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Gregg Allman’s Actual Blood Was Used To Paint Album Art For Posthumous LP ‘Southern Blood’

first_imgGregg Allman’s posthumous final album, Southern Blood, will be released Friday, September 7th, and those who purchase the album’s deluxe package and first run of the vinyl will receive a very significant portrait print of Gregg. Before his death earlier this year, Allman and his daughter, Layla Brooklyn, commissioned an odd painting from lauded surrealist painter Vincent Castiglia.Gregg Allman Delivers Emotional Farewell On ‘Southern Blood’According to Yahoo Music, in a deal conceived by Brooklyn and sealed on December 24th, 2015, Gregg Allman, recruited Castiglia to paint a portrait of him–using his blood, and the blood of his children, as the paint–as album art for his latest album, Southern Blood. Castiglia quickly agreed, unaware that Allman would pass away before the painting was completed. Notes Castiglia, “This is the single most important work I’ve ever painted, for two of the loveliest people I’ve had the opportunity to connect with in this life.”Brooklyn described the process behind Southern Blood (both the album a the painting) after hearing that Castiglia had painted a portrait with his own blood:  “A few years ago, I invited him to the studio when my metal band was tracking sessions for a record that I didn’t end up releasing. Upon listening to the early stages of my father’s Muscle Shoals sessions, I knew [the blood portrait concept] was a perfect visual representation for what would be my father’s last body of work on many levels.Gregg Allman’s Farewell Album Is Now Available For Stream“I suggested to my father he send Vincent vials of his own blood to save for his yet-to-be titled record. He did it, and nearly a year later, the title Southern Blood popped into my head to tie it all together. The story, the music, the painting and my dad’s fight to keep playing music when he became ill represent his dedication, passion and contribution, not only in metaphorically giving his blood to the fans for decades, but literally.”You can watch a time-lapse video of the creation of the painting here. [h/t – Yahoo Music]last_img read more

Setting the stage for Roe v. Wade

first_imgContrary to popular perception, Roe v. Wade, the U.S. Supreme Court’s 1973 landmark decision on abortion, was not the spark that set off a firestorm of debate on the issue.Rather, say the authors of a new book on the circumstances that led to Roe v. Wade, the country was already polarized over abortion, even if the debate was being framed in a very different way from today.Linda Greenhouse, a former New York Times reporter and now the Joseph Goldstein Lecturer in Law at Yale University, and Reva Siegel, the Nicholas deB. Katzenbach Professor of Law at Yale, provided new perspectives on interpreting Roe v. Wade on Thursday (Nov. 4) during the 2010-11 Maurine and Robert Rothschild Lecture at the Radcliffe Institute for Advanced Study at Harvard University.The pair’s new book, “Before Roe v. Wade: Voices that Shaped the Abortion Debate Before the Supreme Court’s Ruling,” draws on articles, pamphlets, letters, and other archival sources, much of which is housed in the Schlesinger Library at Radcliffe, to recreate the political landscape of the country in the early 1970s.The results are “fascinating and disturbing,” as Nancy F. Cott, director of the Arthur and Elizabeth Schlesinger Library on the History of Women in America, said in her introduction of the speakers.The authors set out to explore “How did abortion come to be a matter of constitutional concern?” Greenhouse told the Radcliffe audience. “It seems obvious to us now but it wasn’t so obvious then.”“More than we expected, we found ourselves documenting political conflict which emerged … before the Supreme Court said a word,” she said.Various institutional motivations for change (or no change) on abortion policies emerged in the 1960s, Greenhouse said. There were physician groups concerned about the health impact of illegal abortions, environmentalists seeking to ease population growth, the women’s movement, the Catholic Church, and the Republican Party.Abortion had been criminalized state by state during the 19th century; “it’s not the case that the Founding Fathers lived in a world where abortion was a crime,” Greenhouse said. But “in the early 1960s, there was not a single place in America where a woman could get a legal abortion unless there was a serious threat to her health.”The emerging feminist movement saw abortion as a woman’s right to control her own body, with pioneer Betty Friedan in 1969 characterizing abortion rights as civil rights. The issue then was one of equality, not of privacy.The Catholic Church began mounting vigorous opposition to the decriminalization of abortion during the late 1960s; at that time, Greenhouse said, evangelistic Christians were not “stalwarts in the anti-abortion” efforts.Republicans began using abortion as a political issue at a time when the party was making inroads into traditionally Democratic Catholic strongholds. Patrick Buchanan, then part of Richard Nixon’s administration, pushed Nixon to promote anti-abortion policies, Siegel said. Buchanan may have been personally against abortion, she stressed, but it proved to be a potent political issue.The Republican “assault book” against Democratic presidential challenger George McGovern in the 1972 campaign stressed the “triple A arguments” of “abortion, amnesty, and acid.” Nixon won by a landslide.Republicans eased off the abortion issue after the election, perhaps, Siegel said, in part due to an August 1972 Gallup poll in which 64 percent of respondents said that abortion was a decision that should be left up to the woman.Such details provide “a different model of the backlash” against abortion rights that emerged after the 1973 decision, Siegel said.Moreover, it’s worth considering just what the Supreme Court justices understood when they were dealing with Roe v. Wade, the authors said. “It’s a great puzzle what Roe means in 1973 and what it means under controversy in 1983, 1989, or 1992 or today,” Siegel said. Abortion has become “a social practice whose meaning evolves in history and it has come to play a highly symbolic role in our national political life.”An estimated one-third of American women will have an abortion during their life and it remains one of the country’s most common surgical procedures, Greenhouse said. Studies also show that women are not psychologically damaged by the experience, she said.“We don’t talk about that in a public space because we are supposed to be all sad about the fact that somebody had to have an abortion,” Greenhouse said.Alumna and former Radcliffe College trustee Maurine Pupkin Rothschild ’40 and her husband Robert Rothschild ’39 established the annual Rothschild Lecture at the Schlesinger Library in 1989.last_img read more

Graphics project earns grant

first_imgAfter months of designing, two trips to South Africa and a summer of grant applications, a team of Notre Dame graphic design students was awarded a $50,000 grant through the 13th annual Sappi Fine Paper North America Ideas that Matter program for their work to combat xenophobia in South Africa. A “highly respected program aimed at helping designers create and implement projects for charitable causes,” Ideas that Matter announced the 13 grant recipients in its 2012 competition this week, according to Sappi’s website. The Notre Dame team, led by associate professor of design Robert Sedlack and consultant Andrea Pellegrino, submitted a proposal to Sappi this summer for its work in developing together+, an educational initiative aimed at alleviating xenophobia in the Kgosi neighborhood of Johannesburg. “This grant takes the project from a theoretical level to practical implementation and seeing the results of that,” Paul Horn, director of community outreach initiatives for the Kgosi Neighbourhood Foundation, said. “What’s really exciting is because of where I sit in the Catholic school network, this project has a major chance to influence thousands and thousands of schoolchildren and really make a difference in society.” Sedlack said the $50,000 grant primarily will be used to produce and distribute the project’s educational materials, but the sum only covers about a third of the funding needed to complete the entire project. He said Pellegrino would continue to assist the project in finding additional sources of funding through grants, donations and corporate sponsorships. Horn, Pellegrino and senior Brandon Keelean collaborated over the summer to write the grant proposal. The project’s selection as a grant recipient stands out because Sappi generally funds projects proposed by professional designers over students, Pellegrino said. (Editor’s Note: Keelean is The Observer’s graphics editor.) “The grant absolutely validates the work we’re doing,” Pellegrino said. “If we walk into a corporation asking for funding, the fact that we already have the grant validates what we’ve done so far.” The concept for together+ materialized in April 2011 when Horn, then-director of communications for the Center for Social Concerns (CSC), approached Sedlack and Pellegrino about the issue of xenophobia in Kgosi. “There was a critical need in the refugee community for some outside agency to try to address the problem of xenophobia, and I thought it would be a perfect fit for design and communication,” Horn said. “I knew both Andrea and Robert had a strong interest in and belief that design could effect social change and be used for social good.” After speaking to Horn and listening to research presented by Pat McCormick and Graham Thomas, both members of the Class of 2012 and former participants in the CSC’s International Summer Service Learning program, Sedlack and his students began to develop the materials for the together+ project, which consists of four student-generated projects that aim to inform the Kgosi community about issues related to xenophobia: a refugee rights booklet, a healthcare rights booklet, a children’s book and a community mural project. “The students did a really wonderful job generating a wide variety of ideas that could manifest themselves in some way or another to address the issues,” Sedlack said. During fall break last year, Sedlack and Pellegrino traveled to South Africa to conduct some research of their own, which was followed by a spring break research trip that included seven of Sedlack’s design students. “We had the amazing experience of watching students get wrapped up in [the project] after doing research on how to develop an educational and promotional campaign to help alleviate xenophobic issues in this community in Johannesburg,” Pellegrino said. “[The trip] wasn’t a deep immersion, but it was enough to really see it,” Sedlack said. “It was a powerful opportunity for the students to come face-to-face with these issues. It’s one thing to read about it or see it on a computer screen or hear about it from someone else, but when you’re sitting in a room … where eight people live and talking to people who have been affected by such horrible atrocities, it’s a totally different thing than reading about it in a classroom in South Bend.” Senior Lynn Yeom said her spring break experience changed her perspective on the potential impact of the project. “Our initial intent for all the projects … was more about planting the seed within the community so they can develop solutions themselves by changing their thoughts about foreigners and refugees,” Yeom said. “After going [to South Africa], we really thought that would be possible with the right tools and the right audience of young kids.” The together+ team is also collaborating with the Alliance for Catholic Education to develop the children’s book into an interactive curriculum project that will potentially expand its use to sixth graders and high school juniors, Yeom said. Pellegrino, Sedlack and Yeom said the success of together+ in moving into the production phase is somewhat unusual. “Often, projects initiated by graphic design kids are really innovative … but don’t get far into production because they don’t get feedback or exposure,” Yeom said. “But the fact that we got the grant is a firm cheer from other people that these projects are feasible and it’s possible to change people’s perspectives and solve problems by giving people solutions to progress from.” Some of the project’s original student collaborators have graduated, but Pellegrino said that hasn’t stopped them from remaining involved in the project. “The thing that’s so unique about Robert’s approach, the project and its student involvement is that students who have graduated are still feeding into the project, and going and actually meeting people affected by xenophobia in South Africa is a big part of that,” Pellegrino said. Although all the students originally involved with together+ will have graduated at the end of this year, Pellegrino said Sedlack would hand the project over to the next crop of students by integrating some juniors into the group in the spring. “This is a long-term project. Xenophobia won’t disappear next year because of what we do, but the idea affects people of different ages,” Sedlack said. But the heart of the together+ project lies in its foundation in Notre Dame’s mission, Sedlack said. “This is the kind of project that our Notre Dame design program pursues, that social model for design,” he said. “A lot of programs around the country teach classes in that, but it’s part of the fiber of our being at Notre Dame. We have students who want to affect positive social change, and this class and our program generally allow for opportunities like that.”last_img read more

CPI dishes out EMV advice

first_imgby: Tina OremThere’s always more to learn, which is why Docia Myer, who is vice president of financial sales for Littleton, Colo.-based card manufacturer CPI, stood before a crowd of credit union executives at the 2015 CSCU Solutions conference on Thursday and explained in intricate detail how EMV cards work. That highly technical tutoring and the questions that followed offered these six worthy lessons for credit unions navigating EMV migration:1. Which chip you choose might save you a little money.There are three types of EMV chips in the United States: six-pin, eight-pin and dual interface, Myer explained. Six- and eight-pin chips get their names based on the number of contact points they have. continue reading » ShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblrlast_img read more