BGuthrie Photos: Images whose date-stamp is "20220630"

BGuthrie Photos: Images whose date-stamp is "20220630" Images whose date-stamp is "20220630":

[1 col] [2] [3] [4] [5] [6] [7] [8] [9] [10]

Share: Facebook Twitter Digg del.icio.us
[1] ARTSSP_220630_01.JPG Medium (Email) (Bigger?)	[2] ARTSSP_220630_04.JPG Medium (Email) (Bigger?)
[3] ARTSSP_220630_08.JPG Medium (Email) (Bigger?)	[4] ARTSSP_220630_10.JPG Medium (Email) (Bigger?)
[5] ARTSSP_220630_14.JPG Medium (Email) (Bigger?)	[6] ARTSSP_220630_21.JPG Medium (Email) (Bigger?)
[7] ARTSSP_220630_38.JPG Medium (Email) (Bigger?)	[8] BELONG_220630_05.JPG Medium (Email) (Bigger?)
[9] BELONG_220630_10.JPG Medium (Email) (Bigger?)	[10] BELONG_220630_13.JPG Medium (Email) (Bigger?)
[11] BELONG_220630_19.JPG Medium (Email) (Bigger?)	[12] BELONG_220630_22.JPG Medium (Email) (Bigger?)
[13] BELONG_220630_32.JPG Medium (Email) (Bigger?)	[14] BELONG_220630_36.JPG Medium (Email) (Bigger?)
[15] BELONG_220630_39.JPG Medium (Email) (Bigger?)	[16] BELONG_220630_42.JPG Medium (Email) (Bigger?)
[17] BELONG_220630_46.JPG Medium (Email) (Bigger?)	[18] BELONG_220630_51.JPG Medium (Email) (Bigger?)
[19] BELONG_220630_54.JPG Medium (Email) (Bigger?)	[20] BELONG_220630_57.JPG Medium (Email) (Bigger?)
[21] BELONG_220630_59.JPG Medium (Email) (Bigger?)	[22] BELONG_220630_62.JPG Medium (Email) (Bigger?)
[23] BELONG_220630_68.JPG Medium (Email) (Bigger?)	[24] BELONG_220630_73.JPG Medium (Email) (Bigger?)
[25] BELONG_220630_75.JPG Medium (Email) (Bigger?)	[26] BELONG_220630_78.JPG Medium (Email) (Bigger?)
[27] BELONG_220630_82.JPG Medium (Email) (Bigger?)	[28] BELONG_220630_85.JPG Medium (Email) (Bigger?)
[29] BELONG_220630_89.JPG Medium (Email) (Bigger?)	[30] BELONG_220630_90.JPG Medium (Email) (Bigger?)
[31] BELONG_220630_93.JPG Medium (Email) (Bigger?)	[32] BELONG_220630_96.JPG Medium (Email) (Bigger?)
[33] CALLBX_220630_01.JPG Medium (Email) (Bigger?)	[34] DISCOV_220630_01.JPG Medium (Email) (Bigger?)
[35] DISCOV_220630_05.JPG Medium (Email) (Bigger?)	[36] DISCOV_220630_09.JPG Medium (Email) (Bigger?)
[37] DISCOV_220630_12.JPG Medium (Email) (Bigger?)	[38] DISCOV_220630_20.JPG Medium (Email) (Bigger?)
[39] DISCOV_220630_28.JPG Medium (Email) (Bigger?)	[40] DOWN_220630_01.JPG Medium (Email) (Bigger?)
[41] DOWN_220630_05.JPG Medium (Email) (Bigger?)	[42] DOWN_220630_11.JPG Medium (Email) (Bigger?)
[43] DOWN_220630_19.JPG Medium (Email) (Bigger?)	[44] EMBEU_220630_12.JPG Medium (Email) (Bigger?)
[45] EMBEU_220630_15.JPG Medium (Email) (Bigger?)	[46] ENG23_220630_01.JPG Medium (Email) (Bigger?)
[47] ENG23_220630_04.JPG Medium (Email) (Bigger?)	[48] ENG23_220630_06.JPG Medium (Email) (Bigger?)
[49] ENG23_220630_14.JPG Medium (Email) (Bigger?)	[50] ENG23_220630_25.JPG Medium (Email) (Bigger?)
[51] ENG23_220630_30.JPG Medium (Email) (Bigger?)	[52] ENG23_220630_34.JPG Medium (Email) (Bigger?)
[53] FLEART_220630_008.JPG Medium (Email) (Bigger?)	[54] FLEART_220630_012.JPG Medium (Email) (Bigger?)
[55] FLEART_220630_014.JPG Medium (Email) (Bigger?)	[56] FLEART_220630_018.JPG Medium (Email) (Bigger?)
[57] FLEART_220630_026.JPG Medium (Email) (Bigger?)	[58] FLEART_220630_034.JPG Medium (Email) (Bigger?)
[59] FLEART_220630_041.JPG Medium (Email) (Bigger?)	[60] FLEART_220630_043.JPG Medium (Email) (Bigger?)
[61] FLEART_220630_048.JPG Medium (Email) (Bigger?)	[62] FLEART_220630_051.JPG Medium (Email) (Bigger?)
[63] FLEART_220630_053.JPG Medium (Email) (Bigger?)	[64] FLEART_220630_057.JPG Medium (Email) (Bigger?)
[65] FLEART_220630_062.JPG Medium (Email) (Bigger?)	[66] FLEART_220630_069.JPG Medium (Email) (Bigger?)
[67] FLEART_220630_073.JPG Medium (Email) (Bigger?)	[68] FLEART_220630_079.JPG Medium (Email) (Bigger?)
[69] FLEART_220630_083.JPG Medium (Email) (Bigger?)	[70] FLEART_220630_086.JPG Medium (Email) (Bigger?)
[71] FLEART_220630_090.JPG Medium (Email) (Bigger?)	[72] FLEART_220630_092.JPG Medium (Email) (Bigger?)
[73] FLEART_220630_095.JPG Medium (Email) (Bigger?)	[74] FLEART_220630_100.JPG Medium (Email) (Bigger?)
[75] FLEART_220630_106.JPG Medium (Email) (Bigger?)	[76] FLEART_220630_114.JPG Medium (Email) (Bigger?)
[77] FLEART_220630_115.JPG Medium (Email) (Bigger?)	[78] FLEART_220630_121.JPG Medium (Email) (Bigger?)
[79] FLEART_220630_129.JPG Medium (Email) (Bigger?)	[80] FLEART_220630_130.JPG Medium (Email) (Bigger?)
[81] FLEART_220630_135.JPG Medium (Email) (Bigger?)	[82] FLNOON_220630_003.JPG Medium (Email) (Bigger?)
[83] FLNOON_220630_014.JPG Medium (Email) (Bigger?)	[84] FLNOON_220630_031.JPG Medium (Email) (Bigger?)
[85] FLNOON_220630_037.JPG Medium (Email) (Bigger?)	[86] FLNOON_220630_044.JPG Medium (Email) (Bigger?)
[87] FLNOON_220630_058.JPG Medium (Email) (Bigger?)	[88] FLNOON_220630_068.JPG Medium (Email) (Bigger?)
[89] FLNOON_220630_075.JPG Medium (Email) (Bigger?)	[90] FLNOON_220630_084.JPG Medium (Email) (Bigger?)
[91] FLNOON_220630_114.JPG Medium (Email) (Bigger?)	[92] FLNOON_220630_123.JPG Medium (Email) (Bigger?)
[93] FLNOON_220630_127.JPG Medium (Email) (Bigger?)	[94] FLNOON_220630_140.JPG Medium (Email) (Bigger?)
[95] FLNOON_220630_168.JPG Medium (Email) (Bigger?)	[96] FLNOON_220630_181.JPG Medium (Email) (Bigger?)
[97] FLNOON_220630_191.JPG Medium (Email) (Bigger?)	[98] FLNOON_220630_206.JPG Medium (Email) (Bigger?)
[99] FLNOON_220630_228.JPG Medium (Email) (Bigger?)	[100] FLNOON_220630_237.JPG Medium (Email) (Bigger?)
[101] FLNOON_220630_254.JPG Medium (Email) (Bigger?)	[102] FLNOON_220630_278.JPG Medium (Email) (Bigger?)
[103] FLNOON_220630_281.JPG Medium (Email) (Bigger?)	[104] FLNOON_220630_297.JPG Medium (Email) (Bigger?)
[105] FLNOON_220630_310.JPG Medium (Email) (Bigger?)	[106] FLNOON_220630_314.JPG Medium (Email) (Bigger?)
[107] FLNOON_220630_323.JPG Medium (Email) (Bigger?)	[108] FLNOON_220630_327.JPG Medium (Email) (Bigger?)
[109] FLNOON_220630_334.JPG Medium (Email) (Bigger?)	[110] FLNOON_220630_361.JPG Medium (Email) (Bigger?)
[111] FLNOON_220630_371.JPG Medium (Email) (Bigger?)	[112] FLNOON_220630_379.JPG Medium (Email) (Bigger?)
[113] FLNOON_220630_388.JPG Medium (Email) (Bigger?)	[114] FLNOON_220630_394.JPG Medium (Email) (Bigger?)
[115] FLNOON_220630_395.JPG Medium (Email) (Bigger?)	[116] FLNOON_220630_408.JPG Medium (Email) (Bigger?)
[117] FLNOON_220630_415.JPG Medium (Email) (Bigger?)	[118] FLNOON_220630_443.JPG Medium (Email) (Bigger?)
[119] FLNOON_220630_449.JPG Medium (Email) (Bigger?)	[120] FLNOON_220630_457.JPG Medium (Email) (Bigger?)
[121] FLNOON_220630_464.JPG Medium (Email) (Bigger?)	[122] FLNOON_220630_465.JPG Medium (Email) (Bigger?)
[123] FLNOON_220630_470.JPG Medium (Email) (Bigger?)	[124] FLNOON_220630_486.JPG Medium (Email) (Bigger?)
[125] FLNOON_220630_491.JPG Medium (Email) (Bigger?)	[126] FLNOON_220630_495.JPG Medium (Email) (Bigger?)
[127] FLNOON_220630_497.JPG Medium (Email) (Bigger?)	[128] FLNOON_220630_501.JPG Medium (Email) (Bigger?)
[129] FLNOON_220630_516.JPG Medium (Email) (Bigger?)	[130] FLNOON_220630_524.JPG Medium (Email) (Bigger?)
[131] FLNOON_220630_526.JPG Medium (Email) (Bigger?)	[132] FLNOON_220630_535.JPG Medium (Email) (Bigger?)
[133] FLNOON_220630_538.JPG Medium (Email) (Bigger?)	[134] FLNOON_220630_549.JPG Medium (Email) (Bigger?)
[135] FLNOON_220630_553.JPG Medium (Email) (Bigger?)	[136] FLNOON_220630_567.JPG Medium (Email) (Bigger?)
[137] FLNOON_220630_575.JPG Medium (Email) (Bigger?)	[138] FLNOON_220630_582.JPG Medium (Email) (Bigger?)
[139] FLNOON_220630_610.JPG Medium (Email) (Bigger?)	[140] FLNOON_220630_621.JPG Medium (Email) (Bigger?)
[141] FLNOON_220630_627.JPG Medium (Email) (Bigger?)	[142] FLNOON_220630_631.JPG Medium (Email) (Bigger?)
[143] FLNOON_220630_642.JPG Medium (Email) (Bigger?)	[144] FLNOON_220630_649.JPG Medium (Email) (Bigger?)
[145] FLNOON_220630_650.JPG Medium (Email) (Bigger?)	[146] FLNOON_220630_658.JPG Medium (Email) (Bigger?)
[147] FLUAE_220630_07.JPG Medium (Email) (Bigger?)	[148] FLUAE_220630_09.JPG Medium (Email) (Bigger?)
[149] FLUAE_220630_12.JPG Medium (Email) (Bigger?)	[150] FLUAE_220630_17.JPG Medium (Email) (Bigger?)
[151] FLUAE_220630_21.JPG Medium (Email) (Bigger?)	[152] FLUAE_220630_24.JPG Medium (Email) (Bigger?)
[153] FLUAE_220630_26.JPG Medium (Email) (Bigger?)	[154] FLUAE_220630_30.JPG Medium (Email) (Bigger?)
[155] FLUAE_220630_33.JPG Medium (Email) (Bigger?)	[156] FLUAE_220630_38.JPG Medium (Email) (Bigger?)
[157] FLUAE_220630_40.JPG Medium (Email) (Bigger?)	[158] FLUAE_220630_45.JPG Medium (Email) (Bigger?)
[159] FLUAE_220630_49.JPG Medium (Email) (Bigger?)	[160] FLUAE_220630_52.JPG Medium (Email) (Bigger?)
[161] FLUAE_220630_53.JPG Medium (Email) (Bigger?)	[162] FLUAE_220630_59.JPG Medium (Email) (Bigger?)
[163] FLUAE_220630_80.JPG Medium (Email) (Bigger?)	[164] FLUAE_220630_81.JPG Medium (Email) (Bigger?)
[165] FLUAE_220630_85.JPG Medium (Email) (Bigger?)	[166] FLUAE_220630_90.JPG Medium (Email) (Bigger?)
[167] FLUAE_220630_92.JPG Medium (Email) (Bigger?)	[168] FOLK_220630_01.JPG Medium (Email) (Bigger?)
[169] FOLK_220630_05.JPG Medium (Email) (Bigger?)	[170] GARDEN_220630_05.JPG Medium (Email) (Bigger?)
[171] GARDEN_220630_08.JPG Medium (Email) (Bigger?)	[172] GARDEN_220630_12.JPG Medium (Email) (Bigger?)
[173] GARDEN_220630_17.JPG Medium (Email) (Bigger?)	[174] GARDEN_220630_21.JPG Medium (Email) (Bigger?)
[175] GARDEN_220630_26.JPG Medium (Email) (Bigger?)	[176] GARDEN_220630_29.JPG Medium (Email) (Bigger?)
[177] GARDEN_220630_32.JPG Medium (Email) (Bigger?)	[178] GARDEN_220630_36.JPG Medium (Email) (Bigger?)
[179] GARDEN_220630_38.JPG Medium (Email) (Bigger?)	[180] GARDEN_220630_44.JPG Medium (Email) (Bigger?)
[181] GARDEN_220630_51.JPG Medium (Email) (Bigger?)	[182] GWUART_220630_01.JPG Medium (Email) (Bigger?)
[183] GWUART_220630_06.JPG Medium (Email) (Bigger?)	[184] GWUART_220630_12.JPG Medium (Email) (Bigger?)
[185] GWUART_220630_13.JPG Medium (Email) (Bigger?)	[186] GWUART_220630_17.JPG Medium (Email) (Bigger?)
[187] GWUART_220630_24.JPG Medium (Email) (Bigger?)	[188] GWUART_220630_25.JPG Medium (Email) (Bigger?)
[189] GWUART_220630_38.JPG Medium (Email) (Bigger?)	[190] GWUART_220630_40.JPG Medium (Email) (Bigger?)
[191] GWUART_220630_45.JPG Medium (Email) (Bigger?)	[192] GWU_220630_08.JPG Medium (Email) (Bigger?)
[193] GWU_220630_09.JPG Medium (Email) (Bigger?)	[194] GWU_220630_12.JPG Medium (Email) (Bigger?)
[195] GWU_220630_21.JPG Medium (Email) (Bigger?)	[196] GWU_220630_22.JPG Medium (Email) (Bigger?)
[197] GWU_220630_41.JPG Medium (Email) (Bigger?)	[198] GWU_220630_50.JPG Medium (Email) (Bigger?)
[199] GWU_220630_56.JPG Medium (Email) (Bigger?)

[200] IMAGIN_220630_001_STITCH.JPG

Medium (Email) (Bigger?)

[201] IMAGIN_220630_021.JPG Medium (Email) (Bigger?)	[202] IMAGIN_220630_027.JPG Medium (Email) (Bigger?)
[203] IMAGIN_220630_029.JPG Medium (Email) (Bigger?)	[204] IMAGIN_220630_034.JPG Medium (Email) (Bigger?)
[205] IMAGIN_220630_036.JPG Medium (Email) (Bigger?)	[206] IMAGIN_220630_037.JPG Medium (Email) (Bigger?)
[207] IMAGIN_220630_041.JPG Medium (Email) (Bigger?)	[208] IMAGIN_220630_042.JPG Medium (Email) (Bigger?)
[209] IMAGIN_220630_043.JPG Medium (Email) (Bigger?)	[210] IMAGIN_220630_044.JPG Medium (Email) (Bigger?)
[211] IMAGIN_220630_045.JPG Medium (Email) (Bigger?)	[212] IMAGIN_220630_046.JPG Medium (Email) (Bigger?)
[213] IMAGIN_220630_048.JPG Medium (Email) (Bigger?)	[214] IMAGIN_220630_050.JPG Medium (Email) (Bigger?)
[215] IMAGIN_220630_051.JPG Medium (Email) (Bigger?)	[216] IMAGIN_220630_053.JPG Medium (Email) (Bigger?)
[217] IMAGIN_220630_058.JPG Medium (Email) (Bigger?)	[218] IMAGIN_220630_060.JPG Medium (Email) (Bigger?)
[219] IMAGIN_220630_062.JPG Medium (Email) (Bigger?)	[220] IMAGIN_220630_069.JPG Medium (Email) (Bigger?)
[221] IMAGIN_220630_071.JPG Medium (Email) (Bigger?)	[222] IMAGIN_220630_073.JPG Medium (Email) (Bigger?)
[223] IMAGIN_220630_074.JPG Medium (Email) (Bigger?)	[224] IMAGIN_220630_078.JPG Medium (Email) (Bigger?)
[225] IMAGIN_220630_083.JPG Medium (Email) (Bigger?)	[226] IMAGIN_220630_088.JPG Medium (Email) (Bigger?)
[227] IMAGIN_220630_094.JPG Medium (Email) (Bigger?)	[228] IMAGIN_220630_099.JPG Medium (Email) (Bigger?)
[229] IMAGIN_220630_111.JPG Medium (Email) (Bigger?)	[230] IMAGIN_220630_119.JPG Medium (Email) (Bigger?)
[231] IMAGIN_220630_128.JPG Medium (Email) (Bigger?)	[232] IMAGIN_220630_132.JPG Medium (Email) (Bigger?)
[233] IMAGIN_220630_137.JPG Medium (Email) (Bigger?)	[234] IMAGIN_220630_151.JPG Medium (Email) (Bigger?)
[235] IMAGIN_220630_156.JPG Medium (Email) (Bigger?)	[236] IMAGIN_220630_162.JPG Medium (Email) (Bigger?)
[237] IMAGIN_220630_164.JPG Medium (Email) (Bigger?)	[238] IMAGIN_220630_168.JPG Medium (Email) (Bigger?)
[239] IMAGIN_220630_172.JPG Medium (Email) (Bigger?)	[240] IMAGIN_220630_179.JPG Medium (Email) (Bigger?)
[241] IMAGIN_220630_185.JPG Medium (Email) (Bigger?)	[242] IMAGIN_220630_189.JPG Medium (Email) (Bigger?)
[243] IMAGIN_220630_197.JPG Medium (Email) (Bigger?)	[244] IMAGIN_220630_205.JPG Medium (Email) (Bigger?)
[245] IMAGIN_220630_208.JPG Medium (Email) (Bigger?)	[246] IMAGIN_220630_212.JPG Medium (Email) (Bigger?)
[247] IMAGIN_220630_216.JPG Medium (Email) (Bigger?)	[248] IMAGIN_220630_234.JPG Medium (Email) (Bigger?)
[249] IMAGIN_220630_241.JPG Medium (Email) (Bigger?)	[250] IMAGIN_220630_267.JPG Medium (Email) (Bigger?)
[251] IMAGIN_220630_284.JPG Medium (Email) (Bigger?)	[252] IMAGIN_220630_295.JPG Medium (Email) (Bigger?)
[253] IMAGIN_220630_299.JPG Medium (Email) (Bigger?)	[254] IMAGIN_220630_328.JPG Medium (Email) (Bigger?)
[255] IMAGIN_220630_334.JPG Medium (Email) (Bigger?)	[256] IMAGIN_220630_342.JPG Medium (Email) (Bigger?)
[257] IMAGIN_220630_363.JPG Medium (Email) (Bigger?)	[258] IMAGIN_220630_373.JPG Medium (Email) (Bigger?)
[259] IMAGIN_220630_393.JPG Medium (Email) (Bigger?)	[260] IMAGIN_220630_405.JPG Medium (Email) (Bigger?)
[261] KCBLUE_220630_01.JPG Medium (Email) (Bigger?)	[262] KCEN_220630_003.JPG Medium (Email) (Bigger?)
[263] KCEN_220630_010.JPG Medium (Email) (Bigger?)	[264] KCEN_220630_012.JPG Medium (Email) (Bigger?)
[265] KCEN_220630_014.JPG Medium (Email) (Bigger?)	[266] KCEN_220630_017.JPG Medium (Email) (Bigger?)
[267] KCEN_220630_019.JPG Medium (Email) (Bigger?)	[268] KCEN_220630_022.JPG Medium (Email) (Bigger?)
[269] KCEN_220630_026.JPG Medium (Email) (Bigger?)	[270] KCEN_220630_030.JPG Medium (Email) (Bigger?)
[271] KCEN_220630_031.JPG Medium (Email) (Bigger?)	[272] KCEN_220630_034.JPG Medium (Email) (Bigger?)
[273] KCEN_220630_037.JPG Medium (Email) (Bigger?)	[274] KCEN_220630_046.JPG Medium (Email) (Bigger?)
[275] KCEN_220630_047.JPG Medium (Email) (Bigger?)	[276] KCEN_220630_050.JPG Medium (Email) (Bigger?)
[277] KCEN_220630_053.JPG Medium (Email) (Bigger?)	[278] KCEN_220630_057.JPG Medium (Email) (Bigger?)
[279] KCEN_220630_060.JPG Medium (Email) (Bigger?)	[280] KCEN_220630_063.JPG Medium (Email) (Bigger?)
[281] KCEN_220630_066.JPG Medium (Email) (Bigger?)	[282] KCEN_220630_069.JPG Medium (Email) (Bigger?)
[283] KCEN_220630_072.JPG Medium (Email) (Bigger?)	[284] KCEN_220630_075.JPG Medium (Email) (Bigger?)
[285] KCEN_220630_078.JPG Medium (Email) (Bigger?)	[286] KCEN_220630_081.JPG Medium (Email) (Bigger?)
[287] KCEN_220630_085.JPG Medium (Email) (Bigger?)	[288] KCEN_220630_088.JPG Medium (Email) (Bigger?)
[289] KCEN_220630_091.JPG Medium (Email) (Bigger?)	[290] KCEN_220630_093.JPG Medium (Email) (Bigger?)
[291] KCEN_220630_096.JPG Medium (Email) (Bigger?)	[292] KCEN_220630_099.JPG Medium (Email) (Bigger?)
[293] KCTRIB_220630_002.JPG Medium (Email) (Bigger?)	[294] KCTRIB_220630_006.JPG Medium (Email) (Bigger?)
[295] KCTRIB_220630_011.JPG Medium (Email) (Bigger?)	[296] KCTRIB_220630_017.JPG Medium (Email) (Bigger?)
[297] KCTRIB_220630_021.JPG Medium (Email) (Bigger?)	[298] KCTRIB_220630_025.JPG Medium (Email) (Bigger?)
[299] KCTRIB_220630_028.JPG Medium (Email) (Bigger?)	[300] KCTRIB_220630_040.JPG Medium (Email) (Bigger?)
[301] KCTRIB_220630_044.JPG Medium (Email) (Bigger?)	[302] KCTRIB_220630_045.JPG Medium (Email) (Bigger?)
[303] KCTRIB_220630_048.JPG Medium (Email) (Bigger?)	[304] KCTRIB_220630_050.JPG Medium (Email) (Bigger?)
[305] KCTRIB_220630_053.JPG Medium (Email) (Bigger?)	[306] KCTRIB_220630_057.JPG Medium (Email) (Bigger?)
[307] KCTRIB_220630_060.JPG Medium (Email) (Bigger?)	[308] KCTRIB_220630_064.JPG Medium (Email) (Bigger?)
[309] KCTRIB_220630_068.JPG Medium (Email) (Bigger?)	[310] KCTRIB_220630_071.JPG Medium (Email) (Bigger?)
[311] KCTRIB_220630_072.JPG Medium (Email) (Bigger?)	[312] KCTRIB_220630_075.JPG Medium (Email) (Bigger?)
[313] KCTRIB_220630_080.JPG Medium (Email) (Bigger?)	[314] KCTRIB_220630_083.JPG Medium (Email) (Bigger?)
[315] KCTRIB_220630_088.JPG Medium (Email) (Bigger?)	[316] KCTRIB_220630_095.JPG Medium (Email) (Bigger?)
[317] KCTRIB_220630_102.JPG Medium (Email) (Bigger?)	[318] KCTRIB_220630_110.JPG Medium (Email) (Bigger?)
[319] KCTRIB_220630_115.JPG Medium (Email) (Bigger?)

[320] KCV_220630_002_STITCH.JPG

Medium (Email) (Bigger?)

[321] KCV_220630_004_STITCH.JPG

Medium (Email) (Bigger?)

[322] KCV_220630_005_STITCH.JPG

Medium (Email) (Bigger?)

[323] KCV_220630_007_STITCH.JPG

Medium (Email) (Bigger?)

[324] KCV_220630_009_STITCH.JPG

Medium (Email) (Bigger?)

[325] KCV_220630_010_STITCH.JPG

Medium (Email) (Bigger?)

[326] KCV_220630_013.JPG Medium (Email) (Bigger?)	[327] KCV_220630_018.JPG Medium (Email) (Bigger?)
[328] KCV_220630_024.JPG Medium (Email) (Bigger?)	[329] KCV_220630_034.JPG Medium (Email) (Bigger?)
[330] KCV_220630_037.JPG Medium (Email) (Bigger?)	[331] KCV_220630_040.JPG Medium (Email) (Bigger?)
[332] KCV_220630_048.JPG Medium (Email) (Bigger?)	[333] KCV_220630_050.JPG Medium (Email) (Bigger?)
[334] KCV_220630_058.JPG Medium (Email) (Bigger?)	[335] KCV_220630_060.JPG Medium (Email) (Bigger?)
[336] KCV_220630_065.JPG Medium (Email) (Bigger?)	[337] KCV_220630_070.JPG Medium (Email) (Bigger?)
[338] KCV_220630_080.JPG Medium (Email) (Bigger?)	[339] KCV_220630_088.JPG Medium (Email) (Bigger?)
[340] KCV_220630_092.JPG Medium (Email) (Bigger?)	[341] KCV_220630_096.JPG Medium (Email) (Bigger?)
[342] KCV_220630_102.JPG Medium (Email) (Bigger?)	[343] KCV_220630_109.JPG Medium (Email) (Bigger?)
[344] KCV_220630_117.JPG Medium (Email) (Bigger?)	[345] KCV_220630_119.JPG Medium (Email) (Bigger?)
[346] KCV_220630_126.JPG Medium (Email) (Bigger?)	[347] KCV_220630_132.JPG Medium (Email) (Bigger?)
[348] KCV_220630_137.JPG Medium (Email) (Bigger?)	[349] KCV_220630_140.JPG Medium (Email) (Bigger?)
[350] KCV_220630_142.JPG Medium (Email) (Bigger?)	[351] KCV_220630_148.JPG Medium (Email) (Bigger?)
[352] KCV_220630_151.JPG Medium (Email) (Bigger?)	[353] KCV_220630_154.JPG Medium (Email) (Bigger?)
[354] KCV_220630_157.JPG Medium (Email) (Bigger?)	[355] KCV_220630_168.JPG Medium (Email) (Bigger?)
[356] KCV_220630_171.JPG Medium (Email) (Bigger?)	[357] KCV_220630_175.JPG Medium (Email) (Bigger?)
[358] KCV_220630_183.JPG Medium (Email) (Bigger?)	[359] KCV_220630_193.JPG Medium (Email) (Bigger?)
[360] KCV_220630_196.JPG Medium (Email) (Bigger?)	[361] KCV_220630_205.JPG Medium (Email) (Bigger?)
[362] KCV_220630_211.JPG Medium (Email) (Bigger?)	[363] KCV_220630_214.JPG Medium (Email) (Bigger?)
[364] KCV_220630_220.JPG Medium (Email) (Bigger?)	[365] KCV_220630_226.JPG Medium (Email) (Bigger?)
[366] KCV_220630_229.JPG Medium (Email) (Bigger?)	[367] KCV_220630_237.JPG Medium (Email) (Bigger?)
[368] KCV_220630_244.JPG Medium (Email) (Bigger?)	[369] KCV_220630_247.JPG Medium (Email) (Bigger?)
[370] KCV_220630_259.JPG Medium (Email) (Bigger?)	[371] KCV_220630_264.JPG Medium (Email) (Bigger?)
[372] KCV_220630_297.JPG Medium (Email) (Bigger?)	[373] KCV_220630_311.JPG Medium (Email) (Bigger?)
[374] KCV_220630_323.JPG Medium (Email) (Bigger?)	[375] KCV_220630_328.JPG Medium (Email) (Bigger?)
[376] KCV_220630_341.JPG Medium (Email) (Bigger?)	[377] KCV_220630_344.JPG Medium (Email) (Bigger?)
[378] KCV_220630_391.JPG Medium (Email) (Bigger?)	[379] KCV_220630_397.JPG Medium (Email) (Bigger?)
[380] KCV_220630_456.JPG Medium (Email) (Bigger?)	[381] KCV_220630_472.JPG Medium (Email) (Bigger?)
[382] KCV_220630_493.JPG Medium (Email) (Bigger?)	[383] KCV_220630_501.JPG Medium (Email) (Bigger?)
[384] KCV_220630_565.JPG Medium (Email) (Bigger?)	[385] KCV_220630_578.JPG Medium (Email) (Bigger?)
[386] KCV_220630_605.JPG Medium (Email) (Bigger?)	[387] KCV_220630_659.JPG Medium (Email) (Bigger?)
[388] KCV_220630_677.JPG Medium (Email) (Bigger?)	[389] KCV_220630_689.JPG Medium (Email) (Bigger?)
[390] KCV_220630_702.JPG Medium (Email) (Bigger?)	[391] KCV_220630_708.JPG Medium (Email) (Bigger?)
[392] KCV_220630_718.JPG Medium (Email) (Bigger?)	[393] KCV_220630_736.JPG Medium (Email) (Bigger?)
[394] KCV_220630_753.JPG Medium (Email) (Bigger?)	[395] KCV_220630_763.JPG Medium (Email) (Bigger?)
[396] KCV_220630_767.JPG Medium (Email) (Bigger?)	[397] KCV_220630_787.JPG Medium (Email) (Bigger?)
[398] KCV_220630_790.JPG Medium (Email) (Bigger?)	[399] KCV_220630_793.JPG Medium (Email) (Bigger?)
[400] KCV_220630_814.JPG Medium (Email) (Bigger?)	[401] KCV_220630_822.JPG Medium (Email) (Bigger?)
[402] MERGE_220630_001.JPG Medium (Email) (Bigger?)	[403] MERGE_220630_004.JPG Medium (Email) (Bigger?)
[404] MERGE_220630_008.JPG Medium (Email) (Bigger?) $“Poppy Pleasure” by Taylor Koedyker La Verne, California, Age 28 Award of Excellence Bronze and copper with cubic zirconia stones (8” x 6.5” x 6.5”) Taylor Koedyker’s works aim to promote an appreciation for our natural world, highlighting our physical connections to the earth while acknowledging humanity’s growing disconnect to it. Using our relationship with our bodies as a parallel to our treatment of the planet, she sees her disability as a way to connect with our universal afflictions and provides great strength and empathy. The stones used in Koedyker’s art are practical and symbolic, grown of the earth but each unique, and strong and beautiful despite fractures. Poppy Pleasures was inspired by a poem Koedyker wrote about people crushing natural poppy fields in California for photo opts. koedykercrafted.com$	[405] MERGE_220630_015.JPG Medium (Email) (Bigger?)
[406] MERGE_220630_031.JPG Medium (Email) (Bigger?)	[407] MERGE_220630_037.JPG Medium (Email) (Bigger?)
[408] MERGE_220630_042.JPG Medium (Email) (Bigger?)	[409] MERGE_220630_048.JPG Medium (Email) (Bigger?)
[410] MERGE_220630_051.JPG Medium (Email) (Bigger?)	[411] MERGE_220630_057.JPG Medium (Email) (Bigger?)
[412] MERGE_220630_063.JPG Medium (Email) (Bigger?)	[413] MERGE_220630_072.JPG Medium (Email) (Bigger?)
[414] MERGE_220630_079.JPG Medium (Email) (Bigger?)	[415] MERGE_220630_083.JPG Medium (Email) (Bigger?)
[416] MERGE_220630_090.JPG Medium (Email) (Bigger?)	[417] MERGE_220630_097.JPG Medium (Email) (Bigger?)
[418] MERGE_220630_108.JPG Medium (Email) (Bigger?)	[419] MERGE_220630_111.JPG Medium (Email) (Bigger?)
[420] MERGE_220630_116.JPG Medium (Email) (Bigger?)	[421] MERGE_220630_118.JPG Medium (Email) (Bigger?)
[422] MUSICH_220630_003.JPG Medium (Email) (Bigger?)	[423] MUSICH_220630_007.JPG Medium (Email) (Bigger?)
[424] MUSICH_220630_011.JPG Medium (Email) (Bigger?)	[425] MUSICH_220630_015.JPG Medium (Email) (Bigger?)
[426] MUSICH_220630_016.JPG Medium (Email) (Bigger?)	[427] MUSICH_220630_019.JPG Medium (Email) (Bigger?)
[428] MUSICH_220630_021.JPG Medium (Email) (Bigger?)	[429] MUSICH_220630_024.JPG Medium (Email) (Bigger?)
[430] MUSICH_220630_027.JPG Medium (Email) (Bigger?)	[431] MUSICH_220630_032.JPG Medium (Email) (Bigger?)
[432] MUSICH_220630_038.JPG Medium (Email) (Bigger?)	[433] MUSICH_220630_045.JPG Medium (Email) (Bigger?)
[434] MUSICH_220630_049.JPG Medium (Email) (Bigger?)	[435] MUSICH_220630_052.JPG Medium (Email) (Bigger?)
[436] MUSICH_220630_057.JPG Medium (Email) (Bigger?)	[437] MUSICH_220630_060.JPG Medium (Email) (Bigger?)
[438] MUSICH_220630_063.JPG Medium (Email) (Bigger?)	[439] MUSICH_220630_071.JPG Medium (Email) (Bigger?)
[440] MUSICH_220630_075.JPG Medium (Email) (Bigger?)	[441] MUSICH_220630_077.JPG Medium (Email) (Bigger?)
[442] MUSICH_220630_080.JPG Medium (Email) (Bigger?)	[443] MUSICH_220630_086.JPG Medium (Email) (Bigger?)
[444] MUSICH_220630_089.JPG Medium (Email) (Bigger?)	[445] MUSICH_220630_092.JPG Medium (Email) (Bigger?)
[446] MUSICH_220630_097.JPG Medium (Email) (Bigger?)	[447] MUSICH_220630_108.JPG Medium (Email) (Bigger?)
[448] MUSICH_220630_109.JPG Medium (Email) (Bigger?)	[449] MUSICH_220630_115.JPG Medium (Email) (Bigger?)
[450] MUSICH_220630_118.JPG Medium (Email) (Bigger?)	[451] MUSICH_220630_121.JPG Medium (Email) (Bigger?)
[452] MUSICH_220630_125.JPG Medium (Email) (Bigger?)	[453] MUSICH_220630_129.JPG Medium (Email) (Bigger?)
[454] MUSICH_220630_131.JPG Medium (Email) (Bigger?)	[455] MUSICH_220630_135.JPG Medium (Email) (Bigger?)
[456] MUSICH_220630_140.JPG Medium (Email) (Bigger?)	[457] MUSICH_220630_144.JPG Medium (Email) (Bigger?)
[458] MUSICH_220630_147.JPG Medium (Email) (Bigger?)	[459] MUSICH_220630_149.JPG Medium (Email) (Bigger?)
[460] MUSICH_220630_152.JPG Medium (Email) (Bigger?)	[461] MUSICH_220630_158.JPG Medium (Email) (Bigger?)
[462] MUSICH_220630_163.JPG Medium (Email) (Bigger?)	[463] MUSICH_220630_165.JPG Medium (Email) (Bigger?)
[464] MUSICH_220630_168.JPG Medium (Email) (Bigger?)	[465] MUSICH_220630_172.JPG Medium (Email) (Bigger?)
[466] MUSICH_220630_173.JPG Medium (Email) (Bigger?)	[467] MUSICH_220630_176.JPG Medium (Email) (Bigger?)
[468] MUSICH_220630_182.JPG Medium (Email) (Bigger?)	[469] MUSICH_220630_189.JPG Medium (Email) (Bigger?)
[470] MUSICH_220630_192.JPG Medium (Email) (Bigger?)	[471] MUSICH_220630_195.JPG Medium (Email) (Bigger?)
[472] MUSICH_220630_198.JPG Medium (Email) (Bigger?)	[473] MUSICH_220630_202.JPG Medium (Email) (Bigger?)
[474] MUSICH_220630_205.JPG Medium (Email) (Bigger?)	[475] MUSICH_220630_211.JPG Medium (Email) (Bigger?)
[476] MUSICH_220630_216.JPG Medium (Email) (Bigger?)	[477] MUSICH_220630_222.JPG Medium (Email) (Bigger?)
[478] MUSICH_220630_224.JPG Medium (Email) (Bigger?)	[479] MUSICH_220630_229.JPG Medium (Email) (Bigger?)
[480] MUSICH_220630_231.JPG Medium (Email) (Bigger?)	[481] MUSICH_220630_235.JPG Medium (Email) (Bigger?)
[482] MUSICH_220630_240.JPG Medium (Email) (Bigger?)	[483] MUSICH_220630_242.JPG Medium (Email) (Bigger?)
[484] MUSICH_220630_245.JPG Medium (Email) (Bigger?)	[485] MUSICH_220630_247.JPG Medium (Email) (Bigger?)
[486] MUSICH_220630_250.JPG Medium (Email) (Bigger?)	[487] MUSICH_220630_254.JPG Medium (Email) (Bigger?)
[488] MUSICH_220630_257.JPG Medium (Email) (Bigger?)	[489] MUSICH_220630_261.JPG Medium (Email) (Bigger?)
[490] MUSICH_220630_268.JPG Medium (Email) (Bigger?)	[491] MUSICH_220630_276.JPG Medium (Email) (Bigger?)
[492] MUSICH_220630_282.JPG Medium (Email) (Bigger?)	[493] MUSICH_220630_288.JPG Medium (Email) (Bigger?)
[494] MUSICH_220630_290.JPG Medium (Email) (Bigger?)	[495] MUSICH_220630_297.JPG Medium (Email) (Bigger?)
[496] MUSICH_220630_307.JPG Medium (Email) (Bigger?)	[497] MUSICH_220630_311.JPG Medium (Email) (Bigger?)
[498] MUSICH_220630_314.JPG Medium (Email) (Bigger?)	[499] MUSICH_220630_317.JPG Medium (Email) (Bigger?)
[500] MUSICH_220630_321.JPG Medium (Email) (Bigger?)	[501] MUSICH_220630_324.JPG Medium (Email) (Bigger?)
[502] MUSICH_220630_327.JPG Medium (Email) (Bigger?)	[503] MUSICH_220630_330.JPG Medium (Email) (Bigger?)
[504] MUSICH_220630_334.JPG Medium (Email) (Bigger?)	[505] MUSICH_220630_336.JPG Medium (Email) (Bigger?)
[506] MUSICH_220630_340.JPG Medium (Email) (Bigger?)	[507] MUSICH_220630_344.JPG Medium (Email) (Bigger?)
[508] MUSICH_220630_350.JPG Medium (Email) (Bigger?)	[509] MUSICH_220630_354.JPG Medium (Email) (Bigger?)
[510] MUSICH_220630_357.JPG Medium (Email) (Bigger?)	[511] MUSICH_220630_360.JPG Medium (Email) (Bigger?)
[512] MUSICH_220630_364.JPG Medium (Email) (Bigger?)	[513] MUSICH_220630_370.JPG Medium (Email) (Bigger?)
[514] MUSICH_220630_379.JPG Medium (Email) (Bigger?)	[515] MUSICH_220630_384.JPG Medium (Email) (Bigger?)
[516] MUSICH_220630_389.JPG Medium (Email) (Bigger?)	[517] MUSICH_220630_400.JPG Medium (Email) (Bigger?)
[518] MUSICH_220630_404.JPG Medium (Email) (Bigger?)	[519] MUSICH_220630_409.JPG Medium (Email) (Bigger?)
[520] MUSICH_220630_411.JPG Medium (Email) (Bigger?)	[521] MUSICH_220630_420.JPG Medium (Email) (Bigger?)
[522] MUSICH_220630_421.JPG Medium (Email) (Bigger?)	[523] MUSICH_220630_427.JPG Medium (Email) (Bigger?)
[524] MUSICH_220630_429.JPG Medium (Email) (Bigger?)	[525] MUSICH_220630_432.JPG Medium (Email) (Bigger?)
[526] MUSICH_220630_442.JPG Medium (Email) (Bigger?)	[527] MUSICH_220630_445.JPG Medium (Email) (Bigger?)
[528] PPC_220630_05.JPG Medium (Email) (Bigger?)	[529] PPC_220630_07.JPG Medium (Email) (Bigger?)
[530] PPC_220630_11.JPG Medium (Email) (Bigger?)	[531] SICASC_220630_01.JPG Medium (Email) (Bigger?)
[532] SICASC_220630_14.JPG Medium (Email) (Bigger?)	[533] SICASC_220630_16.JPG Medium (Email) (Bigger?)
[534] SICASC_220630_21.JPG Medium (Email) (Bigger?)	[535] SICASC_220630_25.JPG Medium (Email) (Bigger?)
[536] SICASC_220630_29.JPG Medium (Email) (Bigger?)	[537] SICASC_220630_41.JPG Medium (Email) (Bigger?)
[538] SICASC_220630_44.JPG Medium (Email) (Bigger?)	[539] SICASC_220630_50.JPG Medium (Email) (Bigger?)
[540] SICASC_220630_55.JPG Medium (Email) (Bigger?)	[541] SICAS_220630_05.JPG Medium (Email) (Bigger?)
[542] SICAS_220630_11.JPG Medium (Email) (Bigger?)	[543] SICAS_220630_13.JPG Medium (Email) (Bigger?)
[544] SICAS_220630_15.JPG Medium (Email) (Bigger?)	[545] SICAS_220630_18.JPG Medium (Email) (Bigger?)
[546] SICAS_220630_24.JPG Medium (Email) (Bigger?)	[547] SICAS_220630_28.JPG Medium (Email) (Bigger?)
[548] SICAS_220630_29.JPG Medium (Email) (Bigger?)	[549] SICAS_220630_35.JPG Medium (Email) (Bigger?)
[550] SICAS_220630_37.JPG Medium (Email) (Bigger?)	[551] SICAS_220630_40.JPG Medium (Email) (Bigger?)
[552] SIGNS_220630_01.JPG Medium (Email) (Bigger?)	[553] SIGNS_220630_10.JPG Medium (Email) (Bigger?)
[554] SIGNS_220630_13.JPG Medium (Email) (Bigger?)	[555] SIGNS_220630_31.JPG Medium (Email) (Bigger?)
[556] SIGNS_220630_33.JPG Medium (Email) (Bigger?)	[557] SIGNS_220630_37.JPG Medium (Email) (Bigger?)
[558] SIGNS_220630_47.JPG Medium (Email) (Bigger?)	[559] SIGNS_220630_51.JPG Medium (Email) (Bigger?)
[560] SIGNS_220630_58.JPG Medium (Email) (Bigger?)	[561] SIGNS_220630_66.JPG Medium (Email) (Bigger?)
[562] SIGNS_220630_67.JPG Medium (Email) (Bigger?)	[563] SIGNS_220630_71.JPG Medium (Email) (Bigger?)
[564] SIGNS_220630_80.JPG Medium (Email) (Bigger?)	[565] SIGNS_220630_83.JPG Medium (Email) (Bigger?)
[566] SSDISC_220630_024.JPG Medium (Email) (Bigger?)	[567] SSDISC_220630_028.JPG Medium (Email) (Bigger?)
[568] SSDISC_220630_048.JPG Medium (Email) (Bigger?)	[569] SSDISC_220630_072.JPG Medium (Email) (Bigger?)
[570] SSDISC_220630_077.JPG Medium (Email) (Bigger?)	[571] SSDISC_220630_096.JPG Medium (Email) (Bigger?)
[572] SSDISC_220630_105.JPG Medium (Email) (Bigger?)	[573] SSMAZE_220630_01.JPG Medium (Email) (Bigger?)
[574] SSMAZE_220630_04.JPG Medium (Email) (Bigger?)	[575] SSMAZE_220630_07.JPG Medium (Email) (Bigger?)
[576] SSMAZE_220630_11.JPG Medium (Email) (Bigger?)	[577] SSMAZE_220630_16.JPG Medium (Email) (Bigger?)
[578] SSMAZE_220630_19.JPG Medium (Email) (Bigger?)	[579] SSMAZE_220630_22.JPG Medium (Email) (Bigger?)
[580] SSMAZE_220630_27.JPG Medium (Email) (Bigger?)	[581] SSPOST_220630_013.JPG Medium (Email) (Bigger?)
[582] SSPOST_220630_017.JPG Medium (Email) (Bigger?)	[583] SSPOST_220630_021.JPG Medium (Email) (Bigger?)
[584] SSPOST_220630_024.JPG Medium (Email) (Bigger?)	[585] SSPOST_220630_034.JPG Medium (Email) (Bigger?)
[586] SSPOST_220630_047.JPG Medium (Email) (Bigger?)	[587] SSPOST_220630_049.JPG Medium (Email) (Bigger?)
[588] SSPOST_220630_065.JPG Medium (Email) (Bigger?)	[589] SSPOST_220630_074.JPG Medium (Email) (Bigger?)
[590] SSPOST_220630_078.JPG Medium (Email) (Bigger?)	[591] SSPOST_220630_084.JPG Medium (Email) (Bigger?)
[592] SSPOST_220630_087.JPG Medium (Email) (Bigger?)	[593] SSPOST_220630_088.JPG Medium (Email) (Bigger?)
[594] SSPOST_220630_092.JPG Medium (Email) (Bigger?)	[595] SSPOST_220630_098.JPG Medium (Email) (Bigger?)
[596] SSPOST_220630_102.JPG Medium (Email) (Bigger?)	[597] SSPOST_220630_114.JPG Medium (Email) (Bigger?)
[598] SSPOST_220630_122.JPG Medium (Email) (Bigger?)	[599] SSPOST_220630_126.JPG Medium (Email) (Bigger?)
[600] SSPOST_220630_133.JPG Medium (Email) (Bigger?)	[601] SSPOST_220630_141.JPG Medium (Email) (Bigger?)
[602] WARNER_220630_15.JPG Medium (Email) (Bigger?)	[603] WARNER_220630_20.JPG Medium (Email) (Bigger?)
[604] WARNER_220630_31.JPG Medium (Email) (Bigger?)	[605] WARNER_220630_36.JPG Medium (Email) (Bigger?)
[606] WARNER_220630_39.JPG Medium (Email) (Bigger?)	[607] WARNER_220630_48.JPG Medium (Email) (Bigger?)

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1]

") are described as follows:

ARTSSP_220630_01.JPG: (Source page: 2022_MD_SS_Art_SSprung)
ARTSSP_220630_08.JPG: With love from Jamie, Sarah, Hannah, Tommy and Tabitha Raskin
BELONG_220630_05.JPG: (Source page: 2022_DC_SIAH_Belong)
BELONG_220630_10.JPG: Naomi Osaka "Things have to change." -- Naomi Osaka Naomi Osaka burst onto the sports scene as a 15-year-old tennis phenom -- and by 23 was a four-time grand slam champion. She challenges expectations that players are supposed to just tough it out. She has used her global platform to draw attention to issues harming athletes, including pressures affecting her own and other athletes’ mental health. Who gets to play sports?
BELONG_220630_13.JPG: Naomi Osaka "Things have to change." -- Naomi Osaka Naomi Osaka burst onto the sports scene as a 15-year-old tennis phenom -- and by 23 was a four-time grand slam champion. She challenges expectations that players are supposed to just tough it out. She has used her global platform to draw attention to issues harming athletes, including pressures affecting her own and other athletes’ mental health. Who gets to play sports?
BELONG_220630_19.JPG: Tennis racket used by Naomi Osaka during the 2020 US Open Tennis Championship.
BELONG_220630_32.JPG: Samantha Mewis "It. Is. Time." -- Sam Mewis Samantha Mewis played on the U.S. Women’s National Soccer team that won a World Cup title in 2019, the team’s fourth. Yet for years, the team that also won four Olympic gold medals was paid less than lesser performing male players. Mewis and other team members sued the U.S. Soccer Federation seeking equal pay and in 2021 won identical contracts to their male counterparts. Why do female athletes have to fight so hard to get paid fairly?
BELONG_220630_42.JPG: US National team jersey worn by Samantha Mewis when she was named US Soccer Female Player of the year, 2020.
BELONG_220630_54.JPG: Leo Baker "Your authenticity is your superpower." -- Leo Baker Leo Baker made the cut for the inaugural USA Skateboarding Olympic Team in 2019. But when faced with the prospect of skating for the women’s team, Baker, who identifies as trans nonbinary, decided not to compete -- and Team USA lost a potential medal winner. Baker refused to conform to a gender they did not identify with. What would happen if sports were NOT defined by gender?
BELONG_220630_62.JPG: T-shirt Leo Baker made to express their nonbinary gender identity, 2019.
BELONG_220630_68.JPG: This exhibition marks the 50th anniversary of Title IX, federal legislation championed by Congresswoman Patsy Mink and signed into law by President Richard Nixon in 1972. The act unintentionally boosted long-standing efforts to open male-dominated arenas of sports. Even as Title IX protections have been expanded over the years—most recently under the Biden administration—athletes continue to face sexism, racism, transphobia, and other forms of bigotry. The stories of athletes before and after Title IX are part of a larger narrative of the struggle for equality in the United States.
BELONG_220630_75.JPG: Dorothy Eda Hehnke “We can’t stop them.” -- An athletic association president, 1922 In the early 1920s, Dorothy Eda Hehnke played half-court basketball at her Nebraska high school, one of few sports available to girls. At the time, most people mistakenly believed that girls could not handle the physical exertion or stress of competitive sports. In 1926 the state legislature outlawed girl’s play altogether -- a ban not overturned until Title IX. Who gets to play sports?
BELONG_220630_89.JPG: How have these athletes shaped the game? While their experiences on and off the field may be like or different than yours, they have all called out injustice and demanded fairness—each starting with the question: what needs to change?
BELONG_220630_90.JPG: Title IX was not intended to transform sports, but it did. The 1972 legislation declared that "no person in the United States shall, on the basis of sex, be excluded from participation in, be denied the benefits of, or be subject to discrimination under any educational program or activity receiving Federal financial assistance." Title IX led to scholarships and better funding for women's teams -- and an increase in the number of women players from 294,000 to almost 3.4 million. Today, its promises of equal opportunity are entangled in national debates about gender, identity, and race.
BELONG_220630_93.JPG: Kayla Harrison "I know how to win." -- Kayla Harrison Kayla Harrison is a two-time Olympic gold medalist in judo. During training as a young teen, she was sexually abused by her coach. Harrison wrote a book, Fighting Back, and founded the Fearless Foundation to empower survivors of abuse to “find their mastery.” What does it take to expose and prevent abuse?
CALLBX_220630_01.JPG: (Source page: 2022_DC_Callbox)
DISCOV_220630_01.JPG: Castle of Curiosities The Castle Owls and Their 15 Minutes of Fame (Source page: 2022_DC_SI_Castle_Discovery)
DISCOV_220630_05.JPG: Castle of Curiosities When the Castle Stood Alone
DISCOV_220630_09.JPG: Castle of Curiosities Crowdsourcing Since 1849
DISCOV_220630_12.JPG: Castle of Curiosities A Most Unusual Bequest
DISCOV_220630_20.JPG: WHY A CASTLE? Congress decreed that the Smithsonian would include an art gallery, a library, a chemical library, a lecture hall, and a museum. A 28-year-old architect named James Renwick Jr. won the competition to create a building that could house all these diverse functions. There was no similar building in the United States in 1846. Renwick designed the Smithsonian Building (now known as the Castle) in a medieval revival style with Gothic and Romanesque details. The style was intended to evoke the cloistered, scholarly atmosphere associated with such venerable English colleges as Oxford and Cambridge. The dark red stone was a shocking choice for the capital city, where most public buildings were classical in style and built with marble or light Aquia sandstone. The building became a major landmark in American architecture. The cornerstone of the Castle was laid on May 1, 1847, in a grand Masonic ceremony that was attended by a reported 7,000 people. The president, vice president, and mayor of Washington DC were among the many dignitaries present. When the building was finally completed in 1855, it houses all the functions of the fledgling institution: chemistry laboratory, natural history laboratory, library, a scientific demonstration room, administrative offices, lecture hall, art gallery, natural history museum, and even living quarters for the Institution's first Secretary and his family. Joseph Henry's Living Quarters in the Castle
DISCOV_220630_28.JPG: Castle of Curiosities Taxidermist Turned Conservationist The Man That Saved the Bison
DOWN_220630_01.JPG: #Pride In Politics At Amalgamated we take #PRIDE in the issues we care about. What do you take pride in? (Source page: 2022_DC_Downtown)
DOWN_220630_11.JPG: Team up for justice The time to act is now. That's why we've teamed up with the WNBPA as their official Social Responsibility Partner. Together, we are working with the people and organizations fighting on the frontlines for racial justice, gender justice and voting equity. Learn how you can join us in the fight by visiting amalgamatedbank.com/wnbpa Amalgamated Bank Official social responsibility partner
DOWN_220630_19.JPG: Amalgamated is America's socially responsible bank/ The first to raise our minimum wage to $20, the first in the US to commit to measuring and reducing financed emissions, and the nation's largest B Corporation bank. You want a better world. Choose the bank with the same mission.
EMBEU_220630_12.JPG: (Source page: 2022_DC_Emb_EU)
ENG23_220630_01.JPG: (Source page: 2022_DC_Engine23)
FLEART_220630_008.JPG: (Source page: 2022_DC_Folklife_Earth)
FLEART_220630_018.JPG: Why Scoop that Poop?
FLEART_220630_026.JPG: Kim Hovell www.kimhovell.com
FLEART_220630_053.JPG: Oyster Recovery Partnership
FLEART_220630_062.JPG: Earth Optimism x Folklife: Inspiring Conservation Communities
FLEART_220630_069.JPG: Earth Optimism x Folklife: Inspiring Conservation Communities
FLEART_220630_086.JPG: Sustainability Pathway
FLNOON_220630_003.JPG: Cody Wright (Source page: 2022_DC_Folklife_Noon)
FLNOON_220630_037.JPG: Woodman Taylor
FLNOON_220630_058.JPG: Ratish Chadha (drums)
FLNOON_220630_075.JPG: Mohammed Hosny
FLUAE_220630_07.JPG: (Source page: 2022_DC_Folklife_UAE)
FLUAE_220630_09.JPG: Welcome
FLUAE_220630_12.JPG: Place
FLUAE_220630_17.JPG: The United Arab Emirates
FLUAE_220630_40.JPG: Falaj
FLUAE_220630_45.JPG: The United Arab Emirates Living Landscape Living Memory Killing Yemenis Boycott! Honor the suffering people of Yemen Denounce the UAE's genocidal war crimes Boycott the UAE's criminal cover-up Yemeni Lives Matter
FLUAE_220630_80.JPG: The Traditional Majlis
FOLK_220630_01.JPG: (Source page: 2022_DC_Folklife)
GARDEN_220630_05.JPG: Bees Keep a bee buffet stocked year-round by planting flowers that bloom in different seasons. (Source page: 2022_DC_Golden_Streets)
GARDEN_220630_12.JPG: Birds Pollinators tend to be near-sighted. Help them find their way by planting in large groups.
GARDEN_220630_32.JPG: Butterflies Leave some of the herbs you've grown for cooking for your pollinators.
GARDEN_220630_38.JPG: GLDN+ Happy Habitats An annual tree box landscaping contest
GWUART_220630_01.JPG: (Source page: 2022_DC_GWU_Art)
GWUART_220630_17.JPG: Carol Brown Goldberg EdW, 2012 EdW is named in homage to the book "The Hare with Amber Eyes," a family memoir by Edmund de Waal, sculptor, writer, and collector. The sculpture is a large-scale version of an assemblage, the art of combining disparate materials in sculpture, a medium used by artists such as Miro and Picasso. Carol Brown Goldberg has shown her work in the US and internationally in over 100 solo and group exhibitions, including traveling exhibits throughout Spain and Mexico. Her work is included in many museums and private collections, including New Orleans Museum of Art and National Museum for Women in the Arts, as well as outdoor sculpture installations at The Kreeger Museum and The Katzen Arts Center at American University. The Luther W. Brady Art Gallery hosted the exhibition, Carol Brown Goldberg: Sculpture and Works on Paper, February 29 - April 20, 2012.
GWUART_220630_40.JPG: Beta Gamma Sigma Key
GWU_220630_08.JPG: Here, at 2023 G Street, N.W., in 1912, The George Washington University relocated from its H Street, N.W., location. All administrative offices, the library and lecture halls, except for the Law and Medical Schools, were accommodated in the former St. Rose Industrial School for Girls that stood here. On the basis of a rental lease, starting in January 6, 1912, at the urging of trustee-benefactor, General Maxwell Woodhull (who lived at the corner of 21st and G Streets), purchase of this property was settled on June 6, 1912 with a loan from Riggs Bank (now PNC Bank). In 1919, after the outstanding debt was paid off by Abram Lisner, a university trustee-benefactor and prominent Washington department store owner, the building was named "Lisner Hall." In 1939, the first university library was constructed here. Funded by a bequest from the estate of Abram Lisner, in memory of his wife, Laura Hartman Lisner, and was named the "Lisner Library." When in 1972 the library was relocated to a new building, later known as "The Gelman Library," this building was renamed "Lisner Hall" to house the Columbian School of Arts and Sciences and The Elliott School of International Affairs until 2004. (Source page: 2022_DC_GWU)
GWU_220630_21.JPG: After a while you learn the subtle difference between holding a hand and chaining a soul and you learn love doesn't mean learning and company doesn't always mean security. And you begin to learn that kisses aren't contracts and presents aren't always promises and you begin to accept your defeats with your head up and and your eyes ahead with the grace of a woman, not the grief of a child. And you learn to build all your roads on today because tomorrow's ground is too uncertain for plans and futures have a way of falling down in mid-flight. After a while you learn that even sunshine burns if you get too much So you plant your own garden and decorate your own soul instead of waiting for someone to bring you flowers And you learn that you really can endure, that you really are strong and you really do have worth and you learn and you learn with every good-bye you learn. [ The above was a version found online on https://www.scrapbook.com/poems/doc/2380.html claiming it was written by Veronica Shoffstall . It's somewhat different from what appears on the plaque but it's close.] Anonymous In loving memory of Stephanie Robin Mann 1974-1995
GWU_220630_22.JPG: Grant School
GWU_220630_56.JPG: Police EMS
IMAGIN_220630_001_STITCH.JPG: (Source page: 2022_DC_Kennedy_Imagining_220630)
IMAGIN_220630_036.JPG: Yancy Burns (left)
IMAGIN_220630_044.JPG: Aviva Kempner, ???, Ben West, ???
IMAGIN_220630_048.JPG: Ron Solimon, Elaine Solimon
KCBLUE_220630_01.JPG: (Source page: 2022_DC_Kennedy_Blue)
KCEN_220630_003.JPG: Don Quixote Aurelio Teno Bronze Gift of Spain, 1976 (Source page: 2022_DC_Kennedy_Center)
KCEN_220630_026.JPG: Don Quixote Aurelio Teno Bronze Gift of Spain, 1976
KCEN_220630_030.JPG: "Well might the enchanters rob me of my good fortune but never of my spirit or my will." -- "Adventure with the Lions", Chapter XVLI Two, Miquel de Cervantes
KCEN_220630_046.JPG: Untitled Black aluminum by Eduardo Ramirez gift of Colombia, 1973 Eduardo Ramirez (1923–2004) created the untitled sculpture installed in 1974 in the Center's gardens. Ramirez was a sculptor and painter who worked with geometric abstraction, pre-Columbian Incan designs, and post-colonial Hispanic themes. Although he experimented with other materials, he is mostly known for his iron work.
KCEN_220630_047.JPG: Untitled Eduardo Ramirez Black Aluminum Gift of Colombia, 1973
KCEN_220630_053.JPG: Amerika Bronze relief by Jurgen Weber gift of Germany, 1971 Sculptor J�rgen Weber (1928–2007) was self-taught. His panels required more than 200 separate castings to complete, taking him four years to sculpt in plaster and another two years for a foundry in Berlin to cast the pieces. War or Peace shows nude figures in various scenes representing war and peace, ranging from a bombed city with a figure clawing out of a bunker to figures dancing to music of the Greek goat-god Pan. Amerika contains symbols of contemporary science and commerce to show America's inner contrasts: democratic idealism, the competitive world of science and business, and the inner tensions arising from many viewpoints. Weber's art strives for stark simplification of natural forms, emphasizing the junctures of movement and emotional expression.
KCEN_220630_057.JPG: Amerika Jurgen Weber Bronze Relief Gift of Germany, 1971
KCEN_220630_093.JPG: 12.24.68 1.21.69 https://en.wikipedia.org/wiki/December_1968#December_24,_1968_(Tuesday) December 24, 1968 (Tuesday) * At 09:59 UTC (4:59 a.m. EST), after Apollo 8 astronauts Borman, Lovell and Anders flew past the Moon, became the first people to see its far side, and made minor course corrections, they fired the engines of the craft to begin mankind's first lunar orbit. Over the remainder of the day, the men circled the Moon ten times, each trip around taking about two hours, took photos of potential landing sites, and made two television transmissions to Earth. Anders photographed Earthrise, the view of Earth being viewed from the Moon. At the time of the photo, the Earth was seen at half phase, while the view from Earth was of a waxing Moon between quarter moon and a half moon. The second televised transmission from lunar orbit was set for evening in the United States (9:34 pm Eastern time, 6:34 pm Pacific, 02:34 UTC Christmas); at 9:57 p.m. Eastern, and with the greatest number of people up to that time listening, the three men took turns to read the first 10 verses of the Book of Genesis[89] with Anders starting out, "We are now approaching lunar sunrise, and for all the people back on Earth, the crew of Apollo 8 has a message that we would like to send to you. In the beginning God created the heaven and the earth....", followed by Lovell, and concluded by Borman, who finished the reading ("And God called the dry land Earth; and the gathering together of the waters called he Seas: and God saw that it was good.") then told viewers worldwide "And from the crew of Apollo 8, we close with good night, good luck, a Merry Christmas – and God bless all of you, all of you on the good Earth." * At 8:12 in the evening, Allegheny Airlines Flight 736 crashed while making an approach to Bradford, Pennsylvania as part of a multistop flight from Detroit to Washington, DC, killing 20 of the 47 people on board.[90][91] * Born: Choi Jin-sil, South Korean film and TV actress, in Seoul (committed suicide, 2008) https://en.wikipedia.org/wiki/January_1969#January_29,_1969_(Wednesday) January 21, 1969 (Tuesday) * A partial nuclear meltdown at the Lucens nuclear reactor, located in Switzerland near the town of the same name, happened after the reactor core suffered a loss-of-coolant accident.[59] In what is now rated as an International Nuclear Event Scale (INES) Level 4 incident, the cavern in which the reactor was housed sustained massive radioactive contamination but the surrounding area was not irradiated and the cavern was sealed off.[60][61][62] * Jury selection began in New Orleans on the opening day of the first and only trial of a person accused of conspiracy in the assassination of U.S. President John F. Kennedy, as District Attorney Jim Garrison went forward with proceedings that followed the indictment of retired New Orleans businessman Clay Shaw.[63] A jury would find Shaw not guilty on all charges on March 1.[64]
KCTRIB_220630_002.JPG: We The Peoples Before Tribal Nations Flag Exhibit Hall of States (Source page: 2022_DC_Kennedy_TribalF)
KCTRIB_220630_006.JPG: We the Peoples Before 25 Years of Knowing, Honoring and Sharing Indigenous America
KCV_220630_002_STITCH.JPG: (Source page: 2022_DC_Kennedy_CenterVw)
KCV_220630_018.JPG: Thompson Boat House
KCV_220630_070.JPG: International Institute for Peace
KCV_220630_092.JPG: Saudi Arabian embassy
KCV_220630_109.JPG: Lincoln Memorial
KCV_220630_126.JPG: Watergate complex
KCV_220630_168.JPG: Off in the distance is the Pentagon.
KCV_220630_193.JPG: Lee mansion at Arlington Cemetery
KCV_220630_196.JPG: Netherlands Carillons
KCV_220630_565.JPG: Fireworks were going off in the distance.
KCV_220630_814.JPG: National Cathedral
MERGE_220630_001.JPG: (Source page: 2022_DC_Kennedy_Merge)
MERGE_220630_004.JPG: Merge The 2021 VSA Emerging Young Artists Competition, a Jean Kennedy Smith Arts and Disability Program of the Kennedy Center, drew submissions from talented young artists with disabilities, ages 16-25, from around the United States. This year’s theme, MERGE, explores uniting paths and asks what we can learn when it all comes together. The call invited artists to consider the intersections and combinations of their creative process and disability identity. In art, the juxtaposition of ideas can blur distinctions or reveal something new. Since 2002, the Kennedy Center and Volkswagen Group of America have teamed up for the VSA Emerging Young Artists Program, a Jean Kennedy Smith Arts and Disability Program, to recognize and showcase the work of emerging young artists living with disabilities in the United States. This collaboration creates opportunities for these artists at a critical time when many are making the life-defining choice to pursue arts-based careers. The Kennedy Center and Volkswagen are committed to investing in the future of young artists living with disabilities. After an extended delay due to the pandemic, we are thrilled to debut the exhibition in Washington, D.C. Listed ages of artists are as of June 1, 2022
MERGE_220630_008.JPG: “Poppy Pleasure” by Taylor Koedyker La Verne, California, Age 28 Award of Excellence Bronze and copper with cubic zirconia stones (8” x 6.5” x 6.5”) Taylor Koedyker’s works aim to promote an appreciation for our natural world, highlighting our physical connections to the earth while acknowledging humanity’s growing disconnect to it. Using our relationship with our bodies as a parallel to our treatment of the planet, she sees her disability as a way to connect with our universal afflictions and provides great strength and empathy. The stones used in Koedyker’s art are practical and symbolic, grown of the earth but each unique, and strong and beautiful despite fractures. Poppy Pleasures was inspired by a poem Koedyker wrote about people crushing natural poppy fields in California for photo opts. koedykercrafted.com
MERGE_220630_015.JPG: “Crossing Brooklyn” by Joshua Ben-Dylan New York, New York, Age 24 Award of Excellence Crossing Brooklyn, 2020 35mm film photograph (26.5” x 35” x 0.875”) Joshua “Shuah” Ben-Dylan is an artist exploring emotions and moments that are seldom communicated. Working within the mediums of photography, visual art, poetry, film and music, their art reflects the hyperculture nature of society with a constant inundation of information that distorts and warps the senses. They draw heavily from transcendentalism, mythology and pioneers in the field of color, seeking to push art to the extreme and hoping to uncover something new. Crossing Brooklyn is a meditation on the 21st-century man, splicing the old world of religious practice with today’s metropolitan landscape. Ben-Dylan’s artistic practice derives from an acute sensitivity to the world due to bipolar disorder; everything around them is heightened to extremes. Using hypercolor, an artistic style they developed, to blend their vision of the world with a fantasy of what it could be, they hope to share something previously unseen. Ben-Dylan holds a Bachelor of Fine Arts in film from Purchase College. They are currently creating a fourth poetry book and an experimental feature film, as well as their next photo series. joshuabendylan.com
MERGE_220630_031.JPG: “When I Think” by Jasina Yu Lexington, Massachusetts, Age 17 Award of Excellence When I Think Insulation spray foam, pastel, Bristol board, LED lights, nuts (40” x 41” x 6”) As a ninth grader, Jasina Yu was a nationally ranked ping-pong player who was struck by a drunk driver while driving home from practice in 2016. She sustained a traumatic brain injury and an injury to her right optic nerve that will never recover. Following three major brain surgeries and two weeks in a coma, she was transferred to a rehabilitation center, where she had to relearn normal functions such as eating, talking, reading and writing. Following her accident, Yu was unable to open her right eye for months, but with the help of her occupational therapist, is now able to slowly open it again. To this day, her right eye still does not move properly. While she is no longer able to compete as a ping-pong player due to impaired coordination, she has begun to view art as her vocation and seeks to pursue it professionally.
MERGE_220630_037.JPG: “Curved Enthusiasm” by MJ Cooper Backlick, Ohio, Age 18 Award of Excellence Curved Enthusiasm, 2020 Acrylic painting on curved, double-sided canvas (24.5” x 48” x 12”) Many of MJ Cooper’s paintings are created after a time of meditation. Her acrylic paintings on canvas with vibrant colors and textures offer a therapeutic mechanism as she lives with chronic vestibular migraines, functional neurological disorder, cognitive impairment, photophobia, and sound sensitivity. Cooper finds inspiration in the perseverance, strength and vivid artistry of Yayoi Kusama and the colorful, abstract and textured paintings of Jackson Pollock. The award-winning painting entitled Curved Enthusiasm is about how life can be full of promise, destiny, joy, and hopes that can be taken away in a heartbeat. With every mishap, misfortune or mistake, our enthusiasm may change course or destination. Cooper wants to travel abroad and study art in college after a gap year. Her dream is for her paintings to be in museums, galleries and homes all around the world. artlifting.com/collections/mj-cooper
MERGE_220630_042.JPG: “Grims Cleansing” by September Neill Sandy, Utah, Age 19 Award of Excellence Paper, pencil, Sharpie markers (19.75” x 16.75” x 0.875”) Having experienced pain and betrayal at a young age, September Neill lived in environments where alcoholism and drug addiction were commonplace. They joined Alcoholics Anonymous at age 15, sobering up and finding belonging and meaning through their teachers and school community. During the COVID shutdown, art served as a lifeline, offering an outlet to channel their loneliness and internal chaos. They says that, while some may see vulgarity, monsters or demons in their art, it reflects their pain, struggles and insecurities, as well as their happiness, victories and power. With art as their outlet, Neill now shares their experiences with others and helps them know they aren’t alone. They aim to show others that art is not just one thing–it is fed by who you are, what you have experienced, and how you get through each day.
MERGE_220630_048.JPG: “I Have Always Been With You” by September Neill Sandy, Utah, Age 19 Award of Excellence Paper, pencil, Sharpie markers (19.75” x 16.75” x 0.875”) Having experienced pain and betrayal at a young age, September Neill lived in environments where alcoholism and drug addiction were commonplace. They joined Alcoholics Anonymous at age 15, sobering up and finding belonging and meaning through their teachers and school community. During the COVID shutdown, art served as a lifeline, offering an outlet to channel their loneliness and internal chaos. They says that, while some may see vulgarity, monsters or demons in their art, it reflects their pain, struggles and insecurities, as well as their happiness, victories and power. With art as their outlet, Neill now shares their experiences with others and helps them know they aren’t alone. They aim to show others that art is not just one thing–it is fed by who you are, what you have experienced, and how you get through each day
MERGE_220630_057.JPG: “Trepidation” by Maiya Hartman Minneapolis, Minnesota, Age 25 Award of Excellence Trepidation, 2020 Acrylic and mixed media on canvas (36.25” x 36” x 1.75”) Maiya Lea Hartman’s work draws from memories and moments that examine identity, emotional expression and the body through their lens as a queer Black person. Their experience with attention-deficit/hyperactivity disorder has made communication a challenge, and painting is their non-verbal channel for expressing thoughts, experiences and deep-rooted emotions. Their practice is intimate, touching on personal memories and moments through family portraits and self-portraiture, recontextualized by placing figures in undefined landscapes and allowing body language and facial expressions to communicate messages. Trepidation, a self-portrait that highlights Hartman’s feelings of anticipation and fear that something bad will happen, was completed following the murder of George Floyd and the subsequent uprising in Minneapolis. The painting also reflects the active retraumatization of Black people and the constant fear for the safety of one’s family, friends and self. Hartman has found additional expression and healing through public art, creating many murals in collaboration with the collective Creatives After Curfew, where they can reflect the stories of BIPOC communities and envision futures rooted in justice and liberation. They are a current artist-in-residence with the African American Museum and Gallery in North Minneapolis. maiyaleaartist.com
MERGE_220630_063.JPG: “Pandemic Blue 1” by James de Guzman Lee Hillsborough, California, Age 18 Award of Excellence Pandemic Blue 1, 2020 Acrylic on canvas with markers (36” x 48” x 0.875”) James de Guzman Lee expresses himself primarily through painting, drawing, and creating miniature furniture. When COVID-19 shut down his school and forced everyone to shelter in place, de Guzman Lee turned to art, painting for hours every day. Pandemic 1 is the first in a series of more than 30 paintings executed over the first few months of the pandemic. It was selected by the de Young Museum’s curatorial board in its prestigious Open Call and was exhibited at the de Young Open in 2020. The rest of the Pandemic series was auctioned in support of the Oak Hill School for children with autism. de Guzman Lee’s work reflects his mastery of color and his fascination with swimming pools and the ocean. After painting many layers of overlapping acrylic color, he will finish off his paintings with marker drawings of swimming pool lanes and circles representing boats and lifesavers. This is his personal iconography and his main channel for sharing his unique view of the world. jameseyart.com
MERGE_220630_072.JPG: “Welcome Back” by May Ling Kopecky Plymouth, Minnesota, Age 27 Second Prize Welcome Back, 2019 Acrylic and ink on panel (8” x 10” x 0.75”) May Ling Kopecky’s work is influenced by her experiences with pediatric-onset multiple sclerosis (MS). She experienced her first clear MS symptoms when she was 13 and was diagnosed at 15. Due to her young age and the “invisible” nature of MS, Kopecky was often met with skepticism while talking about her illness, prompting her to begin creating artwork about MS. Paintings like Welcome Back document her personal relationship with medical spaces and share how places once perceived as frightening can grow to feel familiar. Her goal is to spread MS awareness through her work and advocate for those with invisible illnesses. Kopecky received a Bachelor of Fine Arts degree from the University of Minnesota Twin Cities and is currently pursuing a Master of Fine Arts at the Minneapolis College of Art and Design. maylingkopecky.com
MERGE_220630_079.JPG: “Double Vision” by May Ling Kopecky Plymouth, Minnesota, Age 27 Second Prize Double Vision, 2021 Acrylic on canvas (14” x 11” x 1.5”) May Ling Kopecky’s work is influenced by her experiences with pediatric-onset multiple sclerosis (MS). She experienced her first clear MS symptoms when she was 13 and was diagnosed at 15. Due to her young age and the “invisible” nature of MS, Kopecky was often met with skepticism while talking about her illness, prompting her to begin creating artwork about MS. Double Vision is part of a series of paintings that visualize how she sees the world while suffering from various MS symptoms. Her goal is to spread MS awareness through her work and advocate for those with invisible illnesses. Kopecky received a Bachelor of Fine Arts degree from the University of Minnesota Twin Cities and is currently pursuing a Master of Fine Arts at the Minneapolis College of Art and Design. maylingkopecky.com
MERGE_220630_083.JPG: Purple Lights of the City” by Dominic Killany Watertown, Massachusetts, Age 24 Award of Excellence Purple Lights of the City Acrylic on canvas (36” x 12” x 0.75”) Dominic Killiany’s work reflects his view of and means of connecting with the world as a person with autism. While structured schedules create definition and security for Killiany, sketching and painting provide an outlet for relaxation and creativity, particularly in applying paint to a canvas. He describes his sketches as puzzle pieces, unique in shape, pattern and color that create a complete, beautiful whole when assembled. Color reflects emotion, and Killiany’s bold, bright, colorful work reflects his happiest state–when he is painting. Killiany had his first exhibition in 2014 at the Watertown Public Library. In 2017, he had a solo exhibition at the Landau Gallery in Belmont, Massachusetts, was invited to exhibit at the Open Door Gallery at the Worcester Art Museum in 2018, and has been published in Studio Visit Magazine. In 2019, his art was selected for a new, state-of-the-art playground in Cambridge. He is a graduate of Boston Higashi, a private learning center in Randolph, Massachusetts, for young adults with autism. dominicreations.com
MERGE_220630_090.JPG: “The Light Within” by Maya Milton Seattle, Washington, Age 27 Award of Excellence The Light Within Mixed media (24” x 19”) Maya Milton creates art that largely focuses on self-love after feeling like an outsider for most of her life. Her disability motivates her to create artwork that focuses on building bridges between different kinds of people. She is currently a multimedia artist who focuses on empowering women of color, especially Black women, to be comfortable and confident in their own skin. The Light Within speaks directly to connections to self and to self-love. The woman in the piece holds her own light as she recognizes and realizes her own power. She draws energy from herself and holds her inner light in her hand. Milton’s artwork helps her feel connected to people who are like and unlike her. Her artwork has been exhibited at the M. Rosetta Hunter Art Gallery, Nepantla Cultural Arts Gallery, Center on Contemporary Art, and others. Her work is on display at the Bill and Melinda Gates Foundation Discovery Center, and she was nominated by the Foundation as a “Changemaker.” She is a grantee of the Jordan Schnitzer Black Lives Matter Artist Grant and is a Neddy at Cornish Finalist. 21entities.com
MERGE_220630_097.JPG: “Tough Love” by Moriah Faith Black Forest, Colorado, Age 23 Grand Prize Tough Love, 2020 Oil on canvas (30” x 24” x 1.5”) Moriah Faith’s painting process is deeply intertwined with her life experience as a young disabled woman. She found relief and solace in painting as a child when she began experiencing chronic pancreatitis and chronic pain syndrome. The solitude of chronic illness led to severe mental health issues and feelings of defectiveness and worthlessness. Following physical deterioration and numerous operations, Faith recalls no longer recognizing the person looking back at her in the mirror. That mirror became the inspiration for Tough Love. Reducing her form to nothing but color and value forced Faith to stop criticizing her body for the things that it wasn’t while coming to terms with its strength. By shifting her energy from destruction to creation, she fell in love with life again. Faith is currently working on a series of large-scale paintings depicting figures in interior spaces and works as an art facilitator for fellow disabled artist Jessica Vohs, with whom she led a community-based mural project aiming to reconnect people with disabilities after the COVID-19 pandemic. Faith plans to pursue solo exhibitions and graduate school in the future. moriahfaith.com
MERGE_220630_108.JPG: “Dysfunctional Family Portrait” by Sky Dai Nomadic, but currently in Columbus, Ohio and Asheville, North Carolina, Age 25 Award of Excellence Dysfunctional Family Portrait, 2018 Oil and pastel on canvas (41” x 69” x 1.5”) Inspired by how traumatic stress causes the brain to collage fragments of memory, Sky Dai distorts perspectives and figures in their paintings to process and rewrite their past in a whimsical world where harsh memories become less distressing. Their multi-figurative, surreal oil paintings document journeys through the astral plane, traumatic memories, queer relationships and living as a dissociative identity system. Having multiple consciousnesses (or personalities) allows Dai to observe from multiple perspectives at once and create art as a team of identities with varying degrees of artistic skill, styles and ideas. In Dysfunctional Family Portrait, Dai painted themself leaning over their family of origin’s kitchen table, pointing to an escape route map. The piece was painted a year after fleeing their family after a series of altercations and abuse left them homeless. Dai received a Bachelor of Fine Arts in fine arts and creative writing at Columbus College of Art and Design and has attended and taught at School of the Alternative in Black Mountain, North Carolina. skydai.squarespace.com
MERGE_220630_116.JPG: “Untitled Sculpture” by Mike Cannata Geneva, Illinois, Age 25 Award of Excellence Untitled, 2019 Ceramics, glaze, steel, enamel paint, metal hose clamps (47” x 42” x 45”) Mike Cannata’s art explores what it is like to be a physically and mentally hyperactive individual by investigating movement and stillness. Studying sensations and emotions through making, meditating, skateboarding and dancing, he experiences a sense of reprieve from the busyness of an overactive mind with attention deficit disorder. Adrenaline-inducing activities slow time and focus him, telling mind and body that what is happening in the moment is important and that he is alive. Moments of stillness in meditation supply a similar awareness of the sensations and emotions o body and mind. Cannata further explores these observations through his sculptural installations, which embody the duality of activity and quiet that inhabit the same space. The toggling between stillness and stir activates attentional awareness, creating a serene state in which to process and think. A multimedia artist working in metal, glass, paint, ceramics and found materials, Cannata received a Ba helor of Fine Arts from the New York State School of Ceramics at Alfred University. He is currently a long-term resident at the Morean Center for Clayin St. Petersburg, Florida. mikecannata.com
MUSICH_220630_003.JPG: (Source page: 2022_DC_SIAH_Music_HerStory)
MUSICH_220630_007.JPG: Music HerStory Women and Music of Social Change
MUSICH_220630_011.JPG: Music HerStory Women and Music of Social Change From our earliest musical encounters to the formation of complex social identities, the American musical landscape wouldn’t be what it is today without the countless contributions of women changemakers, groundbreakers, and tradition-bearers. Women’s leadership in music and social change is central to the American story. Music HerStory explores these contributions through unique media collections from across the Smithsonian.
MUSICH_220630_015.JPG: Tradition-Bearers Music keeps traditions alive. It can also transform them. Tradition-bearers preserve cultural heritage, songs, and stories, and pass them on to the subsequent generations. Music can also provide an outlet to influence changes within a culture.
MUSICH_220630_016.JPG: Children’s Music Whether teaching children folk music or connecting to other school subjects, music plays a critical role in educating children. For more than six decades, award-winning musician Ella Jenkins (born 1924) has performed multicultural music for child audiences. Her albums and songbooks teach children about a diversity of cultures, languages, musical concepts, histories, and geographies.
MUSICH_220630_019.JPG: Tradition-Bearers: Teaching Children Values Historically, caregivers and educators have used music as a way to teach children morals, values, and societal norms. Nursery rhymes and folk songs can both warn and inform, teach and entertain.
MUSICH_220630_021.JPG: Mother Goose: The Old Nursery Rhymes Illustrated by Arthur Rackham New York, 1913
MUSICH_220630_024.JPG: Mother Goose's Nursery Rhymes and Nursery Songs, Set to Music by J.W. Elliott Springfield, Massachusetts, around 1875
MUSICH_220630_027.JPG: Ella Jenkins This is Rhythm New York, 1962
MUSICH_220630_032.JPG: GRAMMY Lifetime Achievement Award Issued to Ella Jenkins 2004 National Museum of African American History and Culture Gift of Ella Jenkins The GRAMMY Award Statuette and logo are registered trademarks of The Recording Academy� and are used under license
MUSICH_220630_038.JPG: Jazz Journal London, May 1958 Gift of the estate of Floyd Levin
MUSICH_220630_045.JPG: The True Mother Goose Blanche McManus Mansfield Boston, 1895 Lithographic print
MUSICH_220630_052.JPG: Frances Densmore Healing Songs of the American Indian Folkways Records, 1965 Photo by Harris and Ewing, Washington, D.C., 1916 Frances Densmore The staged photo on this album cover depicts Mountain Chief (Pikuni Blackfeet, 1848–1942) listening to and interpreting a song in Plains Indian sign language for musicologist Frances Densmore (1867–1957). Densmore specialized in recording and documenting Indigenous North American music at a time when Indigenous languages, traditions, and lifeways were being actively suppressed by the U.S. government. Densmore and her contemporaries were often driven by assumptions that Native traditions would soon disappear. Today, Indigenous scholars use her work as just one part of their ongoing efforts to preserve and strengthen Indigenous traditions.
MUSICH_220630_057.JPG: Om Kalsoum Alamphon Records Faris and Yamna Naff Arab American Collection Alixa Naff Scholar Alixa Naff (1919–2013), the “Mother of Arab American Studies,” collected music that was popular among the first wave of Arab American immigrants who arrived in the 1880s through 1940s.
MUSICH_220630_060.JPG: Recording Traditions Documentarians have come from a variety of backgrounds. Some identified with the groups they recorded. Others were outsiders who wanted to record something they feared could be lost. In some cases, their audio and print recordings were the first efforts to formally collect music that had been passed from generation to generation through oral tradition.
MUSICH_220630_063.JPG: Joanna Colcord Roll and Go: Songs of American Sailormen Indianapolis, 1924 Front cover of the book Roll and Go, by Joanna Colcord. Joanna Colcord Born on a sailing ship and raised on the seas, Joanna Colcord (1882–1960) was an important documentarian of sailor songs and sea shanties.
MUSICH_220630_071.JPG: Ella Sheppard The Jubilee Singers, and Their Campaign for Twenty Thousand Dollars Gustavus D. Pike Boston and New York, 1873 Historically Black Colleges and Universities (HBCUs), such as Fisk University, often provided music training and opportunities to Black women who lacked access to large conservatories due to segregation.
MUSICH_220630_075.JPG: Zora Neale Hurston Mules and Men New York, 1969 (reprint of 1935 edition) Zora Neale Hurston Zora Neale Hurston’s research included the documentation of traditional songs, music, and stories of African American culture. In Mules and Men, she documents several songs that she encountered during field work in Florida and Louisiana.
MUSICH_220630_077.JPG: Keepers of Tradition Women researchers, performers, and collectors have worked to document musical expressions across the United States. Their efforts have provided an invaluable record that many scholars, artists, and community members continue to use today.
MUSICH_220630_080.JPG: “Roll, Jordan, Roll” Slave Songs of the United States William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison New York, 1867 Lucy McKim Garrison Abolitionist musicologist Lucy McKim Garrison (1842–1877) was one of the first researchers to document and publish traditional songs sung by enslaved African Americans in the Southern United States.
MUSICH_220630_089.JPG: Fannie Lou Hamer Songs My Mother Taught Me Smithsonian Folkways Recordings 2015 (recorded 1963) Fannie Lou Hamer — The Fight for Suffrage Continues Fannie Lou Hamer (1917–1977) was a strong advocate for voting rights and women’s rights, as well as a talented singer. She cofounded the Mississippi Freedom Democratic Party, sang for the Student Nonviolent Coordinating Committee, and pushed for the passage of the 1964 Civil Rights Act and 1965 Voting Rights Act, which helped to clarify the bounds of the constitutional right to vote.
MUSICH_220630_092.JPG: Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement Carole Boston Weatherford Illustrated by Ekua Holmes Somerville, Massachusetts, 2015
MUSICH_220630_097.JPG: “Slave Girl Mourning Her Father” Words by The Liberty Minstrel George W. Clark New York, 1845 Abolition In the early nineteenth century, women took an active role in the Abolition Movement. Several contributed to Liberty Minstrel, written in 1844, which used the popular entertainment medium of minstrelsy to promote the abolition of slavery.
MUSICH_220630_108.JPG: Temperance Melodeon Asa R. Trowbridge Boston, 1844
MUSICH_220630_109.JPG: Prohibition Songs Women played a pivotal role in the American Temperance Movement. Their songs were not subtle, but they were catchy. Songbooks helped reinforce a sense of solidarity and resolve among performers, encouraging them to “take the pledge” against alcohol. Their efforts led to the passage of the 18th Amendment to the U.S. Constitution, which prohibited the manufacture, sale, and transportation of alcohol. The amendment was repealed in 1933.
MUSICH_220630_118.JPG: Changemakers: Political and Legal Change American social and political movements have had their own soundtracks. In eras with low literacy rates and limited mass media, many political movements used songs to reach public audiences. Abolition, temperance, and suffrage activists used songs to promote their causes. These political efforts resulted in the passage of the 13th, 18th, and 19th amendments to the U.S. Constitution.
MUSICH_220630_121.JPG: “She’s Good Enough to be Your Baby’s Mother and She’s Good Enough to Vote with You” Alfred Bryan and Herman Paley New York and Detroit, 1916 Suffrage The Women’s Suffrage Movement produced a prolific song repertoire, written by both men and women, that advocated for women’s right to vote. Many songs simply created new lyrics for popular melodies, making them more accessible to everyday people.
MUSICH_220630_125.JPG: Building a Women’s Music Network In order to create music for women, by women, and about women, some artists built their own community of music professionals. As equipment became easier to acquire and operate, artists began producing their own work. This newfound artistic control let women artists create the image and sound they wanted without going through a male-dominated record company.
MUSICH_220630_129.JPG: Paid My Dues: A Quarterly Journal of Women in Music Chicago, Spring 1980 Paid My Dues Paid My Dues was a feminist music journal, published quarterly between 1974 and 1980. The publication served as an important outlet for women to express their musical point of view.
MUSICH_220630_131.JPG: Women’s Music Movement The women’s music community encompassed all parts of the music industry. Record companies, producers, publishers, distributors, festival organizers, bookers, magazine editors, and other roles were all a part of this system. Olivia Records was a prominent part of the Women’s Music Movement. Founded by members of the radical lesbian feminist Furies collective in Washington, D.C., it operated from 1973 to 1988.
MUSICH_220630_140.JPG: Roadwork Presents: Women on the Road Flyers promoting Bernice Johnson Reagon, Cris Williamson, Mary Watkins, and June Millington Washington, D.C., 1979
MUSICH_220630_144.JPG: “Sweet Honey in the Rock: A Capella Activists” Ms. magazine March/April 1993 Sweet Honey in the Rock In 1973, Bernice Johnson Reagon founded the Grammy-nominated all-woman African American acapella group Sweet Honey in the Rock, an important voice for Black women's experiences in the women's music movement and beyond.
MUSICH_220630_147.JPG: Entre Hermanas/ Between Sisters: Women's Songs in Spanish Suni Paz Folkways Records, 1977 Suni Paz Argentinian American musician Suni Paz was an early Latina voice in the women’s rights movement of the 1970s.
MUSICH_220630_149.JPG: Destellos y sombras: de la inocencia a la madurez (Sparkles and Shadows: From Innocence to Wisdom) Suni Paz California, 2007
MUSICH_220630_152.JPG: Ladyslipper Catalog: Records & Tapes by Women Durham, North Carolina, 1980 Ladyslipper Ladyslipper was a catalog and review publication dedicated to publicizing women musicians. It was a key discovery tool in the women’s music community.
MUSICH_220630_158.JPG: Music for Women, by Women, about Women Through topical songs and strong networks, women musicians have flourished making music for women and about women. These artists have challenged stereotypes and brought a purposefully gendered lens to the fore of artistic expression.
MUSICH_220630_163.JPG: Changemakers: Labor Reforms Women’s labor music expresses the conditions, desires, and experiences of women workers and organizers. Through the years, the labor movement has won legal protections for workers and instituted labor laws that benefited women’s working conditions in the United States. Music has played an important role in creating and maintaining cohesion in the movement, conveying values and warnings across geographies, and strengthening resolve among advocates.
MUSICH_220630_173.JPG: I’m Gonna Be an Engineer Peggy Seeger’s album Different Therefore Equal (1979) was groundbreaking in its exclusive focus on women’s issues, ranging from gender conditioning in childhood to women’s health and education. Perhaps her most well-known song, “I’m Gonna Be an Engineer,” tackles the marginalization and determination of women in engineering.
MUSICH_220630_182.JPG: They’ll Never Keep Us Down: Women’s Coal Mining Songs Hazel Dickens Rounder Records, 1984
MUSICH_220630_189.JPG: Which Side Are You On? The Story of a Song George Ella Lyon El Paso, 2011
MUSICH_220630_192.JPG: Which Side Are You On? Florence Reece penned the famous labor anthem “Which Side Are You On?” after she and her family were threatened with police violence for her husband’s organizing work with miners in Harlan County, Kentucky. Decades later, the song’s lyrics would be reworked across different contexts, playing a prominent role not only labor, but in the civil rights movement as well.
MUSICH_220630_198.JPG: Lydia Mendoza First Queen of Tejano Music Arhoolie Records, 1996 Lydia Mendoza Lydia Mendoza (1916–2007), the “Queen of Tejano,” started out in a family band. She popularized Tejano (Tex-Mex) music, which blends the musical traditions of Mexican, Spanish, Polish, German, and Czech immigrants.
MUSICH_220630_202.JPG: Lydia Mendoza Part 1: First Recordings 1928–1938 Folk-Lyric Records, 1980 Lydia Mendoza Lydia Mendoza (1916–2007), the “Queen of Tejano,” started out in a family band. She popularized Tejano (Tex-Mex) music, which blends the musical traditions of Mexican, Spanish, Polish, German, and Czech immigrants.
MUSICH_220630_205.JPG: Evolving Traditions Some musicians pushed the boundaries of what religious music sounded like. The “Queen of Gospel” Mahalia Jackson (1911–1972) used the words and music of gospel to support social causes, such as civil rights and desegregation efforts. Sister Rosetta Tharpe, the “Godmother of Rock ‘n’ Roll,” rose to prominence in the 1930s as a pioneer of mixing “secular sounds,” such as electric guitar, with sacred lyrics.
MUSICH_220630_211.JPG: Mahalia Jackson: Walking with Kings and Queens Nina Nolan; illustrations by John Holyfield New York, 2015
MUSICH_220630_216.JPG: Sister Rosetta Tharpe Eighteen Original Negro Spirituals New York, 1938 Courtesy of the National Museum of African American History and Culture Gift of Gayle Wald Sister Rosetta Tharpe Sister Rosetta Tharpe, the “Godmother of Rock ‘n’ Roll,” rose to prominence in the 1930s as a pioneer of mixing “secular sounds,” such as electric guitar, with sacred lyrics.
MUSICH_220630_222.JPG: Jean Ritchie’s Dulcimer Made by George Pickow Viper, Kentucky, 1951 Jean Ritchie Esteemed folk artist Jean Ritchie (1922–2015) was born into a musical family. She performed traditional Appalachian songs, composed original material, raised environmental awareness, and reinvigorated interest in the mountain dulcimer.
MUSICH_220630_229.JPG: Jean Ritchie The Appalachian Dulcimer: An Instruction Record Smithsonian Folkways, 1964 Jean Ritchie Esteemed folk artist Jean Ritchie (1922–2015) was born into a musical family. She performed traditional Appalachian songs, composed original material, raised environmental awareness, and reinvigorated interest in the mountain dulcimer.
MUSICH_220630_231.JPG: Groundbreakers Innovation. Courage. Perseverance. Countless women musicians have broken new ground in their careers, expanding opportunities for themselves and paving the way for others. From being “first” in their field to serving as a voice of their people, groundbreaking women made music history.
MUSICH_220630_235.JPG: Shaping Genres: Country, Folk, and Bluegrass  Women have always had an important place in country, folk, and bluegrass music, even if their work has not always been elevated. As recently as 2019, researchers at the University of Southern California found that women comprised just 10 percent of charting artists on country radio, due in part to the predominance of male disc jockeys. However, women’s rich contributions have shaped, and continue to define, these musical genres across generations. 
MUSICH_220630_240.JPG: “Loretta Lynn’s ‘Pill’ is Hard for Some Fans to Swallow”   People magazine   March 31, 1975  Loretta Lynn Country star Loretta Lynn often sang from a feminist point of view, breaking new ground with hits like "The Pill," a song about birth control.
MUSICH_220630_245.JPG: Elizabeth "Libba" Cotten Best known for her song "Freight Train," Cotten (1895–1987) built her musical legacy on a firm foundation of late 19th- and early 20th-century African American instrumental traditions. A self-taught guitarist, the left-handed Cotten played a right-handed guitar “upside down.” Her fingerpicking technique was innovative and continues to be referred to as the “Cotten” style.
MUSICH_220630_247.JPG: Dolly Parton, Gender, and Country Music Leigh H. Edwards Bloomington, Indiana, 2018  Dolly Parton Dolly Parton consistently centers women’s stories and experiences in her music. She became the first woman to win a country music award.
MUSICH_220630_250.JPG: Elizabeth “Libba” Cotten Elizabeth Cotten: Folksongs and Instrumentals with Guitar Folkways Records, 1958  Elizabeth "Libba" Cotten Best known for her song "Freight Train," Cotten (1895–1987) built her musical legacy on a firm foundation of late 19th- and early 20th-century African American instrumental traditions. A self-taught guitarist, the left-handed Cotten played a right-handed guitar “upside down.” Her fingerpicking technique was innovative and continues to be referred to as the “Cotten” style.
MUSICH_220630_254.JPG: Libba: The Magnificent Musical Life of Elizabeth Cotten Laura Viers San Francisco, 2018
MUSICH_220630_257.JPG: Hazel Dickens and Alice Gerrard Won’t You Come & Sing for Me? Folkways Records, 1973 Hazel Dickens and Alice Gerrard Hazel Dickens and Alice Gerrard were among the earliest women to front a bluegrass band. Their groundbreaking work went on to inspire generations of women performers.
MUSICH_220630_261.JPG: Kitty Wells “I Heard the Juke Box Playing” Words and music by Webb Pierce, Linda Baggett, and Kitty Wells  New York, 1952  Kitty Wells, “The Queen of Country Music”  In the 1950s, many country songs blamed women for the demise of relationships, but Wells (1918–2012) flipped the script with her recording of “It Wasn’t God Who Made Honky Tonk Angels.” The 1952 hit, written by J.D. Miller and recorded for Decca, was a lyrical response to Hank Thompson’s “The Wild Side of Life.” Initially banned by some radio stations, it quickly topped the country chart—a first for a solo woman artist—making Wells into a country music superstar. 
MUSICH_220630_268.JPG: Why is it so dark in here?
MUSICH_220630_276.JPG: Groundbreakers: Instrumentalists and Composers For much of American history, women musicians have primarily achieved distinction as vocalists. Women instrumentalists and composers, while perhaps less prominent, have been foundational figures of rock 'n' roll, jazz, and other genres. These artists have made lasting contributions that influence many generations of musicians.
MUSICH_220630_282.JPG: Red Bird Sings: The Story of Zitkala-Ša, Native American Author, Musician, and Activist Gina Capaldi and Q. L. Pearce Minneapolis, 2011 Zitkala-Ša Musician, educator, and Indigenous rights activist Zitkala-Ša (Red Bird) (1876–1938), composed one of the first Native American operas, The Sun Dance Opera, in 1913. She was of Yankton Dakota and European descent.
MUSICH_220630_288.JPG: Big Mama Thornton Big Mama Thornton with the Muddy Waters Blues Band - 1966 Arhoolie Records, 1966 Big Mama Thornton Willie Mae “Big Mama” Thornton (1926–1984) was a blues pioneer and harmonica virtuoso. In 1952 she was the first to record the rock and roll staple “Hound Dog.” She was inducted into the Blues Hall of Fame in 1984.
MUSICH_220630_290.JPG: Swing Sisters: The Story of the International Sweethearts of Rhythm Karen Deans  Illustrated by Joe Cepeda New York, 2015 International Sweethearts of Rhythm America’s first racially integrated all-female jazz band to tour nationally rose to prominence during World War II, when many male jazz musicians were serving overseas. A band with diverse racial backgrounds—Black, White, Latina, Asian—was unique for the time period. One of their strategies for enduring travel in the Jim Crow South was to sleep and eat on the tour bus rather than patronize segregated facilities. 
MUSICH_220630_297.JPG: Queen Liliʻuokalani “Aloha ʻOe” (Farewell to Thee) Los Angeles, 1912 Liliʻuokalani, Queen of Hawaiʻi  Lydia Liliʻu Loloku Walania Kamakaʻeha (1838–1917), known better as Queen Liliʻuokalani, was the last sovereign monarch of Hawaiʻi. In addition to her savvy political skills, she was a gifted musician and composer. Best known for her song “Aloha ‘Oe” (Farewell to Thee), her compositions inspired, and continue to inspire, Kānaka Maoli (Native Hawaiians).
MUSICH_220630_307.JPG: Hawaii's Story, by Hawaii's Queen Queen Liliʻuokalani Boston, 1898   Hawaii’s Story was published by the queen in 1898, five years after U.S.-backed forces overthrew the Hawaiian Kingdom. 
MUSICH_220630_311.JPG: The Mother Goose nursery rhyme "My Lady Wind" warns children about the dangers of malicious gossip, encouraging listeners to "restrain [their] tongue."
MUSICH_220630_317.JPG: Country Star Loretta Lynn often sang from a feminist point of view, breaking new ground with hits like "The Pill," a song about birth control.
MUSICH_220630_324.JPG: Argentinian American musician Suni Paz was an early Latina voice in the women's rights movement of the 1970s.
MUSICH_220630_330.JPG: The landmark hit song "The Message," produced by Sylvia Robinson on her hip-hop label Sugar Hill Records, brought attention to urban issues facing the Black community,
MUSICH_220630_336.JPG: Women in the Industry: Expanding Roles Women work in every facet of the music industry. Throughout the twentieth century, women broke significant ground as record label executives, talent developers, editors, engineers, and photojournalists, among other professions. As more women become decision-makers in the music industry, they bring diverse perspectives, talent, and creativity to the profession.
MUSICH_220630_340.JPG: Marian Distler, cofounder of Folkways Records Making People’s Music: Moe Asch and Folkways Records Peter Goldsmith Washington, D.C., 1998 Photo by David Gahr Moses Asch (right), cofounder of Folkways Records Making People’s Music: Moe Asch and Folkways Records Peter Goldsmith Washington, D.C., 1998 Photo by David Gahr Marian Distler In 1948, Marian Distler (1919–1964) and Moses Asch (1905–1986) cofounded Folkways Records, an innovative label dedicated to recording and documenting culturally diverse music and sounds. In 1987, the Smithsonian purchased Folkways Records from the Asch estate.
MUSICH_220630_344.JPG: Women-Owned Record Labels Barbara Dane Paredon Records, cofounded by Barbara Dane and Irwin Silber in the early 1970s, set out to amplify the voices of artists and activists that were full of hope, and sometimes desperation—voices that expressed the struggles and victories of people standing up for peace, equity, and social justice. Dane’s Paredon Records donated their holdings to the Smithsonian in 1991.
MUSICH_220630_350.JPG: Ani DiFranco “A Label of One’s Own: Inside Women-Owned Record Labels” ROCKRGRL March/April 1999 Ani DiFranco Folk singer Ani DiFranco founded Righteous Babe Records in 1990 to publish her own material and that of like-minded artists.
MUSICH_220630_354.JPG: The Message Grandmaster Flash and the Furious Five Sugar Hill Records, 1982 Sylvia Robinson Sylvia Robinson was a groundbreaking singer, songwriter, producer, and record label executive. As co-founder and CEO of Sugar Hill Records, Robinson produced and released one of hip hop’s earliest commercially successful songs of sociopolitical commentary, “The Message” by Grand Master Flash and the Furious Five (1982).
MUSICH_220630_357.JPG: When We Make It Through Barbara Dane Paredon Records, 1982 Barbara Dane Paredon Records, cofounded by Barbara Dane and Irwin Silber in the early 1970s, set out to amplify the voices of artists and activists that were full of hope, and sometimes desperation—voices that expressed the struggles and victories of people standing up for peace, equity, and social justice. Dane’s Paredon Records donated their holdings to the Smithsonian in 1991.
MUSICH_220630_360.JPG: Industry Professionals Producing and disseminating music is a massive undertaking. Roles unrelated to performance are critical to success in the music industry. Whether behind the scenes, administering business activities, or working with artists, women contribute in a variety of roles.
MUSICH_220630_370.JPG: Girl Power In the 1990s, rock and roll took center stage with the creation of new networks, movements, and media aimed at supporting young women and girls. The Riot Grrrl punk movement broke taboos with zine publications and songwriting about gender harassment, women’s health, self-image, reproductive choices, free expression, and sexual violence.
MUSICH_220630_379.JPG: “A Tribute to Rock Moms” ROCKRGRL magazine Mercer Island, Washington May/June 1997 ROCKRGRL Founded by Carla DeSantis Black (born 1958), ROCKRGRL was the first nationally distributed magazine that specifically targeted women musicians. Through its run, ROCKRGRL published 57 issues, and at its peak, it had a circulation of approximately 20,000.
MUSICH_220630_384.JPG: Zines Riot Grrrl zines were popular, self-published periodicals, distributed freely through an informal economy of punk music fans.
MUSICH_220630_389.JPG: Girl Germs (no. 3) Molly Neuman and Allison Wolfe Olympia, Washington, around 1992 (reprint) Gift of Meredith Holmgren Published by Allison Wolfe and Molly Neuman, both of the band Bratmobile, Girl Germs was an influential zine of the feminist riot grrrl movement.
MUSICH_220630_400.JPG: Patch from Girls Rock! DC Camp Washington D.C., around 2012 Bobbie Dougherty Collection, DC Punk Archive In the early 2000s, Girls Rock! and We Rock! camps emerged to foster a safe environment for women and girls to develop their musical talents.
MUSICH_220630_409.JPG: Musicians Fighting for Civil Rights During the civil rights movement, many renowned women musicians were practicing activists. They used their music to protest and raise awareness about injustices facing the Black community. Music of the civil rights movement was intentionally catchy and compelling. Artists wrote songs designed to unify the voices of protesters, strengthen their resolve, and communicate with the public at large.
MUSICH_220630_411.JPG: Marian Anderson sings at the Lincoln Memorial in Washington, D.C. Life magazine April 24, 1939
MUSICH_220630_420.JPG: When Marian Sang Pam Mu�oz Ryan Illustrated by Brian Selznick New York, 2002 Marian Anderson In 1939, Marian Anderson (1897–1993) boldly sang at the Lincoln Memorial after being denied a performance at Constitution Hall because of her race. The concert became a defining moment in the desegregation movement. In 1955, she performed at the Metropolitan Opera in New York City, becoming the first African American to sing a leading role within the company.
MUSICH_220630_421.JPG: “Breaking the White Barrier: Lena Horne Speaks on the Artist and the Negro Revolt” Show: The Magazine of the Arts September 1963 Lena Horne Lena Horne (1917–2010) broke the color barrier as a singer, actress, and civil rights activist. During World War II, she advocated for fair treatment of Black soldiers, refusing to sing for segregated military audiences. She performed at civil rights rallies throughout the South and at the 1963 March on Washington.
MUSICH_220630_427.JPG: Bernice Johnson Reagon (born 1942) Photo by Diane A. Penland, 1981 Bernice Johnson Reagon Bernice Johnson Reagon—along with Cordell Reagon, Rutha Harris, and Charles Neblett—founded the Student Nonviolent Coordinating Committee (SNCC) Freedom Singers, an early and influential group of civil rights singers. She would later cofound the women’s a capella group Sweet Honey in the Rock and work as Director of the Program in Black American Culture at the National Museum of American History.
MUSICH_220630_429.JPG: Sing for Freedom: Lest We Forget, Vol. 3 Various Artists Folkways Records, 1980 (Recorded 1964)
PPC_220630_05.JPG: Poor People's Campaign A National Call for Moral Revival Mass Poor People's & Low-Wage Workers' Assembly Moral March on Washington and to the polls June 18, 2022 9:30am Gathering 10am Prayers, litany, theomusicology 10:45am Call to action (Source page: 2022_DC_PPC_220618)
SICASC_220630_01.JPG: (Source page: 2022_DC_SI_Castle_Commons)
SICAS_220630_05.JPG: Space Shuttle Spacesuit Replica The Space Shuttle Extravehicular Mobility Unit (EMU) is a reusable spacesuit for spacewalks. Astronauts have worn these suits to build the International Space Station and repair the Hubble Space Telescope. Each suit has 18 pieces that connect together to fit almost any size astronaut. The EMU is actually a personal spacecraft. The suit has 14 layers: * Three inner layers help keep the astronaut comfortable. * Two middle layers help keep oxygen in the suit. * Nine outer layers help protect the astronaut from extreme temperatures, solar radiation, and tiny buts of space junk. (Source page: 2022_DC_SI_Castle)
SICAS_220630_11.JPG: "The best blood of England runs through my veins. On my father's side I am Northumberland, on my mother's I am related to kids, but this avails me not; my name will live on in the memory of men when the titles of the Northumberlands and Percys are extinct or forgotten." -- James Smithson, undated
SICAS_220630_15.JPG: The Smithsonian Astrophysical Observatory: Then and Now
SICAS_220630_28.JPG: 175 Explore Smithsonian Architecture
SICAS_220630_29.JPG: "... to the United States of America, to found at Washington, under the name of the Smithsonian Institution, an Establishment for the increase & diffusion of knowledge..." -- Will of James Smithson, 1829
SICAS_220630_37.JPG: Smithsonian Visitor Center There's More to Explore! Through this hallway view exhibits: * Welcome to Your Smithsonian * Building America's National Collection: 175 Years of Collecting
SICAS_220630_40.JPG: Visitors to the Smithsonian View of the museum in the Lower Main Hall, looking east Visitors documented in an 1867 photograph posed toward the center of the Lower Main Hall, newly decorated after water damaged the walls during the fire that raged through the building's upper floor in 1865.
SIGNS_220630_01.JPG: President Biden & Congress: Get Climate Done Take Action (Source page: 2022_DC_Signs)
SIGNS_220630_10.JPG: Scared shitless about climate collapse? You are not alone. We're mobilizing for a massive, sustained civil resistance campaign this summer. Join us. Extinction Rebellion is a global nonviolent climate and ecological movement. Follow us on Facebook, Instagram & Twitter.
SIGNS_220630_13.JPG: Instructions to all persons of Japanese ancestry I am an American
SIGNS_220630_33.JPG: Stop the Deportations Two million deported & expelled under Biden
SIGNS_220630_37.JPG: Cower out of step with the world
SIGNS_220630_47.JPG: Hip! Hurrah! Chinese Excluded Democratic Chinese Exclusion Bill I Am An American
SIGNS_220630_51.JPG: Boycott I Am An American
SIGNS_220630_66.JPG: Pick up the pen, Joe! Debt collective protest + action Cancel Student Debt! Protest with us! Demand President Biden cancel all student debt now!
SIGNS_220630_67.JPG: Safety through solidarity From DC to Palestine Imagine a world beyond police + borders
SIGNS_220630_71.JPG: SRR: Protect trans people Condemn Defund Disaffiliate GW YAF
SIGNS_220630_80.JPG: Human Rights are for All Humans, Anything else is discrimination humanlifealliance
SIGNS_220630_83.JPG: Will you stand with Hong Kong in the fight for freedom!
SSDISC_220630_024.JPG: The Children's Miracle Network had the best Post-It Art display I saw downtown. Note the bear on the windows of the top six floors. (Source page: 2022_MD_SS_Discovery)
SSMAZE_220630_01.JPG: Lazy River Maze Life is always taking unexpected twists and turns. This mural design is informed by our collective need to be flexible and forgiving in our plans so that we can enjoy each day to the fullest. We encourage you to meander along the yellow line and see where it leads you! Discover hidden visual surprises along the way, and share your findings by tagging @DTSilverSpring. We'd love to see your adventure! About the Artists Chalk Riot specializes in various forms of pavement art, ranging from ephemeral chalk murals to painted placemaking artworks. When the DC based, all-women street artist crew is not creating commissions for special events, campaigns, decor or urban planning initiatives, they advocate for the use a sidewalk chalk as a tool for positive social change. www.chalkriot.com @ChalkRiot (Source page: 2022_MD_SS_Art_Maze)
SSPOST_220630_013.JPG: (Source page: 2022_MD_SS_Art_Post)
SSPOST_220630_074.JPG: Grab a Post-It Share a love note or a kind message; a Haiku or even a doodle Place it on the wall Snap a photo and tag @DTSilverSpring
SSPOST_220630_078.JPG: Post-It Art Take Note! Several temporary art installations made with Post It notes are popping up in the windows around Downtown Silver Spring! Join the Fun: * Leave a message on the I [ heart ] Silver Spring Post-It Wall near the Ellsworth Stage * Create your own fun Post-It Window Art and post to social media tagging @DtSilverSpring * Vote on your favorite Downtown Silver Spring storefront Post-It Window Display
WARNER_220630_15.JPG: (Source page: 2022_DC_Warner_Theatre)
WARNER_220630_36.JPG: New bag policy To reduce staff contact with guest belongings * Clear plastic, vinyl, or PVC bags * Small clutch bags approx. the size of a hand, doesn't need to be clear