Thursday, December 10, 2020

MILITARY INDUSTRIAL COMPLEX
Biden’s Pentagon Pick Has Deep Defense Industry Ties. Now It Could Complicate His Nomination.

Retired Army Gen. Lloyd Austin sits on the board of Raytheon.

Dan Spinelli Reporter Bio 
MOTHER JONES DECEMBER 9,2020


Chip Somodevilla/Getty

Joe Biden, in defending his decision to nominate retired Army Gen. Lloyd Austin as his Defense secretary pick on Tuesday, cited Austin’s “intimate knowledge of the Department of Defense and our government,” adding that those qualities make him “uniquely matched to the challenges and crises we face.” Outside of government, those qualities were also uniquely matched to a post-military career spent cultivating ties between people in power and the defense industry.

After retiring from the Army in 2016, Austin joined the board of a defense industry giant, set up his own consulting firm, and became a partner at a private equity firm that invests in defense and aerospace companies. He quickly cashed in, earning at least $1.4 million since he joined the board of United Technologies Corp. in 2016. Earlier this year, UTC merged with Raytheon, giving Austin a seat on the board of one of the country’s most powerful defense contractors. Last year, Raytheon received more than $16 billion in federal government contracts, the fourth-most of any company.

The progressive flank of the Democratic Party, which has debated how to oppose Biden’s Defense secretary pick even before the announcement, expressed concern with Austin in a barrage of statements on Tuesday. Common Defense, a veterans group, called his nomination “a grave, democracy-threatening mistake.” Win Without War Executive Director Stephen Miles said the “historic nature of this nomination is indeed laudable,” but called on Austin to “address the ethics concerns raised by his connection with Raytheon” and “at minimum, commit to recusing himself from any decision relating to Raytheon.”


“They have exploited these connections to keep the bombs flowing. How well equipped will General Austin be to resist these pressures? Will he tip the scales in favor of his former company?”

The Massachusetts based contractor has made off particularly well by selling weapons to Saudi Arabia and its allies as part of the controversial Saudi intervention into Yemen’s civil war, an ongoing catastrophe that has spiraled into the world’s worst humanitarian disaster. “Since the Yemen war began, Raytheon has booked at least a dozen major sales to the kingdom and its partners worth more than $5 billion,” the New York Times reported in May. Congress has repeatedly passed resolutions that oppose further sales to Saudi Arabia and its Middle East allies, but firms like Raytheon have relentlessly lobbied the Trump administration to keep the spigot flowing, despite American weapons being connected to massive civilian casualty events in Yemen. President Trump has vetoed bills to block arms sales in the past and is expected to do so again, pending how Congress votes on similar legislation this week.

If Austin’s gets a seat in Biden’s Cabinet, it raises questions of how sincerely he believes in Raytheon’s activities and whether he would advocate for a continued transfer of weapons. Last year, Biden called for the United States to stop providing financial and military support for the Saudi war in Yemen, reversing a policy that originated under the Obama administration. He also said he would make Saudi Arabia, which has come up for increasing criticism in Congress since its state-sanctioned murder of Washington Post journalist Jamal Khashoggi, into “a pariah.”

Under Trump, who appointed former Raytheon lobbyist Mark Esper as Defense secretary, Raytheon has been able to secure influence at the highest levels of government. “They have exploited these connections to keep the bombs flowing. How well equipped will General Austin be to resist these pressures? Will he tip the scales in favor of his former company?” says William Hartung, director of the Arms and Security Project at the progressive Center for International Policy. “These are questions that should not need to be asked—these kinds of potential conflicts should not be present in an independent secretary of Defense able to make the right decisions on arms to Saudi Arabia and other key security issues.”

In recent years, the boardrooms of major US defense contractors have become something of a feeder school for senior Pentagon leaders. Trump’s three Defense secretaries who served for any extended time—James Mattis, Patrick Shanahan, and Esper—had roles at General Dynamics, Boeing, and Raytheon before joining his administration.


“If President-elect Biden is serious about enacting reform upon taking office, he would be better served by a Defense secretary without ties to one of the top five contractors. We need defense leaders who are ready to make decisions that are right for the American people, not former industry officials who stand to be influenced by their ties to contractors,” said Mandy Smithberger of the Project On Government Oversight, which tracks the industry ties of current and former government officials. “The revolving door between the Defense Department and industry has contributed to far too many decisions that benefit defense contractors at the expense of the American public, and I’m disappointed to see that Biden isn’t committed to mitigating industry influence on the government.”

Austin’s nomination was applauded by the Congressional Black Caucus, who pushed for Biden to nominate a Black Defense secretary, but many other Democrats in Congress have already voiced opposition to his nomination—a point that especially matters for this Cabinet position, since Austin would require a congressional waiver to serve as Defense secretary. He only retired from the Army four years ago and federal law requires a seven-year cooling off period before a military leader can serve as secretary of Defense, a civilian role. (The cooling off period initially extended for 10 years, but Congress reduced it in 2007.) Mattis, who was in a similar situation as a retired Marine Corps general, ultimately received a waiver from Congress, but some prominent Democrats who opposed a waiver for Mattis, including Sens. Elizabeth Warren (D-Mass.) and Richard Blumenthal (D-Conn.) have said they will similarly not support one for Austin. Rep. Elissa Slotkin (D-Mich.), who worked at the Pentagon while Austin was leading US troops in the Middle East, said she has “deep respect” for his work, but “choosing another recently retired general to serve in a role that is designed for a civilian just feels off.” She didn’t rule out voting for his waiver, but her reluctance speaks to some of the frustration among Democrats that Biden would pick a retired general after the outsize influence military leaders had at the Defense Department over civilian officials during Mattis’ tenure.




Austin’s 41 years in uniform evidently didn’t disqualify him in Biden’s eyes. Industry connections haven’t appeared to hurt Biden’s national security appointees either, many of whom served outside of government in similar consulting jobs. Avril Haines, Biden’s nominee for director of national intelligence, was a principal at WestExec Advisers, a consulting firm co-founded by Secretary of State nominee Antony Blinken and Michèle Flournoy, an ex-Obama Defense official who was among Biden’s finalists for the Defense secretary job. Austin, Flournoy, and Blinken are all partners at Pine Island Capital Partners, a private equity firm founded by former executives at Merrill Lynch, Coca-Cola, and Goldman Sachs, though Blinken is currently on leave. A spokesperson for the firm did not immediately respond to a request about Austin’s status; he joined the firm in late July, according to a press release on its website. Austin also sits on the board of Nucor, an American steel producer, and Tenet, a health care firm.

“Joe Biden has pledged the most ethically rigorous administration in American history, and every cabinet member will abide by all disclosure requirements and strict ethics rules—including recusals when appropriate,” Andrew Bates, a Biden spokesperson, said in a statement, adding that Austin, if confirmed, would “divest of his interest in Pine Island and in Raytheon.”

Pine Island’s holdings include two defense contractors: InVeris Training Solutions, which produces “advanced technology-enabled virtual and live-fire training systems,” and Precinmac Precision Machining, which makes parts for rocket launchers and other weapons. InVeris, formerly known as Meggitt Training Systems, was a subsidiary of a British firm that signed multiple contracts to produce parts for the F-35, the troubled aircraft that has been plagued by years-long problems. Congress has held multiple hearings related to production problems with the F-35, the most expensive weapons program in US history, and pressured Lockheed Martin—the contractor who gave work to Meggitt—to pay back the US government for the cost of defective spare parts. Before being acquired by Pine Island, Meggitt Training Systems signed a $78 million contract with an undisclosed Middle Eastern government to build an outdoor training facility. Congress will have the opportunity to probe those business deals at Austin’s confirmation hearing, which is shaping up to be one of the more unpredictable ones of the early Biden administration.



 

Black Lives Matter co-founder urges Nigeria 
to free jailed police protesters

By Libby George
© Reuters/LIBBY GEORGE Black Lives Matter co-founder, Opal Tometi, speaks from Los Angeles during an interview on Zoom with Reuters in Lagos

LAGOS (Reuters) - A group of activists and celebrities, including a co-founder of the Black Lives Matter movement, have signed an open letter to Nigeria's president demanding that he hold accountable security personnel accused of shooting anti-police brutality protesters.
© Reuters/TEMILADE ADELAJA FILE PHOTO:
 Demonstrators carry banners during a protest over alleged police brutality, in Lagos

The letter, published in the New York Times on Thursday to mark International Human Rights Day, comes nearly two months after what witnesses and Amnesty International say was a fatal clash in Lagos between peaceful protesters and military and police. The military and police deny shooting protesters.
© Reuters/TEMILADE ADELAJA FILE PHOTO: 
Demonstrators talk to a police officer during a protest over alleged police brutality, in Lagos

The demonstrators had called for an end to police brutality and a much-hated unit called the Special Anti-Robbery Squad (SARS).


Black Lives Matter co-founder Opal Tometi, 36, an American with Nigerian parents, organized the letter after watching the protests descend into violence. Tometi said she has friends and family in Nigeria, but said it was not difficult to get others to sign on.

"We care about the issues of police brutality no matter where they're occurring," she told Reuters in an interview on Wednesday. "The violence that people have been met with is intolerable."

Spokesmen for President Muhammadu Buhari did not immediately respond to a request for comment. Police disbanded SARS on Oct. 11, and the government asked each state to form judicial panels to investigate claims of brutality.

But protesters have outlined a campaign of harassment since the shootings, and some still do not know what happened to their missing friends and family.

The letter, signed by supporters including climate change campaigner Greta Thunberg, also asks the government to release jailed protesters, lift a ban on protests and allow an independent human rights monitor investigation into "the actions that led to the killings at Lekki Toll Gate."

"People are missing and people have died as a consequence of speaking out," Tometi said. "We will not abide it."

(Reporting by Libby George in Lagos; Editing by Alexis Akwagyiram and Matthew Lewis)
Health Canada seizes dozens of illegal products from Edmonton adult store

Health Canada has seized nearly two dozen brands of poppers from an adult store in northwest Edmonton
.
© Provided by Edmonton Journal The Passion Vault had enhancement products seized by Health Canada in Edmonton, December 8, 2020. Ed Kaiser/Postmedia

Officials from the federal agency took 24 types of products from the Passion Vault on 111 Avenue, said a news release issued on Nov. 25. Authorities seized similar products from stores in Medicine Hat and Toronto. It is unclear if the raids were connected.

Among the items seized were products labelled as Rush Original, Gold Rush Original and Jungle Juice Gold Label, and a variety of other brands of poppers. Several items labelled under “sexual enhancement” were also taken from the store by officials.

Poppers is the street term for products containing chemicals known as alkyl nitrates. They cause a short high that relaxes smooth muscles and gives off a rush, according to the Community Based Research Centre (CBRC). They are often used in clubs and among men with same-sex partners in the bedroom. THEY GIVE MEN ROCK HARD ERECTIONS


Officials with Health Canada said they could not comment further as they wait for the rest of the investigation to be completed.

Management at the Passion Vault declined to comment on the seizures.

Health Canada began cracking down on the sale of poppers in 2013 as they made their distribution illegal. Health Canada said poppers pose serious health effects on users, including deaths.

Dr. Kiffer Card, a researcher with the Canadian Institute for Substance Use Research, said that while certain variations of alkyl nitrates can cause harm, the decision to ban poppers across Canada was made without evidence or consultations with the community.

“Many gay and bisexual men and other people have been using poppers for decades, with little to no effect on their health,” said Card. “So the bulk of evidence that we have currently from the population health data we have in our survey shows that most people use without consequence when they’re using the safe formulations.”

Card said there is currently no legal way to obtain poppers in Canada. He said Australia currently allows some strains to be purchased at pharmacies.

Card said in an ideal world, the federal government would move towards a similar approach to Australia but would allow for a little more freedom for the drug to be sold in certain stores, such as adult retailers.

He argued that Canada has currently set a double standard by allowing some therapeutic drugs such as tobacco and alcohol to be sold while others are not.

“It’s not just a policy decision of Canada, but it’s a political decision that really, really will require intervention from the federal government,” said Card.

Card said his organization will be pushing the government publicly in the coming months to analyze its decision to outlaw poppers through a gender-based analysis.


Is that a big goldfish or a small koi? 
The fish in this Facebook photo remains a mystery.

Is a goldfish the "Loch Ness" of a small South Carolina lake?
Or is a small koi on the loose?

The identity of this fish remains a mystery.

Parks and recreation workers in South Carolina found what they're calling a nine-pound goldfish while electrofishing to gauge the health of a lake in Greenville. One fish didn't simply float to the top. Instead, it jumped out of the lake.

"It reminded me of when I was a little kid, my mom was a teacher and she brought a goldfish that was in a small fishbowl home. We put it in a bigger aquarium and we both were surprised (at) how big it grew," Ty Houck, director of greenways, natural and historic resources for Greenville County's Department of Parks, Recreation and Tourism, told USA TODAY. 

© Courtesy of Ty Houck/Greenville Parks, Recreation & Tourism County workers claim they found a 9-pound goldfish in a lake in South Carolina, though an expert from the University of Texas is skeptical.

This goldfish isn't native to the area, but they aren't invasive, Houck said. He and Scott Robinson, who was working with him, put the fish back in the water after they took a couple of photos. Typically, they'll find largemouth bass, crappies, redear sunfish and warmouths, he said.

"I said, 'All lakes need their own Loch Ness,'" Houck said.

'Uplifting news': Critically endangered North Atlantic right whale population gets a boost

The two — along with Houck's son and his son's friend — found the fish in mid-November in Oak Grove Lake, Houck said. The county's parks and recreation department posted the photo to Facebook on Monday with the caption, "Anyone missing their goldfish?"

But is it really a goldfish?

Adam Cohen, ichthyology collection manager at the University of Texas' Biodiversity Center, looked at the photo of the fish and told USA TODAY he believes it's a koi. Ichthyology is the study of fish.

Cohen pointed to what he called barbels coming out of the fish's mouth.

If the fish is an adult koi, it's a relatively small one, Cohen said. Koi can grow to be up to three feet, according to the Smithsonian's National Zoo and Conservation Biology Institute.

These large-eyed nocturnal predators snag food out of the air: Ogre-faced spiders don't need ears to 'hear' their prey, study finds.

It's not impossible for a goldfish to grow to nine pounds, but it's unlikely, Cohen said.

"For me, looking at the photo, I can tell that's not a goldfish," Cohen said with a laugh. "It's actually a koi."

He added, "It's very common for us to see those missed IDs in our line of work. That individual actually has a standard goldfish color. Koi are extremely variable in their colors and their shape and size. That particular individual looks a lot like a typical feeder goldfish."

Houck said he received verification that the fish was in fact a goldfish, and added the fish that was found "only has fins."
The 6 Artists of Chicago’s Electrifying ’60s Art Group the Hairy Who
Edmée Lepercq
Sep 8, 2020 


Portrait of Hairy Who by by Charles Krejcsi for the Chicago Daily News. Courtesy of Pentimenti Productions.


If New York  Pop art was considered cool, Chicago’s was hot, embodied in the mid-1960s by six recent graduates from the School of the Art Institute of Chicago who exhibited together under the moniker “the Hairy Who.” While Andy Warhol and Roy Lichtenstein treated mass consumerism and popular culture with irony and distance, the Hairy Who were interested in the emotional charge of such imagery. One was personal, the other aloof.

The Hairy Who were united by their education, their sense of humor, their craftsmanship, and their knowledge of art history. Their sources were as eclectic and far-ranging as
Art Brut, Surrealism, sale catalogues, bodybuilders, and medical illustrations. Today, the Hairy Who are renowned for their hallucinatory representations of the body, which shows it fragmented, elongated, and exaggerated. Their works often depict mutilations and skin diseases, which sit in stark contrast with their otherwise cheerful aesthetic. The dissonance perfectly captures the tensions between the relentlessly upbeat fantasy world of American consumerism and the political upheaval of the Vietnam War and the civil rights movement during the 1960s. Chicago itself was an epicenter of racial tension throughout the 1960s following desegregation attempts by Dr. Martin Luther King Jr. and others.

Though the collective exhibited together for just three years, from 1966 to 1969, they drew national and international attention and catalyzed the broader
Chicago Imagist
movement, which extended into the 1980s. Rather than a series of group shows, their exhibitions challenged traditional modes of installation with artists covering gallery walls with flowery linoleum and hanging oversized price tags on paintings and drawings. Each exhibition came with a comic book–style publication—a dig at stuffy exhibition catalogues—as well as buttons and posters. It was a far cry from the white cube.

So, who were the six members of the Hairy Who?


Karl Wirsum
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Karl Wirsum inadvertently gave the group its name when he walked into a meeting where the other members were talking about the art critic Harry Bouras. Wirsum asked, “Harry who? Who is this guy?” They changed “Harry” to “Hairy,” and the name stuck. Wirsum’s work usually consists of a single, central, confrontational figure set against a monochromatic background. His figures are never fully human, but rather a humanoid mash-up of robots, aliens, and totemic forms. One of his inspirations is the symmetry of Mayan and Aztec stone carvings, which he came upon during a 1961 trip to Mexico with the artist 

Ed Paschke
. Another is the boldness and brashness of Chicago’s jazz and blues music. Wirsum even made portraits of musicians like Screamin’ Jay Hawkins and Junior “Messin’ with the Kid” Wells, channeling the intensity of their performances into his work. In the 1970s, Wirsum’s characters burst into three dimensions. He began making sculptures—brightly painted figures of boxers, animal masks, and skulls reminiscent of the Mexican holiday Dia de los Muertos (or “Day of the Dead”). Like his drawings, they emanate a sense of unbridled energy; a cacophonous, rapturous mix of joy or insanity.


Jim Nutt


Jim Nutt
American, b. 1938

FollowJim Nutt was a member of the Imagist and Hairy Who groups centered in Chicago in the 1960s and ‘70s. His graphic, vividly sexual, and psychological work was …
Jim Nutt
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In Jim Nutt’s work, the unruliness of the human form is front and center—pimples erupt, sweat splashes off, and hairs sprout like a crop of microgreens. Yet the vulgarity in his images, from their gory details to their locker-room humor, is always offset by the artist’s technical prowess. Every one of Nutt’s compositions is planned with the utmost care. For example, in his formative early paintings on Plexiglas, Nutt worked out all of his ideas, shapes, and forms on a sheet of paper the same size as the final work. He then taped the paper onto one side of the Plexiglas and, looking through its transparent surface, painted the lines and colors of the sketch on the other side. By the 1990s, Nutt’s cartoonish early work would move toward Renaissance-esque portraiture. Painted on canvas or wood, blackened noses, tumorous growths, and skin diseases afflict the faces of men and women with intelligent eyes and fanciful updos. Each sitter features the pose and demeanor of bygone aristocrats, yet suffers illnesses worthy of any medical journal, all depicted in the subtlest of hues.

Suellen Rocca
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Suellen Rocca has described her own work as a form of picture writing, akin to hieroglyphs. Her paintings are composed of repeated, gendered motifs; inspired by cultural icons of beauty and romance in mass media, handbags, lipsticks, and palm trees speak to popular culture through a personal lens. Rocca was fascinated by how a single palm tree can encompass a vision of paradise, or how a diamond ring symbolizes true love. In her earlier work, she divided the picture plane into panels evocative of comic strips and sale catalogues, creating a pastel-hued periodic table of squiggly-lined feminine symbols. After an artistic hiatus from 1972 to 1981, Rocca began making paintings with a darker emotional weather, which she called “more internal.” They often feature a central female figure surrounded by a selection of floating commercial objects. As with her earlier work, these paintings offer themselves up as interpretive lists and diagrams.

Jim Falconer

James “Jim” Falconer’s drawings and paintings from 1966 to 1968 are full of images from pop culture rendered in a floppy, wiggly style and hallucogenic colors. Drawing influence from German Expressionism, Surrealism, and artists like Peter Saul and H.C. Westermann
, Falconer also found inspiration in ordinary, industrial things like vintage linoleum and hand-painted signs. One body of work features silkscreens of bright, organic, abstract forms mounted onto linoleum flooring decorated with dusty motifs of rose bouquets. Set into red or blue frames the artist made himself, a price tag sometimes hangs off the work, its colors complementing the image.

While every member of the Hairy Who wrestled with the sociopolitical tensions of the 1960s, Falconer was perhaps the most overtly political. Having co-founded the activist group Artists Against the War in Vietnam with
Dominick di Meo, Robert Donley, and Donald Main in 1969, Falconer moved to New York City in 1970, where he abandoned visual art to work in film, photography, and music for the next 35 years. He returned to Chicago in the early 2000s and has since been making abstract paintings that continue his early work among the Hairy Who.
Feminist Art
Frida Kahlo and Georgia O’Keeffe’s Formative Friendship
Karen Chernick
Mar 20, 2020 


Imogen Cunningham
Frida Kahlo Rivera, 1931
Atlas Gallery£2,500 - 5,000


Alfred Stieglitz
Georgia O'Keeffe: A Portrait, 1920–1922
Christie's


Frustrated, Frida Kahlo was finding that none of the letters she was writing felt quite right, and she tore them up, one by one. The young Mexican artist was penning a note to Georgia O’Keeffe—an artistic rock star nearly twice her age, whom she’d befriended while living briefly in New York about a year before. “I can’t write in English all I would like to tell, especially to you,” reads the two-page letter Kahlo ultimately deemed worthy of sending. “I thought of you a lot and never forget your wonderful hands and the color of your eyes. I will see you soon.”

That letter, sent on March 1, 1933, is currently housed at the Beinecke Rare Book & Manuscript Library at Yale University and is the sole document filed in the Alfred Stieglitz/Georgia O’Keeffe archive’s Kahlo folder. 

But Frida in America(2020), a new book about the Mexican painter’s first trip to the United States—from 1930 to 1933, accompanying her husband Diego Rivera on multiple mural commissions—reveals more details about the friendship between a 24-year-old Kahlo, then barely known as a painter, and a venerated and successful 44-year-old O’Keeffe.



Frida Kahlo
Diego on my mind (Self-portrait as Tehuana), 1943
Art Gallery of New South Wales


Georgia O’Keeffe
White Iris , 1930
"Georgia O'Keeffe" at Tate Modern, London


Imagining the unibrowed self-portraitist hobnobbing with the eccentric painter of abstracted flora is a fantastic and downright fun image. Understanding Kahlo’s friendship with O’Keeffe also helps flesh out the impact these formative American years had on the budding artist, as she bounced between San Francisco, New York, and Detroit. “It’s important to understand more about this relationship between Frida and Georgia because it provides a fuller context, at least for Frida’s creative development,” says Celia Stahr, author of Frida in America. “What did Frida see while she was in the United States, what did she experience?”



Lucienne Bloch
1909–1999


The two painters met in December 1931, at the opening of Rivera’s big solo exhibition at New York’s Museum of Modern Art. According to Lucienne Bloch, one of Rivera’s assistants, the famed muralist later bragged that his wife had been flirting with O’Keeffe (O’Keeffe already owned a Rivera painting, Seated Woman, making it likely that she and Stieglitz were on the list of people Kahlo felt she should chat up).


Frida Kahlo
Portrait of Diego Rivera, 1937
Art Gallery of New South Wales

Diego Rivera
Man Carrying Calla Lilies, 2000
ArtWiseSold

Bloch’s mostly unpublished journal, which Stahr accessed while researching her book, was a window into how Kahlo filled her days in the early 1930s. “I was able to get a much clearer sense of Frida’s social world,” notes Stahr. “Little by little, I was able to piece out that yes, Frida’s hanging out with Georgia.”

Sometimes they went on double dates with their husbands, and sometimes the two of them, plus Bloch, ventured out. “I love this one scene [from the journal] where Frida, Georgia, and Lucienne go to a Mexican restaurant together. They drink tequila, and then they end up getting tipsy and singing in the toilet,” recalls Stahr. “I just think that’s an amazing image.”



Frida Kahlo
Frida and Diego Rivera, 1931
San Francisco Museum of Modern Art (SFMOMA)Permanent collection


Georgia O’Keeffe
Birch and Pine Trees - Pink, 1925
Colby College Museum of Art

But their friendship wasn’t all flirtations and tequila. The two women were quite similar in many ways—both played with fashion, dressing themselves in striking ways outside the mainstream feminine vogue; both pursued careers of their own while married to older, unfaithful, and powerful male artists. “Both were fearless, flamboyant, and very powerful personalities,” explains Linda Grasso, author of Equal under the Sky: Georgia O’Keeffe and Twentieth-Century Feminism (2017). “They automatically would have been attracted to each other.”

In addition, Kahlo was looking closely at O’Keeffe’s paintings. In the spring of 1932, Kahlo and Rivera left New York for Detroit, where Kahlo painted Self-Portrait on the Border Line Between Mexico and the United States (1932)—a canvas depicting the artist in a pink gown, dividing a bleak landscape of American industry on the right and ancient Mexican ruins on the left.
On the Mexican side, a few jack-in-the-pulpit flowers sprout between other plants—a flower that O’Keeffe devoted an entire series to just two years earlier and which isn’t indigenous to Mexico. “You see not just one but three. You see the growth of it, the process—one’s fully closed, one’s open,” Stahr observes. “That’s what Georgia showed in her series, this whole process of growth, and from different perspectives.”



Georgia O’Keeffe
Jack-in-the-Pulpit No. IV, 1930
"O'Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York" at

Frida Kahlo
Self-Portrait on the Border Line Between Mexico and the United States, 1932
"Paint the Revolution: Mexican Modernism, 1910–1950" at Philadelphia Museum of Art

And so even in Detroit, when it was unclear whether she’d ever see O’Keeffe again, the older artist’s influence lingered. Their next known contact was when Kahlo phoned O’Keeffe sometime in late 1932, after learning that she’d suffered a nervous breakdown. When Kahlo mailed her letter to O’Keeffe in 1933, she was hospitalized.

“If you [sic] still in the Hospital when I come back I will bring you flowers, but it is so difficult to find the ones I would like for you,” Kahlo wrote at the end of her note. “I like you very much Georgia.” Kahlo returned to New York two weeks later, and visited her friend right before O’Keeffe left for Bermuda to continue her recovery.



Philippe Halsman
Georgia O'Keeffe, in Abiquiu, New Mexico, unique vintage print, 1948
°CLAIRbyKahn GalerieContact for price


Frida Kahlo
Arbol de la Esperanza (Tree of Hope), 1946
MCA Chicago

Kahlo rehashed the reunion in a letter to Clifford Wight, one of Rivera’s assistants. “She didn’t make love to me that time,” she lamented. “I think on account of her weakness. Too bad.” Kahlo’s wording implies that O’Keeffe had made love to her before, but it’s unclear what she meant exactly. While some scholars argue that O’Keeffe had romantic relationships with women, the official line from the Georgia O’Keeffe Museum and major O’Keeffe scholars is that there’s no evidence. “The term ‘make love’ had a variety of meanings,” offers Grasso. “It might have just meant flirting.”

The story of Kahlo and O’Keeffe’s friendship is fairly one-sided, with most of the records coming from Kahlo (to whom the relationship likely meant more). No letters have been identified, to date, from O’Keeffe, and it doesn’t look like she kept any mementos.



Antonio Kahlo
Frida Kahlo, 1949
Matthew Liu Fine ArtsContact for price

Georgia O’Keeffe
Black Iris VI, 1936
Seattle Art Museum

One small trace, which Grasso identified recently in an O’Keeffe address book from the early 1930s, is a Chicago address for Frida Rivera (the artist’s married name). When Kahlo was in New York in 1933, her next scheduled destination was Chicago (where Rivera was commissioned to paint a mural for the World’s Fair, which fell through after the controversy surrounding his Rockefeller Center mural).

O’Keeffe probably never used that Chicago address, but when the Mexican painter came to New York in November 1938 for her first solo exhibition, at the Julien Levy Gallery, O’Keeffe was there on opening night. Stahr thinks this was deliberate, since by this point she was spending July through December in New Mexico, and could have easily missed Kahlo.
“It’s possible they saw each other other times,” Stahr adds. “Frida did visit New York on different occasions.” And when O’Keeffe traveled to Mexico in 1951, she visited Kahlo twice at her home, the Casa Azul.



Frida Kahlo
Autorretrato con chango y loro, 1942
MALBA Permanent collection


That last time, it was Kahlo who was confined to bed, recovering from recent operations. She must have been thrilled to see her old pal, who showed her what being a successful woman artist could look like. “O’Keeffe was the woman artist…the representative, the token, the exemplar,” Grasso says. “You can think about how much O’Keeffe—as a person, as a friend, as a woman, and as an artist—might be absolutely fascinating and important to her.”

Maybe O’Keeffe brought Kahlo flowers, and maybe Kahlo offered her friend some local tequila. The two were different people than when they first met, two decades earlier, and they hadn’t been permanent fixtures in each other’s lives. Their bond, however loose, was still there.

Karen Chernick

Swedish runestones open gateway to ancient Viking civilization
Justin Calderon, CNN • Updated 26th November 2020













Rune Kingdom: The Jarlabanke Bridge is a common starting point for a tour of Runriket, a collection of ancient runestones in Sweden that sheds light on the country's Viking past. The original bridge once helped Vikings cross over a bog.
Justin Calderon

Vallentuna, Sweden (CNN) — Drive north of the Swedish capital for about half an hour and you'll reach the lakeside district of Vallentuna, a pleasant community with cobblestone churches, picnic areas and playgrounds.

It's also a journey deep into Sweden's ancient Viking past.

Scattered among Vallentuna's greenery are dozens of mystical runestones that form the gateway to a 1,000-year-old Viking civilization now believed to be one of Scandinavia's most significant historic sites.


Known as Runriket, or Rune Kingdom, this collection of more than 100 Viking age runestones -- ancient lichen-crusted slabs of Old Norse inscriptions -- are beautiful relics that shine a light on modern Sweden's past, revealing surprising truths about its ancestors.

Vikings are often depicted as brutish Odin-worshippers who pillaged, drank and made blood sacrifices. While there's truth to the stereotype, the relics of Rune Kingdom actually paint a picture of devote Christian settlers on the cusp of embracing medieval lifestyles.

Among them, one man stands out -- an 11th-century Viking ruler named Jarlabanke who appears in more runic inscriptions here than anyone else -- largely because he seems to have been colossally self-important.

"He had many runestones made, both after others but more famously after himself, something that was quite rare," says Eric Östergren, a guide at Stockholm's Viking Museum whose own long auburn beard and gray-blue eyes have a flavor of Old Norse about them.

"From these runestones, we can assume Jarlabanke's power grew and he changed the local political landscape," Östergren adds.

Jarlabanke's gargantuan ego -- big enough to echo through the ages -- has left precious archaeological evidence of a civilization which, because Vikings mostly used wood for construction, is otherwise scarce.

The runestones created by Jarlabanke reveal the influence of his dynasty across five generations and archaeologists have been able to use them to piece together a key chapter for Viking society little known outside of Scandinavia -- the arrival of Christianity.


Sweden's first Christians


Norse code: The runestones of Runriket shed light on a little-understood chapter of Sweden's ancient past.
Arash Bahrehmand

On the east side of Vallentuna Lake stand two formidable granite runestones that bear identical inscriptions and face each other. Measuring about 1.65 meters (5 ft, 5 in), their etchings claim they mark the original location of a bridge built by Jarlabanke.

Archaeologists believe this ancient structure was raised as a passage over marshland to a church.

The bridge -- locally known as "Jarlabanke bro" -- is the most common starting point to conduct a tour of Runriket, which can be done by car or on foot.

As is common with stones connected to Jarlabanke, Old Norse letters are written within the winding tail of a mythical serpent that frames a large, artistically drawn cross.

Many of the runestones at Runriket are carved with these unmistakably Christian crosses, some elaborate in design, like the two at Jarlabanke Bridge, and others with simple, shallowly engraved lines.

These are among the first Christian symbols found in Sweden. In fact, archaeologists have linked the arrival of Christianity in Sweden directly to Jarlabanke through the stones at Runriket.

"We know that they (Jarlabanke and his family) must have been the earliest Christians in this area and that Jarlabanke's grandfather Östen traveled all the way to Jerusalem on a pilgrimage as early as the first half of the 11th century," says Magnus Källström, a researcher at the Swedish National Heritage Board and one of Sweden's most sought-after runologists.

The stones also tell us of an important transition in funeral practices, signaling the departure of pagan rituals in exchange for Christian burials.

"In Vallentuna's runestones, we can document a change of culture, from a time when a burial mound was built to an embrace of more medieval customs," Östergren says.


'He alone owned all'

Jarlabanke's imposing presence can still be felt across Vallentuna. If he were around today, Östergren likes to joke to visitors to his museum, the Viking "would probably upload selfies every day" to Facebook.

While there are missing pieces to the puzzle, everything known about Jarlabanke has come from the runic inscriptions on the stones.

"Jarlabanke must have been a very important and wealthy person in the vicinity of Vallentuna Lake," observes Källström. "He built his impressive bridge and he arranged an assembly place probably close to where Vallentuna church stands today."

Källström points to a two-sided runestone that sits alongside the Vallentuna church on a sunny hillside over the lake. It provides a fundamental clue to understanding Jarlabanke's power.

Tracing his finger across runes partially obscured by gray and brown moss, he reads out the inscription in Old Norse, which to the untrained ear sounds a lot like a mystical spell from a J.R.R. Tolkien novel.

"Jarlabanki let ræisa stæin þenn at sik kvikvan," he recites. "Jarlabanke had this stone raised in memory of himself while alive.

"And made this assembly place, and alone owned all of this hundred."


Jarlabanke image by Eric Östergren

Here, the word "hundred" refers to a large administrative region. According to Källström, it's debatable whether Jarlabanke was merely a powerful landowner, or played another more significant role.

"This is a very large area and it seems impossible that all this land was in Jarlabanke's private possession. Most probably, the verb æiga -- 'to own' -- means something different here: that he was the chieftain for this hundred, or the law speaker or judge."

The amount of times Jarlabanke writes his name in Vallentuna also suggests that he was quite powerful, and wanted to make sure everyone knew it.

Källström also suggests that there could have been a power struggle with his half-brother, which would explain why Jarlabanke took pains to clearly state that "he alone" ruled the area.
Still, other researchers like Östergren say that the ruthless nature of Viking politics combined with a narcissistic personality would make for a ruler that was likely more "mafia boss" than simple adjudicator.

"Jarlabanke is mentioned on 10 of these stones, and six of these he has put up in memory of himself!" Källström excitedly points out.

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Archaeologists expected a routine dig in Sweden, but they uncovered two rare Viking burial boats

Messages from the past

Experts say the runestones partly represent a Viking ego trip.

Arash Bahrehmand

Moreover, Jarlabanke's love of runestones likely inspired many others in the area to follow suit in seeking political influence by paying for a craftsman to raise a runestone.

Whatever the motivation, the result was the creation of a kingdom of late Viking Age inscriptions that would endure through the centuries.

Reading the russet-colored Runic letters -- some of which are similar to Latin -- is one thing. Decoding the meaning of an Old Norse message is another. For this reason, there are still many mysteries left in Viking runestones still to be understood.

This year, for instance, runologists finally managed to decipher the Rok stone, Sweden's most famous runestone.

An inscription that famously mentions Ragnarok, the Viking apocalypse, the Rok's inscription is written in the form of a riddle that tells of a climate change event that impacted the Vikings of the ninth century.

Östergren says that Runriket is a portal through which countless more mysteries may yet be solved.

"Runriket is both a road to further knowledge for those who want to go in depth, but also for those that are just starting to scratch the surface of understanding who the Vikings really were."
Egypt; camel roams hospital after escaping slaughterhouse

A camel in Egypt can be seen roaming around a hospital after escaping slaughterhouse

December 8,2020


Footage of a camel wandering the corridors of an Egyptian hospital on Sunday after evading security guards has gone viral on social media.

The video, filmed by a nurse at the Awsim Central Hospital in Giza, shows doctors and nurses trying to lead the animal outside.

According to the National, the camel was en route to a nearby slaughterhouse when it escaped and ran into the hospital grounds.

       GIMEL (CAMEL) ALEISTER CROWLEY, THE BOOK OF LIES (SO CALLED)

73

ΚΕΦΑΛΗ ΟΓ

THE DEVIL, THE OSTRICH, AND THE ORPHAN CHILD

Death rides the Camel of Initiation.36

Thou humped and stiff-necked one that groanest in Thine Asana, death will relieve thee!

Bite not, Zelator dear, but bide! Ten days didst thou go with water in thy belly? Thou shalt go twenty more with a firebrand at thy rump!

Ay! all thine aspiration is to death: death is the crown of all thine aspiration. Triple is the cord of silver moonlight; it shall hang thee, O Holy One, O Hanged Man, O Camel-Termination-of-the-third-person-plural for thy multiplicity, thou Ghost of a Non-Ego!

Could but Thy mother behold the, O thou UNT!37

The Infinite Snake Ananta that surroundeth the Universe is but the Coffin-Worm!

COMMENTARY (ΟΓ)

The Hebrew letter Gimel adds up to 73; it means a camel.

The title of the chapter is borrowed from the well-known lines of Rudyard Kipling:

"But the commissariat camel, when all is said and done,
'E's a devil and an awstridge and an orphan-child in one."

Paragraph 1 may imply a dogma of death as the highest form of initiation. Initiation is not a simple phenomenon. Any given initiation must take place on several planes, and is not always conferred on all of these simultaneously. Intellectual and moral perception of truth often, one might almost say usually, precedes spiritual and physical perceptions. One would be foolish to claim initiation unless it were complete on every plane.

Paragraph 2 will easily be understood by those who have practiced Asana. There is perhaps a sardonic reference to rigor mortis, and certainly one conceives the half-humorous attitude of the expert towards the beginner.

Paragraph 3 is a comment in the same tone of rough good nature. The word Zelator is used because the Zelator of the A⁂A⁂ has to pass an examination in Asana before he becomes eligible for the grade of Practicus. The ten days allude merely to the tradition about the camel, that he can go ten days without water.

Paragraph 4 identifies the reward of initiation with death; it is a cessation of all that we call life, in a way in which what we call death is not. 3, silver and the moon, are all correspondences of Gimel, the letter of the Aspiration, since Gimel is the Path that leads from the microcosm in Tiphareth to the Macrocosm in Kether.

The epithets are far too complex to explain in detail, but Mem, the Hanged Man, has a close affinity for Gimel, as will be seen by a study of Liber 418.

Unt is not only the Hindustani for Camel, but the usual termination of the third person plural of the present tense of Latin words of the Third and Fourth Conjugations.

The reason for thus addressing the reader is that he has now transcended the first and second persons. Cf. Liber LXV, Chapter III, vv. 21 - 24, and FitzGerald's Omar Khayyam:

"Some talk there was of Thee and Me
There seemed; and then no more of Thee and Me.")

The third person plural must be used, because he has now perceived himself to be a bundle of impressions. For this is the point on the Path of Gimel when he is actually crossing the Abyss; the student must consult the account of this given in "The Temple of Solomon the King".

The Ego is but "the ghost of a non-Ego", the imaginary focus at which the non-Ego becomes sensible.

Paragraph 5 expresses the wish of the Guru that his Chela may attain safely to Binah, the Mother.

Paragraph 6 whispers the ultimate and dread secret of initiation into his ear, identifying the vastness of the Most Holy with the obscene worm that gnaws the bowels of the damned.

NOTES

(36) Death is said by the Arabs to ride a Camel. The Path of Gimel (which means a Camel) leads from Tiphareth to Kether, and its Tarot trump is "The High Priestess".

(37) UNT, Hindustani for Camel. I.e. would that BABALON might look on thee with favour.

 

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Israel football club UAE co-owner opens door to Arab players

Stadium security remove a fan during a friendly football match between Beitar Jerusalem and Atletico Madrid at the Teddy Stadium in Jerusalem on May 21, 2019 [JACK GUEZ/AFP via Getty Images]

December 8, 2020 at 8:46 pm

Beitar Jerusalem's new Emirati co-owner said on Tuesday the Israeli soccer club was open to recruiting Arab players, a step likely to stir anger among its anti-Arab fan base.

Sheikh Hamad bin Khalifa al-Nahyan, a member of the Abu Dhabi ruling family, this week bought a 50% stake in the club where a group of supporters, known as "La Familia", have been openly racist towards Israel's Arab minority.

Beitar has never fielded an Arab player since its founding in 1936, and Muslim players who played for the club in the past had been the target of racist abuse.

"We are open. Our door is open to all the talent. No matter what is his religion or wherever he comes from," said Sheikh Hamad, sitting alongside co-owner Moshe Hogeg in an online media briefing.

Arab citizens make up around 21 per cent of Israel's population of around 9 million and Arab players feature at Israel's other clubs and in the national team.

Sheikh Hamad and Hogeg said they believed Beitar's racist fans had been brainwashed and that they hoped the club would show that Jews and Muslims can work together.

Hogeg, co-founder of tech firm Sirin Labs, hailed Sheikh Hamad's investment as a "great moment" for the club, while warning, if necessary, that it would take legal measures, including suing fans, to stop "extreme racism" at its games.

"We are not afraid of the racists. We have a plan on how to deal with that," he said.

Sheikh Hamad bought into Beitar four months after the United Arab Emirates, breaking with decades of Arab policy, agreed to establish relations with Israel, a move that angered Palestinians and some Muslim states and communities. Bahrain and Sudan have since followed suit.

UAE royal buys Israel football club as fans react with 'F*** Dubai'
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Fans of the Israeli Premier League football team Beitar Jerusalem wait for the kick-off in Hungary on 6 July 2017 [Laszlo Szirtesi/Getty Images]

December 8, 2020 at 1:51 pm

A member of the UAE royal family, Sheikh Hamad Bin Khalifa Al Nahyan, has purchased a 50 per cent stake in Israeli Premier League football team Beitar Jerusalem, a club notorious for its racist chants against Palestinians.

Details of the purchase were announced by the Israeli club on its website and social media. "A historic and exciting day for Beitar Jerusalem. This afternoon (monday) a partnership agreement was signed between Mr. Moshe Hogeg and Sheikh Hamad bin Khalifa Al Nahyan," said the Israeli club on its Twitter account.

In an announcement posted on their website, Beitar said Hamad Bin Khalifa's purchase also included a commitment to invest more than 300 million shekels ($92.18 million) in the club over the next ten years.

Beitar's announcement quoted Hamad Bin Khalifa as saying: "I am thrilled to be a partner in such a glorious club that I have heard so much of and in such a great city, the capital of Israel and one of the holiest cities in the world."

While the deal to purchase stakes in an Israeli football club may itself raise some eyebrows, Hamad Bin Khalifa's reference to Jerusalem as Israel's capital is likely to prove controversial given the city's status as one of the core issues in the Israeli-Palestinian conflict. Despite normalising relations with the occupying state, the UAE has not officially recognised Jerusalem as Israel's capital.

Beitar Jerusalem is a bastion of Israel's political right-wing and a group of supporters known as "La Familia" has been openly abusive towards Israel's Arab minority. The club has faced several penalties as a result of its fans chanting racist slogans and its opposition to bringing Palestinian citizens of Israel into the team.

Its hardcore fan base is notoriously abusive towards opposing players, routinely taunting them with racist and anti-Arab chants. One chant goes: "Here we are, the most racist team in the country."

While a banner was set up outside Beitar Jerusalem's stadium praising Hamad Bin Khalifa and welcoming him to Jerusalem, some of the club's fans sprayed offensive and racist graffiti on the outer wall of Beitar Jerusalem's stadium, saying: "Mohammed is Dead", "Death to Arabs", "Fuck Dubai", and "You can't buy us!!! $ Don't fuck with us!