on long, flowing garments.  Many of these outfits were also of the v-neck variety, with two overlapping pieces, though it is often shown held together with a fabric belt that is tied in front.  The hats appear to either be a kind of loose piece of fabric, often described as a turban, wrapped around the head, the ends where it ties together trailing behind, or black lacquered crowns—though there were also some fairly elaborate pieces for the sovereign. As Yamato started to import continental philosophy, governance, and religion, they would also start to pick up on continental fashion.  This seems particularly true as they adopted the continental concept of "cap rank" or "kan-i". Let's go over what we know about this system, from its first mention in the Chronicles up to where we are in Ohoama's reign. As a caveat, there is a lot we don't know about the details of these garments, but we can make some guesses. The first twelve cap-ranks, theoretically established in 603, are somewhat questionable in their historicity, as are so many things related to Shotoku Taishi.  And their names are clearly based on Confucian values:  Virtue, Humanity, Propriety, Faith, Justice, and Wisdom, or Toku, Nin, Rei, Shin, Gi, and Chi.  The five values and then just "Virtue", itself. The existence of this system does seem to be confirmed by the Sui Shu, the Book of Sui, which includes a note in the section on the country of Wa that they used a 12 rank system based on the Confucian values, but those values were given in the traditional Confucian order vice the order given in the Nihon Shoki.   The rank system of the contemporaneous Sui and Tang dynasties was different from these 12 ranks, suggesting that the Yamato system either came from older dynasties—perhaps from works on the Han dynasty or the Northern and Southern Dynasty, periods—or they got it from their neighbors, Baekje, Silla, and Goguryeo.  There does seem to be a common thread, though, that court rank was identifiable in one's clothes. As for the caps themselves, what did they look like?  One would assume that the Yamato court just adopted a continental style cap, and yet, which one? It isn't fully described, and there are a number of types of headwear that we see in the various continental courts. Given that, we aren't entirely sure exactly what it looked like, but we do have a couple of sources that we can look at and use to make some assumptions.  These sources l ead us to the idea of a round, colored cap made of fabric, around the brim that was probably the fabric or image prescribed for that rank.  It is also often depicted with a bulbous top, likely for the wearer's hair, and may have been tied to their top knot.     Our main source for this is the Tenjukoku Mandala Embroidery (Tenjukoku-mandara-shuuchou) at Chuuguuji temple, which was a temple built for the mother of Prince Umayado, aka Shotoku Taishi.    This embroidery was created in 622, so 19 years after the 12 ranks would have been implemented. It depicts individuals in round-necked jackets that appear to have a part straight down the center.  Beneath the jacket one can see a pleated hem, possibly something like a "hirami", a wrapped skirt that is still found in some ceremonial imperial robes.  It strikes me that this could also be the hem of something like the hanpi, which was kind of like a vest with a pleated lower edge.  Below that we see trousers—hakama—with a red colored hem—at least on one figure that we can see.  He also appears to be wearing a kind of slipper-like shoe. As for the women, there are a few that appear to be in the mandala, but it is hard to say for certain as the embroidery has been damaged over the years. That said, from what we can tell, women probably would have worn something similar to the men in terms of the jacket and the pleated under-skirt, but then, instead of hakama, we see a pleated full-length skirt, or mo.  We also don't have a lot of evidence for them wearing hats or anything like that. The round necked jacket is interesting as it appears to be similar to the hou that was common from northern China across the Silk Road, especially amongst foreigners.  This garment  came to displace the traditional robes of the Tang court and would become the basis for much of the court clothing from that period, onwards.  The round necked garment had central panels that overlapped, and small ties or fastenings at either side of the neck to allow for an entirely enclosed neckline.  This was more intricate than just two, straight collars, and so may have taken time to adopt, fully. The next change to the cap-rank system was made in 647, two years into the Taika Reform.  The ranks then were more directly named for the caps, or crowns—kanmuri—and their materials and colors.  The ranks translate to Woven, Embroidered, Purple, Brocade, Blue, Black, and finally "Establish Valor" for the entry level rank. The system gets updated two years later, but only slightly.  We still see a reference to Woven stuff, Embroidery, and Purple, but then the next several ranks change to Flower, Mountain, and Tiger—or possibly Kingfisher.  These were a little more removed from the cap color and material, and may have had something to do with designs that were meant to be embroidered on the cap or on the robes in some way, though that is just speculation based on later Ming and Qing court outfits. Naka no Ohoye then updates it again in 664, but again only a little.  He seems to add back in the "brocade" category, swapping out the "flower", and otherwise just adds extra grades within each category to expand to 26 total rank grades. And that brings us to the reforms of 685, mentioned last episode.  This new system was built around what appear to be moral exhortations—Upright, Straight, Diligent, Earnest, etc.  And that is great and all, but how does that match up with the official robes? What color goes with each rank category?  Fortunately, this time around, the Chronicle lays it out for us pretty clearly. First off we are given the color red for the Princely ranks—not purple as one might have thought.  Specifically, it is "Vermillion Flower", hanezu-iro, which Bentley translates as the color of the "Oriental bush" or salmon.  In the blogpost we'll link to a table of colors that the founder of Sengoku Daimyo, Anthony Bryant, had put together, with some explanation of how to apply it.  I would note that there is often no way to know exactly what a given color was like or what shades were considered an acceptable range.  Everything was hand-dyed, and leaving fabric in the dye a little longer, changing the proportions, or just fading over time could create slightly different variants in the hue, but we think we can get pretty close. From there we have the six "common" ranks for the nobility.  Starting with the first rank, Upright, we have "Dark Purple".  Then we have "Light Purple".  This pattern continues with Dark and Light Green and then Dark and Light Grape or Lilac.  Purple in this case is Murasaki, and green here is specifically Midori, which is more specifically green than the larger category of "Aoi", which covers a spectrum of blue to green.  The grape or lilac is specifically "suou", and based on Bentley's colors it would be a kind of purple or violet. The idea is that the official court outfits for each rank would be the proper color.  And yes, that means if you get promoted in rank, your first paycheck—or rice stipend—is probably going to pay for a new set of official clothes.  Fortunately for the existing court nobles at the time, in the last month of 685, the Queen provided court clothing for 55 Princes and Ministers, so they could all look the part. And the look at court was important.  In fact, several of the edicts from this time focus specifically on who was allowed—or expected—to wear what.  For instance, in the 4th month of 681, they established 92 articles of the law code, and among those were various sumptuary laws—that is to say, laws as to what you could wear.  We are told that they applied to everyone from Princes of the blood down to the common person, and it regulated the wearing of precious metals, pearls, and jewels; the type of fabric one could use, whether purple, brocade, embroidery, or fine silks; and it also regulated woollen carpets, caps, belts, and the colors of various things. And here I'd like to pause and give some brief thought to how this played into the goals of the court, generally, which is to say the goal of creating and establishing this new system of governance in the cultural psyche of the people of the archipelago.  From the continental style palaces, to the temples, and right down to the clothing that people were wearing, this was all orchestrated, consciously or otherwise, to emphasize and even normalize the changes that were being introduced.  When everything around you is conforming to the new rules, it makes it quite easy for others to get on board. The court had surrounded themselves with monumental architecture that was designed along continental models and could best be explained through continental reasoning.  Even if they weren't Confucian or Daoist, those lines of reasoning ran through the various cultural and material changes that they were taking up.  Sure, they put their own stamp on it, but at the same time, when everything is right in front of you, it would become that much harder to deny or push back against it. And when you participated in the important rituals of the state, the clothing itself became a part of the pageantry.  It reinforced the notion that this was something new and different, and yet also emphasized that pushing against it would be going against the majority.  So court uniforms were another arm of the state's propaganda machine, all designed to reinforce the idea that the heavenly sovereign—the Tennou—was the right and just center of political life and deserving of their position.  Getting back to the sumptuary laws and rank based regulations: It is unfortunate that the record in the Nihon Shoki doesn't tell us exactly how things were regulated, only that they were, at least in some cases.  So for anything more we can only make assumptions based on later rules and traditions.  A few things we can see right away, though.  First is the restriction of the color purple.  Much as in Europe and elsewhere in the world, getting a dark purple was something that was not as easy as one might think, and so it tended to be an expensive dye and thus it would be restricted to the upper classes—in this case the princely and ministerial rank, no doubt.  Similarly brocade and fine silks were also expensive items that were likely restricted to people of a particular social station for that reason. The mention of woolen rugs is particularly intriguing.  Bentley translates this as woven mattresses, but I think that woolen rugs makes sense, as we do have examples of woolen "rugs" in Japan in at least the 8th century, stored in the famous Shousouin repository at Toudaiji temple, in Nara.  These are all imported from the continent and are actually made of felt, rather than woven.  As an imported item, out of a material that you could not get in the archipelago, due to a notable lack of sheep, they would have no doubt been expensive. The funny thing is that the carpets in the Shousouin may not have been meant as carpets.  For the most part they are of a similar size and rectangular shape, and one could see how they may have been used as sleeping mattresses or floor coverings.  However, there is some conjecture that they came from the Silk Road and may have been originally meant as felt doors for the tents used by the nomadic steppe peoples.  This is only conjecture, as I do not believe any of these rugs have survived in the lands where they would have been made, but given the size and shape and the modern yurt, it is not hard to see how that may have been the case.  Either way, I tend to trust that this could very well have meant woolen rugs, as Aston and the kanji themselves suggest, though I would understand if there was confusion or if it meant something else as wool was not exactly common in the archipelago at that time or in the centuries following. The last section of the regulations talks about the use of caps and belts.  The caps here were probably of continental origin:  The kanmuri, or official cap of state of the court nobles, or the more relaxed eboshi—though at this time, they were no doubt closely related. In fact, a year later, we have the most specific mention to-date of what people were actually wearing on their heads: there is a mention of men tying up their hair and wearing caps of varnished gauze.  Earlier caps related to the cap rank system are often thought to be something like a simple hemisphere  that was placed upon the head, with a bulbous top where the wearer's hair could be pulled up as in a bun. The kanmuri seems to have evolved from the soft black headcloth that was worn on the continent, which would have tied around the head, leaving two ends hanging down behind.  Hairstyles of the time often meant that men had a small bun or similar gathering of hair towards the back of their head, and tying a cloth around the head gave the effect of a small bump.  This is probably what we see in depictions of the early caps of state.  Sometimes this topknot could be covered with a small crown or other decoration, or wrapped with a cloth, often referred to as a "Tokin" in Japanese.  But over time we see the development of hardened forms to be worn under a hat to provide the appropriate silhouette, whether or not you actually had a topknot (possibly helpful for gentlemen suffering from hair loss).  And then the hat becomes less of a piece of cloth and more just a hat of black, lacquered gauze made on a form, which was much easier to wear.  At this point in the Chronicle, the cap was likely still somewhat malleable, and would made to tie or be pinned to that bun or queue of hair.  This explains the mention of men wearing their hair up.  This pin would become important for several different types of headgear, but ties were also used for those who did not have hair to hold the hat on properly. Two years after the edict on hats, we get another edict on clothing, further suggesting that the court were wearing Tang inspired clothing.  In 685 we see that individuals are given leave to wear their outer robe either open or tied closed. This is a clue that this outer robe might something akin to the round-necked hou that we see in the Tenjukoku Mandala, where the neck seems to close with a small tie or button.  However, we do see some examples, later, of v-necked garments with a tie in the center of the neck, so that may be the reference..  Opening the collar of the formal robes was somewhat akin to loosening a necktie, or unbuttoning the top button of a shirt.  It provided a more relaxed and comfortable feeling.  It could also be a boon in the warm days of summer.  Leaving it closed could create a more formal appearance. The courtiers also had the option of whether or not to wear the "Susotsuki", which Bentley translates as "skirt-band".  I believe this refers to the nai'i, or inner garment.  This would often have a pleated hem—a suso or ran—which would show below the main robe as just a slight hem.  Again, this is something that many would dispense with in the summer, or just when dressing a bit more casually, but it was required at court, as well as making sure that the tassles were tied so that they hung down.  This was the uniform of the court.  We are also told that they would have trousers that could be tied up, which sounds like later sashinuki, though it may have referred to something slightly different.  We are also given some regulations specifically for women, such as the fact that women over 40 years of age were allowed the discretion on whether or not to tie up their hair, as well as whether they would ride horses astride or side-saddle.  Presumably, younger women did not get a choice in the matter.  Female shrine attendants and functionaries were likewise given some leeway with their hairstyles. A year later, in 686, they do seem to have relaxed the hairstyles a bit more: women were allowed to let their hair down to their backs as they had before, so it seems that, for at least a couple of years, women under the age of 40 were expected to wear their hair tied up in one fashion or another. In that same edict, men were then allowed to wear "habakimo".  Aston translates this as "leggings" while Bentley suggests it is a "waist skirt".  There are an example of extant habakimo in the Shousouin, once again, and they appear to be wrappings for the lower leg.  It actually seems very closely related to the "kyahan" depicted all the way back in the 6th century painting of the Wo ambassador to Liang. Even though these edicts give a lot more references to clothing, there is still plenty that is missing.  It isn't like the Chroniclers were giving a red carpet style stitch-by-stitch critique of what was being worn at court.  Fortunately, there is a rather remarkable archaeological discovery from about this time. Takamatsuzuka is a kofun, or ancient burial mound, found in Asuka and dated to the late 7th or early 8th century.  Compared to the keyhole shaped tombs of previous centuries, this tomb is quite simple: a two-tiered circular tomb nestled in the quiet hills.  What makes it remarkable is that the inside of the stone burial chamber was elaborately painted.  There are depictions of the four guardian animals, as well as the sun and the moon, as well as common constellations.  More importantly, though, are the intricate pictures of men and women dressed in elaborate clothing. The burial chamber of Takamatsuzuka is rectangular in shape.  There are images on the four vertical sides as well as on the ceiling.  The chamber is oriented north-south, with genbu, the black tortoise, on the north wall and presumably Suzaku, the vermillion bird, on the south wall—though that had been broken at some point and it is hard to make out exactly what is there. The east and west walls are about three times as long as the north and south walls.  In the center of each is a guardian animal—byakko, the white tiger, on the west wall and seiryuu, the blue—or green—dragon on the east.  All of these images are faded, and since opening of the tomb have faded even more, so while photos can help, it may require a bit more investigation and some extrapolation to understand all of what we are looking at. On the northern side of both the east and west wall we see groups of four women.  We can make out green, yellow, and red or vermillion outer robes with thin fabric belt sashes, or obi, tied loosely and low around the waist.  There is another, lightly colored—possibly white, cream or pink—that is so faded it is hard to make out, and I don't know if that is the original color.  These are v-necked robes, with what appear to be ties at the bottom of the "v".  Around the belt-sash we see a strip of white peaking out from between the two sides of the robe—most likely showing the lining on an edge that has turned back slightly.  The cuffs of the robe are folded back, showing a contrasting color—either the sleeves of an underrobe or a lining of some kind.  Below the outer robe is a white, pleated hem—possibly a hirami or similar, though where we can make it out, it seems to be the same or similar color as the sleeves.  Under all of that, they then have a relatively simple mo, or pleated skirt.  The ones in the foreground are vertically striped in alternating white, green, red, and blue stripes.  There is one that may just be red and blue stripes, but I'm not sure.  In the background we see a dark blue—and possibly a dark green—mo.  At the base of each mo is a pleated fringe that appears to be connected to the bottom of the skirt.  The toe of a shoe seems to peek out from underneath in at least one instance.  They don't have any obvious hair ornaments, and their hair appears to be swept back and tied in such a way that it actually comes back up in the back, slightly.  They appear to be holding fans and something that might be a fly swatter—a pole with what looks like tassels on the end. In comparison, at the southern end of the tomb we have two groups of men.  These are much more damaged and harder to make out clearly.  They have robes of green, yellow, grey, blue, and what looks like dark blue, purple, or even black.  The neckline appears to be a v-necked, but tied closed, similar to what we see on the women.  We also see a contrasting color at the cuff, where it looks like the sleeves have turned back, slightly.  They have belt-sashes similar to the women, made of contrasting fabric to the robe itself.  Below that we see white trousers, or hakama, and shallow, black shoes.  On some of the others it is suggested that maybe they have a kind of woven sandal, but that is hard to make out in the current image.  On their heads are hats or headgear of black, stiffened—probably lacquered—gauze.  They have a bump in the back, which is probably the wearer's hair, and there is evidence of small ties on top and larger ties in the back, hanging down.  Some interpretations also show a couple with chin straps, as well, or at least a black cord that goes down to the chin.  They carry a variety of implements, suggesting they are attendants, with an umbrella, a folding chair, a pouch worn around the neck, a pole or cane of some kind, and a bag with some kind of long thing—possibly a sword or similar. The tomb was originally found by farmers in 1962, but wasn't fully examined until 1970, with an excavation starting in 1972.  The stone at the entryway was broken, probably from graverobbers, who are thought to have looted the tomb in the Kamakura period.  Fortunately, along with the bones of the deceased and a few scattered grave goods that the robbers must have missed, the murals also survived, and somehow they remained largely intact through the centuries.  They have not been entirely safe, and many of the images are damaged or faded, but you can still make out a remarkable amount of detail, which is extremely helpful in determining what clothing might have looked like at this time—assuming it is depicting local individuals. And there is the rub, since we don't know exactly whom the tomb was for.  Furthermore, in style it has been compared with Goguryeo tombs from the peninsula, much as nearby Kitora kofun is.  Kitora had images as well, but just of the guardian animals and the constellations, not of human figures. There are three theories as to who might have been buried at Takamatsuzuka.  One theory is that it was one of Ohoama's sons.  Prince Osakabe is one theory, based on the time of his death and his age.  Others have suggested Prince Takechi.  Based on the teeth of the deceased, they were probably in their 40s to 60s when they passed away. Some scholars believe that it may be a later, Nara period vassal—possibly, Isonokami no Maro.  That would certainly place it later than the Asuka period. The third theory is that it is the tomb of a member of one of the royal families from the Korean peninsula—possibly someone who had taken up refuge in the archipelago as Silla came to dominate the entire peninsula.  This last theory matches with the fact that Takamatsuzuka appears to be similar to tombs found in Goguryeo, though that could just have to do with where the tomb builders were coming from, or what they had learned. That does bring up the question of the figures in the tomb.  Were they contemporary figures, indicating people and dress of the court at the time, or were they meant to depict people from the continent?  Without any other examples, we may never know, but even if was indicative of continental styles, those were the very styles that Yamato was importing, so it may not matter, in the long run.     One other garment that isn't mentioned here is the hire, a scarf that is typically associated with women.  It is unclear if it has any relationship to the sashes we see in the Kofun period, though there is at least one mention of a woman with a hire during one of the campaigns on the Korean peninsula.  Later we see it depicted as a fairly gauzy piece of silk, that is worn somewhat like a shawl.  It is ubiquitous in Sui and Tang paintings of women, indicating a wide-ranging fashion trend.  The hire is a fairly simple piece of clothing, and yet it creates a very distinctive look which we certainly see, later. Finally, I want to take a moment to acknowledge that almost everything we have discussed here has to do with the elites of society—the nobles of the court.  For most people, working the land, we can assume that they were probably not immediately adopting the latest continental fashions, and they probably weren't dressing in silk very much.  Instead, it is likely that they continued to wear some version of the same outfits we see in the haniwa figures of the kofun period.  This goes along with the fact that even as the elite are moving into palaces built to stand well above the ground, we still have evidence of common people building and living in pit dwellings, as they had been for centuries.  This would eventually change, but overall they stuck around for quite some time.  However, farmers and common people are often ignored by various sources—they aren't often written about, they often aren't shown in paintings or statues, and they did often not get specialized burials.  Nonetheless, they were the most populous group in the archipelago, supporting all of the rest. And with that, I think we will stop for now.  Still plenty more to cover this reign.  We are definitely into the more historical period, where we have more faith in the dates—though we should remember that this is also one of the reigns that our sources were specifically designed to prop up, so we can't necessarily take everything without at least a hint of salt and speculation, even if the dates themselves are more likely to be accurate. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

✦ But first, one of the special things about the Atlanta art scene is the small and intimate art galleries that focus on a particular artistic style. City Lights Collective member Katina Pappas-DeLuca sat down with Anja and Jumbe Sebunya, the founders and curators of aKAZI ATL, to learn more about their gallery of contemporary African art and their upcoming exhibition titled "Peace, Reconciliation, and the Potential for Transformation." ✦ This Saturday, September 27, the Avondale Estates Town Green will transform into a surf rock haven, featuring a lineup of local and national bands serving up a full day of reverb-drenched, beach-ready tunes. With DJs, vendors, and free admission, it's an all-ages celebration of the classic surf rock sound. City Lights Collective producer Josh Thane caught up with festival organizer Richard Hawes to dive into what makes this year's Southern Surf StompFest a must. ✦ City Lights Collective members Jasmine Hentschel and EC Flamming, the creatives behind Atlanta's visual art print magazine, "GULCH", want you to get out and engage with the city's art scene. They've been joining us weekly since the show launched, spotlighting five standout happenings. Today, they'll cover Atlanta Art Fair's return to Pullman Yards for its second year in operation, an immersive indoor/outdoor art festival at Goat Farm's sprawling 12-acre campus and kick off the fall season at Atlanta Contemporary with a roster of exhibition openings. ✦ Nature's natural patterns often look like stitched-together works of art. Whenever you look at the underside of a leaf or up close at the petals of a flower, symmetrical patterns and lines are on display. In Myrtie Cope's solo exhibition "Nature Embroidered," she photographs nature and landscapes, then hand embroiders them with cotton or silk thread...enhancing nature's patterns with texture. Her work is on display at Blue Heron Nature Preserve's indoor gallery through October 22. WABE arts reporter Summer Evans spoke with Cope about her exhibit. ✦When you start your career in music backing Shelia E and Prince in Tokyo when you're eighteen, and your most recent accomplishment, three decades later, is writing songs for Beyonce's Cowboy Carter, the Grammy award-winning album of the year, you might ask, what else could you possibly want to do? Well, Soul and R&B legend Raphael Saadiq has an answer for you. Mr. Saddiq spoke with City Lights Collective Co-host Jon Goode about his latest project, "The No Bandwidth Tour: One Man, One Night, Three Decades of Hits." It's part music, part storytelling, and all Raphael Saadiq. See omnystudio.com/listener for privacy information.

Summary In this episode of the Crickets to Cha-ching's podcast, Julie Berninger and Hannah Gardner of ProfitTree discuss five emerging trends in the Etsy marketplace. They explore the new features of ProfitTree, a tool designed to help Etsy sellers track profits and optimize their listings.   Takeaways ProfitTree helps sellers track profits and optimize ads. Personalized baby books are a growing niche in the market. Embroidered products can be sourced locally for customization. Cruise shirts are popular for group sales and bulk orders. Personalized dog shirts are trending and can be customized easily. Digital patterns are a low-cost entry point for sellers. AI can assist in creating digital products and patterns. Etsy favors listings that encourage bulk purchases. Understanding minimum order quantities can reduce startup costs. Networking with local artisans can enhance product offerings. Chapters 00:00 Introduction to Etsy Trends 02:46 Exploring the First Trend: Personalized Baby Books 08:00 Second Trend: Embroidered Blankets 11:16 Third Trend: Cruise Shirts 14:48 Fourth Trend: Personalized Dog Shirts 17:00 Fifth Trend: Digital Patterns Resources https://goldcityventures.com/workshop-pdcst - Free workshop to learn the basics of selling digital products online https://goldcityventures.com/pdcst - Gold City Ventures Website Watch this episode on YouTube: https://youtu.be/OzQZIpmi3mQ About ProfitTree 1 Month Free Trial of ProfitTree: https://go.goldcityventures.com/profittree-free-trial  LifeTime ProfitTree Offer: https://go.goldcityventures.com/lifetime-profittree  

In this week’s Throwback Thursday segment, hear how one sarcastic embroidery project turned into a booming side hustle—after a single joke hat went viral and sparked thousands of sales. Side Hustle School features a new episode EVERY DAY, featuring detailed case studies of people who earn extra money without quitting their job. This year, the show includes free guided lessons and listener Q&A several days each week. Show notes: SideHustleSchool.com Email: team@sidehustleschool.com Be on the show: SideHustleSchool.com/questions Connect on Instagram: @193countries Visit Chris's main site: ChrisGuillebeau.com Read A Year of Mental Health: yearofmentalhealth.com If you're enjoying the show, please pass it along! It's free and has been published every single day since January 1, 2017. We're also very grateful for your five-star ratings—it shows that people are listening and looking forward to new episodes.

This is the episode where fabric and thread meet imagination.  Can a needle and thread truly be used to trick the eye? Is it magic or simply sleight of hand? For centuries, artists and embroiderers have been playing games with our minds to suggest that what we see might just represent something else.  The thing is, these illusions are still in use today.In today's episode of Embroidery Illusion: Distorting the Senses, I'll explore the fascinating worlds of trompe l'oeil, shading, dimension, shadow work, transparency and perspective as they are used in the art of embroidery.Show Notes: https://stitchsafari.com/embroidered-illu…rting-the-senses/

In 2025, gloves are emerging as a prominent and versatile medium for artistic expression.  More and more artists are using them as repurposed items, or to explore their symbolism and narrative potential.  Join me as I briefly journey through the history of gloves and their uses, to the modern-day culture of the iconic embroidered glove.Show Notes: https://stitchsafari.com/the-sartorial-embroidered-glove/ 

Embroidered food is an unusual topic offering a surprisingly interesting and complex level of realism that's truly off the charts.But the simple needle and thread are also used here to comment on consumerism, everyday life, and things we take for granted such as our daily bread or the simple pleasure of growing our own vegetables.Each artist uses the art of embroidery in their own way, expressing the utter beauty of something we all see and use daily.

Stitched: Scotland's Embroidered Art is an exhibition at Dovecot Studios in Edinburgh which features a collection of beautiful embroidered artworks. As a result of a two-year research and conservation programme by the National Trust for Scotland, many of these pieces are now in a condition to be on public display for the first time. There is a descriptive gallery tour for blind and partially sighted visitors on Wednesday 18th January, and Amelia spoke to Emma Inglis from the National Trust for Scotland and Elinor Brown from Dovecot Studios to learn more. Learn more about the Exhibition and book tickets for the descriptive tour on the Dovecot Studios website - Descriptive Gallery Tour: Stitched | Visually Impaired Visitors – Dovecot Studios Learn more about the National Trust for Scotland on their website - Nature, Beauty and Heritage for Everyone | National Trust for Scotland Image shows a detailed embroidery of orange, pink and blue flowers with green leaves on a table runner from the Hill of Tarvit, Fife. Image credit to the National Trust for Scotland.

 Stitch Safari listeners, whether faces or figures, embroidery, patchwork or quilting, these artists capture the synergy of humanity through a gesture or a look.  They do it with flair and vivacity giving personality to each and every stitch and thread colour and that's important because these faces and figures need to sing.Show Notes: https://stitchsafari.com/embroidered-faces-and-figures/

How often do embroiderers think of perspective?  Well, in the case of the following embroidery artists, the answer would have to be, often, because they take their work to an aerial perspective depicting embroidered scenes one does not often think about or get to see. Join me in this fascinating episode detailing the magical work of four amazing embroidery artists.Show Notes:  https://stitchsafari.com/embroidered-aerial-views/

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith's passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½  in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver's Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.    

In this episode, I dip into some Yuletide bliss offering suggestions to make ourselves a Merry Little Christmas or a Winter Wonderland of creativity and love.  This pre-Christmas countdown is really about slowing down and thinking about the people in our lives we love and treasure - the people who would be delighted to receive a thoughtful, useful or completely kitch hand-made gift from us.

Stitched, an IBC business at BYU-Idaho is selling embroidered beanies on campus.

A day late and more than a few dollars, but we're back with another episode of Brothers in Arms Podcast! Tonight, one of us is Rollin down the highway. Nah, I just like sitting in the car. Oscar is chonky. Hod bless you as you make your biscuits. Yoshi makes biscuits, on my face. Looking at blue corvettes. Playing softball and skipping work. Running over the CO. Greg's roman name is egregious. Windwalkers running by their own flatulence. Finish the dang books. Greg is still reading books that are almost 20 years old. Falling asleep while listening to books...and driving. Holiday Inn embroidered towels. Groundhog day. Perplexity is my friend. Big words for Patrick. Warfighting. Greg is in patriot games. I have no desire to be a policy wonk. Holy cow that is boring. Limited duty is not what you think. The enlisted man is wily and devious and should not be trusted for any reason. Alex got qualified. They copied off of us. Suck it, Army. The smokey mountains are majestic in their own way. Tactically acquiring things. Spending time with family. Phillip's haircut. Clothes that start a fire. Family rivalries. Mom's baking. Buccees. Dad jokes. Sending love and see ya later. All this and a handful of $5.00 words on this week's episode of Brothers in Arms!   Where you can reach us: YouTube: BrothersinArmsPodcast Instagram: Yourbrothersinarmspodcast Twitter: @YourBIAPodcast Gmail: yourbrothersinarmspodcast@gmail.com Twitch: Twitch.tv/brothersinarmspodcast (schedule varies due to life) Website: https://brothersinarms.podbean.com

We exit Blockbuster July and dive head first in Summer of Love August with the 1997 classic My Best Friend's Wedding! Look, listeners, some of us might be crème brûlée and some of us might be Jell-O, but one thing we can be sure of is all of us are better than Michael. And therein lies the rub. You can follow That Aged Well on Twitter (@ThatAgedWellPod), Instagram (@ThatAgedWell), Threads (@ThatAgedWell), and Spoutible (@ThatAgedWell)!  SUPPORT US ON PATREON FOR BONUS CONTENT! THAT AGED WELL MERCH! Hosts: Paul Caiola & Erika Villalba Producer & Editor: Paul Caiola