The Seven Road-Tested Habits of Effective Artists

Fif­teen years ago, a young con­struc­tion work­er named Andrew Price went in search of free 3d soft­ware to help him achieve his goal of ren­der­ing a 3D car.

He stum­bled onto Blender, a just-the-tick­et open source soft­ware that helps users with every aspect of 3D creation—modeling, rig­ging, ani­ma­tion, sim­u­la­tion, ren­der­ing, com­posit­ing, and motion track­ing.

Price describes his ear­ly learn­ing style as “play­ing it by ear,” sam­pling tuto­ri­als, some of which he couldn’t be both­ered to com­plete.

Desire for free­lance gigs led him to forge a new iden­ti­ty, that of a Blender Guru, whose tuto­ri­als, pod­casts, and arti­cles would help oth­er new users get the hang of the soft­ware.

But it wasn’t declar­ing him­self an expert that ulti­mate­ly improved his artis­tic skills. It was hold­ing his own feet over the fire by plac­ing a bet with his younger cousin, who stood to gain $1000 if Price failed to rack up 1,000 “likes” by post­ing 2D draw­ings to Art­Sta­tion with­in a 6‑month peri­od.

(If he succeeded—which he did, 3 days before his self-imposed deadline—his cousin owed him noth­ing. Loss aver­sion proved to be a more pow­er­ful moti­va­tor than any car­rot on a stick…)

In order to snag the req­ui­site likes, Price found that he need­ed to revise some habits and com­mit to a more robust dai­ly prac­tice, a jour­ney he detailed in a pre­sen­ta­tion at the 2016 Blender Con­fer­ence.

Price con­fess­es that the chal­lenge taught him much about draw­ing and paint­ing, but even more about hav­ing an effec­tive artis­tic prac­tice. His sev­en rules apply to any num­ber of cre­ative forms:

 

Andrew Price’s Rules for an Effec­tive Artist Prac­tice:

  1. Prac­tice Dai­ly

A num­ber of pro­lif­ic artists have sub­scribed to this belief over the years, includ­ing nov­el­ist (and moth­er!) JK Rowl­ing, come­di­an Jer­ry Sein­feld, auto­bi­o­graph­i­cal per­former Mike Bir­bli­gia, and mem­oirist David Sedaris.

If you feel too fried to uphold your end of the bar­gain, pre­tend to go easy on your­self with a lit­tle trick Price picked up from music pro­duc­er Rick Rubin: Do the absolute min­i­mum. You’ll like­ly find that per­form­ing the min­i­mum posi­tions you to do much more than that. Your resis­tance is not so much to the doing as it is to the embark­ing.

  1. Quan­ti­ty over Per­fec­tion­ism Mas­querad­ing as Qual­i­ty

This harkens back to Rule Num­ber One. Who are we to say which of our works will be judged wor­thy. Just keep putting it out there—remember it’s all prac­tice, and law of aver­ages favors those whose out­put is, like Picasso’s, prodi­gious. Don’t stand in the way of progress by split­ting a sin­gle work’s end­less hairs.

  1. Steal With­out Rip­ping Off

Immerse your­self in the cre­ative bril­liance of those you admire. Then prof­it off your own improved efforts, a prac­tice advo­cat­ed by the likes of musi­cian David Bowie, com­put­er vision­ary Steve Jobs, and artist/social com­men­ta­tor Banksy.

  1. Edu­cate Your­self

As a stand-alone, that old chest­nut about prac­tice mak­ing per­fect is not suf­fi­cient to the task. Whether you seek out online tuto­ri­als, as Price did, enroll in a class, or des­ig­nate a men­tor, a con­sci­en­tious com­mit­ment to study your craft will help you to bet­ter mas­ter it.

  1. Give your­self a break

Bang­ing your head against the wall is not good for your brain. Price cel­e­brates author Stephen King’s prac­tice of giv­ing the first draft of a new nov­el six weeks to mar­i­nate. Your break may be short­er. Three days may be ample to juice you up cre­ative­ly. Just make sure it’s in your cal­en­dar to get back to it.

  1. Seek Feed­back

Film­mak­er Tai­ka Wait­i­tirap­per Kanye Westand the big goril­las at Pixar are not threat­ened by oth­ers’ opin­ions. Seek them out. You may learn some­thing.

  1. Cre­ate What You Want To

Pas­sion projects are the key to cre­ative longevi­ty and plea­sur­able process. Don’t cater to a fick­le pub­lic, or the shift­ing sands of fash­ion. Pur­sue the sorts of things that inter­est you.

Implic­it in Price’s sev­en com­mand­ments is the notion that some­thing may have to budge—your night­ly cock­tails, the num­ber of hours spent on social media, that extra half hour in bed after the alarm goes off… Don’t neglect your famil­ial or civic oblig­a­tions, but nei­ther should you short­change your art. Life’s too short.

Read the tran­script of Andrew Price’s Blender Con­fer­ence pre­sen­ta­tion here.

Relat­ed Con­tent:

The Dai­ly Habits of Famous Writ­ers: Franz Kaf­ka, Haru­ki Muraka­mi, Stephen King & More

The Dai­ly Habits of High­ly Pro­duc­tive Philoso­phers: Niet­zsche, Marx & Immanuel Kant

How to Read Many More Books in a Year: Watch a Short Doc­u­men­tary Fea­tur­ing Some of the World’s Most Beau­ti­ful Book­stores

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Decem­ber 9 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Dennison’s Christ­mas Book (1921). Fol­low her @AyunHalliday.

John Cleese’s Eulogy for Monty Python’s Graham Chapman: ‘Good Riddance, the Free-Loading Bastard, I Hope He Fries’

The British come­di­an Gra­ham Chap­man delight­ed in offend­ing peo­ple. As a writer and actor with the leg­endary Mon­ty Python troupe, he pushed against the bound­aries of pro­pri­ety and good taste. When his writ­ing part­ner John Cleese pro­posed doing a sketch on a dis­grun­tled man return­ing a defec­tive toast­er to a shop, Chap­man thought: Bro­ken toast­er? Why not a dead par­rot? And in one par­tic­u­lar­ly out­ra­geous sketch writ­ten by Chap­man and Cleese in 1970,  Chap­man plays an under­tak­er and Cleese plays a cus­tomer who has just rung a bell at the front desk:

“What can I do for you, squire?” says Chap­man.

“Um, well, I won­der if you can help me,” says Cleese. “You see, my moth­er has just died.”

“Ah, well, we can ‘elp you. We deal with stiffs,” says Chap­man. “There are three things we can do with your moth­er. We can burn her, bury her, or dump her.”

“Dump her?”

“Dump her in the Thames.”

“What?”

“Oh, did you like her?”

“Yes!”

“Oh well, we won’t dump her, then,” says Chap­man. “Well, what do you think? We can bury her or burn her.”

“Which would you rec­om­mend?”

“Well, they’re both nasty.”

From there, Chap­man goes on to explain in the most graph­ic detail the unpleas­ant aspects of either choice before offer­ing anoth­er option: can­ni­bal­ism. At that point (in keep­ing with the script) out­raged mem­bers of the stu­dio audi­ence rush onto the stage and put a stop to the sketch.

Chap­man and Cleese had been close friends since their stu­dent days at Cam­bridge Uni­ver­si­ty, and when Chap­man died of can­cer at the age of 48 on Octo­ber 4, 1989, Cleese was at his bed­side. Out of respect for Chap­man’s fam­i­ly, the mem­bers of Mon­ty Python decid­ed to stay away from his pri­vate funer­al and avoid a media cir­cus. Instead, they gath­ered for a memo­r­i­al ser­vice on Octo­ber 6, 1989 in the Great Hall at St. Bartholomew’s Hos­pi­tal in Lon­don. When Cleese deliv­ered his eulo­gy for Chap­man, he recalled his friend’s irrev­er­ence: “Any­thing for him, but mind­less good taste.” So Cleese did his best to make his old friend proud. His off-col­or but heart­felt eulo­gy that evening has become a part of Mon­ty Python lore, and you can watch it above. To see a longer clip, with mov­ing words from Michael Palin and a sing-along of “Always Look on the Bright Side of Life” led by Eric Idle, watch below:

Note: An ear­li­er ver­sion of this post appeared on our site in Feb­ru­ary 2013.

Relat­ed Con­tent:

John Cleese’s Advice to Young Artists: “Steal Any­thing You Think Is Real­ly Good”

John Cleese Revis­its His 20 Years as an Ivy League Pro­fes­sor in His New Book, Pro­fes­sor at Large: The Cor­nell Years

John Cleese on How “Stu­pid Peo­ple Have No Idea How Stu­pid They Are” (a.k.a. the Dun­ning-Kruger Effect)

 

An Animated Leonard Cohen Offers Reflections on Death: Thought-Provoking Excerpts from His Final Interview

A month before Leonard Cohen died in Novem­ber, 2016, The New York­er’s edi­tor David Rem­nick trav­eled to the songwriter’s Los Ange­les home for a lengthy inter­view in which Cohen looked both for­ward and back.

As a for­mer Zen monk, he was also adept at inhab­it­ing the present, one in which the shad­ow of death crept ever clos­er.

His for­mer lover and muse, Mar­i­anne Ihlen, had suc­cumbed to can­cer ear­li­er in the sum­mer, two days after receiv­ing a frank and lov­ing email from Cohen:

Well, Mar­i­anne, it’s come to this time when we are real­ly so old and our bod­ies are falling apart and I think I will fol­low you very soon. Know that I am so close behind you that if you stretch out your hand, I think you can reach mine. And you know that I’ve always loved you for your beau­ty and your wis­dom, but I don’t need to say any­thing more about that because you know all about that. But now, I just want to wish you a very good jour­ney. Good­bye old friend. End­less love, see you down the road.

The New York­er has nev­er shied from over-the-top phys­i­cal descrip­tions. The cour­te­ous, high­ly ver­bal young poet, who’d evinced “a kind of Michael Cor­leone Before the Fall look, sloe-eyed, dark, a lit­tle hunched” was now very thin, but still hand­some, with the hand­shake of “a court­ly retired capo.”

In addi­tion to an album, You Want It Dark­er, to pro­mote, Cohen had a mas­sive back­log of unpub­lished poems and unfin­ished lyrics to tend to before the sands of time ran out.

At 82, he seemed glad to have all his men­tal fac­ul­ties and the sup­port of a devot­ed per­son­al assis­tant, sev­er­al close friends and his two adult chil­dren, all of which allowed him to main­tain his music and lan­guage-based worka­holic habits.

Time, as he not­ed, pro­vides a pow­er­ful incen­tive for fin­ish­ing up, despite the chal­lenges posed by the weak­en­ing flesh:

At a cer­tain point, if you still have your mar­bles and are not faced with seri­ous finan­cial chal­lenges, you have a chance to put your house in order. It’s a cliché, but it’s under­es­ti­mat­ed as an anal­gesic on all lev­els. Putting your house in order, if you can do it, is one of the most com­fort­ing activ­i­ties, and the ben­e­fits of it are incal­cu­la­ble.

He had clear­ly made peace with the idea that some of his projects would go unfin­ished.

You can hear his fond­ness for one of them, a “sweet lit­tle song” that he recit­ed from mem­o­ry, eyes closed, in the ani­mat­ed inter­view excerpt, above:

Lis­ten to the hum­ming­bird

Whose wings you can­not see

Lis­ten to the hum­ming­bird

Don’t lis­ten to me.

Lis­ten to the but­ter­fly

Whose days but num­ber three

Lis­ten to the but­ter­fly

Don’t lis­ten to me.

Lis­ten to the mind of God

Which doesn’t need to be

Lis­ten to the mind of God

Don’t lis­ten to me.

These unfin­ished thoughts close out Cohen’s beau­ti­ful­ly named posthu­mous album, Thanks for the Dance, sched­uled for release lat­er this month.

Dianne V. Lawrence, who designed Cohen’s hum­ming­bird logo, a motif begin­ning with 1979’s Recent Songs album, spec­u­lates that Cohen equat­ed the hum­ming­bird’s enor­mous ener­gy usage and sus­te­nance require­ments with those of the soul.

Read Remnick’s arti­cle on Leonard Cohen in its entire­ty here. Hear a record­ing of David Rem­nick­’s inter­view with Cohen–his last ever–below:

Relat­ed Con­tent:

Hear Leonard Cohen’s Final Inter­view: Record­ed by David Rem­nick of The New York­er

Leonard Cohen’s Last Work, The Flame Gets Pub­lished: Dis­cov­er His Final Poems, Draw­ings, Lyrics & More

How Leonard Cohen Wrote a Love Song

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Decem­ber 9 for her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

What to Wear to a Successful PhD Thesis Defense? A Skirt’s Worth of Academic Rejection Letters

Some peo­ple are par­a­lyzed by rejec­tion.

Oth­ers, like Michi­gan State University’s Earth and Envi­ron­men­tal Sci­ences PhD can­di­date, Caitlin Kir­by, sport rejec­tion like a man­tle of hon­or… or more accu­rate­ly, a pleat­ed skirt falling to just below mid-thigh.

“Suc­cess­ful­ly defend­ed my PhD dis­ser­ta­tion today!” Kir­by wrote in a Tweet that has since gar­nered over 25,000 likes. “In the spir­it of acknowl­edg­ing & nor­mal­iz­ing fail­ure in the process, I defend­ed in a skirt made of rejec­tion let­ters from the course of my PhD.”

The cus­tom gar­ment, which Kir­by teamed with a dark blaz­er and red waist­band, was orga­nized in two tiers, with a tulle ruf­fle peep­ing out beneath.

MSU’s Career Ser­vices Network’s Direc­tor of Employ­er Rela­tions, Karin Han­son, told the Lans­ing State Jour­nal that rejec­tion comes as a shock to many high achiev­ing MSU stu­dents.

Kirby’s deci­sion to upcy­cle 17 dis­ap­point­ing let­ters received over the course of her aca­d­e­m­ic career was par­tial­ly inspired by a Parks and Recre­ation episode in which the skirt of Leslie Knope’s wed­ding dress is a wear­able col­lage of news­pa­per arti­cles about the char­ac­ter, drawn from ear­li­er episodes

More to the point, Kirby’s skirt is part of an ongo­ing cam­paign to acknowl­edge rejec­tion as a nec­es­sary, if painful, part of aca­d­e­m­ic growth.

The whole process of revis­it­ing those old let­ters and mak­ing that skirt sort of remind­ed me that you have to apply to a lot of things to suc­ceed. It seems coun­ter­in­tu­itive to wear your rejec­tions to your last test in your Ph.D, but we talked about our rejec­tions every week and I want­ed them to be a part of it.

And, as she lat­er not­ed in a tweet:

Accep­tances and rejec­tions are often based on the tra­di­tion­al val­ues of acad­e­mia, which excludes POC by not valu­ing the approach­es, research ques­tions, and expe­ri­ences that POC tend to bring to their work.

Kirby’s let­ters were culled from a vari­ety of sources—scholarship appli­ca­tions, sub­mis­sions to aca­d­e­m­ic jour­nals, and pro­pos­als for con­fer­ence pre­sen­ta­tions.  Unfor­tu­nate­ly and We regret to inform you are recur­rent motifs. About 8 let­ters were left on the cut­ting room floor.

But she is pre­pared to low­er her hem­line, when she starts apply­ing for jobs, fol­low­ing a stint at the Research Insti­tute for Urban and Region­al Devel­op­ment in Dort­mund, Ger­many, the result of a suc­cess­ful Ful­bright appli­ca­tion.

Fol­low Kirby’s exam­ple and turn your tem­po­rary set­backs into a pow­er skirt, using the tuto­r­i­al above.

via Boing Boing 

Relat­ed Con­tent:

Read Rejec­tion Let­ters Sent to Three Famous Artists: Sylvia Plath, Kurt Von­negut & Andy Warhol

T.S. Eliot, as Faber & Faber Edi­tor, Rejects George Orwell’s “Trot­skyite” Nov­el Ani­mal Farm (1944)

Gertrude Stein Gets a Snarky Rejec­tion Let­ter from Pub­lish­er (1912)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Decem­ber 9 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain, res­ur­rects Dennison’s Christ­mas Book (1921). Fol­low her @AyunHalliday.

Art Class Instead Of Jail: New Program Lets Young Offenders Take Free Art Classes Rather Than Spend Time in the Criminal System

Art saves lives, and art can also save an indi­vid­ual from the stig­ma of an arrest record, pro­vid­ed that the arrest is for one of 15 non-vio­lent mis­de­meanors.

Project Reset, a muse­um-based ear­ly diver­sion pro­gram in three of New York City’s five bor­oughs, aims to reframe the way youth­ful (and not so youth­ful) offend­ers see them­selves, by con­sid­er­ing an art­work via a col­lec­tive inter­pre­tive process, before using it as the inspi­ra­tion for a col­lage or oil pas­tel-based project of their own.

The stakes are high­er and far more per­son­al than they are on the aver­age pub­lic school field trip. Upon com­ple­tion of a class rang­ing from 2.5 to 4 hours, the participant’s record is wiped clean and their assigned court date is ren­dered moot.

Rather than being herd­ed through a num­ber of gal­leries, par­tic­i­pants zero in on a sin­gle work.

At the Brook­lyn Muse­um, par­tic­i­pants in the under-25 age range get a crash course in Shift­ing the GazeTitus Kaphar’s inten­tion­al palimpsest, in which all the fig­ures in a repli­ca of Frans Hals’ Fam­i­ly Group in a Land­scape are whit­ed out so view­ers may focus in on the only char­ac­ter of col­or, a young boy who appears to be a fam­i­ly ser­vant.

Old­er par­tic­i­pants under­take a sim­i­lar­ly deep dive on The Judge­ment by Bob Thomp­son, an African Amer­i­can artist who was inspired by the con­stant inter­play between good and evil.

While this may strike some as a cushy pun­ish­ment, it’s a legit­i­mate attempt to acquaint par­tic­i­pants with the very real impact their actions could have on future plans—including col­lege admis­sions and job appli­ca­tions.

Man­hat­tan Dis­trict Attor­ney, Cyrus Vance Jr., one of Project Reset’s archi­tects, shared a non-par­ti­san fis­cal take with City Lab’s Rebec­ca Bel­lan that may per­suade naysay­ers who feel the pro­gram rewards bud­ding crim­i­nals by giv­ing them an easy out:

If you jump sub­way turn­stiles in Man­hat­tan, you nev­er go to jail. You can do it 100 times and no court is ever going to send you to jail. So we spend about $2,200 to process a theft of ser­vices arrest for a $2.75 fare. Our jus­tice sys­tem falls most heav­i­ly on com­mu­ni­ties of col­or, and we real­ly need to rethink how we approach these cas­es, both to get bet­ter out­comes, but also to reduce the impact which is very often viewed as tar­get­ed and unfair on par­tic­u­lar com­mu­ni­ties.

Above is a list of the non-vio­lent mis­de­meanors that can chan­nel first timers toward the apt­ly named Project Reset.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Why Med Schools Are Requir­ing Stu­dents to Take Art Class­es, and How It Makes Med Stu­dents Bet­ter Doc­tors

Won­der­ful­ly Off­beat Assign­ments That Artist John Baldessari Gave to His Art Stu­dents (1970)

The Art Insti­tute of Chica­go Puts 44,000+ Works of Art Online: View Them in High Res­o­lu­tion

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC for her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

How to Find Silence in a Noisy World

“Take a walk at night,” wrote avant-garde com­pos­er Pauline Oliv­eros in her 1974 “Son­ic Med­i­ta­tions,” a set of instruc­tions for what she called deep lis­ten­ing. “Walk so silent­ly that the bot­tom of your feet become ears.” Lis­ten­ing to silence opens up rich new worlds of sound. It can be a life-chang­ing expe­ri­ence.

“It’s hard to imag­ine that a sound can trans­form some­one’s life, but it hap­pened to me,” says acoustic ecol­o­gist Gor­don Hemp­ton in the short 360-degree doc­u­men­tary above, “How to Find Silence in a Noisy World.” Hemp­ton learned to walk silent­ly while car­ry­ing a micro­phone, doc­u­ment­ing his lis­ten­ing jour­ney through remote places like the Hoh Rain­for­est in Wash­ing­ton state, con­sid­ered one of the qui­etest places in North Amer­i­ca.

“By hold­ing a micro­phone, I became a bet­ter lis­ten­er. I learned that the micro­phone doesn’t lis­ten for what’s impor­tant, it doesn’t judge, it doesn’t inter­fere.” The micro­phone, that is, has no ego. Record­ed and ampli­fied, the silence of the Hoh becomes cacoph­o­ny, or a sym­pho­ny, depend­ing on how we describe it. Maybe any descrip­tion gets in the way of lis­ten­ing. “Just lis­ten,” says Hemp­ton. “Silence is the poet­ics of space. What it means to be in a place… Silence isn’t the absence of some­thing, but the pres­ence of every­thing

If silence is full of sound, why might we crave it when we’re stressed? Because we are bom­bard­ed by noise pol­lu­tion, “sounds that have noth­ing to do with the nat­ur­al acoustic sys­tem.” These sounds have been encroach­ing on places like the Hoh Rain­for­est for many decades, and Hemp­ton has doc­u­ment­ed their incur­sion over the past 30 years, build­ing a col­lec­tion of over 100 record­ings “equipped with a 3‑D micro­phone sys­tem that repli­cates human hear­ing,” notes Brain Pick­ings.

“Ema­nat­ing from his col­lec­tion… is the idea that ‘there is a fun­da­men­tal fre­quen­cy for each habitat’—a tonal qual­i­ty that shapes the sense of place and qual­i­ty of pres­ence.” Hempton’s work com­ple­ments the nature record­ings of Bernie Krause, for­mer musi­cian turned renowned expert on nat­ur­al sound, whose the­o­ry of bio­pho­ny describes how nat­ur­al sounds work togeth­er to fill in the spec­trum, each one estab­lish­ing its own spe­cif­ic band­width so as not to drown out the oth­ers.

Nat­ur­al sounds cre­ate a kind of self-reg­u­lat­ing har­mo­ny. In order to ful­ly inhab­it the space we’re in, we must be able to hear them. But as the record­ings made by Hemp­ton and Krause show us, humans have a unique abil­i­ty to feel our­selves deeply immersed in oth­er places, too, by lis­ten­ing to record­ings of their silences. Hemp­ton implies that record­ings may soon be all we have left.

“Silence,” he says, “is on the verge of extinc­tion. There is not one place left on plan­et Earth that is set aside and off lim­its to noise pol­lu­tion.” It inter­feres with the cycles of mat­ing ani­mals, dis­rupts call and response pat­terns ecosys­tems use to coor­di­nate them­selves. Silence is part of a glob­al biofeed­back sys­tem, telling us to qui­et down, slow down, and become part of all that’s hap­pen­ing around us. We ignore it to our great detri­ment.

via Brain Pick­ings

Relat­ed Con­tent:

The British Library’s “Sounds” Archive Presents 80,000 Free Audio Record­ings: World & Clas­si­cal Music, Inter­views, Nature Sounds & More

Free: Down­load the Sub­lime Sights & Sounds of Yel­low­stone Nation­al Park

10 Hours of Ambi­ent Arc­tic Sounds Will Help You Relax, Med­i­tate, Study & Sleep

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

A Collection of Vintage Fruit Crate Labels Offers a Voluptuous Vision of the Sunshine State

Ah, Flori­da… The Sun­shine State.

Tourists began flock­ing to it in earnest once the rail­roads expand­ed in the late 19th cen­tu­ry, drawn by visions of sun­set beach­es, grace­ful palms, and plump cit­rus fruit in a warm weath­er set­ting.

The fan­ta­sy gath­ered steam in the 1920s when cit­rus grow­ers began affix­ing col­or­ful labels to the fruit crates that shipped out over those same rail­road lines, seek­ing to dis­tin­guish them­selves from the com­pe­ti­tion with mem­o­rable visu­als.

These labels offered lovers of grape­fruit and oranges who were stuck in cold­er climes tan­ta­liz­ing glimpses of a dreamy land filled with Span­ish Moss and grace­ful long-legged birds. Words like “gold­en” and “sun­shine” sealed the deal.

(The real­i­ty of cit­rus pick­ing, then and now, is one of hard labor, usu­al­ly per­formed by under­paid, unskilled migrants.)

The State Library of Florida’s Flori­da Crate Label Col­lec­tion has amassed more than 600 exam­ples from the 1920s through the 1950s, many of which have been dig­i­tized and added to a search­able data­base.

While the major­i­ty of the labels ped­dle the sun­shine state mythos, oth­ers pay homage to grow­ers’ fam­i­ly mem­bers and pets.

Oth­ers like Kil­lar­ney Luck, UmpireSherlock’s Delight, and Watson’s Dream built brand iden­ti­ty by play­ing on the grove’s name or loca­tion, though one does won­der about the mod­els for the deli­cious­ly dour Kiss-Me label. Sib­lings, per­haps? Maybe the Kissim­mee Cit­rus Grow­ers Asso­ci­a­tion dis­ap­proved of the PDA their name seems so ripe for.

Native Amer­i­cans’ promi­nent rep­re­sen­ta­tion like­ly owed as much to the public’s fas­ci­na­tion with West­erns as to the state’s trib­al her­itage, evi­dent in the names of so many loca­tions, like Umatil­la and Immokalee, where cit­rus crops took root.

Mean­while, Mam­myAun­ty, and Dix­ieland brands relied on a stereo­typ­i­cal rep­re­sen­ta­tion of African-Amer­i­cans that had a proven track record with con­sumers of pan­cakes and Cream of Wheat.

The vibrant­ly illus­trat­ed crate labels were put on hold dur­ing World War II, when the bulk of the cit­rus crop was ear­marked for the mil­i­tary.

By the mid-50s, card­board box­es on which com­pa­ny names and logos could be print­ed direct­ly had become the indus­try stan­dard, rel­e­gat­ing crate labels to antique stores, swap meets, and flea mar­kets.

Begin your explo­ration of the Flori­da Crate Label Col­lec­tion here, brows­ing by imageplacecom­pa­ny, or brand name.

Via Kot­tke

Relat­ed Con­tent:

In 1886, the US Gov­ern­ment Com­mis­sioned 7,500 Water­col­or Paint­ings of Every Known Fruit in the World: Down­load Them in High Res­o­lu­tion

An Archive of 3,000 Vin­tage Cook­books Lets You Trav­el Back Through Culi­nary Time

Browse a Col­lec­tion of Over 83,500 Vin­tage Sewing Pat­terns

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Novem­ber 4 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Louise Jor­dan Miln’s “Woo­ings and Wed­dings in Many Climes (1900). Fol­low her @AyunHalliday.

 

A 108-Year-Old Woman Recalls What It Was Like to Be a Woman in Victorian England

The per­ils of old age—demen­tiaeco­nom­ic inse­cu­ri­tysocial iso­la­tion—are receiv­ing a lot of atten­tion these days.

How refresh­ing to spend three min­utes in the com­pa­ny of a sharp-wit­ted 108-year-old, who, respond­ing to a ques­tion about what life was like for women in Vic­to­ri­an Eng­land, acts out a cou­ple of social­ly rel­e­vant, peri­od Punch car­toons, delib­er­ate­ly draw­ing atten­tion to her shock­ing­ly well-pre­served ankles in the process.

Flo­rence Pan­nell was born in Lon­don in 1868, 3 years after the US abol­ished slav­ery and eleven before the advent of the elec­tric light­bulb.

Her appear­ance on Thames Television’s Mon­ey-Go-Round pro­gram appears to be her only pub­lic record­ing. The Kens­ing­ton Post cap­tured her leav­ing her polling place, after cast­ing her bal­lot in a 1971 elec­tion at the age of 102.

It’s a pity there’s not more of an online pres­ence, as this cap­ti­vat­ing sto­ry­teller clear­ly rel­ish­es the oppor­tu­ni­ty to revis­it the past.

A pity too, that she was stuck with a dud of an inter­view­er, Joan Shen­ton, who has gone on to find fame as a promi­nent AIDS denial­ist.

The AIDS cri­sis is one event of glob­al his­tor­i­cal impor­tance that Mrs. Pan­nell missed—barely—she died in 1980, a few months shy of her 112th birth­day.

We learn that she found­ed a suc­cess­ful beau­ty care busi­ness that took her to Paris for a time, but oth­er than that, the details of her pri­vate life are left to our spec­u­la­tion. She was mar­ried. Did she have chil­dren, and if so, did she sur­vive them?

Did she ever get the chance to go up in an air­plane? As of 1977, she hadn’t, but was open to the idea, imply­ing that the risk had out­weighed the poten­tial thrill in the ear­ly days of avi­a­tion.

Most strik­ing is her hearty reply con­cern­ing the biggest change she had wit­nessed over the years:

Every­thing! Noth­ing is the same! Everything’s changed!

Some of the mile­stones she was alive for, as not­ed by var­i­ous YouTube and Red­dit com­menters:

The coro­na­tion of the five mon­archs to fol­low Queen Vic­to­ria: Edward VII, George V, Edward VIII, George VI and Eliz­a­beth II (whose 93 years on the plan­et she makes seem mar­gin­al­ly less impres­sive)

Jack the Ripper’s ter­ror­iza­tion of Lon­don

The sink­ing of the Titan­ic

Both World Wars

The Great Depres­sion

The tele­phone

Tele­vi­sion

The hip­pie move­ment

The moon land­ing

Star Wars

Anoth­er com­menter sug­gest­ed that it would have been math­e­mat­i­cal­ly pos­si­ble for Mrs. Pan­nell to have heard sto­ries about Napoleon at her grandpa’s knee.

Read­ers, what are you bog­gled by, with regard to the sig­nif­i­cant events tran­spir­ing with­in this woman’s life­time?

(And for those curi­ous as to her for­mi­da­ble accent, there’s a wealth of lin­guis­tic infor­ma­tion here.)

Relat­ed Con­tent:

Bertrand Russell’s Advice For How (Not) to Grow Old: “Make Your Inter­ests Grad­u­al­ly Wider and More Imper­son­al”

You’re Only As Old As You Feel: Har­vard Psy­chol­o­gist Ellen Langer Shows How Men­tal Atti­tude Can Poten­tial­ly Reverse the Effects of Aging

Meet Vio­la Smith, the World’s Old­est Drum­mer: Her Career Start­ed in the 1930s, and She’s Still Play­ing at 106

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Novem­ber 4 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Louise Jor­dan Miln’s “Woo­ings and Wed­dings in Many Climes (1900). Fol­low her @AyunHalliday.

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