Podcasts about maxfield parrish

Send us a textI am excited to share with you, that there is currently a stunning art exhibition – featuring the works of Maxfield Parrish, at the Flagler Museum in Palm Beach, Florida. To celebrate this exhibition of Parrish's work –  you are now listening to a re-release of the interview with Judy Goffman Cutler and her fascinating insights on Maxfield Parrish. The exhibition is from the American Imagist collection at the National Museum of American Illustration in Newport, RI where Ms. Goffman Cutler is the founder and executive director. The museum art works are housed in Vernon Court, a stunning, Gilded Age mansion on Bellevue Avenue. At the Flagler museum – you will see 80 works by Parrish - 20 original artworks and 60 vintage prints, photographs, letters and related ephemera items.You will hear in this interview details of Parrish's career and techniques and gain an appreciation for both his artistic and impressive commercial success. I hope that listening to this entertaining interview will encourage you to see this amazing exhibit – where his works evoke a fantastical sense of beauty.This show – called The Ethereal Worlds of Maxfield Parrish, will be at the Flagler museum – and due to popular demand, is now extended through May 25th. Link to the Flagler Museum Parrish exhibit is here. Please follow me on social media: Instagram and Threads: @phihpodMy website is: www.kathleenlangone.com, which also has details of my upcoming Gilded Age biogrpahy, "The Miniature Painter Revealed: Amalia Kussner's Gilded Age Pursuit of Fame and Fortune". 

There's always room for Jell-O… cookbooks! As colorful and light as the iconic dessert itself, these recipe booklets were given out as free promotional items starting in 1904, and played a large part in Jello's meteoric and jiggly rise to fame. Some feature illustrations by artists like Maxfield Parrish and Norman Rockwell; all contain congealed concoctions like Jell-O Chicken Mousse or Shrimp & Orange Jell-O Molds – possibly chic at the time, but disturbing to most modern palettes. Through these culinary collectables we can trace the history of advertising and even social life in the United States, as the pamphlets gradually pivot from addressing nervous young housewives to exhausted working mothers. Photogenic and squeam-inducing, retro Jell-O recipes are enjoying a semi-ironic online renaissance, popping up on twitter accounts like @70s_party, the cheekily named facebook group Show Me Your Aspics, and even in contemporary art. Listen to learn more (but don't ever learn what it's made from!) on a #brattlecast that truly breaks the mold.

Joining us on the show today is landscape painter Dale Terbush, who got his start in the restaurant business before making a big shift into the fine art world. Today, Dale's work is known for its dramatic color and beautiful compositions. His work has been described as a cross between Thomas Moran and Maxfield Parrish, a comparison he welcomes since Parrish is one of his favorite artists. Today's episode is sponsored by Western Art Collector, the only monthly magazine devoted to Western art.

Maxfield Parrish is one of the most iconic artist of the Golden Age of Illustration. He was most well known for his calendar covers in the 1920's and 1930's. These would been seen across America's homes at the time, and often the calendar artwork would be saved and framed, after that year had passed. He was also commissioned for many magazine covers, book illustrations and commercial artwork (such as for Jello). But Parrish, like many other Golden Age Illustrators (such as JC Leyendecker and Howard Pyle), did not get the notoriety and name recognition they deserved. Aside from Parrish being probably my favorite artist, he was also a good person to profile as being hidden in history. Guest speaker: Judy Goffman Cutler, Founder and Director of the National Museum of American Illustration in Newport, Rhode Island, and the American Illustrators Gallery in New York City. For Judy's full biography, please refer to the People Hidden in History website (link here).  Judy will review key aspects of Parrish's professional life (spanning 70 years) and the 3 distinct artistic style periods. And you'll learn about the history of the National Museum of American Illustration, which houses the largest collection of Parrish's world-wide.  And finally, you will learn about his very distinctive style, which can be fantastical, or photo-realistic landscape paintings. You'll also be given an understanding of his painting techniques which provided a physical luminosity to his canvases. Episode Markers: (in min:secs)Background - National Museum of American Illustration & Vernon Court (2:36)Who was Parrish? (5:25)His father and early influences (8:52)Arc of Parrish's Career - 3 Distinct Phases (11:00)Highlights of Parrish works at NMAI (20:12)The Florentine Fetes by Parrish, & placement in Vernon Court (25:00)The start of Judith Goffman Cutler's Parrish Collection (34:39)Current and Future Exhibits of the NMAI Collection (45:34)Further information:National Museum of American Illustration (NMAI) (link here)Maxfield Parrish page at NMAI (link here)Maxfield Parrish Webpage @  People Hidden in History Website (link here) Basic Website with all Episodes/All PlatformsTwitter/Instagram: @phihpodMastodon: @phihpod@historians.socialPHOTO Credit: Griselda by Maxfield Parrish, Image - Courtesy of the National Museum of American Illustration, Newport, RI.

To celebrate the clocks going forward here in the U.K. and the return to 'British Summer time', this Painting of the Week is Maxfield Parrish's Daybreak - the most popular print of the twentieth century!For more information and to see the artwork being discussed please visit www.seventh-art.com/podcast

Dave and I collaborated on many exciting and creative projects, some which even involved our furry friends. Then there was an ugly competition as well that threatened to destroy the spirit of cooperation at our school, but fortunately the spoils went to the proper victors and balance was restored. Here's a link to the poster image by Maxfield Parrish that I copied in photo form: POSTER HERE. I will post the photograph later on Patreon. I have a Patreon page! Please check it out. If you make a small pledge you'll get to see photos and clips from my journals and hear a bit more about some of the stories. This is a fun way that I can share visuals with you. Check it out HERE. Or at patreon.com/dianathebard If you want to hear more on any particular subject, or if you want to ask a question or simply connect, you can find me on Instagram at https://www.instagram.com/dianathebard or email me at bardofhudson@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

What does it truly take to evolve your mind to see the world for what it is rather than what you think it is? In this episode fine artist Hillary Scott discusses some techniques for artists to see rather than just work from bias.  Hillary Scott is an academically trained landscape painter from northeast Massachusetts. She earned her BFA from UMass Low- ell (2002) in children's book illustration. She illustrated books for many years before making the transition to landscape painting in 2014. Hillary has an affinity for marshes, seas, and skies and finds endless inspiration in the beautiful New England landscape. She has studied with contemporary artists including Karen Black- wood and Sean Beavers in addition to workshops with other local artists. Since she began exhibiting her oil paintings a few years ago she has been accepted into numerous juried shows and won several awards. Her landscape paintings are in private collections worldwide. Hillary is a member of the Oil Painters of America and a master artist member of Newburyport Art Association Hillary says that “as a former illustrator, my technique and goals have evolved. I've long admired painters like Maxfield Parrish, who successfully cre- ated a perfect balance between realism and fantasy. Thus, the purely magical scenes I once painted have been incorporated into realist images sourced from plein air studies, photos, visits, memory and imagination. In my latest series of paintings, I strive to capture the fleeting moments of morning and evening light. I'm fascinated by the effect of light on landscapes and attempt to convey a sense of space, season, serenity, and nostalgia. My compositions are designed to evoke an emotional reaction from the viewer; I consider a visceral response from my audience an important measure of success for a painting. Though I consider myself a realist, the minute details of a place are secondary to the mood and lighting they capture.”

Hillary Scott is an academically trained landscape painter from northeast Massachusetts. She earned her BFA from UMass Low- ell (2002) in children's book illustration. She illustrated books for many years before making the transition to landscape painting in 2014. Hillary has an affinity for marshes, seas, and skies and finds endless inspiration in the beautiful New England landscape. She has studied with contemporary artists including Karen Black- wood and Sean Beavers in addition to workshops with other local artists. Since she began exhibiting her oil paintings a few years ago she has been accepted into numerous juried shows and won several awards. Her landscape paintings are in private collections worldwide. Hillary is a member of the Oil Painters of America and a master artist member of Newburyport Art Association   Hillary says that “as a former illustrator, my technique and goals have evolved. I've long admired painters like Maxfield Parrish, who successfully cre- ated a perfect balance between realism and fantasy. Thus, the purely magical scenes I once painted have been incorporated into realist images sourced from plein air studies, photos, visits, memory and imagination. In my latest series of paintings, I strive to capture the fleeting moments of morning and evening light. I'm fascinated by the effect of light on landscapes and attempt to convey a sense of space, season, serenity, and nostalgia. My compositions are de- signed to evoke an emotional reaction from the viewer; I consider a visceral response from my audience an important measure of success for a painting. Though I consider myself a realist, the minute details of a place are secondary to the mood and lighting they capture.” #art #artist #paint #painter #fineart #fineartist #oilpainter #oilpainting #landscapes #landscapeart 

Tonight we talked with author Thom Nickels about his recently published book From Mother Divine to the Corner Swami: Religious Cults in Philadelphia: his interview with Mother Divine, experiences with Scientology, Bishop John the society tarot card reader, what keeps Philadelphians in Philadelphia, and his early fixation with eyebrows.~~~~~~~Thom Nickels is the author of fifteen books, including: Out in History (2005), Philadelphia Architecture (2005) and Spore (2010). Nickels was nominated for a Lambda Literary Award for, Two Novellas: Walking Water & After All This (1990) and awarded the Philadelphia AIA Lewis Mumford Award for Architectural Journalism in 2005. His poetry has appeared in Van Gogh's Ear anthology (Paris). His column, Different Strokes in the Philadelphia Welcomat in the 1980s, was the first out gay column in a mainstream newspaper in the nation.He has written for a variety of national and regional publications, including the Huffington Post, Passport Magazine (New York), Philadelphia Tribune, Philadelphia City Paper, The Philadelphia Bulletin (2003-2005), The Philadelphia Inquirer, Travel Weekly, The Philadelphia Daily News and Philadelphia Magazine. His essay on his years as a conscientious objector during the Vietnam War was published by The New Oxford Review and reprinted in the Oklahoma Humanities Magazine, Vietnam issue, Fall/Winter 2017. He was the theater critic for ICON Magazine, the architecture critic for Metro Philadelphia and has been a columnist for PJ Media (Los Angeles), The Philadelphia Inquirer, The Philadelphia Daily News and Philadelphia Magazine.Thom currently writes a weekly column for the Philadelphia Free Press and The Philadelphia Irish Edition. He is a regular contributor to City Journal, New York, the Delaware Valley Journal and Philadelphia's Broad + Liberty.Literary Philadelphia: A History of Prose & Poetry in the City of Brotherly Love was published by The History Press in 2015 and was featured as the main book review in the Sunday edition of The Philadelphia Inquirer. His scholarly essay on Philadelphia essayist Agnes Repplier was the cover feature essay in the Winter issue of The American Catholic Studies Journal (Villanova University), 2015.His book, Philadelphia Mansions: Stories and Characters Behind the Walls was published by The History Press in March 2018.His book, From Mother Divine to the Corner Swami: Religious Cults in Philadelphia (Fonthill Media, UK) was published in October 2020.Nickels was the featured speaker at the Walt Whitman Annual Birthday Party, Tuesday, May 23, 2017 at the Walt Whitman House in Camden.Nickels co-founded the Arts Defense League (later renamed the Coalition for Philadelphia Art), a grassroots organization instrumental in keeping Maxfield Parrish's ‘The Dream Garden' in Philadelphia's Curtis Building after an attempted buy-out in the mid-1990's by Las Vegas casino mogul, Steve Wynn. This grassroots campaign brought media attention to the issue and served to galvanize state and city support to keep “Dream Garden' in Philadelphia after a photograph of Nickels with a colleague picketing the Curtis Center was published on page one of The Philadelphia Inquirer. Nickels was interviewed and photographed extensively by People Magazine for his efforts. Numerous interviews in the local press followed in the weeks following the founding of the Arts Defense League.Nickels, a native of Malvern, Pennsylvania, attended Eastern College, Baltimore, Maryland (now part of the University of Maryland), Immaculata University, and the Charles Morris Price School in Philadelphia where he was editor of the school magazine and where he was awarded The Carrie May Price Award for Best Student Work in Journalism.List of Published Works (Books):The Cliffs of Aries (Aegina Press) 1988Two Novellas: Walking Water & After All This, (Banned Books), 1989The Boy on the Bicycle (Starbooks Press), 1992, 1993Manayunk (Arcadia Publishing), 1996Gay and Lesbian Philadelphia (Arcadia Publishing), 1999Tropic of Libra (Starbooks Press), 2002Philadelphia Architecture (Arcadia Publishing), 2005Out in History (Starbooks Press), 2005Spore (Starbooks Press), 2009Walking on Water & After All This (Revised edition; Starbooks Press) 2011Legendary Locals of Center City Philadelphia (Arcadia Publishing), 2014Literary Philadelphia: A History of Poetry & Prose in the City of Brotherly Love (The History Press), 2015Learn to Do a Bad Thing Well: Looking for Johnny Bobbitt, Amazon Books, 2019.Philadelphia Mansions: Stories and Characters behind the Walls(The History Press), 2018The Perils of Homelessness, (Amazon, 2019).From Mother Divine to the Corner Swami: Religious Cults in Philadelphia (Fonthill Media, UK), 2020Anthologies:Smash the Church, Smash the State: The Early Years of Gay Liberation (City Lights Books, San Francisco, CA)~~~~~~~To explore past episodes of Into the Absurd, visit our Facebook page:https://www.facebook.com/pg/IdiopathicRidiculopathyConsortium/videos/ORThe IRC's YouTube channel: https://www.youtube.com/playlist?list=PLj9sR3Pi7_igB845rllrtsLhtqYnuwDRvAnd while you're there, be sure to SUBSCRIBE, so you don't miss any future episodes.

Today we celebrate a gardener who transformed and developed the Cambridge Botanic Garden. We'll also learn about a writer and gardener who won a Pulitzer for her writing and praise for her work in garden design. We hear an excerpt about the first day of June. We Grow That Garden Library™ with a book about houseplants featuring projects, profiles, and guidance. And then we'll wrap things up with the story of a world-famous writer and her personal paradise on an Australian island.   Subscribe Apple | Google | Spotify | Stitcher | iHeart To listen to the show while you're at home, just ask Alexa or Google to “Play the latest episode of The Daily Gardener Podcast.” And she will. It's just that easy.   The Daily Gardener Friday Newsletter Sign up for the FREE Friday Newsletter featuring: A personal update from me Garden-related items for your calendar The Grow That Garden Library™ featured books for the week Gardener gift ideas Garden-inspired recipes Exclusive updates regarding the show Plus, each week, one lucky subscriber wins a book from the Grow That Garden Library™ bookshelf.   Gardener Greetings Send your garden pics, stories, birthday wishes, and so forth to Jennifer@theDailyGardener.org   Curated News Our Enchanted Botanic Garden Experience | FamilyFunCanada | Kristi McGowan   Why Was June Made? by Annette Wynne Why was June made?—Can you guess? June was made for happiness! Even the trees Know this, and the breeze That loves to play Outside all day, And never is too bold or rough, Like March's wind, but just a tiny blow's enough; And all the fields know This is so— June was not made for wind and stress, June was made for happiness; Little happy daisy faces Show it in the meadow places, And they call out when I pass, "Stay and play here in the grass." June was made for happy things, Boats and flowers, stars and wings, Not for wind and stress, June was made for happiness!   Facebook Group If you'd like to check out my curated news articles and original blog posts for yourself, you're in luck. I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. So, there's no need to take notes or search for links. The next time you're on Facebook, search for Daily Gardener Community, where you'd search for a friend... and request to join. I'd love to meet you in the group.   Important Events June 1, 1850 Today is the birthday of the gardener and author Richard Irwin Lynch. Richard learned to garden from his father, who was classically trained at Kew. By the time he was seventeen, Richard had followed in his father's footsteps and worked at Kew - starting with herbaceous perennials before moving into tropicals. Enthusiastic and driven, Richard became the curator of the Cambridge University Botanic Garden when he was 30. During his four decades in the position, Richard transformed and elevated the garden by expanding and diversifying the garden's collections through swaps and hybridizing. In 1904, Irwin published his masterpiece The Book of the Iris - a book dedicated to the culture and identification of irises. The iris is the birth flower for the month of February and the state flower of Tennessee. The iris has been a symbol of royalty and power, and the “Fleur de Lis” represents the iris. And here's a heads up to gardeners: if you're growing them without success, remember that Irises need full sun to bloom their best, and if they don't get enough sun, they won't bloom. The Iris fragrance is found in the roots, and it is used for perfume. Historically, Iris root extract has been applied to the face to remove freckles.   June 1, 1837 On this day, the American writer and gardener Edith Wharton had a heart attack while staying at the country estate of her friend and co-author of The Decoration of Houses, the architect Ogden Codman. This event was the first of three heart attacks for Edith. She died on August 11th of that year and was buried at Versailles. Edith wrote many popular admonitions. My favorite is this one. She wrote, “There are two ways of spreading light: to be the candle or the mirror that reflects it.”  She also wrote: “Beware of monotony; it's the mother of all the deadly sins.”  And she also wrote: “If only we'd stop trying to be happy, we could have a pretty good time.”  Edith's childhood in Europe afforded her a chance to see the great gardens of Italy and France. As an adult, she became a fan of the famous garden designer Gertrude Jekyll. In 1904, in a departure from her standard storytelling, Edith published a major gardening book, Italian Villas and Their Gardens, with pictures by Maxfield Parrish. Edith thought gardens should be a series of outdoor rooms, and she wrote, “…In the blending of different elements, the subtle transition from the fixed and formal lines of art to the shifting and irregular lines of nature, and lastly, in the essential convenience and livableness of the garden, lies the fundamental secret of the old garden-magic…” Recognizing the grandness of Italian Villa's, Edith wrote, "The Italian garden does not exist for its flowers; its flowers exist for it."  Edith had her own wonderful estate for a period of time. It was called the Mount. It was built in 1920, and Edith used it as her summer country estate. Tucked in Lennox, Massachusetts, the Mount. Edith was built on a high ledge and from the terrace. Edith could look down over her property and see her flower gardens, which she herself designed. There's a large French flower garden, a sunken Italian or Walled Garden, a Lime Walk with 48 Linden trees, and grass steps. During her time at The Mount, Edith wrote The House of Mirth. In the story, Edith wrote about having fresh flowers, and Her character, which is about to face financial ruin, says to her mother, “I really think,... we might afford a few fresh flowers for luncheon. Just some jonquils or lilies-of-the-valley----" In terms of her talent, Edith felt she was much better in the garden than she was as a writer. Speaking of garden design, Edith's niece was the garden designer Beatrix Jones Farrand. Edith once wrote a friend,   “I'm a better Landscape gardener than a novelist, and this place (The Mount), every line of which is my own work, far surpasses The House of Mirth.” Sadly, Edith's time at The Mount was short-lived as her marriage ended nine years later, and she was forced to sell the place. In her story called The Line of Least Resistance, Edith wrote from the perspective of a husband who had financed elaborate gardens: “The lawn looked as expensive as a velvet carpet woven in one piece; the flower borders contained only exotics… A marble nymph smiled at him from the terrace, but he knew how much nymphs cost and was not sure that they were worth the price. Beyond the shrubberies, he caught a glimpse of domed glass.  His greenhouses were the finest in Newport, but since he neither ate fruit nor wore orchids, they yielded, at best, an indirect satisfaction.” In 1920, toward the end of her career, Edith wrote her Pulitzer Prize-winning masterpiece: The Age of Innocence - becoming the first female to win the award in her category. In 1993, Edith's book was the basis for the movie with the same title, The Age of Innocence, featuring a young Michelle Pfeiffer and Daniel Day-Lewis. In the book, Edith described a neglected garden, “The patch of lawn before it had relapsed into a hayfield; but to the left an overgrown box-garden full of dahlias and rusty rose-bushes encircled a ghostly summer-house of trellis-work that had once been white, surmounted by a wooden Cupid who had lost his bow and arrow but continued to take ineffectual aim.” In terms of her personal preferences, Edith loved reliable bloomers like lilies, hydrangeas, delphinium, cleome, and dahlias. Regarding peonies, she once described them as having “jolly round-faced' blooms.   Unearthed Words The last rain had come at the beginning of April, and now, at the first of June, all but the hardiest mosquitoes had left their papery skins in the grass. It was already seven o'clock in the morning, long past time to close windows and doors, trap what was left of the night air slightly cooler only by virtue of the dark. The dust on the gravel had just enough energy to drift a short distance and then collapse on the flower beds. The sun had a white cast, as if shade and shadow, any flicker of nuance, had been burned out by its own fierce center. There would be no late afternoon gold, no pale early morning yellow, no flaming orange at sunset. If the plants had vocal cords, they would sing their holy dirges like slaves. ― Jane Hamilton, American novelist, the author of The Book of Ruth, and winner of the PEN/Hemingway Award for first fiction, A Map of the World(a New York Times Notable Book of the Year in 1999)   Grow That Garden Library Practical Houseplant Book by Zia Allaway and Fran Bailey This book came out in 2018, and the subtitle is Choose Well, Display Creatively, Nurture & Maintain, 175 Plant Profiles. In this book, Zia and Fran share a dozen inspiring projects, over two hundred in-depth plant profiles, along with expert guidance to help you cultivate and care for your houseplants. The twelve inspiring plant projects featured in this book include a desertscape, an air plant stand, a macrame hanger, an open bottle terrarium, a willow climbing frame, a succulent wreath, a kokedama fern, a moth picture frame, a drive terrarium, a wood-mounted orchid, a living space divider, and a propagation shelf. This book is 224 pages of houseplant projects, profiles, and guidance. You can get a copy of Practical Houseplant Book by Zia Allaway and Fran Bailey and support the show using the Amazon Link in today's Show Notes for around $3   Today's Botanic Spark Reviving the little botanic spark in your heart June 1, 1937 Today is the birthday of the Australian novelist and gardener Colleen McCullough (“muh-CULL-ick”). Her friends called her Col. Colleen was exceptionally bright. Born and raised in Australia, she worked at Yale as a neurophysiologist for $10,000 a year. During her spare time, she wrote her first breakthrough novel, Tim - a story about a middle-aged widow who has a relationship with her young, handsome, and developmentally disabled gardener. Tim became a movie starring Mel Gibson. But it was her next novel that would end up changing Colleen's life: The Thornbirds - the Australian love story between a Catholic priest and a young woman named Meggie Cleary. In The Thornbirds, Colleen wrote, “There's a story... a legend, about a bird that sings just once in its life. From the moment it leaves its nest, it searches for a thorn tree... and never rests until it's found one. And then it sings... more sweetly than any other creature on the face of the earth. And singing, it impales itself on the longest, sharpest thorn. But, as it dies, it rises above its own agony, to outsing the lark and the nightingale. The thorn bird pays its life for just one song, but the whole world stills to listen, and God in his heaven smiles.” The Thorn Birds sold 30 million copies, became a blockbusting TV miniseries, and allowed Colleen the chance to follow her heart and desire for privacy. By 1979, Colleen moved to a ten-hectare property on Norfolk Island - a small island outpost of Australia between New Zealand and New Caledonia - and a place that she would call home for the rest of her life. A daughter of Australia, Colleen's home country, loved her back and declared her a national treasure in 1997. Colleen died in 2015, but today her garden and home, complete with a fern room, is now open for tours. The gardener and garden broadcast personality, Graham Ross, wrote about meeting Colleen and shared his comments on Facebook, “When we first met Colleen McCullough in her garden, ‘Out Yenna' (‘Out Yonder in Norf'k) on Norfolk Island a decade or more ago, it was like meeting an old friend. It's a long drive through the Kentia palm plantation... to find the beautiful two-story weatherboard home. There was no greeting party of minders, no official anything, just a hearty “G'day,” then “would you like a cup of tea”' followed by “let's look at the garden such as it is”... The garden was entirely the domain and responsibility of her Persian cat, Shady, who would roll in Sweet Alice (Alyssum), gather seeds in her long fur, and then roll around elsewhere in the dirt distributing the seeds. It was the largest planting of Sweet Alice we'd ever seen. In the center of the garden was a magnificent glass screen by a woman artist... who also had a copy of the work, according to Colleen, “hanging in Canberra's Parliament House.”  But it was her finale, her coup de grace, that remains with us after the long chat and yarning. We had recently published our first major text, “Our World of Gardening,” with Simon and Schuster and took a copy for her as a sign of appreciation for her time. What happened next remains with us as the true essence of Colleen McCullough. She was enormously grateful for our book. At first, we thought ‘overly so' but left the room after telling us of her gratitude. Ten minutes later, she returned with a copy of every book she'd ever written from ‘Tim' to the ‘Roman Series.' She then proceeded to autograph and included a personal message of every publication. It was a hugely generous gesture and followed with the amazing statement, “You are the first authors to ever offer me a copy of their book.” A few photographs for the record were taken, and strong handshake and we left with over a dozen books under our arms and a fond memory that remains fresh today.”   Thanks for listening to The Daily Gardener. And remember: "For a happy, healthy life, garden every day."

We start with some vocal exercises and Mara explains why Maxfield Parrish was one of the most successful illustrators in history. Even if you *think* you don’t know Maxfield Parrish, you almost definitely know his work. We become big fans of Gertrude Vanderbilt Whitney and Mara plans her own palatial artist studio. Baker discusses the news about a recovered Leonardo-school ‘Salvator Mundi’ painting of Christ and tries to avoid conspiracy theories about its “conveniently timed” return. We inevitably discuss why stolen art is so rarely returned, just like the two Maxfield Parrish murals stolen from the Edenhurst Gallery in Los Angeles —which, conveniently, is the subject of our case! And if you make it that far, you’ll want to stay for our first “fun fact” segment, there’s singing involved. Episode References ART Gertrude Vanderbilt Whitney Murals, panels 3A and 3B Robert Henri, portrait of Gertrude Vanderbilt Whitney “A weird celebration of boredom and honesty”: the work of Jess WarbyNEWS Priceless Leonardo-school ‘Salvator Mundi’ painting of Christ stolen from Naples basilica two years ago is found in a local flat OTHER History of the Whitney Museum in NYC Michelangelo’s poem to Giovanni da Pistoia about how much he hated painting the Sistine Chapel Find Us Instagram: @artcrimepod Twitter: @artcrimepod Mara on Instagram: @mjvpaints --- Send in a voice message: https://anchor.fm/artcrimepodcast/message

Happy New Year! In this episode, we talk about how to re-frame your New Year's resolution to set yourself up for success. The book recommendation for the month is "The Arabian Nights." More on that in the episode...

1) A (very) early morning entry. A page (or three) on what life is like right this minute. Or, 2) a rambling, random stream of consciousness triggered by an early morning thought... about electricity. Okay, it’s weird. (Yes, that’s the Maxfield Parrish painting) --- Send in a voice message: https://anchor.fm/itsmecindy/message

TO WATCH A VIDEO OF THIS INTERVIEW AND TO SEE THE ARTWORK THAT SONYA DISPLAYS DURING THE INTERVIEW, GO TO INSPIRING CONVERSATIONS PODCAST CHANNEL OR VIEW DIRECTLY AT https://youtu.be/C8K66GFe_oMIn this episode, Jeff sits down with artist Sonya Shannon as she shares deeply about her process, which has been informed by her spiritual journey and evolution over the years. The conversation centers around the intersection of art and higher consciousness and how her work has evolved as she has evolved personally and professionally.Sonya's distinctive style is shaped by her training in hand-drawn animation, combined with expertise in digital color, 3-D computer animation and digital effects. Her current work reflects her sources of interest and inspiration, from childhood when she first discovered the visionary writings and etchings of William Blake, to her teen years guided by the allegorical fantasy scenes of Maxfield Parrish and Roger Dean, and later discoveries including the mysterious symbolism of Remedios Varo and George Tooker.Early computer art and animation deeply shaped Sonya's decision to use digital tools and a cinematic process to make fine art. These influences, combined with a personal collection of crystals, costumes, and collectibles, give rise to lavishly illuminated images that conjure up metaphysical realms of imagination and fantasy.To learn more about Sonya and her work, visit https://sonya-shannon.com/To learn more about Sonya's healing and spiritual work, visit https://sonya-shannon.com/about/healing-spiritual-work/

TO WATCH A VIDEO OF THIS INTERVIEW AND TO SEE THE ARTWORK THAT SONYA DISPLAYS DURING THE INTERVIEW, GO TO INSPIRING CONVERSATIONS PODCAST CHANNEL OR VIEW DIRECTLY AT https://youtu.be/C8K66GFe_oMIn this episode, Jeff sits down with artist Sonya Shannon as she shares deeply about her process, which has been informed by her spiritual journey and evolution over the years. The conversation centers around the intersection of art and higher consciousness and how her work has evolved as she has evolved personally and professionally.Sonya’s distinctive style is shaped by her training in hand-drawn animation, combined with expertise in digital color, 3-D computer animation and digital effects. Her current work reflects her sources of interest and inspiration, from childhood when she first discovered the visionary writings and etchings of William Blake, to her teen years guided by the allegorical fantasy scenes of Maxfield Parrish and Roger Dean, and later discoveries including the mysterious symbolism of Remedios Varo and George Tooker.Early computer art and animation deeply shaped Sonya’s decision to use digital tools and a cinematic process to make fine art. These influences, combined with a personal collection of crystals, costumes, and collectibles, give rise to lavishly illuminated images that conjure up metaphysical realms of imagination and fantasy.To learn more about Sonya and her work, visit https://sonya-shannon.com/To learn more about Sonya's healing and spiritual work, visit https://sonya-shannon.com/about/healing-spiritual-work/

As the year slowly slips away and the autumn leaves remind us of our inescapable mortality, it's time for another episode of Nerds Amalgamated.First up this week, Valve is leaking and blowing off some steam. The entire source code for TF2 and CSGO has been leaked, and Valve News Network's source has some interesting rumours about Half Life 3.The PS5 finally has a release date and a price. It's finally time to move to the next generation of consoles, but don't make space in your TV cabinet just yet.More anime is becoming live action. Because that's exactly what everyone was begging for. This time it's Cowboy Bebop season 2 and One Punch Man.But in another nightmare, your Ego has a big part to play in the frequency of nightmares. Is self-affirmation a more effective dream weapon than Freddy Kruger's claws?This week, Professor went Old Skool and played Objects in Space, a modempunk space adventure. DJ chose a demolition derby to knock out some stress and Dev-i isn't ready to leave the VR Chat world just yet.Come back next time for more Nerdy News.Valve is leaking- https://twitter.com/CSGO/status/1253075594901774336- https://www.zdnet.com/article/valve-says-its-safe-to-play-csgo-and-tf2-after-source-code-leaked-online/- https://www.newsweek.com/valve-source-code-leaks-online-developer-says-no-reason-alarmed-1499628All things PS5 including production and release date- https://www.notebookcheck.net/PlayStation-5-mass-production-to-begin-in-June-with-simultaneous-global-launch-planned-PS5-reveal-event-could-land-in-late-May-or-early-June.462066.0.html- https://www.express.co.uk/entertainment/gaming/1271365/PS5-reveal-date-and-price-latest-Sony-has-good-news-and-bad-news-for-fansAnime turning into live action- https://observer.com/2020/04/netflix-cowboy-bebop-season-2-live-action-john-cho/- https://variety.com/2020/film/news/sony-film-manga-one-punch-man-venom-writers-1234585282/Nightmare on Ego street- https://www.psypost.org/2020/04/new-study-finds-ego-strength-predicts-nightmare-frequency-56488?utm_source=rss&utm_medium=rss&utm_campaign=new-study-finds-ego-strength-predicts-nightmare-frequency- https://psycnet.apa.org/record/2019-74996-001Games PlayedProfessor– Objects In Space - https://store.steampowered.com/app/824070/Objects_in_Space/Rating: 4/5DJ– KillSteel - https://store.steampowered.com/app/1269550/KillSteel/Rating: 3/5Dev-i-Boy– VRChat - https://store.steampowered.com/app/438100/VRChat/Rating: 4/5Other topics discussedValve source code comment- https://i.redd.it/chodbngq4fu41.jpgSuper Smash Bros. Ultimate - E3 2018 - Nintendo Switch- https://www.youtube.com/watch?v=L93H7YC-83oHunt Down The Freeman (Half-Life 2 fan-game that was developed and published by Royal Rudius Entertainment and released commercially on Steam on February 23rd, 2018)- https://store.steampowered.com/app/723390/Hunt_Down_The_Freeman/Cremator (The Cremator, also known as the Combine Janitor, is a passive enemy cut from Half-Life 2.)- https://half-life.fandom.com/wiki/CrematorAxel Gembe - The Half Life 2 hacker- https://www.eurogamer.net/articles/2011-02-21-the-boy-who-stole-half-life-2-articleFacebook hires hacker who started Sony war- https://www.independent.co.uk/life-style/gadgets-and-tech/news/facebook-hires-hacker-who-started-sony-war-2304075.htmlWhite hat hackers (The term "white hat" in Internet slang refers to an ethical computer hacker, or a computer security expert, who specializes in penetration testing and in other testing methodologies that ensures the security of an organization's information systems. White hat hackers may also work in teams called "sneakers",red teams, or tiger teams.)- https://en.wikipedia.org/wiki/White_hat_(computer_security)PS5 controller: the DualSense- https://www.gamesradar.com/au/ps5-controller-dualshock-5/Xbox Series X logo reveal- https://www.eurogamer.net/articles/2020-04-22-heres-the-xbox-series-x-logoVidal Sassoon logo- http://logok.org/wp-content/uploads/2014/12/Vidal-Sassoon-logo-300x220.pngXbox Series X- https://www.microsoft.com/en-au/p/xbox-series-x/8wj714n3rbtl- https://www.xbox.com/en-AU/consoles/xbox-series-xXbox 360 technical problems (The Xbox 360 video game console is subject to a number of technical problems and failures that can render it unusable. However, many of the issues can be identified by a series of glowing red lights flashing on the face of the console; the three flashing red lights (nicknamed the "Red Ring of Death" or the "RRoD") being the most infamous.)- https://en.wikipedia.org/wiki/Xbox_360_technical_problemsDenis Villeneuve Explains Why ‘Dune’ Will Be Split into Two Movies- https://collider.com/dune-two-movies-sequel-explained-reason-why-denis-villeneuve/J.J. Abrams Developing Remake of Japanese Hit ‘Your Name’ With Paramount- https://variety.com/2017/film/news/j-j-abrams-your-name-remake-paramount-1202574994/Popeye (Popeye was a cancelled 2016 film based off the Popeye cartoon characters)- https://cancelled-movies.fandom.com/wiki/Popeye_(2016_animated_film)Objects In Space – Build Your Own Control Panel- https://www.youtube.com/watch?v=I270vSrTIukClose Encounters of The Third Kind - Ship In The Dessert- https://www.youtube.com/watch?v=cTcKFCw2MO0Absolute Beginners ("Absolute Beginners" is a song written and recorded by English singer-songwriter David Bowie.)- https://en.wikipedia.org/wiki/Absolute_Beginners_(David_Bowie_song)- https://en.wikipedia.org/wiki/Absolute_Beginners_(David_Bowie_song)#Production_creditsFrank Herbert's Children of Dune (Frank Herbert's Children of Dune is a three-part science fiction miniseries written by John Harrison and directed by Greg Yaitanes, based on Frank Herbert's novels Dune Messiah and Children of Dune.)- https://en.wikipedia.org/wiki/Frank_Herbert%27s_Children_of_DuneDune (Dune is a 1984 American epic science fiction film written and directed by David Lynch and based on the 1965 Frank Herbert novel of the same name.)- https://en.wikipedia.org/wiki/Dune_(1984_film)The Loch Ness Monster: The Story of The Surgeon’s Photograph- https://www.donttakepictures.com/dtp-blog/2017/4/19/the-loch-ness-monster-turns-83-the-story-of-the-surgeons-photographThe Private Life of Sherlock Holmes (The Private Life of Sherlock Holmes is a 1970 DeLuxe Color film in Panavision written and produced by Billy Wilder and I. A. L. Diamond, and directed by Wilder.)- https://en.wikipedia.org/wiki/The_Private_Life_of_Sherlock_HolmesThe Private Life of Sherlock Holmes Nessie prop found- https://www.bbc.com/news/uk-scotland-highlands-islands-36024638Dell : We just have better computers…- https://www.theverge.com/2018/4/11/17226064/dell-china-laptop-pubg-cheatingTroubling Issues (TNC podcast)- https://thatsnotcanon.com/troublingissuespodcastThat’s Not COVID (TNC podcast)- https://thatsnotcanon.com/thatsnotcovidpodcastShout Outs15 April 2020 – Brian Dennehy American actor of stage, television, and film, passed away at 81 - https://variety.com/2020/film/news/brian-dennehy-dead-dies-tommy-boy-first-blood-1234582309/Brian Dennehy, the winner of two Tonys in a career that also spanned films including “Tommy Boy,” “First Blood” and “Cocoon,” and television roles including “Dynasty” and “Death of a Salesman,”. His daughter, actress Elizabeth Dennehy, tweeted on Thursday, “It is with heavy hearts we announce that our father, Brian, passed away last night from natural causes, not Covid-related. Larger than life, generous to a fault, a proud and devoted father and grandfather, he will be missed by his wife, Jennifer, family and many friends,” The actor made his TV and feature debut in 1977, from that point he maintained a heavy work load for decades. In 1982 his profile increased significantly thanks to his effective performance in the role of Teasle, the sadistic small-town police chief who is Sylvester Stallone’s lead adversary in “First Blood.” One of Dennehy’s most memorable film roles came in Alan J. Pakula’s 1990 adaptation of Turow’s bestselling novel “Presumed Innocent,” starring Harrison Ford as the Chicago assistant district attorney on trial for the murder of a co-worker with whom he had an affair. Dennehy played his boss, who’s up for re-election and has multiple divided loyalties, with a subtlety that was necessary. He died from sepsis in New Haven, Connecticut.15 April 2020 - Allen Daviau, American cinematographer passed away at 77 - https://variety.com/2020/film/news/allen-daviau-dead-dies-e-t-empire-of-the-sun-1234582518/Cinematographer Allen Daviau, a five-time Academy Award nominee for films including Steven Spielberg’s “E.T. the Extra Terrestrial” and “Empire of the Sun”. Food editor and writer Colman Andrews wrote on Twitter that Daviau had died of coronavirus at the MPTF hospital. “RIP Allen Daviau, my friend of almost 60 years, cinematographer and bon vivant, five-time Academy Award nominee, dining companion extraordinaire, pure soul, who left us last night at the MPTF Hospital, his longtime home, after contracting COVID-19. Salut, mon ami.” Daviau, a New Orleans native, was nominated for best cinematography Oscars for Spielberg movies “The Color Purple,” “Empire of the Sun,” and “E.T. the Extraterrestrial” — along with two Barry Levinson films, “Avalon” and “Bugsy.” He also shot the Gobi desert sequence for Spielberg’s “Close Encounters of the Third Kind.” In 1983, he talked to American Cinematographer magazine about prepping the “E.T.” shoot, “We sat down with Steven and started screening movies together. This is the best way I know to get started, watching our own movies and other people’s movies, discussing them, evolving the style we want. We watched Night of the Hunter, Alien, Apocalypse Now, Last Tango in Paris — I forget what all.” Daviau described his favorite scene in “E.T.” to the magazine: “It would be the one in which the youngster [Henry Thomas] says, ‘I’m keeping him.’ The little girl [Drew Barrymore] walks forward, there are highlights in E.T.’s eyes, no detail in the face, and the light is yellow, the effect is very much that of a Maxfield Parrish painting.” He died from complications of COVID-19 in Los Angeles,California.16 April 2020 - Gene Deitch, American animator & filmmaker passed away at 95 - https://news.expats.cz/weekly-czech-news/american-animator-longtime-prague-expat-gene-deitch-passes-away-at-age-95/Gene Deitch was an American Oscar-winning illustrator, animator, film director and producer, he directed 13 episodes of “Tom and Jerry” and also some of the “Popeye the Sailor” series. As an animator, he got the Gold Medal of the New York Art Directors Club for the best commercials twice at end of the 1940s and the beginning of the 1950s. These works of his were the first to enter the Museum of Modern Art in New York. Deitch said he loved Prague, where he had shot 70 animated films and seven TV series and was very happy there. He won the Winsor McCay Award for his lifetime contributions in animation in 2004, which he appreciated more than the Oscar, he admitted in one of his interviews. He died from cardiac arrest in Prague.17 April 2020 - Matthew Seligman, New Wave Bassist For The Soft Boys And David Bowie passed away at 64 - https://variety.com/2020/music/news/matthew-seligman-dead-dies-coronavirus-bassist-david-bowie-1234584453/Matthew Seligman, was a member of The Soft Boys and the Thompson Twins, and was a sideman for Thomas Dolby. Seligman was also a member of Bruce Woolley & The Camera Club and The Dolphin Brothers. Seligman joined Bowie during his 1985 Live Aid performance and played bass on the soundtrack for his 1986 film “Labyrinth.” His longtime friend and fellow musician Thomas Dolby shared details about Seligman’s death in a Facebook post, saying he suffered a severe hemorrhagic stroke on Friday. He had also been in an induced coma for two weeks after testing positive for coronavirus in St. George’s University Hospital in London. Dolby posted a photo of Seligman with lyrics from his song “I Love You Goodbye.” “Some words are sad to sing. Some leave me tongue-tied. But the hardest words I know are I love you goodbye,” he wrote. He died from complications of COVID-19 in London.Remembrances21 April 1965 - Edward Victor Appleton - https://en.wikipedia.org/wiki/Edward_Victor_AppletonEnglish physicist, Nobel Prize winner (1947) and pioneer in radiophysics. He studied, and was also employed as a lab technician, at Bradford College from 1909 to 1911. He won the Nobel Prize in Physics in 1947 for his seminal work proving the existence of the ionosphere during experiments carried out in 1924. Appleton had observed that the strength of the radio signal from a transmitter on a frequency such as the medium wave band and over a path of a hundred miles or so was constant during the day but that it varied during the night. This led him to believe that it was possible that two radio signals were being received. It was sensible to suggest these variations were due to the interference of two waves but an extra step to show that the second wave causing the interference (the first being the ground wave) was coming down from the ionosphere. The basic idea behind Appleton’s work is so simple that it is hard to understand at first how he devoted almost all his scientific career to its study. Thanks to Appleton’s research, the periods when these would occur could be predicted and communication could be switched to wavelengths that would be least affected. Radar, was one that came about thanks to Appleton’s work. On a very general level, his research consisted in determining the distance of reflecting objects from radio signal transmitters. This is exactly the idea of radar and the flashing dots that appear on the screen scanned by the circulating ‘searcher’ bar. This system was developed partly by Appleton as a new method, called the pulse method, to make ionospheric measurements. It was later adapted by Robert Watson-Watt to detect aeroplanes. Nowadays, ionospheric data is important when communications with satellites are considered. He died at the age of 72 in Edinburgh.21 April 2016 – Prince - https://en.wikipedia.org/wiki/Prince_(musician)Prince Rogers Nelson, American singer, songwriter, musician, record producer, dancer, actor, and filmmaker. A guitar virtuoso and multi-instrumentalist known for his eclectic genre-crossing work, flamboyant and androgynous persona, energetic live shows and wide-ranging singing voice, in particular his far reaching falsetto and high-pitched screams, Prince is regarded as one of the greatest, versatile and most successful musicians in the history of popular music. His innovative music integrated a wide variety of styles, including funk, R&B, rock, new wave, soul, psychedelia and pop. Prince pioneered the late 1970s Minneapolis sound, a funk rock sub genre drawing from synth-pop and new wave. He sold over 100 million records worldwide, ranking him among the best-selling music artists of all time. He won seven Grammy Awards, seven Brit Awards, six American Music Awards, four MTV Video Music Awards, an Academy Award, and a Golden Globe Award. He was also honored with special awards including the Grammy President's Merit Award, American Music Awards for Achievement and of Merit, and the Billboard Icon Award. He was inducted into the Rock and Roll Hall of Fame in 2004, the UK Music Hall of Fame in 2006, and the Rhythm and Blues Music Hall of Fame in 2016. In 2016, he was posthumously honored with a Doctor of Humane Letters by the University of Minnesota. Rolling Stone placed him among its list of the 100 Greatest Artists of All Time. He died from accidental overdose of fentanyl at the age of 57 in Chanhassen, Minnesota.21 April 2018 - Verne Troyer - https://en.wikipedia.org/wiki/Verne_TroyerAmerican actor, comedian, and stunt performer who played Mini-Me in the Austin Powers film series. He had cartilage–hair hypoplasia and was 2 ft 8 in (81 cm) tall. Troyer first met with Jay Roach to discuss portraying Mini-Me in the Austin Powers series, Myers was impressed with Troyer's performance, rewriting the script for Austin Powers: The Spy Who Shagged Me to give Mini-Me more screen time and remove the character's death. Troyer reprised the role three years later in Austin Powers in Goldmember, and collaborated again with Myers on The Love Guru. After reaching a large audience as Mini-Me, Troyer portrayed the goblin Griphook in Harry Potter and the Sorcerer's Stone and played the role of Percy in Terry Gilliam's fantasy film The Imaginarium of Doctor Parnassus. He died from suicide at the age of 49 in Los Angeles,California.Famous Birthdays21 April 1816 - Charlotte Brontë - https://en.wikipedia.org/wiki/Charlotte_Bront%C3%ABEnglish novelist and poet, the eldest of the three Brontë sisters who survived into adulthood and whose novels became classics of English literature. In 1839 she undertook the role as governess for the Sidgwick family but left after a few months to return to Haworth where the sisters opened a school, but failed to attract pupils. Instead, they turned to writing and they each first published in 1846 under the pseudonyms of Currer, Ellis and Acton Bell. While her first novel, The Professor, was rejected by publishers, her second novel, Jane Eyre, was published in 1847. The book's style was innovative, combining naturalism with gothicmelodrama, and broke new ground in being written from an intensely evoked first-person female perspective. Brontë believed art was most convincing when based on personal experience; in Jane Eyre she transformed the experience into a novel with universal appeal. She was born in Thornton.21 April 1915 - Garrett Hardin - https://en.wikipedia.org/wiki/Garrett_HardinAmerican ecologist and proponent of eugenics who warned of the dangers of human overpopulation. He is most famous for his exposition of the tragedy of the commons, in a 1968 paper of the same title in Science, which called attention to "the damage that innocent actions by individuals can inflict on the environment". He is also known for Hardin's First Law of Human Ecology: "We can never do merely one thing. Any intrusion into nature has numerous effects, many of which are unpredictable." In 1968, Hardin applied his conceptual model developed in his essay "The tragedy of the commons" to human population growth, the use of the Earth's natural resources, and the welfare state. Hardin blamed the welfare state for allowing the tragedy of the commons; where the state provides for children and supports over-breeding as a fundamental human right, Hardin stated in his analysis of the tragedy of the commons that "Freedom in a commons brings ruin to all." He was born in Dallas, Texas.21 April 1979 - James McAvoy - https://en.wikipedia.org/wiki/James_McAvoyScottish actor. He made his acting debut as a teen in The Near Room (1995) and made mostly television appearances until 2003, when his feature film career began. His notable television work includes the thriller State of Play and the science fiction miniseries Frank Herbert's Children of Dune. He has performed in several West End productions and received three nominations for the Laurence Olivier Award for Best Actor, and has also done voice work for animated films including Gnomeo & Juliet, its sequel, Sherlock Gnomes, and Arthur Christmas. In 2003, McAvoy appeared in a lead role in Bollywood Queen, then another lead role as Rory in Inside I'm Dancing in 2004. This was followed by a supporting role, as the faun Mr. Tumnus, in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. His performance in Kevin Macdonald's drama The Last King of Scotland garnered him several award nominations, including the BAFTA Award for Best Supporting Actor. The critically acclaimed romantic drama war film Atonement earned him a Golden Globe Award nomination and his second BAFTA nomination. He later appeared as a newly trained assassin in the action thriller Wanted. In 2011, McAvoy played Professor Charles Xavier in the superhero film X-Men: First Class, a role he reprised in X-Men: Days of Future Past, X-Men: Apocalypse, Deadpool 2 and Dark Phoenix. In 2016, he portrayed Kevin Wendell Crumb, a man with 23 alternate personalities, in M. Night Shyamalan's Split, for which he received critical acclaim, and later reprised the role for the sequel Glass. He was born in Glasgow.Events of Interest21 April 1918 – German flying ace, “Red Baron,” killed in action - https://www.history.com/this-day-in-history/red-baron-killed-in-action-2In the well-trafficked skies above the Somme River in France, Baron Manfred von Richthofen, the notorious German flying ace known as the Red Baron,” is killed by Allied fire. On April 21, 1918, with 80 victories under his belt, Richthofen led his squadron of triplanes deep into Allied territory in France on a search for British observation aircraft. The flight drew the attention of an Allied squadron led by Canadian Royal Air Force pilot Captain Arthur Roy Brown. As Richthofen pursued a plane piloted by Brown’s compatriot, Wilfred R. May, the Red Baron ventured too far into enemy territory and too low to the ground. Two miles behind the Allied lines, just as Brown caught up with Richthofen and fired on him, the chase passed over an Australian machine-gun battery, whose riflemen opened fire. Richthofen was hit in the torso; though he managed to land his plane alongside the road from Corbie to Bray, near Sailley-le-Sac, he was dead by the time Australian troops reached him. Brown is often given credit for downing Richthofen from the air, though some claimed it was actually an Australian gunner on the ground who fired the fatal shot; debate continues to this day.21 April 1934 – The "Surgeon's Photograph", the most famous photo allegedly showing the Loch Ness Monster, is published in the Daily Mail (in 1999, it is revealed to be a hoax) - http://www.myday.si/index.php?c=events&view=detail&id=450&d=21&m=4The "Surgeon's Photograph" purported to be the first photo of a "head and neck". Dr. Wilson claimed he was looking at the loch when he saw the monster, so grabbed his camera and snapped five photos. After the film was developed, only two exposures were clear. The first photo (the more publicised one) shows what was claimed to be a small head and back. The second one, a blurry image, attracted little publicity because it was difficult to interpret what was depicted. Wilson's refusal to have his name associated with the photograph led to it being called "Surgeon's Photograph". The strangely small ripples on the photo fit the size and circular pattern of small ripples as opposed to large waves when photographed up close. Analysis of the original uncropped image fostered further doubt.21 April 1989 - Tiananmen Square protests of 1989: In Beijing, around 100,000 students gather in Tiananmen Square to commemorate Chinese reform leader Hu Yaobang. - https://www.history.com/this-day-in-history/chinese-students-begin-protests-at-tiananmen-squareSix days after the death of Hu Yaobang, the deposed reform-minded leader of the Chinese Communist Party, some 100,000 students gather at Beijing’s Tiananmen Square to commemorate Hu and voice their discontent with China’s authoritative communist government. The next day, an official memorial service for Hu Yaobang was held in Tiananmen’s Great Hall of the People was broadcast live to the students. General secretary Zhao Ziyang delivered the eulogy. The funeral seemed rushed, and only lasted 40 minutes, as emotions ran high in the Square. Students wept. Security cordoned off the east entrance to the Great Hall of the People, but several students pressed forward. A few were allowed to cross the police line. Student representatives carried a petition to the steps of the Great Hall, demanding to meet with Premier Li Peng. The larger number of students still in the Square but outside the cordon were at times emotional, shouting demands or slogans and rushing toward police. The Chinese government refused such a meeting, leading to a general boycott of Chinese universities across the country and widespread calls for democratic reforms.IntroArtist – Goblins from MarsSong Title – Super Mario - Overworld Theme (GFM Trap Remix)Song Link - https://www.youtube.com/watch?v=-GNMe6kF0j0&index=4&list=PLHmTsVREU3Ar1AJWkimkl6Pux3R5PB-QJFollow us onFacebook- Page - https://www.facebook.com/NerdsAmalgamated/- Group - https://www.facebook.com/groups/440485136816406/Twitter - https://twitter.com/NAmalgamatedSpotify - https://open.spotify.com/show/6Nux69rftdBeeEXwD8GXrSiTunes - https://itunes.apple.com/au/podcast/top-shelf-nerds/id1347661094RSS - http://www.thatsnotcanonproductions.com/topshelfnerdspodcast?format=rssInstagram - https://www.instagram.com/nerds_amalgamated/General EnquiriesEmail - Nerds.Amalgamated@gmail.comRate & Review us on Podchaser - https://www.podchaser.com/podcasts/nerds-amalgamated-623195

Have you tried growing the herb chervil? Chervil tastes similar to tarragon - it's sometimes called gourmet parsley. It has a wonderful fern-like leaf which turns red in the fall which is another plus.  August is a wonderful time to sow chervil - so keep that in mind. The 1884 Dictionary of English Names of Plants lists chervil as “the shepherd’s clock’’ because the blossoms open at five in the morning and then close up around eight in the evening.   The word chervil is derived from a Greek word meaning “the herb of rejoicing’’ or “the cheer leaf."      Brevities #OTD  It's the birthday of the English naturalist, Gilbert White, who was born on this day in 1720. White kept a journal for almost three decades where he recorded observations of his garden.  It was eventually published as a Calendar of Flora and the Garden, followed by the Naturalist’s Journal. People immediately recognized White had a gift for observation and for describing with vivid clarity the goings-on in the natural world.  Here's a little of what he wrote in his journal on this day in 1781; his 61st birthday:  "Farmers complain that their wheat is blited.  In the garden at Dowland’s,...  stands a large Liriodendrum tulipifera, or tulip-tree, which was in flower. The soil is poor sand; but produces beautiful pendulous Larches.  Mr R’s garden, ... abounds in fruit, & in all manner of good & forward kitchen-crops.  Many China-asters this spring seeded themselves there... some cucumber-plants also grew-up of themselves from the seeds of a rejected cucumber thrown aside last autumn.  Mr R’s garden is at an average a fortnight before mine."   #OTD  Today is the anniversary of the death of the author and gardener Jane Austen. Austen loved gardens. She had a heart for ornamentals, herbs, and kitchen gardening.  Her family always had a garden - growing their own food and beautifying their homes with flowers. In every single one of her books, Austen included gardens. We know from Austen's letters to her sister, Cassandra, that gardens brought her joy and they were also regulating. In 1807, she wrote about the redesign of her garden:  "I could not do without a syringa... We talk also of a laburnum. The border under the terrace wall is clearing away to receive currants and gooseberry bushes, and a spot is found very proper for raspberries." In 1814, she wrote about the garden outside her rented room, "The garden is quite a love... I live in the room downstairs, it is particularly pleasant...opening upon the garden.  I go and refresh myself every now and then, and then come back to Solitary Coolness."   #OTD   It was on this day in 1863 that the father of American landscape architecture, Frederick Law Olmsted, walked the battlefield of Gettysburg, just 15 days after the battle. Olmsted was the General Secretary of the United States Sanitary Commission (USSC) - overseeing the support of sick and wounded soldiers of the United States Army during the Civil War. At times, Olmsted personally treated the battlefield wounds of soldiers.  Olmsted was handpicked for the job thanks to his success in designing and overseeing New York City's Central Park, one of the country's largest public works projects. A week after the battle at Gettysburg, Olmsted arranged for 40 tons of supplies to flow into Gettysburg every day - bringing in items like surgeon’s silk, fans, butter, shoes, and crutches.   By July 18, the scene had settled down enough that Olmsted could walk the fields of Gettysburg. In Martin's biography of Olmsted, he shared that Olmsted, "was struck by the scale of the place; everything had happened across distances far greater than he had supposed."  Ever attuned to the landscape, Olmsted also noted that, "The hills were gentle and rolling, so very out of kilter with the carnage that was everywhere still in evidence... Olmsted came across spent shells and twisted bayonets, broken-down wagons and half-buried dead horses. Particularly touching, to Olmsted, was the random strew of Union and Confederate caps, often together on the ground, shot through with bullet holes."   Unearthed Words Recently, I've started collecting cuttings from my garden to make my own potpourris and sachets. Here's a quote from Eleanor Sinclair-Rhode about this lovely garden pastime: "No bought potpourri is so pleasant as that made from ones own garden, for the petals of the flowers one has gathered at home hold the sunshine and memories of summer, and of past summers only the sunny days should be remembered."     Today's book recommendation: A Southern Garden by Elizabeth Lawrence As much as I love to garden, there are days when it's just too hot or humid to go out there. I draw the line when sweat starts to trickle into my eyeballs - then it's time to call it a day. Lawrence's Southern Garden is a classic. This is Lawrence's personal experience with gardening - my favorite kind of gardening book. Although Lawrence's growing zone isn't always applicable to where you might be gardening, I guarantee you'll learn something. Her writing about gardens and gardening is conversational, thoughtful and charming.     Today's Garden Chore Do a summer check of all your irrigation systems and repair anything broken. I sooo wish I would have done this last summer.  By the time I discovered a leak, we had a big water problem to address. In the garden, too much water can be just as harmful as too little. Throw in temperature extremes, and you have a perfect storm - inviting many other problems.      Something Sweet  Reviving the little botanic spark in your heart On this day in 1908, Maxfield Parrish Print, called The Botanist, appeared on the cover of Colliers Magazine. The image shows a full-length profile of a man wearing a long botanical green coat. In his raised right hand he is holding a plant and in his left hand he is clutching a magnifying glass while a few open reference books are tucked under his arm. He has a specimen case slung over his back. The classic image was made into poster-sized prints in the 1970's.     Thanks for listening to the daily gardener, and remember: "For a happy, healthy life, garden every day."

Episode 6 of the Ramadan blitz! This one is a classic but the original version is obscured. (Pic is painting by Maxfield Parrish! credits to wikipediaa) --- Support this podcast: https://anchor.fm/abdul-rahman-latif/support

Miki Brittenham is a medium, animal communicator and crystal healer, who works with crystal energy to speak to the body as well as other lifeforms. She offers readings and energetic crystal healing for people and pets, intuitive coaching, handmade jewelry, crystals and other metaphysical awesomeness, like her psychic haikus better known as psykus. She shares her near death experience. GUEST LINKS - MIKI BRITTENHAM mikibrittenham.com Grounding through Sacred Geometry free ebook by Miki Brittenham 15 Characteristics of Near Death Experience MENTIONED ON THE SHOW Maxfield Parrish artist HOST LINKS - SLADE ROBERSON Slade's Books & Courses Get an intuitive reading with Slade Automatic Intuition FACEBOOK GROUP Shift Your Spirits Community BECOME A PATRON https://www.patreon.com/shiftyourspirits Edit your pledge on Patreon TRANSCRIPT Miki: I was really sick. I was pregnant with my first child and I got something called HELLP syndrome, which is hemolysis, elevated liver enzymes, low platelet count. It's like the most rarest form of preeclampsia I guess. Something like that. Back then, it's a death sentence. So you basically die. But nowadays, majority of people, they don't die now because of medical advances. But back then, I don't know, I guess you just died from it. I'm not really sure. That's what they told me anyway. I was in the hospital, in and out of the hospital, and the total amount was probably about a good four to five months, because I kept going in and out and in and out and they just kept me in. And they said I needed to at least make the 32-week mark. So on the day that I made the 33-week, they induced me. That was the first mistake because my health had just started going down rapidly, but my body was failing at that point. My blood pressure was really high and my platelets were super low. Which is why they didn't really want to do a cesarean because of the clotting factor, right? So they induced me and at that point, they had said, I guess I was in labour for about 12 hours and they said that my platelets had dropped to 80,000. Normal is about 150 - 450,000. So they told me that my blood pressure was so high that I was going to have a heart attack or stroke. And they came in and I remember this. They brought me some papers and they basically said, "Here, sign these papers because we need to keep the baby alive but you're going to die." Slade: Ohmygod... Miki: That was pretty much what they had said. Yeah. It was so weird. They're like, "Alright. Well you're dying. We need to get this baby out." My liver shut down. The whole birth took four minutes. My liver shut down and my heart stopped. It was 9:00 when they wheeled me in there and her birth certificate says 9:04. I don't even understand, but it was so fast, and as soon as they started to put me under, I left my body and I was watching from above, but I didn't really care about ME. I mean, they were saying, I could hear them, they were saying, "Her heart stopped. Her heart stopped. Get the baby out." All I cared about was just making sure that baby was okay. I had no... I mean, it was weird because it wasn't like an emotional attachment to the baby. I just wanted to make sure the baby was going to be alright. It was like, is this baby going to be fine? But I didn't care anything about my body at all. I was watching it and I had zero emotion to it at all. As soon as I saw the baby was coming out and that she was fine, I just floated up out of the ceiling. My mom was super stressed out and she was on the roof. You know they have those patio, I don't know if it's really the roof, but those outdoor patio smoking areas, right, they used to do in hospitals? She was out there smoking and I could see her and I felt the same about her. I was like, Oh, there's my mom. But there was zero emotion involved. And then I just kind of floated up, and I did not see a tunnel or anything. It was like I had seen my mom, and I started to float up, and then all of a sudden I was there... wherever, you know, whatever the 'there' is. There were three people there. I don't, I mean, they weren't really people but that's the best way for me to describe them. Beings of light. The first thing that I noticed when I was there was like, everything was so much brighter. And it was almost like when you're looking at the sun, how bright that is, but it didn't affect your eyes in any way. Like it was so soft and calm and just everything was bright. You know when the sun is starting to set, and the sky sort of looks like a Maxfield Parrish painting? Slade: Yes! Miki: Okay. That's how it looked. That's the closest way that I can describe it. And it just, it was so beautiful. And these beings were there and there's this feeling when you are, like you've been gone a long time and you're getting off of a plane and you see people you love. And it's just so... you just want to run to them, right? It's like that. This most intense love of everyone you love: your family, your lover, your kids, your parents, your animals. All combined. If you could combine all of that love into one feeling, that's how it feels. And I felt that about these beings. They had, I mean I'll describe them. They had features but they didn't have any features. And I know that's like a contradiction and it doesn't make any sense, but I don't know if I perceived them as having this or if that's what they really had. Because it's almost like they're just a light but within the light, I could pick out these features, almost. So there was an older man who had long hair that was very pale and really blue, blue eyes. He was wearing some kind of robe or cloak, maybe a cloak but there was some kind of sleeves because I remember cuffs. They were, all three of these beings were wearing the same kind of cloaks. It was sort of like they were almost white or very pale and kind of shimmery, almost like there were jewels but there weren't jewels. I want to say it's like there was gold thread through this white but there was no gold thread. It was just very shimmery. All of it was shimmery, like their hair and their eyes. Then there was a younger man who had lighter, not really brown hair but kind of like a dirty blonde, darker, not so pale as the first man, and he was a lot younger and he had like a purplish blue eyes and then there was a woman who had really long, like, super long pale hair. Very, very pale, maybe pale blonde, and she had those purply eyes too. That is the one with the bluish skin. Her skin kind of had this blue tint. I don't really recall if the other ones had a blue tint. They might have. But there was just so much emotion involved in seeing these people, like we were hugging without hugging, like a virtual hug or something, I don't know. There was a river. I could see out in the distance, like with that pretty Maxfield Parrish sky, there was a river and the water was so crystal blue. Have you ever been to Zion National Park? Slade: No. Miki: We went a couple of years ago and I've never seen water that colour except for at Zion National Park. It was almost like this teal colour, maybe green. Almost like this bright, bright turquoise. The water in Hawaii has that in some areas, but it almost is like there's too much pigment in the water in Hawaii. Whereas in Zion it seemed more like very sheer waters. When I saw that water, I was like, that's the kind of water that that river was! So strange but there was some kind of field but I don't recall there being a colour to the field. It was just a landscape kind of all blended in to that sky but it was a field and then there was a river. I was over here in one spot and the river was over there and I could see it but there was almost like this invisible barrier or this secret fence that I couldn't see. Like, No, you do not pass. I'm on this side with these people and there's all that beautiful stuff over there and I'm like, I just want to go over there! But that wasn't what was going on. I joke and say I wasn't allowed in heaven because it's that barrier. But it wasn't like I wasn't allowed there. We were just doing something over here. There was some kind of weird building that we were by. I keep remembering a building but it wasn't a building. It has really strange angles and it had that iridescence. Like their robes. So it could have been something I perceived there, you know what I mean? They were just beings of light. I don't know if that building was a perception. I'm perceiving there's a building here or there really was a building there. Looking down on myself, I have no body. Like if you're looking at yourself now and you look down, you would have a body but I had nothing. So there were no parts of me that I could see. I'm just seeing everything from my eyes. Nothing was spoken between us. It was all telepathy. So I knew everything that they were saying. I knew everything that they were thinking and it was just this deep connection. And then I went into the life review. The best way that I can describe it was like, you know when you see those maybe in TV or movies, they have these huge monitors that have a whole bunch of different little squares and everything is moving. Like these TV monitors with people on it or something from all across the world and they're showing each one has different stuff in the little cubes. It was sort of like that. So it was like there was lots of different visions going on of my life and it felt like it almost kind of wrapped around my head, but I don't think I had a head. So it just sort of, I want to say it was like a 360 degree vision almost. And every block had a moment of my life that I was able to look at and feel and understand everything that was going on in all of these different moments of my life all at the same time. But it's not just feeling it from your perception. Whatever interaction that you have with every person, you feel it from their point of view and your point of view at the same time. So every single interaction that you ever have, you experience how the other person perceived you, what they picked up from you. And sometimes it was really painful. I mean, if sometimes you're an asshole, you know what I mean, and you say things that aren't nice, then you kind of really see how you impacted this other person. You really explore every area of your life and it's almost like it's instantaneous and you're just learning and learning and you kind of see how you behaved and where you went wrong maybe and where you went right. Or where other people damaged you in certain moments and how you perceived what they were trying to say versus what they were really trying to say. It was pretty intense. After that, the thing about the life review is there's no judgement. Those beings, they didn't judge me at all. All they had for me was pure love. I was the only one who was judging me. So there is no judgement. There is no being that's gonna come and, no god is going to judge you for your wrongs and things that you did wrong to other people. The only person that's gonna judge you is yourself. You are your judge and sometimes that's, you know, I think that's even more painful. To see your own shortcomings, you know what I mean, so vividly and understand them. In seeing where I went wrong, it was almost like, not wrong, but where I could've been better, or done things different, it was almost like some moments were a sad revelation where it's just so impactful. Then, after that, the beings showed me this. It's a domed chest. I don't know. It's really strange. It kind of has a dome top and there were straps across it and it was really iridescent, kind of goldish colour. And they lifted up the chest and when I looked inside the chest, that was the moment that I had complete clarity of every question I've ever asked. I knew all my answers to everything, and I was like, Oh yes, I know this stuff! I know all of this stuff. That's right. Like it was almost like I remembered that I'd always known this stuff. I think I watched my future. Looking in the chest is where I really have thought about a lot of it over the years, trying to figure out what exactly was in that chest because, you know it's like I remember what was in the chest but I don't have a clear vision of it and I can't really put it into any words. The only thing that I remember when I looked in that is going, "Oh!" But whatever they showed me in that chest, was the reason I chose to come back. So it must've been a future like, this is behind the box if you choose curtain #2! It was at that point that they asked me, "Are you staying or are you going?" So it was like, I mean, they didn't ask me. It was this mind-to-mind connection. I knew they were giving me a choice and at that point, it was my turn to do something about my situation. It was at that point where I was like, "Okay. I'm going back." And then my uncle was there, which was really strange. My uncle had a, he died of a congestive heart failure from a drug overdose when he was 33 and I'm named after him. He died when I was 19 but I'm still named after him. The only word that I recall being spoken like a spoken word through this whole thing was what my uncle said. He was a big wave surfer and the word that he used to use to describe the perfect wave was 'perps', and when I said "Okay, I'm coming back", he threw the shaka and said "perps". What was really interesting is that he was perfectly clear. I mean, he was like these other people but he, like I really remember his features so well. Maybe because I know him. I mean, I knew them too but I'm very familiar with him. But he only had an upper body. He didn't have any legs. I've always pondered that. I don't know. It's kind of strange. I mean, I didn't have legs either so I guess it would make sense that he didn't. It was at that moment that I decided to come back and I woke up in the ICU. The first thing I did was I stuck out my finger like E.T. and said, "How big?" because I wanted to know how big the baby was. Because they had said that she wasn't growing, she was about 2 pounds. She was 3 pounds. So she was perfectly fine. She was doing great. I stayed in the ICU for about two weeks and I had a 24-hour nurse in there that didn't work at the hospital, that no one else saw, so he was like a stranger angel, right? He was in there. He was wearing scrubs and he would sit by my bed. His name was Scott and he would sit by my bed every day and any time I would wake up, I kept waking up and I would have these nightmares of this death scenes and I would panic and I would wake up and I'd be like, "Where am I?? What's going on??" And he would hold my hand and he'd say, "It's okay. You had a baby. The baby is fine. You're gonna be fine." And I'd be like, "Okay." And then I'd kind of fall asleep but I remember asking the nurse, when the nurses would come in, "Where's Scott?" And they're like, "What are you talking about? There's no one here named Scott." I'm like, "Yes! He's been sitting with me every single day. He's wearing blue scrubs." And they all wear maroon scrubs and no one's in blue scrubs. But he was in blue scrubs. So that was kind of interesting. Slade: Ohmygosh. Okay so I've written down some questions while you were talking. Just a couple of things that, it's like a lightning round of details. Before you had this experience, had you ever had an out of body experience or ever done any kind of astral projection or tried to do anything like that before? Miki: Um, yeah. When I was about 13, 14, I went through this extreme astral projection phase where I went to bed at like, 7:00 every night. Shut my door because I was just going in there to meditate because I'm going to leave my body, you know? It was like this determination and so... I rearranged my room so my bed was in the direction it needed to be in, everything was perfect. Most of the time I think I fell asleep but there was one time where I did leave my body and I remember seeing my body laying there and just that, seeing that, was so... I don't know. It freaked me out that I just.. Slade: Popped back in? Miki: Yeah. Just popped back in. There was this weird instance. That was the only time before this, but now it seems like, I mean, I can't do that spontaneously at all. But whenever I have some kind of anesthesia, I always, I see the situation from above, so I'm hovering above but it's in a different, very different than that experience. That experience I had zero attachment to my body. When that happens to me now, I do have feelings and an attachment to my person, you know, my body. Slade: So when you were in that place, which, I love the Maxfield Parrish reference because I love golden hour, that time of day, that time of light. I love the late 19th century painters who were really into capturing that. And I think that being the age that we are, there was a period in the 80s and 90s where that artwork was very popular on posters and stuff. Miki: Yeah. Every room in the house. Slade: Yeah so I totally know what you're talking about. So when you describe this kind of wall of love, of sort of these entities clustered together, you do talk about your uncle manifesting as a unique individual being. But other than the three entities who were guardian spirits or whatever, were there other... Like, was there a crowd of people and you sort of could pass your eyes over it and see like, Oh there's this person and this person, or was it just more of a feeling? Miki: Um... Slade: You know, were your grandparents there? Miki: Nope. Slade: Your ancestors or anything particular like that? Miki: Nope. The only people that I recall being there at all were these three beings and then my uncle randomly showed up when I, like, "Woohoo! You're going to live!" Kind of a, I don't know, like my cheering section or something because of the choice I made almost. Slade: Who do you think the entities, the blue-skin lady and the sort of Merlinesque character? He shows up in a lot of guided meditations, you and I know, from intuitives who do these kind of Akashic Records travelling and all this kind of stuff. That is a type of entity that we do often see, those three that you describe. Who do you think they are now? Did you come out of this experience thinking, who the heck were they? Like, I want to know who they are. Or did you have a sense of who they were that stayed with you? Miki: Um... I think that I've contemplated this experience for 25 years now. At first I didn't really know who they were. You know, I was like, I don't know who they are. But I knew that they were someone that was super close to me and that they love me and they were there. So I just regarded them as people I knew. I don't know if they were people, but that's the best that I can... Beings that I knew, maybe, you know? I belong with them. That's where I belong. I mean, I'm here. But when I'm not here, I will be with them because I belong with them. I do have moments in time where the female comes and goes like she's almost like maybe one of my guides that sort of steps in every once in awhile. So maybe they step in, the other two step in every once in awhile. I'm just not really aware of it because I have such a strong connection to my main guide, who I've always had a super strong connection to him. He looks very similar actually to the younger man but I don't think they're the same person. I don't feel like they are. Slade: Do you ever try to communicate with these people now? These entities, these beings? Miki: With the woman. Slade: Okay. Miki: Her name is Wistera. But I have not... Only because I've encountered her more times than the other two that I've started kind of exploring that. But I don't feel like... I think if I were going to communicate with them at this point, that I would have. You know? That maybe they would've shown up in some form or fashion somewhere. Slade: So during the life review part that you talked about, and you talked about how you got to experience it from the perspective of the other people involved, but also that you were judging the moments of your life and interactions and stuff. Do you have a conscious recollection of how your understanding was different during this experience than it would have been during the moment that some of those events happened? Like for instance, you're recalling some memory or you're seeing some event from the past that you had, let's say, some kind of anger or resentment about, and then now you have this different perspective of it. Did you come away feeling changed about your own real life experiences? Like, I've got to rethink everything? Miki: Umm... sort of. It wasn't the other people or how I perceived things that happened. It was more how I reacted to the things that happened and why was I reacting in this way. When I was a kid, I used to have this weird thing that would happen to me. I would be hanging out with friends or family or whatever the situation was and then I was almost like I was watching it from above the situation at the same time and having a different consciousness about it, going, "This is a very odd interaction. Why are humans behaving this way?" And then in my own mind, I'd be like, "What is that?" It was sort of like that kind of separate... like, here's the human doing this and here's my consciousness going, "Why are humans behaving this way? What is making them react this way?" It was a similar experience where I'm experiencing my human thing but it wasn't like a memory. It was like I was re-living every single thing, like I'm having this conversation is real right now in this moment. Every memory at that life review was going on at that moment. There was no distinction of time. It was really happening and I was seeing how this interaction impacted my life and how I reacted to it. And how my reaction to it impacted what came next. And how I could have reacted differently and how that would've made a different thing happen next. It was like this broad view of my action. Slade: Were you able to retain any of that sort of perspective? I was thinking as you were talking about it, it's like you had full awareness of your Higher Self as maybe separate from your sort of animal self or something. Did you retain any of that perspective that you feel like you use now in some way? Miki: Yes. Definitely I think that I do. I think that comes into my, I'm an overthinker, you know? I am really very concerned about, okay, if I behave this way, how is that going to impact this situation? Like, what can I do to make it the best situation? Or what would be the best way for me to behave in this situation, kind of overanalyzing. I definitely think that watching that has really changed my behaviour, because I used to, I had a kind of not the greatest upbringing, parts of it were really good, some were really great. I had a lot of anger when I was younger and sometimes I could be a little volatile, you know? It was almost like when I came back, I was a completely different person. I mean, not completely. I still am the same person but in a much softer sense, maybe? Much more caring, not so self-centred. Much more concerned about how other people feel or, let's try and figure out what the best thing for everyone involved is going to be. So it's not just about me anymore. Ever since then, I don't feel that it's all about me or this one situation is me. Because it's not always, it's never just about me. It's always about everyone involved. Slade: Did you believe in the afterlife before this experience happened to you? Miki: I didn't NOT believe in the afterlife. I don't know if I had any real belief. I had hippie parents. I wasn't baptized. They were like, "No, she should choose her own way in life." My parents were Catholic. I grew up Catholic. That wasn't really their thing, although my mom kind of went back to the church for awhile. But I'd gone to many different types of churches trying to, you know, teen groups with friends or whatever, trying to figure out what it is that I thought. I knew there was something. I don't think I ever thought there wasn't something, but I didn't really know what it was. Slade: So what is your perspective on the afterlife now? Miki: I definitely think that we live. I have zero fear of death. The only fear I have about death is that I feel like, if I were to die today, I would be perfectly okay with dying. The only part of it that would be upsetting to me is, there are certain things I'm trying to achieve. I have these things laid out that I'm trying to do or to achieve, but I'm not concerned about, like I'll catch up with all these other peeps later. My family or whatever. I'm not concerned about them. It's only about what it is that I'm like, "Wait, wait, I wasn't done doing what I was trying to do." You know what I mean? That kind of... Slade: Yeah... So you do feel a sense of peace about your consciousness continuing after this lifetime? Miki: Oh definitely, yeah. I definitely feel that this is just a moment. This is just something that I'm experimenting with right now, being a human. I'm trying it out. Seeing what's going on. I am certainly not this body at all. I'm something much more grand than this body. This body, with this body, there's limits. It comes with limitations and so within this body and this form, I'm learning to work with those limitations, you know? Slade: Okay. So let's talk about the chest a little bit. You talked about, there was just so much information there and a sense of oh yeah, remembering all this stuff. And then as I imagine when you came back, you don't really necessarily remember individual truths from that viewing of the chest or do you? Are there sort of philosophical maybe insights that you retained from that glimpse into that chest that you can now have conversations with people, you know what I mean? Miki: Yeah, um, definitely I couldn't sit down and be like, "This is what I remember from the chest. There was this, this, this..." You know what I mean? It doesn't come to my memory in that kind of a way. There are definitely things that I know, and it's just like, I didn't know these things before. And that's where I can make that distinction of, this is things that I knew that the chest showed me because I didn't have those thoughts, I didn't know any of this beforehand. I just was sort of, oh, whatever, "Here I am" kind of thing, right? I didn't really think about, I mean, I thought deeply about things but when I thought deeply about things I didn't have the same... You know, it's like I'm thinking less about it now because I know the answer, almost. Slade: So let me ask you this way then. Like when you hear someone talking about something like god or spirits or mediumship or, you know, just any kind of spiritual or philosophical concept. As you're sort of observing those things or hearing questions presented about them, do you sort of have a part of yourself that's like, "Nah, that's bullshit." Or like, "Yeah, actually what he's saying reminds me of something that's a truth from that chest." Are you able to evaluate thoughts now in reference to that? Miki: Yeah. I think that I am. I definitely do look at a lot of things and go, "Psh, okay that's bullshit." One of the biggest things that I can say is bullshit is, and which is very big in the spiritual community is, "We're here. This is an earth school." You know what? That's bullshit. Slade: Oh, thank you! I'm so glad. Miki: This is not an earth school. What kind of asshole would be like, "Oh, let's send all these people here and let them learn something with no curriculum! Hahaha." Come on. That's ridiculous. That's not... not at all the case. It is not a school. We aren't trying to learn. The only thing we are trying to do is experience. Like I said, you're this huge, huge consciousness. I guess I'll call it consciousness because I don't really have anything else to call it. If I call it that, then kind of we all know what I'm talking about. Because if I say 'thing', that's just like, "You know, you're this huge thing right?" Slade: Right. Miki: You're bigger than life. You are so big you're everything. You have such limits in this body that you're in. The only thing that you're learning is, if you're going to learn something, you're learning how to work through these limits of this physical body because it's an experience that you want to have. That's it. You're experiencing what it's like to be in this body. Slade: Like in the way that somebody might choose to do ayahuasca or trip on mushrooms or go underwater with scuba gear. Miki: Exactly. Yeah. Slade: Interesting. Miki: So that's what it is. It's not a school. You aren't, I mean, you learn things along the way. Don't get me wrong. You do learn things along the way. But it's not like you're here to learn. You're here to experience and through your experience, you're going to learn because you learn through every experience. Slade: Right. And there's not like this predestination, like, I'm going to go have this sort of earthly experience so that I can learn what it's like to blahblahblah. Like there's not that much planning. Miki: Well I think there are themes. Slade: Okay. Miki: So it's not really like... You know, it's like if you were planning to, I don't know, make a convention, okay? There's a lot of planning that you have to put in it. Everyone's talking about, "Oh, this is how we want it to come out." There's this and this and this. It doesn't need to be... I mean, it's detailed and you do have a planning committee, but you're more discussing themes. Slade: Like the vibe that you want it to have for the attendees, or... Miki: Yes. Slade: What you kind of want the takeaway to be, but the nitty gritty, like how you get there is more randomized than that. Miki: Yeah. That's a lot more organic and because you choose one thing or you don't choose something. And some people, I mean, probably like you and me, we're "i'm going to make this choice," and something in your head is like, "No, don't do that." Right? Slade: Right. Miki: Stay away from that person. Don't go there. And you either adjust to pay attention to it or you don't, right? I mean, of course if you don't pay attention to it, then everything goes to shit. You're like, "Goddamn, I should've listened to that." Slade: I had this experience yesterday actually when I was pulling into the parking space down at the tea shop or something like that. And I looked around and just in a flash, I saw all these instances of kind of miserable shit. I mean, there's really no other way to put it. Someone who was really struggling to get across the crosswalk in a wheelchair in the rain and then there was an animal that was missing a leg and I mean, I just sort of like turned off the keys and looked around. It was just, bam bam bam bam bam. All this awful stuff, just all this hardship and difficulty in a slice of a moment. And my thought, Miki, in that moment, was, "Who in the hell would make this up on purpose?" That's kind of like this weird question I had for the Universe. So when you said that about this isn't an earth school, we're here to experience versus here to learn, that really spoke to me. Because I felt such an overwhelming sense of how cruel the world was. And not that there aren't always things to be grateful for and all these other things that we can think are wonderful and make it worth it. But I'm just saying, the idea that anyone would mastermind that kind of stuff... Like I'm okay with the fact if it's kind of like, random and organic, if it's nature, but the idea that it would all be pre-scripted, like a video game, feels kind of evil to me. You know what I'm saying? Miki: Yeah, but in choosing the themes, like you said someone in a wheelchair who can't walk and they're struggling through whatever until they come to terms with using the limitations that their body has. You do choose those things but they're themes. It's almost like... It's not as random as, "Woohoo, I'm going to be a human. I'm gonna dig through this bag and randomly pick out 5 themes and those are going to be somehow manifested into my human life." It wouldn't be as random as that because you... I mean this now is going into past lives, which I don't think are past lives, but anyway, we'll just call it a past life right now. Say if you randomly chose these 5 themes out of this magic trunk or whatever, right? The chest. And then what if you'd already, in a past life, you'd already had that theme or... You would go, "Okay..." And you're looking at your human life differently when you're here than when you're looking at it from there. It's like a completely different perspective. So you looking at whatever limitations have been put on your human existence in your human body, you don't feel the same way about those limitations when you are choosing those themes. Slade: What were you going to say about the past lives? We'll call it a past life but you actually don't perceive it that way. I have an idea what you're going to say, but I want you to explain that really quick. Miki: They aren't in the past. They're all right now. They're all going on in the same time but I mean there's no concept of time, really. Time is just a space in consciousness where you can experience something. That's time. That's the best definition really of time. Slade: So we're living all kinds of experiences of other places. Miki: All kinds. And the themes are the same. Slade: Oh really! Miki: Yeah. We kind of talked about this like, what is god, right? Slade: Yeah. Miki: If there is a god, so in order to explain this, we'll have to talk about that for a second. So... Slade: That was gonna be my next question anyway. Miki: The best way that I can put "god" and just saying god, because everyone knows the concept that we're talking about, the best way to describe it would be like an octopus where 'here' is the head, is this main energy, or consciousness, the main theme, all of the arms are all of the other, like the webs almost, it's the same theme. The arms are the same thing as the head of the octopus. So god is the head of the octopus and we're all the arms. We're all experiencing the same thing or, we're the same thing, but we're all experiencing it in different ways. So if you took all of the pieces, like let's just say, for the sake of this conversation and understanding this concept, if you were god, right? I mean, you are. We're all one. So you're god. But there's a bunch of different facets to your personality. And each one of them likes different things, does different things, but altogether that makes Slade. If you broke up every single thing about you and about your personality, fantasy writer, teacher, podcaster, tea lover, animal lover, all of these different aspects of you, right? You have so many. Each one of these, if you could make them into a completely different person and send them out into the world as that personality and just imagine how much faster you would experience everything there is to experience. Because you were spread out instead of just one. Slade: We're the way by which the Universe is aware of itself. Miki: Yes. Slade: Yeah. And when you and I had this conversation about the octopus thing, I said well that's really cool because I'd always perceived it as kind of a fractal image, like a computer screen saver that's like a fractal. And there is something octopus-like about those tendrils, or whatever and the facets and all that kind of stuff. So yeah, I actually really get that really easily. Do you feel like that was something that was in the chest? Miki: I do. Yeah. For sure. Definitely. Slade: So switching gears just a little bit. What was it do you think that motivated you most to go back? Miki: Probably my kids. Slade: Right. Miki: Because four years after I had my daughter and died, I decided to do it again, but I knew I was like, everyone's like, gasp, "You're gonna have another kid." The doctors and everybody kind of freaked out. I said, "Nope it's gonna be perfectly fine. Everything will be fine." And everything was perfectly fine. There've been so many things in my life from that moment where I go, "Nope, this is the way it's going to be. Don't worry about anything because it's gonna be perfectly fine," or "This is the person, without a doubt, I know for sure." Almost like, just these deep knowings about my life which, I can't sit here and recall them but when they present themselves, I'm like, "Oh yeah, I know that." Slade: So you're really moving through trusting your gut and feeling like everything always turns out okay. Miki: Oh yeah, definitely. Slade: What a great way to live. Do you experience anxiety? Do you worry about things? Because I'm a big worrier. Miki: Yeah. I mean, I do worry about things and I think we talked about this too. I worry about things in both directions. I can take one idea and take it to the depths of hell and I can take the same idea and go to the highest point of ever anything and become the most famous person in the world. You know what I mean? I can go in all directions and I can see almost like how the idea could potentially play out in whatever direction I went with, you know? I don't really know if it's worrying so much as just deep thinking. Slade: Yeah, like contemplation. Miki: Extreme contemplation. Slade: Does it happen kind of instantaneously or is it something you really mull over and analyze a lot? Miki: Sometimes both. It depends on how much time I have to think about the particular thing. Sometimes I can daydream about something and just enjoy looking at how something's going to play out, I guess. Slade: Thought experiments. Miki: Yeah. Uh huh. Slade: What do you hope, like when you tell people this story or when you put this out there, what do you kind of hope people take away from it? Miki: Just to know that we are all one and that we all are love. That's, you know, and I think maybe I hope that they feel a sense of ease about being a human because everything is, Oh you're born and you die. You're born to die. That death is the end. It's almost like I feel like the human culture doesn't put enough importance, they put a lot of importance on a birth but the importance they put on a death is much more tragic than celebratory, which is what it should be. So that's what I think that I hope everyone gets from this. Just a sense of calm warm fuzzies about... because I wish, it's a transition, that's all it is. You're just, it's like you're done with this book. That was a great book and you close it. What happens to you when you're done with the book? You're enriched. Your soul grew in some way. You feel, Oh, that was such great book. I really connected with these characters. It's the same. It's just like closing a book. You're just done with this book. You're still perfect and whole. Slade: Hmm... I have so many thoughts about what that means for storytelling in general and what it is that we seek and living all these different lives through story. I'm like radiating out in layers of thought right now. So tell us a little bit about the work that you do now. What do you do with all of this in the world? Miki: I don't really know what I do but I like to help people. I like to help people in whatever way that they feel they need to be helped. If that's doing a reading, if that's having a friend, if that's having a healing. Animals. I read for animals. I don't know. Yeah. I guess, make people laugh? Bring happiness in some way. And if that's through a reading, then that's what I need to do for them. Slade: I like that you don't really separate what you do as work from what you do as just sort of being human in the world. Miki, thank you so much for coming and just laying this whole story out for everyone. Tell everyone where they can go find you online if they want to connect with you. Miki: You can find me at MikiBrittenham.com Slade: Miki, we love you and your stories and your great perspective. I learned a lot listening to you today. I'm sure a lot of people are gonna have cool questions for you when this episode comes out. Thank you so much for doing this. Miki: Thank you, Slade, for having me.

Conférence par Isabelle Petitjean, docteure ès Musicologie, musiques actuelles, Université de Paris-Sorbonne Michael Jackson ne nous a pas confié une production, mais une Création, un Leg. Une oeuvre polyglotte et riche qui continue à toucher et à fédérer un public éclectique sans précédent. Un Corpus toujours vivant, en devenir... Novateur, avant-gardiste, il s’est aussi tourné vers les Maîtres. De même que sa musique renvoie à Beethoven ou à Moussorgski, son visuel de Dangerous cache des références à Bosch et à Bruegel, You are not alone renvoie à Maxfield Parrish, Scream à Münch… Un véritable jeu de piste conçu par un esprit intégratif, respectueux de toutes les cultures et porteur d’un message charismatique fraternisant qui attend d’être décrypté.

武内直子从时代的角度看艺术，这里是磨时艺见。武内直子是日本著名漫画家，凭借少女漫画《美少女战士》而家喻户晓。其实，武内直子原本从事药剂师的工作，因为对绘画的兴趣而进入漫画界。而且，优渥的家庭环境也让她培养出极强的艺术鉴赏能力，并且充分展现在自己的漫画创作中。美少女战士漫画武内直子特别喜欢日本宝冢歌剧团的表演，并且根据剧团里演员的形象创作出《美少女战士》漫画中高人气角色海王满和天王遥。因为武内直子希望所有看漫画的女孩们，都像宝冢剧团演员们一样，拥有纯洁、正派、美丽的精神（即宝冢剧团理念：清、正、美）。宝冢歌舞剧图版《美少女战士》宝冢歌舞剧图版《美少女战士》不仅如此，武内直子还将众多世界级名画的元素融入《美少女战士》中。比如，水兵月变身时周围浮动的时钟，让人想起达利名画《记忆的永恒》中那些犹如溶化的圆形时钟。而漫画彩页中水兵月的各类动作则出自威廉 ·布莱克的《撒旦的本来面目》、  派黎思的《拿灯笼的人》等系列名画。不过，武内直子最偏爱模仿的还是穆夏“新艺术”风格，这种风格侧重于通过装饰性线条、水彩效果、轮廓线等塑造出女性的青春甜美，而这也是美少女战士们传递给读者们的形象特色。《美少女战士》vs《撒旦的本来面目》《美少女战士》vs《拿灯笼的人》《美少女战士》vs“穆夏风格”虽然武内直子在1999年结婚后便渐渐隐退，但是她笔下的《美少女战士》所带来的影响却从未停止。这部漫画之所以能够成为经典，大概是因为它承载着许多人对于美好的追求。俄罗斯花滑公主叶夫根尼娅•梅德韦杰娃在比赛中扮成水兵月————————————————————————宝冢歌剧团是1914年(大正三年)由日本阪急企业创始人小林一三创立的大型歌舞剧团，团员全部为未婚的女性，戏剧中男角也是由女性"反串"演出。每个团员都需在宝冢音乐学校经过为期两年的严格训练和教育，毕业之后会被分配到各组进行登台表演。威廉·布莱克(William Blake)，英国第一位重要的浪漫主义诗人、版画家，英国文学史上最重要的伟大诗人之一，虔诚的基督教徒。 麦克斯菲尔德·派黎思（Maxfield Parrish），美国插版画家和画家，擅长运用色彩与装饰性幽默绘画，形成独具特色的"派黎思蓝色"阿尔丰斯·穆夏（Alphonse Maria Mucha），捷克斯洛伐克画家 ，他的创作吸收了日本木刻、拜占庭艺术、巴洛克与洛可可艺术的特，擅长用感性化的装饰性线条、简洁的轮廓线和明快的水彩效果塑造人物形象以上内容由磨时艺见整理，希望对您有所启发。磨时艺见，每晚9点，准时更新！

This week on XENA: WARRIOR PODCAST, the real you is bleeding through! Vera, Katie, and Livy do their best sun salutations in 4x13 “Paradise Found,” a sexy, thinky yogafest that kicks off the India arc with its own unique mix of Hinduism, Taoism, and New Age esotericism--with some Sapphic massage and freaky body horror thrown in. This ep is a lot, you guys! We discuss director Rob Tapert’s actor-focused approach, the many visual references from Maxfield Parrish to Alice in Wonderland to Buddhist art, and how lighting, camera placement, and sound design externalize Xena and Gabrielle’s internal struggles. Plus: Xena breaks the hair scale, Aidan’s abuses of power, 69-ing on the yin-yang bed, Gabrielle’s ‘hot little number,’ so many baths, lotus symbolism, and the most psychologically fraught scene in all of Xena. It’s a TORTOISE, Vera!   The power, the passion, the podcast! Patreon: https://www.patreon.com/xenawarriorpodcast  iTunes: http://apple.co/2f0NAIM Twitter: @xenawarriorpod Tumblr: xenawarriorpodcast.tumblr.com Facebook: facebook.com/xenawarriorpodcast Instagram: instagram.com/xenawarriorpodcast ———————————————————————— Vera: (@hollywoodgrrl) Katie: (@katetocci) Livy: (@PonderousLivy) Music: http://freemusicarchive.org/music/A_Hawk_and_a_Hacksaw/

Rob Reiner’s picturization of William Goldman’s delightful 1973 novel (screenplay also penned by Goldman) remains as fresh and fun as it was twenty years ago. Populated with quirky characters portrayed by quirky actors and sunsets right out of a Maxfield Parrish lithograph, this film truly has “something for everyone.” Inconceivable!!