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Songs of a Lost World debuts at:

Australia - #5

Austria - #1

Belgium (Flemish and Wallonian) - #1

Canada - #12

Denmark - #1

Dutch - #1

France - #1

Germany - #1

Ireland - #3

Italy - #2

New Zealand - #3

Scotland - #1

Spain - #2

Sweden - #1

Switzerland - #1

UK - #1

US - #4

From Variety:

My coworker Josh Duffney launches his self-published book on Ansible today!

Congrats and I wish great success!

Crawl, walk, run, sprint your way through learning Ansible with "Become Ansible"! Visit his website becomeansible.com

This month's nycdevops meetup speaker is Nathen Harvey of Google, who will give a talk titled "Introduction to Site Reliability Engineering".

The talk starts at 5pm sharp! (NY is in US/Eastern)

Please RSVP! See you there!

https://www.meetup.com/nycdevops/events/272956481/

(This is a virtual meetup. Everyone around the world is invited!)

This is how you make simple, garlic kale - just right. If you love sautéed greens, the keys are avoid overcooking, and adding plenty of garlic to the pan. And yes, this technique works with kale, chard, or spinach. Super flexible!

Continue reading Simple Garlic Kale on 101 Cookbooks

Everything I know about making grissini. These beloved, pencil-thin Italian breadsticks are made with just five ingredients. No mixer is needed and you don’t need to proof your yeast.

Continue reading Grissini (Italian Breadsticks) on 101 Cookbooks

1. Was das Ampel-Aus für die Medienbranche bedeutet (dwdl.de, Timo Niemeier) Timo Niemeier macht sich bei “DWDL” Gedanken darüber, wie sich das Ende der Ampel-Koalition auf die Medienbranche auswirken könnte. Die vorgesehene Reform der Filmförderung mit Elementen wie Steueranreizen und Investitionsverpflichtungen sei ohne FDP-Stimmen kaum durchsetzbar. Die geplante Reform des öffentlich-rechtlichen Rundfunks bleibe hingegen unberührt, […]

A Princeton-led team of astrophysicists has measured a surprising value for the “clumpiness” of the universe’s dark matter.

Amichai Feit had known Seema Jayachandran as a Twitter-famous development economist.  She became Feit’s senior thesis advisor for a policy-analysis project that included economic field research in India.

Two NASA telescopes helped an international team of astrophysicists peer far enough back in time to gain new insight on how black holes form.

The scientific feat is also "a breakthrough for practical applications because entangled molecules can be the building blocks for many future applications.” says physicist Lawrence Cheuk.

In the field, digital technology saves immense amounts of time and limits fruitless digging. In the classroom, VR recreations help bring the past to life.

So this seemed like a good idea when I signed up.. or at least not a stupid idea. I was already booked to take part in the London Marathon, and then a half the weekend after. So the weekend after that I would either be as fit as I could ever be or injured and … Continue reading Maverick X Jurassic Coast Ultra 2022 →

A leader in her field with over 35 years of experience, Shroff has transformed Princeton’s audit and compliance functions during her more than 17 years at the University.

Decision informed by report of the CPUC Committee on Naming.

Hopfield, the Howard A. Prior Professor in the Life Sciences, Emeritus, and professor of molecular biology, emeritus, shares the 2024 Nobel Prize with Toronto's Geoffrey E. Hinton.

The program, now in its fifth year, recognizes and supports outstanding scholars primed to make important contributions in their fields. The 2024 cohort includes disciplines spanning the humanities, engineering, the sciences and the social sciences.

Stone is a leading engineering scholar and pioneer in fluid dynamics research. University Professor is Princeton’s highest honor for faculty.

The 9 a.m. service on Monday, Nov. 11, will also be livestreamed.

See the Shaggy Parasol mushrooms? They were not there two or three days ago. Yet Lammas comes and they burst forth, full of fungal goodness. Here just north of the Colorado-New Mexico line, August is the heart of mushroom season. … Continue reading →

Download links (Spotify, YouTube, Apple) here. Learn more about the Pagan History Project here.

Every month or so the OTW will be doing a Q&A with one of its volunteers about their experiences in the organization. The posts express each volunteer's personal views and do not necessarily reflect the views of the OTW or constitute OTW policy. Today's post is with Isis C, who volunteers as a wrangler and Support liaison for the Tag Wrangling Committee.

How does what you do as a volunteer fit into what the OTW does?

My volunteer work fits into three closely-related bins. As a tag wrangler, I connect users' character, relationship, and freeform tags to our canonical tags, and I make new canonical tags as needed. I wrangle about 70 fandoms, mostly historical and SFF book and TV fandoms, with a few video games and RPF fandoms thrown in there.

As a tag wrangling supervisor, I do all sorts of administrative and management tasks related to wrangling. For example, I help manage all phases of wrangler recruitment and training: I evaluate applications, send out acceptances, monitor training progress, and set up training schedules. Sometimes I mentor new wranglers or new supervisors, and there are always random administrative tasks to do.

As a Tag Wrangling/Support Liaison, I ferry user requests for tags to be canonized or re-wrangled to the wranglers of those fandoms, and I answer user questions about wrangling guidelines and processes. (If you ask Support why a search on Trans Danny Fenton returns a few Hawaii Five-O works, or how to find works with a particular AU Sans when they are all merged to Sans (Undertale), I'm probably the person who will answer.) There’s a lot about wrangling that isn’t obvious until you see it from the inside, but I like answering user questions because if users understand the process better, they’re more likely to tag in ways that will accomplish what they want.

What is a typical week like for you as a volunteer?

I have a very flexible schedule and a lot of free time, and I'm online a ridiculous amount of that free time! I find wrangling very relaxing, especially when it's easy - synning misspelled character names to the canonical tags, making relationship tags for characters that already have character tags, and other things that don't need research or a lot of thought - so I like to wrangle for a while before tackling real life things I don't like doing, like taxes or phoning for appointments or vacuuming, or even before writing fic or doing other things that require more brainpower.

Supervisor tasks require a bit more attention, so I like to do them when I have enough free time that I can concentrate on them. Of course I always warm up with a little easy wrangling!

Most of the Support tasks I take on require coordination with other wranglers, and Support requires communication with users to be beta-read by another volunteer before sending out, so I tend to do these in batches as well when I have a block of time. We have a lot of older wrangling-related tickets that have not yet been handled because there was too much work and not enough liaisons, so whenever I feel particularly motivated I try to answer the people who have probably given up on getting answers.

What made you decide to volunteer?

I'm old :-) and have been in mainstream science fiction and fantasy fandom for a very long time, although I didn't get into fanfiction-type fandom until 2002. (Which I realize is probably before many of the people reading this were born!) I get super enthusiastic about my hobbies and like to help organize things, so for example in 2002 and 2003, when fandom was mostly on mailing lists and fandom-specific forum sites, I coordinated an effort to help get fandom going on LiveJournal by collecting invite codes, which were required at the time, and distributing them to fanfiction writers and fanartists. I used to edit various fandom newsletter communities, back when that was a thing, too. Anyway, a fandom friend who was a wrangler encouraged me to apply during a recruitment, and that was all it took! When I became a supervisor, one of the tasks I enjoyed the most was helping out with support tickets, so when I got the chance to be a Support Liaison I immediately said yes please!

What has been your biggest challenge doing work for the OTW?

As I mentioned, I'm old, and I started out on mailing lists where tags were fandom, characters, and pairing, and that was it. I never managed to get into Tumblr, which I suspect is where the use of descriptive tags started. Often I look at freeform tags that reference memes, or Gen Z slang, or newer terms for sexual identity, and I am completely baffled! Fortunately, the wrangler chat is a wonderful research source, and other wranglers are always kind about helping this little old lady across the street decipher tags.

What fannish things do you like to do?

I write and read fic, although not so much these days as way back when. (But I still get a smile on my face when my old works get kudos or comments!) I used to vid a little, too, but even though I haven't participated in Festivids for many years, I still enjoy watching the vids people create for small fandoms, and recommending the ones I love best. I also really like to beta read fic, because that way I can help good stories become great stories.

But my most intensive fannish involvement these days is being a fanwork exchange moderator. I moderated a number of small single-fandom exchanges pre-AO3, and wow, AO3 makes it so much easier. I love small fandoms, and I participated in Yuletide nearly from the beginning, so I was super excited to be invited to become part of the moderation team some years back. I also co-mod the current incarnation of the Worldbuilding Exchange, and sometimes I help out with other exchanges.

---

Now that our volunteer has said five things about what they do, it’s your turn to ask one more thing! Feel free to ask about their work in the comments. Or if you'd like, you can check out earlier Five Things posts.

The Organization for Transformative Works is the non-profit parent organization of multiple projects including Archive of Our Own, Fanlore, Open Doors, Transformative Works and Cultures, and OTW Legal Advocacy. We are a fan-run, entirely donor-supported organization staffed by volunteers. Find out more about us on our website.

My brother, Thom Atkins, is a very talented quilt and bead artist!

He's written a popular book about how to make beaded quilts.


Recently he sent me a wonderful birthday present - a box of his scraps to use for making hexie flowers for my in-progress, hand-pieced, hexie quilt. Forty-nine different fabrics makes quite a stack of flowers.


Here they are again, this time arranged on a flat surface (click photo to enlarge for details). It's way fun to play with the flowers, re-arranging them in different ways, re-stacking them, and then spreading them out again.


All the while I was cutting, basting, and stitching these flowers I was thinking about Thom, about our history and our mutual love of stitching. I recognized most of the fabrics. One was in a quilt we made 19 years ago for our mom's 80th birthday. Some were from blouses, dresses, shirts he made for himself and his wife. Some were from pillows and other home decor he made for their home. Some were from his early quilts. Most of them brought up a ton of memories for me!

I always like (and sometimes love) things that Thom makes, and yet I've also noticed when we are in a fabric store together, we do not gravitate toward the same fabrics. I wouldn't have guessed that I would use almost every one of the fabric scraps he sent. There were a few that were too glitzy, had a stronger metallic look than I like. But 90% or more could have come from my own stash. That's how much I like them.... leaving me to conclude that we are more alike than I thought.


Here we are as kids... book ends.  Me 16 months older than him.

What's it like when brother and sister, close in age, are both quilters and beaders, both of us entering our quilts in shows, both of us teaching workshops and writing books?

Are we competitive?

A little, but not very much in my opinion. I admit to being a little "nervous" when he took up bead embroidery a few years after I make it the focus of both my art and my career. In artistic matters, he has a quicker learning curve than I do, rapidly achieving excellence in any medium he tries.

The fact that he likes bling and representational, while I like matte and symbolic, makes our work look different, which helps. We're also very different in our approach to quilt designing. While I am heavily influenced by traditional quilts, his quilts are all "art quilts." Most of his are heavily beaded, while mine are mostly not. Right from the start, he usually has a complete "picture" in his mind of what his quilt will look like when finished; whereas I rarely have a clue what mine will be like until I'm nearly finished with it.

Nor have we had issues with our teaching. I mostly teach beaders, emphasizing bead embroidery techniques rather than projects. He mostly teaches quilters, concentrating on methods for sewing beads onto quilts. There are enough teaching opportunities for both of us to accept as many gigs as we can handle.

What's the best thing about our mutual passions for beading and quilting?

Well, we talk on the phone for hours at a time about our current projects. Our conversations would bore everybody else in our families to death, but for us it's exciting to share our ideas, challenges, and victories. We do it often! It seems each of us has always respected the artistic sensibility and skills of the other. It's great to have somebody you can count on to say, "That's really wonderful," when you show them your latest work.

We also share information about photography, opportunities for showing our quilts, inspirations, promotion of our books, and countless other related things. We help each other to solve problems and to grow artistically.

It seems pretty ideal; was it always like that?

If you've read my first book, One Bead at a Time, available here as a free download, you know that Thom grew up favored to be the artist in the family, showing his talents at a very early age. My bend was more academic, although I had no clear pathway. After majoring in art in college, Thom rapidly became established as an artist. After majoring in English and psychology, I muddled around in a couple of careers for many years. I didn't discover my passion for beading or start to think of myself as an artist until I was 46 years old. Until then I always admired Thom's art, but didn't relate directly to him about it. I'm glad it is different now; glad we are both talented and creative... together!

This fabric is called Kékfestö in Hungarian, a word that roughly translates as blue-dyed or blue-dying. Producing these fabrics is a cottage industry in Hungary, which dates back several centuries. The dye is indigo; the cloth is cotton; and the long, arduous process results in a type of batik fabric. The photo above shows a small fold of each of the fabrics I bought at the blue-dyed studio shown below. (As always, please click on the photos if you'd like to see more detail.)

When in Hungary in October, 2016, my quilting/travel friend (Lunnette) and I, as guests of my Hungarian bead sister, Anna Fehér, had the very exciting experience of visiting the hand-dying studio of Miklós Kovács in the little village of Tiszakécske, SE of Budapest. The studio, located behind his home, includes two rooms, one for printing the raw cloth with a wax resist, and the second for dying the printed cloth with indigo. In front of the building, you can see rods above the deck, which are used for hanging the fabric to dry after it is dyed, and a wagon loaded with printed cloth ready to be dyed.

Meet Mr. Miklós Kovács, now in his 80s! Charming and animated, he is explaining his traditional, hand-dying process to Anna. Blue-dying has been the Kovács family's livelihood since 1878, each new generation being trained by the previous Master. It is strictly a family affair. Miklós, his wife, Margit, and their two daughters, Gabriella and Mária, currently produce about 10,000 meters of Kékfestö (blue-dyed) fabric every year. When Mr. and Mrs. Kovács retire, the business will pass to their daughters. This post shows how they turn plain white cloth into beautiful fabrics with white motifs on an indigo background.

First, they need thousands of meters of fine-quality, tightly-woven, raw cotton cloth, which is rinsed to remove impurities, then carefully ironed and rolled onto wooden rods which fit onto the printing machine. This pile of untreated cotton cloth, manufactured in Turkey, is the remainder of a big shipment purchased at the start of the year.

Next they need a print block or plate. These are made with wire pins of various diameters, which are pounded into blocks of dense wood. Here you see the many plate choices available in the Kovács studio, each yielding a different motif on the fabric. The length of each print block is the same as the width of the fabric; the width is the width of the pattern repeat, generally designed to be about 4.5 inches..

This is the end of one of the print blocks, showing how the design is formed by setting metal pins of different diameters into the wooden block.

And here is the fabric (after dying it with indigo, and removing the wax resist), which was printed with the block in the photo above it. Naturally, a half-meter of this one came home with me!

This is the machine which is used to print the motif on the raw cotton cloth with a wax resist. Mr. Kovács keeps his printing machine, built in Germany 120 years ago, in good running condition with machinist skills he learned alongside his father.

You can see the sprocket, lower right, which is adjusted to advance the fabric through the machine in increments exactly the length of the pattern repeat. For most motifs, the fabric advances 4 to 5 inches after each time the print block is applied to the fabric, thus revealing the next short stretch of un-printed cloth.

Here you can see many meters of raw cotton cloth, suspended on a metal rod at the back of the printing press. There is a leader of waste cloth stitched to the end of the roll which has been fed through the rollers of the machine to get the process started.

At the front of the printing machine, a worker swipes a tray with wax resist, which is tinted green so that it will be visible on the printed cloth. The printing block touches down on the waxed tray, picks up a coating of was, and then presses firmly against the fabric.

After being imprinted with wax resist, the fabric is wound up and down through a drying rack located behind the printing machine.

When it is dry, the printed fabric is folded and stacked until there is a sufficient quantity to begin the dying process. You can see that some of the raw cloth in this pile was pre-dyed pink, blue, or beige. After over-dying with indigo and removing the resist, the motif on these pieces will be pink, blue or beige with an indigo background, rather than the much more common white motif with an indigo background.

This close-up photo shows how the fabric looks after the wax resist (tinted green so that is shows on white cloth) is dry. This is the motif being printed while we were there. Liking the design a lot, I was very pleased to find finished fabric in this pattern available to purchase.

And this is how the cloth will look after it is dyed with indigo, the wax resist removed, and the fabric washed and ironed. As you might have already guessed, a half-meter of this one came home with me!

As we watch the cloth passing slowly through the rollers of the printing machine, Lunnette holds a scrap of dyed fabric which was tied to the machine, indicating the motif currently being printed.

At last, we get to the dye pot!  Here on the burner, a concentrated indigo dye formula is being readied to pour into the dye vat.

Don't forget to wear those heavy rubber gloves, or the skin on your hands will be tinged with blue for a long time.
Mr. Kovács gave a long, animated talk (all in Hungarian, which I only slightly comprehend) about the whole process of blue dying. You've already seen how the cloth is printed with wax resist. The next step is to dye the background.

The cloth is dyed in a vat with the indigo dye-bath at 85 degrees C., then washed to remove the wax and rinsed to remove the excess dye. After rinsing, the cloth is looped over racks to dry outdoors, which completes the dying process. Sadly, he did no dying while we were there, so I don't have pictures or first-hand experience with precisely how it is done to share with you.

However the fabric is not yet ready to use. It must be starched, dried, and then pressed using both steam and steel rollers with heavy pressure, in order to create the traditionally desirable shiny finish on the cloth. Finally, the fabric is folded onto bolts for distribution to shops and end-users.

We learned how they hand-print motifs on cloth using a template, such that after dying, the fabric can be cut out and hemmed as a finished table cloth. You can see the templates hanging on the wall. The desired template is placed over the fabric, and a pencil used to mark the registration points for lining up the printing block. Fabrics which have already been printed are stacked in front of the templates. After being dyed, this fabric will be made into table cloths and runners of various sizes.

This is a section of cloth which as been marked with a template, and hand-stamped with wax resist. After dying with indigo and removing the wax, it will be made into a rectangular table cloth with a lovely double border all the way around.

Mrs. Kovács demonstrates for us how she lines up the print block with the penciled registration marks, and then lowers it onto the fabric. With the stamp resting on the cloth, she lightly pounds it with her fist to set the wax into the fabric. It was obvious to us that carefully making each wax impression all the way around the cloth takes a lot of time and concentration. As you an see below, the results of her hand-printing are stunning!.

Here is an example of a hand-stamped, indigo-dyed fabric made into a round table cloth. Obviously, it came home with me, and is perfect for my kitchen table!  This fabric is quite wide, and takes a great deal of space and time to print. Yet, the prices were very reasonable!

After spending several hours in the studio, we were invited to the house for a shopping bonanza! Fortunately, hoping ahead of time that we would be visiting a Kékfestö studio when we got to Hungary, we had saved our allowances for some months, and were prepared to shop for future quilting and sewing projects. The prices, ranging $10 to $15 per meter depending on the width, seemed very reasonable considering the quality of the fabric, and the extreme amount of work that goes into producing it.

In addition to yardage, both of us bought a table cloth and an apron. Mine is shown above.

What a totally delightful experience we had! Mr. and Mrs. Kovács are as friendly and nice as can be!  If you ever get to Hungary, you can find their fabrics and finished products in the picturesque town of Szentendre, just a short drive or train ride north of Budapest on the Danube River. Here is a website link.

To end our visit at the Kovács studio, here is a tribute photo of the elder Mr. Kovács, who during his boyhood in the 1920's was immersed in the world of his family's blue-dying business, and who continued producing Kékfestö indigo-dyed fabrics for his entire life, while training his own son to continue the trade.

Like his father, the younger Mr. Kovács has trained his daughters to continue when he retires, although I'm sure he has many more years to go, probably well into his 90s..

My last two photos in this post are a little surprise for you. Before falling in love with beading and quilting, my main passion was Hungarian folk dancing. I danced in a performance group for 10 years (and later became one of the group's choreographers), performing at many events in the Seattle area, including Bumbershoot and the Folklife Festival. We also performed at the World's Fair when it was in Vancouver, British Columbia. I and several of the other dancers in the group made most of our costumes using Hungarian fabrics and original costumes as patterns.

It was folk music and dance that first called my heart and soul into Hungary, where I have since spent a cumulative total of well over a year of my life, spaced over 14 different visits so far.

So, here you go. This is me, wearing a costume I made with Kékfestö fabric for performing the dances of the Szatmár region, located in northeastern Hungary. This photo was taken in September, 1986 at the World's Fair in Vancouver, Canada, where we performed on two separate occasions.

And this is me on stage at a festival in Redmond, WA, happy as can be, Hungarian folk music, song and dance, filling me with joy!  Michael Kappleman and I are the second couple from the left.

So you see...  Kékfestö and I go back a long way. Next, I'll be quilting with it!

*****
My apologies to Hungarians for not using the correct accent mark for the last letter of the Hungarian word Kékfestö. I spent 4 hours trying to do it, but could not get Blogger to accept anything I tried.

With very mixed feelings, sadness and joy all jumbled together, I closed my business with the state of Washington today, retroactive to December 31, 2016.

It's super great to think about never having to keep track of business miles, save receipts for every little business expense, do the tedious bookkeeping, take end-of-the-year inventory, or prepare everything for taxes.... Not ever again will I have to do any of those odious tasks!

Me, celebrating 41 years in business as Artist - Teacher - Author

On the other hand, my business has pretty much been my "identity" since 1975. That's 41 years - more than half of my life. What am I now? How will I respond when somebody asks, "What do you do?" Will I say, "Oh, I'm retired now?" Will I say, "I'm an artist?" It feels a little like I'm walking around 3/4 naked, the clothes of the past 41 years gone, the remaining artist clothes not enough to cover my nakedness.

But, we will not have any crying over spilled milk; the deed is done; the authorities officially notified. And, with respect, I thought it might be fun to share a few photos here, photos of the business me, and the story in more-or-less chronological order.

It all started when I met Liz Chenoweth, who is still my closest friend, and who at the time was studying metalsmithing at the University of Washington and I think working for a commercial jewelry manufacturing business in Seattle. I got the bug from her. After taking a short class in soldering sterling silver to make jewelry, I bought a workbench and all the tools, getting into it full-tilt-boogie! Liz helped me, teaching me all that she knew, and helping me to realize the design ideas I had.

Liz (on the right) and me in our metalsmithing shop, The Fort

I don't recall the exact date that I drove to the Department of Licensing to get my business license, but on that day, I named my business Atkins Creations, because I intended to make and sell sterling silver (and a little later, gold) jewelry. I bought a handsome, red, ledger book, and began the 41 year process of keeping track of all expenses and all income, mostly for tax purposes.

Sterling silver ring, commissioned by a male customer

New-beginnings.... in the spring of 1975, Liz and I decided to set up a metalsmithing shop in the spare bedroom in my little home in Ballard. Removing all other furniture, we put in side-by-side workbenches, and installed a polishing table/motor. We called our shop the Fort, because we were just like kids in the summer, when we couldn't wait to be in our "fort," our hideaway, our own special place. We both had day jobs, but we lived for spending time in the Fort. My job was 5 days on, followed by 5 days off, which was great because I could work with metal for 5 consecutive days at a time.

Jasper stone set in sterling silver, sterling clasp, leather cord - this is a man's necklace

We sold our work at some of the craft fairs of the time, but mostly we held "open studio" days at my home, slowly building a fairly decent client list. Eventually we made most of our money doing commissions. It was a marvelous, fun time in my life. That's for sure!

This is the display of my silver and gold creations at our second "open studio," 1977

Three years later, in 1978, I started a new "day job," one which quickly turned into something much more demanding of both my time and creative energies than had been my previous job. Soon, I could no longer continue making and selling jewelry at the previous pace. And, by the early 1980s my jewelry tools and supplies were lonely and dust covered. But, I didn't close the business officially.

Multiple strand necklace in style taught by Carol Berry

The hook was still set, because in 1987, I took a 2-day class from Carol Berry on making multiple-strand beaded necklaces. BEADS! In those two short days, I fell absolutely bonkers in love with beads, and within a few months, I was back in business again.

Multiple strand necklace I made as a "project" for Margie Deeb's book, The Beader's Color Palette

This time, I added the name Beads Indeed! to the official license, making it Atkins Creations - Beads Indeed!  Nice, huh?! Plus I quit my day job, deciding to support myself somehow with beads. Not easy. Especially for the first few years. Hard work and lots of rice for dinner. Since the selling part of making gold/silver jewelry was never fun for me, I decided to make my living this time by selling beads (just the "raw" beads, not made into jewelry) and teaching classes. If I sold a few pieces of beaded jewelry, that would be fine, but there would be no pressure to pay the bills by promoting my own creations. On the other hand, selling beads WAS fun; and buying beads to sell was even more fun!

 By 1988, I sold my metalsmithing equipment, and turned my garage into a studio/store for both selling beads and teaching beading workshops. For 10 years, that was my life, my identity... Beads Indeed!, open every Wednesday of the year, classes most weekends, open for your beading needs at any time by appointment.

It worked! I could have my cake (beading/beadwork) and eat it (selling beads and teaching classes) at the same time. You have to know that back then I did not in any way consider myself an artist. I knew I was a pretty good craftsman, making jewelry that would last and that looked great technically. But I did not think of myself as a creative person.

Generations, a small pouch, my first improvisational bead embroidery piece

The discovery (made mostly by Carol Berry, with some input by me) of "improvisational bead embroidery" in 1991 caused a shift, both in my sense of identity and my business. Gradually, stitching beads on fabric without a plan, letting a piece develop bit by bit without trying to control it, and thankfully with no intention of ever selling it, altered my perceptions about myself as a craftsman, turning me into an artist.

This was such a huge alteration of identity. It made me feel more sure of myself as a teacher, and gave me the confidence to promote my beading workshops far beyond the walls of my studio/shop. I traveled to many states, teaching at conferences, for bead shops and guilds, branching out to teach beading to quilters and fiber artists, eventually even teaching at art schools. All in all, Beads Indeed!, in Seattle turned into a pretty decent business. I could afford to eat out now and then, plus travel to far away places, like China, Germany, and Eastern Europe, on bead-buying trips.

Those 10 years, immersed in beads, with a growing sense of myself as an artist, gave me the confidence to begin writing books about beading, which in turn, provided another source of income, income I would need after moving from Seattle to San Juan Island, where I could no longer depend on selling beads to support myself because the population base was so small.

Marriage Bag, a small purse I made while deciding if I should marry Robert

That move, in 1998, was because I met Robert Demar, who a few years later became my husband. He already lived on San Juan Island, which was a plus for me, because I love it here, much more than living in a big city, even though Seattle is quite nice as cities go. After we married, I still traveled widely and fairly frequently to teach beading workshops, but I needed to fill the time when I was home and also needed to earn more money. The answer came easily... write books about beading! My first book, One Bead at a Time, was published in 2000, and was re-printed 3 times. Including two small booklets, there are currently nine books with my name as the author.

My first book, published in 2000

My most recent book, published in 2013

I guess my business identity, for the past 41 years, can be summarized as: "teacher-artist-author." But, in the last two years, it's been mostly "artist," with much less teaching and no further book writing. Business income has dwindled to a pittance, I'm 74 years old, and I don't enjoy the record-keeping. Even my accountant agreed. So today I pulled the plug on Atkins Creations - Beads Indeed!

Already there are new questions facing me, questions such as:

1. What shall I do with the remaining inventory of my book, Heart to Hands Bead Embroidery?
2. Shall I keep paying for my website (my domain name and web service), which includes my primary email address, and which badly needs to be updated?
3. Shall I continue teaching now and then, maintaining the necessary supplies to do so?
4. Can I immerse myself in creating things (quilts, art, bookmaking, beading, etc.), with no intention of doing anything with the things I create, not using them as examples when I teach, and not selling them?
5. And, of course, there's the question at the top of this post.... who am I now?

Home, one in a series of bead embroidery pieces about gratitude

Kenneth Strother Jr., director of operations in Princeton University's Department of Public Safety (DPS), has been named assistant vice president for public safety, effective June 1.

Gilbert Harman, the James S. McDonnell Distinguished University Professor of Philosophy, Emeritus, died at his home in Princeton on Nov. 13 after a long illness with Alzheimer’s. He was 83.

As the James Webb Space Telescope delights stargazers with breathtaking images and groundbreaking discoveries, we connected with Princeton astrophysics luminaries Gillian “Jill” Knapp and Neta Bahcall, both contributors to a new book by women astronomers.

Join the Study Abroad team at Princeton to learn about undergraduate summer study abroad opportunities!

Euphoric Whispers This event is free, but a ticket is required to attend. To reserve a ticket, use the University Ticketing website. This concert features a rare NJ appearance of Ali Akbar Moradi and Pejman Hadadi, two of Iran’s most renowned musicians. Moradi is the greatest living master of the tanbour, an ancient 2-stringed long-necked fretted lute traditionally used in religious ceremonies. Hadadi is the innovative percussionist (tombak, daf) who has been a member of the Dastan Ensemble for over 20 years and has collaborated with countless master musicians in Persian and world traditions. They will perform ecstatic and trance-inducing Kurdish music from western Iran – music that is little known in the US. Featured are meditative improvisations based on the repertoire of the Yarsan people, and the beauty and complexities of the art of this region. “Love, spirituality, intoxication with the divine and the power of music…With one string providing a drone, everything else rides on a single string of the tanbour, and in Mr. Moradi’s hands, that string encompasses an expressive universe.” - New York Times "The masterful Hadadi delivers an astonishing array of sounds." - Los Angeles Times Aliakbar Moradi Aliakbar Moradi, often hailed as “the best tanbour player alive” (Songlines Magazine, Issue 26, 2004), was born in 1957 in Guran, near Kermanshah, the central city of Kermanshah Province, Iran. Encouraged by his grandfather and father, he began studying the Tanbur at the age of six. Under the guidance of masters such as Sayyed Hachem Kafashyan, Sayed Mahmoud Alavi, Ali Mir Darvishi, Allah Morad Hamidi, and Sayyed Vali Hosseyni, he not only mastered the instrument but also delved deeply into the Kurdish maqam repertoire. Moradi gave his first recital at the age of 14 in Kermanshah. A year later, he established the first Tanbur group within the cultural department of Kermanshah. He then embarked on tours across Iran and later co-founded the renowned Shams Tanbur Ensemble. In 1991, he won first prize at the String Instrument Festival. Starting in 1992, he conducted extensive research on the ancient maqams of the Tanbur, resulting in a significant publication: a set of four CDs and a booklet released in 2002 by Maison des Cultures du Monde. Over the years, Moradi has published more than 23 recordings and books. He has collaborated with numerous esteemed musicians, including Shahram Nazeri, Kaykhosro Pournazeri, Kayhan Kalhor, Ardeshir and Bijan Kamkar, Pejman Hadadi, Erdal Erzincan, Ulaş Özdemir, Pezhham Akhavass, Mehdi Bagheri, and Arash and Kourosh Moradi. In addition to his research, recordings, and performances, Moradi teaches Tanbur in Tehran and Kermanshah. Currently residing in Kurdistan, Iran, he founded the cultural center The House of Tanbur in Guran. This center offers year-round music classes and hosts annual Tanbur and Kurdish music festivals to preserve and promote the rich cultural heritage of the region. Pejman Hadadi Pejman Hadadi, a renowned percussionist from Tehran, Iran, began his musical journey at age 10, studying under Master Tombak player Assadollah Hejazi. Influenced by greats like Bahman Rajabi and Hossein Tehrani, he later mastered the Daf, inspired by Bijan Kamkar’s recordings. Moving to the US in 1989, Pejman began his professional career in 1991, collaborating with notable musicians such as Hossein Alizadeh, AliAkbar Moradi, Kayhan Kalhor, Shahram Nazeri, and joining the Dastan Ensemble in 1995. He co-founded ZARBANG, the pioneering Iranian percussion ensemble, in 2000. Pejman’s innovative techniques on the Tombak, including tunable frame drums, and his partnership with REMO to develop synthetic-skin Dafs, have significantly expanded the instruments’ global reach. Dedicated to education, he established Neyreez World Music Institute and has received the Durfee Foundation Master Musician Award twice. Pejman’s compositions span dance and film, including soundtracks for Prince of Egypt and Prince of Persia.

Early Music Princeton presents a melange of Italian and English masterpieces. The EMP Singers will present pieces representing the “Cult of Melancholy”- mournful pieces by Dowland, Tallis, and Campion that celebrate the beauty and artistry of romantic despair. The EMP Treble quintet will be performing pieces by Strozzi, Monteverdi and Morley: love songs of passion and torment! To complete the program, the EMP Chamber Players and Viol Consort will present spirited Italian works by Frescobaldi and Corelli alongside the rich textures of English composers Tomkins and Coperario.

About the Event Our resident ensemble of Princeton University performance faculty and talented students presents a Sunday-afternoon program of songs with and without words written by female composers on both sides of the Atlantic. Songs for mezzo-soprano and piano by prolific lieder composer Josephine Lang and for mezzo-soprano and mixed chamber ensemble by Dame Ethel Smyth bookend the program, with works for string quartet, solo piano, and flute, viola, and harp, that reference American, Jamaican, and European song and poetry in between. This event is presented by Princeton University Concerts. For a full event listing and tickets, please visit this link.

Music of Duke Ellington (The River) and Gustav Mahler (Symphony No. 4). Soprano soloist for Mahler will be Sara Shiff '25.

Music of Duke Ellington (The River) and Gustav Mahler (Symphony No. 4). Soprano soloist for Mahler will be Sara Shiff '25.

This workshop will introduce students to qualitative data analysis using MAXQDA software. Students will learn how to import and organize their text data; develop and implement thematic “codes” to classify text segments and discover emergent patterns; and build their empirical “story” by writing analytic memos and synthesizing codes. We will also explore several tools in MAXQDA that help researchers “see” and chart patterns in their data.

Conversation with emerging writer, art critic, curator and Princeton alum Simon Wu ’17 as he discusses his new book, Dancing on My Own, with Monica Youn ’93, Visiting Professor of Creative Writing. Followed by a book signing and reception. Current Princeton students can register to join writer and art curator Simon Wu ‘17 for a private dinner and career conversation from 4:30-5:30 PM.

Alexi Kenney, a distinguished violinist, artist, and curator, will speak about his work.

Philosophers have historically played a foundational role in musicology, from theorizing the origins of music to its potential for political liberation. In this reading group, we aim to closely read the central philosophical texts on music to understand their arguments and why they have remained prominent among musicologists and cultural theories.

Wednesday, November 20, 2024 7-8:30PM: Speed Dating 9PM: Concert featuring the Isidore String Quartet Find your perfect harmony among music-loving singles* in your age group by participating in 8-minute speed dates while enjoying catered appetizers on the historic Princeton University campus! Everyone will then head over to the concert hall to experience the trailblazing Isidore String Quartet. May you enjoy Isidore with a fellow music-lover you adore! Age Groups: Group Do: 24-39 Group Re: 40-59 Group Mi: 60+ Tickets for the full evening—admission to both the Do-Re-Meet event and the ensuing concert—are $50 General/$25 Student (an $80 value). If you already have a ticket to the concert and want to add on this experience, please contact us. *This event is designated for individuals seeking heterosexual connections. There will be an LGBTQIA+ and Allies Mingle on Saturday, December 7, 2024. To learn more about the Do-Re-Meet program and see more of Princeton University Concerts' social events for music lovers, click here. This event is presented by Princeton University Concerts. For a full event listing and tickets, please visit this link. Presented in partnership with TheSinglesGroup.com and Olsson's Fine Foods.

About the Event Part of the Princeton University Concerts (PUC) Performances Up Close series, audience is seated onstage alongside the musicians in an hour-long program. Winners of a 2023 Avery Fisher Career Grant and the 14th Banff International String Quartet Competition in 2022, the New York City-based Isidore String Quartet was formed in 2019 with a vision to revisit, rediscover, and reinvigorate the repertory. The young ensemble will do just that when they make their Princeton debuts in a program featuring a recent string quartet by multiple GRAMMY-winner Billy Childs; Henri Dutilleux’s fascinating Ainsi la nuit (“Thus the Night”); and W.A. Mozart’s forward-thinking “Dissonance” quartet. This event is presented by Princeton University Concerts. For a full event listing and tickets, please visit this link.