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Photo: Carolyn Cole/Los Angeles Times via Getty Images.
Metal deposited over millions of years forms these nodules, which can somehow generate oxygen.

Sometimes it seems like scientists have all the fun. In today’s story, certain researchers of the deep ocean thought their instruments were at fault and complained to the manufacturer. Then one day, ironically, an ad from a deep-sea mining company struck a chord in one scientist and led to some creative thinking.

Allison Parshall writes at Scientific American that some rocklike mineral deposits in the deep sea may have more to them than meets the eye.

“The dark seabed of the Pacific Ocean’s Clarion-Clipperton Zone (CCZ) is littered with what look like hunks of charcoal. These unassuming metal deposits, called polymetallic nodules, contain metals such as manganese and cobalt used to produce batteries, marking them as targets for deep-sea mining companies.

“Now researchers have discovered that the valuable nodules do something remarkable: they produce oxygen and do so without sunlight. ‘This is a totally new and unexpected finding,’ says Lisa Levin, an emeritus professor of biological oceanography at the Scripps Institution of Oceanography, who was not involved in the current research.

“According to Boston University microbiologist Jeffrey Marlow, the idea that some of Earth’s oxygen gas may come not from photosynthesizing organisms but from inanimate minerals in total darkness ‘really strongly goes against what we traditionally think of as where oxygen is made and how it’s made.’ Marlow is a co-author of the new study, which was published in Nature Geoscience.

“The story of discovery goes back to 2013, when deep-sea ecologist Andrew Sweetman was facing a frustrating problem. His team had been trying to measure how much oxygen the organisms on the CCZ seafloor consumed. The researchers sent landers down more than 13,000 feet and created enclosed chambers on the seabed to track how oxygen levels in the water fell over time.

“But oxygen levels did not fall. Instead they rose significantly. Thinking the sensors were broken, Sweetman sent the instruments back to the manufacturer. ‘This happened four or five times’ over the course of five years, says Sweetman, who studies sea­floor ecology and biogeochemistry at the Scottish Association for Marine Science. …

“Then, in 2021, he returned to the CCZ on a survey expedition sponsored by the Metals Company, a deep-sea mining firm. Again, his team used landers to make enclosed chambers on the seafloor and monitor oxygen levels. They used a different technique to measure oxygen this time but observed the same strange results: oxygen levels increased dramatically. …

“The researchers initially thought deep-sea microbes were producing the oxygen. That idea once might have seemed far-fetched, but scientists had recently discovered that some microbes can generate ‘dark oxygen‘ in the absence of sunlight.

In laboratory tests that reproduced conditions on the seafloor, Sweetman and his colleagues poisoned seawater with mercury chloride to kill off the microbes. Yet oxygen levels still increased.

“If this dark oxygen didn’t come from a biological process, then it must have come from a geological one, the scientists reasoned. They tested a few possible hypotheses — such as that radioactivity in the nodules was decomposing seawater molecules to make oxygen or that something was pulling oxygen from the nodules’ manganese oxide — but ultimately ruled them out.

“Then, one day in 2022, Sweetman was watching a video about deep-sea mining when he heard the nodules referred to as ‘a battery in a rock.’ That bit of marketing was only a metaphor, but it led him to wonder whether the nodules could somehow be acting as natural geobatteries. If they were electrically charged, they could potentially split seawater into hydrogen and oxygen through a process called seawater electrolysis. (A battery dropped in salt water produces a similar effect.)

“ ‘Amazingly, there was almost a volt [of electric charge] on the surface of these nodules,’ Sweetman says; for comparison, an AA battery carries about 1.5 volts. The nodules may become charged as they grow, as different metals are deposited irregularly over the course of millions of years and a gradient of charge develops between each layer. Seawater electrolysis is currently the researchers’ leading theory for dark oxygen production, and they plan to test it further.”

More at Scientific American, here. No firewall.

Photo: Ivan Honchar Museum.
Witchy arts are part of Ukrainian folklore. The girls in the painting above (Divination by Mykola Pymonenko, 1888) are trying to predict the future.

Somehow, even in wartime, artists’ imaginations keep creating. Today’s story is about a new Ukrainian play that has captured the country’s attention.

Ashley Westerman at National Public Radio [NPR] tells us that “even though the plot takes place centuries ago, the play’s takeaways and parallels to today resonate with Ukrainians.”

Here are excerpts from the NPR transcript.

Westerman: In the early days of Russia’s full-scale invasion of Ukraine, a video surfaced online – a woman shouting at a Russian soldier sitting atop a tank. …

‘Do you even know where you are? You’re in Konotop,’ shouted the woman off-screen. ‘Every second woman here is a witch.’ …

“The video went viral in Ukraine, not just because of the woman’s defiance, but also because Konotop, a city in the country’s far northeast, is a place associated with witches. ‘Witches are a part of Ukrainian culture and Ukrainian tradition,’ says Khrystyna Fedorak, so you can rely on something having to do with witches going viral. This is one of the reasons the play Fedorak is currently starring in at the Ivan Franko Theater in the capital, Kyiv, has become a summer blockbuster. Fedorak plays the witch in the dark musical comedy The Witch Of Konotop.

“Based on the 1833 satirical fiction by Ukrainian writer Hryhorii Kvitka-Osnovianenko, this story leans hard on the stereotype that Ukrainian literature is full of sadness and tragedy. Taking place in the 1600s, the audience follows the main character, Zabryokha, a Cossack military leader in Konotop, pursuing the lovely Olena, but she rejects his proposal. She loves someone else. In this scene, Pistryak, Zabryokha’s cunning assistant, tries to confuse Olena’s love interest by accusing him of crimes he didn’t commit. …

“Then, in a twist of events that sounds a lot like today, Zabryokha receives an order to join a military campaign to help the Cossacks fend off an overreaching Tsarist Russia.

” ‘They order us,’ Pistryak says, ‘to take our Cossacks in Konotop to join the main army. There may be drills, or there may be war.’

“But Zabryokha refuses to go, saying he needs to stay in Konotop to root out the witch problem — the root, he says, of everyone’s problems. What ensues is a string of ridiculous, funny and very human moments. Spells are cast, couples are wed and, of course, there’s a witch hunt, meaning a swim test. If you’re not a witch, you drown. If you are a witch, you don’t.

“All with a larger threat looming over everything — Russia. But while that might be the most obvious takeaway from The Witch Of Konotop, the cast has some of their own ideas.

Kateryna Artemenko: Don’t kill women (laughter). Don’t mess with women. …

Westerman: Artemenko plays one of the townswomen mistaken for a witch. …

Artemenko: The main message is about people who — they’re trying to fool their destiny, but destiny will find them.

Westerman: Nazar Zadniprovskiy, who plays the ill-fated Cossack commander, views this play as a lesson in avoiding responsibility. … Zadniprovskyi says many people see a parallel with Ukrainian men dodging conscription today. …

“As the play ends and the theater’s mustard-yellow felt curtain drops to a thunderous applause, producer Polina Lytvynova and I ask a few audience members what parallels they drew. Olha Vasylevska is from Kharkiv, the northeastern Ukrainian city currently fending off an intense Russian offensive. She thinks the play is about love.

Olha Vasylevska: (Through interpreter.) If the love is true, it doesn’t need any outside assistance … but if the love is not true, nobody and nothing can help it, even the witch.

“Westerman: Markian Halabala, from Kyiv, says the message he took away is that you shouldn’t interfere in God’s will.

“Markian Halabala: (Through interpreter.) This is like Putin. He interfered in natural Ukraine’s way of independence. And Russians, they try to stop and prevent, like, [the] natural way of Ukrainian history with this war.

“Westerman: Critics say the many takeaways The Witch Of Konotop offers its audiences is one reason it’s been so popular. … But another reason is the overall push to celebrate Ukrainian culture and literature. Putin has repeatedly said victory, to him, means nothing short of Ukraine losing not just their sovereignty, but also their identity.”

Finally, Westerman spoke to Mykhailo Kukuyuk, who plays Pistryak. He speaks of the value of his country’s arts: “What are we fighting for? it’s the details, the sparks, that make us alive.” He adds that, while it’s sometimes difficult to block out the events happening outside of this theater, it’s an honor to perform for his country.

More at NPR, here.

Indigenous Teens’ Summer

Photo: Alex V. Cipolle.
University of Minnesota architecture professor Jessica Garcia Fritz teaches Indigenous Design Camp campers cardboard scoring techniques on day one.

It seems like every year, the first question on the first day of school is, “What did you do over the summer?” This past summer, if you were an indigenous teen in the Twin Cities of Minnesota, you might have had some new experiences to report.

In July, Alex V. Cipolle at Minnesota Public Radio wrote about an unusual class at the Dunwoody College of Technology.

“A group of teens cuts cardboard with X-ACTO Knives. They will soon shape this cardboard into architectural models of their bedrooms. …

“ ‘It’s my first time doing something in architectural-related study,’ says Dominic Stewart of Burnsville.

“ ‘I’m excited to get that hands-on experience,’ says Carsyn Johnson of Elk River.

“They are here for the weeklong Indigenous Design Camp, the first camp of its kind in the U.S. The goal is to teach Indigenous teens about career options in architecture and design, a field where Native Americans are underrepresented.

“Two of the founders of the new camp — architects and friends Mike Laverdure and Sam Olbekson — estimate that there are only about 30 Indigenous architects total in the U.S.

“Laverdure is an enrolled member of the Turtle Mountain Band of Chippewa and a partner at DSGW Architects as well as the president of First American Design Studio. Olbekson is a citizen of the White Earth Nation and founded the firm Full Circle Indigenous Planning and Design. They are the only two practicing Native architects in Minnesota. 

“ ‘The need for creating a space for kids to become designers, Indigenous designers, is great,’ says Laverdure, who has wanted to start this camp for years. ‘Representation matters for these kids to see us as architects and designers. A lot of us who grew up in reservations or urban Indigenous communities only see a few career types.’ …

“The campers are Indigenous teens ages 14-18 from the metro area. They will be constructing architectural models all week. Campers will also tour the University of Minnesota School of Architecture and local architecture firms.

“They will also visit the American Indian Cultural Corridor on Franklin Avenue, where both Laverdure and Olbekson have designed buildings, as well as another Olbekson project, the recently completed expansion of the Red Lake Nation College downtown.

“Olbekson says, ‘to actually go and see [the buildings] and see the impact that they’re having on the community, not only as individual buildings, but how they’re forming an identity for the American Indian Cultural Corridor and how these projects are supporting education, economic development, community building, cultural development, and youth and elder spaces, I think is going to be a great way for them to understand the impact of what design, urban design, interiors, landscape, can have on creating a healthy, Indigenous urban community.’

“The camp began [with] a welcome from Laverdure, Olbekson and University of Minnesota assistant architecture professor Jessica Garcia Fritz, a citizen of the Cheyenne River Sioux Tribe. Fritz also helped start the camp.

“ ‘If you think about your home reservations, or your urban communities, you think about all the buildings that are there,’ Laverdure told the class, ‘Ninety-nine percent of all the buildings built that Indigenous people sit in are not designed by indigenous designers. … When you have Indigenous designers be a part of that process, what happens is that those buildings have a special kind of connection to the communities and that makes those buildings extra special.’

“Next came a presentation on Indigenous architecture, past and present, by Tammy Eagle Bull, who did a video call from her home in Arizona. Eagle Bull is a member of the Oglala Lakota Nation of Pine Ridge, South Dakota. In 1994, she became the first Native woman in the U.S. to become a licensed architect. …

“For the remainder of the first day of camp, Jessica Garcia Fritz guided campers in a design exercise to create their sleep space or bedroom.

“First, they taped 10 by 10-foot squares on the classroom floor to help them visualize the scale. Then they sketched blueprints of their bedrooms. Finally, they cut and scored cardboard to build shoebox-size models. …

“ ‘One of the things Tammy Eagle Bull had said this morning was, “I wish that a camp like this had existed when I was young.” I think that’s the sentiment among many of us,’ Garcia Fritz says. …

“Garcia Fritz, Laverdure and Olbekson hope this camp is the first of many. One of the goals is to expand the camp to greater Minnesota.

“ ‘Right now, it’s in the Twin Cities, but there are so many Indigenous communities regionally, up north and even in other states that could really benefit from this,’ Olbekson says. 

“ ‘Long term, we want to create a space where five to 10 years from now, we’ve got 10, 15, 20, Native designers that are out there and being a force for change,’ Laverdure says.”

More at MPR News, here.

Photo: Rasmus Hjortshoj.
Dortheavej residence in Copenhagen. Social housing accounts for about 20% of all housing stock in Denmark and is available to anyone, regardless of income.

I’m always interested in housing stories, partly because among the issues that the department I worked in at the Fed addressed was housing. After the mortgage meltdown in 2008, I remember, we had a gigantic event at the Patriots’ football stadium to gather borrowers in danger of foreclosure under one roof with organizations that could help them.

Today’s story looks at new ideas in public housing from around the world. Maddie Thomas reports at the Guardan, “The social housing of last century often calls to mind towering blocks of flats, poorly maintained with dark, pokey and cold units. But alongside a rise in community living, the 21st century has brought quality construction, sustainability, and quality of life to the forefront of social housing design.

“Australia’s commitment to and funding for social housing stock is limited. But by 2037, Australia is estimated to have 1.1 million people seeking social housing. Professor of architecture and head of the University of NSW’s school of the built environment, Philip Oldfield, says that for an investment in social housing to match cosmopolitan cities like Paris or Barcelona, more housing of quality needs to be built.

“ ‘Architects are trained in this … so when they’re given the opportunity to do it well, Australian architects will create as good a housing as anywhere else in the world,’ he says. ‘At the moment, the system, with few exceptions, doesn’t give them that creative opportunity to deliver … the kind of world class social housing we would love to see.’

“While Australian not-for-profits are building design-led affordable housing for low to middle income earners, government-funded social housing for those on waitlists is lacking. Oldfield says organizations like Nightingale Housing are pioneers in built-to-rent housing, with 20% of apartments assigned to community housing providers for those most in need. But examples like Sydney’s Sirius building, previously owned by the state government, show that Australia needs more purpose-built social housing to cater to demand and match international standards.

“ ‘In conventional market-led housing, you build for the people who purchase the house … so you don’t consider as much the energy bills that are going to accumulate over time,’ he says. ‘With social housing, you’re not trying to create a profit so you can consider things like the life cycle costs for housing in a much more significant way.’ …

“Social housing in Denmark is available to anyone, regardless of income. Highly regulated to ensure quality construction, social housing accounts for about 20% of all housing stock in Denmark. In 2013, global architecture firm Bjarke Ingels Group was commissioned by Lejerbo, a Danish organization building housing for those in need, to design ‘Dortheavej’ – a social housing block in Copenhagen.

“Bjarke Ingels’ ‘winding wall’ of social housing has 66 units for low-income citizens, with a small balcony and floor-to-ceiling windows in each.

“ ‘The stacking of prefabricated elements consisting of two kinds of stacked modules, which are repeated to create the characteristic checkered pattern,’ says Kai-Uwe Bergmann, partner at Bjarke Ingels. ‘By gently adjusting the modules, the living areas open more towards the courtyard while curving the linear block away from the street to expand the sidewalk into a public square.’

“The stairwells allow for the units to be filled with daylight, and views of the neighboring green space. Pathways through the site give access to the street. The apartments themselves range from 60 to 115 sq m [~646 to ~1200 square feet], but with open plan designs, space within the units themselves is flexible.”

Read housing stories from Mexico City, Paris, Barcelona, Los Angeles, and Vienna at the Guardian, here; no paywall. You’ll appreciate the variety of approaches around the world and enjoy some great photos.

Making Home Home blog, looking at you!

Photo: Claudia Gooch, avicultural warden, Pensthorpe.
Gertrude the flamingo produced her very first egg at age 70.

The miracle baby of a 70-year-old flamingo make me tired just thinking about it.

Cathy Free writes at the Washington Post about Gertrude the flamingo and the surprise she gave the staff at her nature preserve.

“When the greater flamingo reached age 70 last year, it was a safe conclusion that she would spend the rest of her life as a grand-auntie among a flamboyance of 63 other flamingos at the Pensthorpe nature reserve in Norfolk, England.

“ ‘The average flamingo lives for 30 to 40 years in the wild, so Gertrude is quite unique,’ said Ben Marshall, manager of the reserve. ‘She’d just been unlucky in love and had never found a boyfriend.’

“That changed last month to the surprise of Marshall and other bird keepers at Pensthorpe.

“In late April, they noticed that Gertrude — normally shy and not one to cause a kerfuffle in her flock — was suddenly flirting with Gil, 37, a male flamingo about half her age.

” ‘She and Gil were giving each other wing salutes, bowing to each other, and displaying some of the other 136 different courtship and mating dances that flamingos have,’ said Marshall, 31. …

“The next surprise came in early May, when one of the flamingo keepers noticed that Gertrude had made a volcano-shaped nest out of mud and was sitting on an egg — the first one she had ever laid, according to caretakers at Gertrude’s previous bird refuge who advised the Pensthorpe staff, Marshall said.

“ ‘Our entire team was amazed — Gertrude and her egg were the talk of the reserve,’ he said. …

“The greater flamingo can start breeding at about age 5 and does not breed more than once a year. A male and female will bond for mating, then split up after breeding season. …

“It takes 26 to 31 days for an egg to hatch, and Gertrude dutifully sat on her egg for about 10 days, taking breaks only to get food and water. But in mid-May, the septuagenarian bird abandoned her egg, probably because it wasn’t viable, Marshall said.

“ ‘It could also be that at her advanced age, she decided it was just too much for her,’ he said. ‘Although it was a little sad for us, knowing the egg wouldn’t hatch, it was still a remarkable win for Gertrude,’ Marshall added. ‘She made the call herself not to incubate the egg, and she was able to simulate those maternal instincts ingrained in flamingos and experience something completely new.’ …

“It is unusual for a flamingo to have longevity like Gertrude’s, but it isn’t unheard of. Betty, a matriarch flamingo at the National Zoo, was 67 when she died in 2022, and a flamingo named Greater died at age 83 in 2014 at an Australian zoo. She still holds the record as the world’s oldest flamingo.

“Marshall said he wouldn’t be surprised if Gertrude were to break that record someday. ‘She’s quite sprightly and healthy, and she’s very friendly with the other flamingos,’ he said, noting that Gertrude is back to hanging out with younger females while they sit on their nests. …

“The birds are all greater flamingos — among the most widespread varieties of the species, with about 680,000 living in the wild in Africa, India, the Mediterranean and the Middle East, according to World Population Review.

“ ‘We have about 20 eggs at the moment, and one of them hatched a few days ago,’ Marshall said. ‘Every egg isn’t always viable, but we’re hopeful.’

“Even though Gertrude won’t have the experience of hatching her own egg, she will fill in as a protective babysitter for the other hatchlings — something she has done every year for decades, he said.

“ ‘She leads a laid-back life, but she still takes a turn teaching the chicks how to get food and other key skills,’ Marshall said. ‘She always works with the other flamingos for the good of the group.’ ”

More at the Post, here.

Photo: Tom Waddington via Times Now.
Tom Waddington was surrounded by pilot whales as he rowed solo from Newfoundland to England.

I’ve been on a couple whale watches with family members, and I think there are few things more exciting than seeing whales in their natural environment. In today’s story, a man who sought excitement by rowing from Newfoundland to England may have gotten a little too much from some curious pilot whales.

Bill Chappell reports at NPR, “Tom Waddington is on a quest to row across the Atlantic Ocean all by himself — but [in July], he found plenty of company at sea, when a pod of pilot whales thronged around him. They followed him for hours, growing from a few playful animals to hundreds of large creatures. …

“The whales popped their heads above the surface and seemed to play together — a gam of whales, gadding about — as Waddington, who is rowing some 2,000 nautical miles from the Newfoundland coast to Penzance, in the United Kingdom, watched in amazement.

“ ‘This is so cool,’ Waddington said as he took a video of the whales’ antics. With a laugh, he added, ‘I love it, but I’m scared they’re gonna hit my rudder.’

“Waddington emerged unscathed — but a little shaken by the risks mammals weighing thousands of pounds can pose to his boat and equipment on an unsupported solo trip.

“ ‘They were just playing and going under the boat and I was taking videos,’ he said on Facebook and Instagram, describing hundreds of whales around him. Then one of the whales slammed into the side of his light boat.

“ ‘And I was like, Oh my God. And suddenly it turned from David Attenborough into Moby Dick. And I was really scared.’

“Waddington’s team on land believes the playful mammals are long-finned pilot whales, which the National Oceanic and Atmospheric Administration says are known to live in the North Atlantic and ‘are very social, living in large schools of hundreds of animals separated into close-knit pods of 10 to 20 individuals.’ …

“When it came time to take leave of his visitors, Waddington says he wasn’t sure how to do that. He tried shouting a bit, and splashed his oars. He veered north — but the whales followed, and for more than two hours, it seemed more whales kept showing up.

“Waddington, who works as a ski instructor, is rowing across the ocean for a fundraiser benefiting Mind, the British mental health charity led by the actor Stephen Fry. Waddington estimates that more than 1,000 whales swam with him. For advice, he called his coach, Charlie Pitcher (who has himself rowed across the Atlantic).

“ ‘He was like, the best thing to do is, be quiet and still — which is exactly the opposite of what I did’ earlier, he said.”

Check out the map of Waddington’s transatlantic journey at NPR, here.

Photo: Popi Sibiya.
Blogger Popi Sibiya didn’t see herself in any travel writing about Africa and decided to write from a female traveler’s point of view. Here she is in Matadi, Congo.

We all know that a lot of things in our world have historically been male-oriented. Medical research, for example. As women step up to correct imbalances, that sort of bias is being corrected. Today we learn about online travel influencers who are providing a fuller picture of where and how to travel. Safety is one thing that might be more of an issue for women.

Ayen Deng Bior reports from Senegal for the Christian Science Monitor, “Last year, South African travel blogger Popi Sibiya found herself cruising the canals of Ganvié, a village on stilts in the middle of a lake in Benin. As she sat in the back of a wooden canoe, she pulled out her smartphone and began broadcasting the experience to her 40,000 Instagram followers. …

“Ms. Sibiya is a former kindergarten teacher who has spent much of the last two years crisscrossing the African continent on public transportation – and now has over 100,000 followers. She is part of an emerging group of young African women travel bloggers who are using their social media platforms to redefine what adventure travel looks like in Africa – and who gets to experience it. They are pushing back on the stereotype that travel on the continent is the exclusive domain of khaki-clad Europeans on safari or sunburned Americans sipping cocktails on Zanzibari beaches – and inviting their mostly African audiences to do the same. 

“African travelers ‘are starting to prioritize fun and adventure’ on their own continent, says Ms. Sibiya, whose followers are mostly well-off South Africans used to traveling to Europe, the Middle East, and Asia for their vacations. On her account, ‘they see that we also have beautiful beaches; we don’t have to go to Thailand,’ she says.

“Each year, African countries clock more than 80 million visitors, and the industry generates about 25 million jobs, according to the World Travel & Tourism Council, an industry advocacy group. 

“Still, African countries are rarely featured on global ‘where to visit’ lists – at least outside stock-standard international favorites like Morocco, Mauritius, South Africa, and Egypt. 

“Ordinary travelers with large social media followings are filling that void, says American travel journalist Rosalind Cummings-Yeates, who has traveled extensively in the region and often uses travel influencers to help plan her trip. 

“ ‘We don’t have to rely on traditional media [anymore],’ she says. Instead, would-be travelers can scroll the feeds of influencers like Ebaide Joy, Instagram alias @go_ebaide, a Nigerian adventure traveler currently riding her motorcycle from Nigeria to Kenya. Or like Ess Opiyo (@ess_opiyo), a Kenyan travel guide with a passion for offbeat destinations. …

“Margot Mendes has seen firsthand the power of social media to transform how people travel in the region. She lives in Dakar, Senegal, where she works in marketing. She puts the same skills to use on her Instagram account, @thedakardream, where she shares her life and travels with her 33,000 followers. 

“Her grid features scenes from bustling open-air markets, peach-colored sunsets overlooking cerulean hotel pools, and glimpses of local cuisine including baguette sandwiches and spiced rice dishes. 

“Ms. Mendes started the account five years ago, when she moved back to Dakar from Paris, where her Senegalese and Bissau-Guinean family had migrated when she was a child. Originally, the page was just to show her worried friends and family in Europe how much Dakar had transformed in the decades since they emigrated. 

“ ‘It was just me being curious about my culture and going to places to discover my own culture,’ she says. 

“But soon her page began to gain an audience beyond people she knew. She says her new followers – most of them African – told her they loved seeing their own continent branded as a glamorous travel destination for the first time. 

“Ms. Mendes’ account has the feel of a glossy travel magazine, but for many young African women documenting their travels, it is important not to shy away from the continent’s struggles – or the challenges that make travel there tricky to navigate. 

“Recently, for instance, Nigerian British travel blogger Pelumi Nubi completed a 10-week road trip from London to Lagos. … Ms. Nubi documented the journey for more than a quarter million people on her Instagram account, @pelumi.nubi. Her posts bounced between travel highs – like when Lumi the Peugeot’s wheels touched African soil for the first time in Morocco – and lows – a video of Lumi’s crumpled hood after she slammed into a parked car on a dark road in Ivory Coast. 

“ ‘You have the people who are trying to paint [Africa] as a war-torn place, a dangerous place, and then you have the people who are trying too hard to sell it as this paradise,’ says Ms. Sibiya, whose page cheerfully records her travels in rickety buses she describes as ‘hearses’ and doesn’t shy away from her brushes with poverty, bad roads, and chaotic border crossings. …

“Ms. Sibiya says her audience is mainly other South Africans, many of whom tell her they are experiencing the continent’s beaches, safaris, fancy hotels, and restaurants for the first time through her account. For many, the issue is partly cost. Counterintuitively, flights between African countries are often more expensive than flights from the continent to international travel hubs like Dubai in the United Arab Emirates or New York. And instead of high speed trains or rental cars, overland travelers often have to choose between taking rundown public transport or paying up for a private car and driver. 

“Ms. Sibiya funds her travels through paid subscriptions to her Instagram account, which cost 140 rand (about $7) a month and give access to more detailed and frequent travel updates than her public page. Currently, she has around 1,200 subscribers.”

More at the Monitor, here. No firewall. Subscriptions are reasonable.

Photo: Melanie Stetson Freeman/CSM Staff.
Folk musician Jake Xerxes Fussell performs at Club Passim, one of his favorite venues, in Cambridge, Massachusetts.

My son has a goofy impression of who I was in the 1960s. He describes some kind of hippy personality, which I never had. I was more of a folkie — in the sense that I loved folk music and followed that crowd, went to those concerts.

I don’t think folk music has been cool with young people for many years, but I was interested to read at the Christian Science Monitor about one young musician who is keeping it alive and moving it forward. Simon Montlake has the story.

“In the summer of 1993, Fred Fussell, a folklorist and museum curator in Columbus, Georgia, packed his family van for a monthlong road trip to document the crafts and traditions of Native American tribes. He brought along his son, Jake, who had just finished fourth grade and was riding shotgun, where he kept a daily tally of roadkill.

“That summer, the Fussells visited artisans from Native communities in Oklahoma, Texas, and Louisiana, those whose forebears had been expelled from the Southeast in the 1800s but kept alive their spiritual ties to the land. Jake took charge of a Sony tape recorder. He taped his father’s interviews, learning to ‘sit back and shut up’ while people talked, which ‘is the key to good documentation,’ says the elder Mr. Fussell.

“His young son also recorded performances, which included music. … Jake liked vernacular arts and crafts, and he showed an early talent for drawing. But what lit his fire were the songs he heard at folk festivals his father put on in Georgia, songs that had been passed down from generation to generation and performed like the oral traditions of Homeric verse. …

“ ‘I always knew I would play music because music was the thing that was a constant source of joy,’ the younger Mr. Fussell says today.

“His family’s circle of friends included musicians, from blues singers to bluegrass pickers, and veteran collectors of traditional songs who never stopped looking for more. … From this unusual upbringing, Jake Xerxes Fussell has emerged as one of the most singular interpreters of folk music and all its tributaries. …

“ ‘He’s a real-deal folk singer. And there’re not very many of those,’ says Eli Smith, organizer of the Brooklyn Folk Festival. …

“From spirituals and jigs to fiddle tunes and sea chanteys, folk music is part of America’s cultural bedrock. It has long braided commercial music – from the folk revivalists of the 1950s and 1960s, who include Pete Seeger and Bob Dylan. …

“Some traditional songs arrived with the European migrants who brought their fiddles and hymnbooks to Appalachia and other regions. Others sprang from the Black experience of enslavement and freedom. …

“Mr. Fussell draws on that inheritance to create music that sounds both contemporary and timeless. His creative process carries him down rabbit holes of archival research and experimentation with musical motifs, even while tinkering on his guitar at home or on tour.

“He adds melodies when none exist and transposes verses, acting as both a caretaker and a remodeler of songs. …

“He started as a toddler on pots and pans, banging out rhythms at home. Then he got a drum kit and was ‘immediately good,’ says Coulter Fussell, his older sister. … From drums, Mr. Fussell moved to the upright bass, which he learned at school from a teacher who played in a bluegrass band. When he was 13 years old, his teacher asked him to take over as the bassist at a weekly gig at a barbecue restaurant.

“ ‘Everybody went there on a Friday night,’ says Ms. Fussell, who is now a quilter in Water Valley, Mississippi. ‘The band would play, and it was these scruffy grown men and then little Jake up there.’ …

“He was also listening to rock and hip-hop on the radio and going to shows, including of Georgia’s R.E.M., whose lead singer, Michael Stipe, had studied drawing with Mr. Rosenbaum at the University of Georgia. But rock bands lacked the raw passion and poetry of the traditional songs he heard growing up. ‘None of that stuff really spoke to me in any real deep way,’ he says. 

“Mr. Fussell also fell hard for the music of Mr. Dylan, whom Mr. Rosenbaum had known in Greenwich Village in the early 1960s. But it was another local musician and family friend, Precious Bryant, who would influence Mr. Fussell’s rhythmic guitar picking and give him a taste of life on the road.

“Since Ms. Bryant, a country-blues artist, didn’t drive, it was Mr. Fussell’s mother, Cathy, who would drive her to shows. Her eager son began to take that role once he got a driver’s license. He would also visit Ms. Bryant at her rural trailer home, bringing along his guitar. ‘She would play, and I would play along,’ Mr. Fussell says. 

“ ‘Jake always liked older people. He liked listening to older people. He liked hanging around with older people,’ says his mother, a retired English teacher and quilter.”

Lots more at the Monitor, here. No paywall. Tiny Dest Concert at YouTube here.

Photo: Jake Xerxes Fussell
As a youngster, Jake Xerxes Fussell soaked up the wisdom of older generations. Here he is jamming with George Daniel, a blues musician, in Macon County, Alabama, around 1996.

First Starring Role at 94

Photo: Magnolia Pictures/AP.
Actor June Squibb with Richard Roundtree in the movie Thelma. 

I’ve been wanting to see this movie since I first read about it, but I have trouble accessing movies these days. Some get shown on the tv network in our retirement community, but we may not get this one for a while as it’s not available yet.

What’s cool about Thelma is that the lead actor is 94 and also that she has glowing reviews.

Fiona Sturges writes at the Guardian, “There’s a new action hero in town. In Josh Margolin’s wildly entertaining Thelma, an elderly widow is duped out of $10,000 by a scammer masquerading as her grandson. Realizing her error, she resolves to track him down, retrieve her cash and dispense some rough justice.

If summer blockbusters are about the action, then Thelma has it all: guns, explosions and mobility scooter-based stunts.

“When the 94-year-old actor June Squibb read the script, with its mischievous nods to Mission: Impossible, she knew she had to do it. She also knew she would do lots of the stunts herself. ‘I have more security in my physicality than a lot of people do, and I thought riding around on that scooter was going to be great fun,’ she beams. …

“She says she is in excellent health, even though, ‘I should be doing pilates more than I am, because I’ve had such a crazy schedule. I was doing it for one hour a week with a trainer, and it makes a huge difference. I’m in good shape.’

“Extraordinarily, Thelma is Squibb’s first ever starring role. Until now, she has been viewed as a character actor, someone you’re more likely to know by face (or by voice: she is Nostalgia in Inside Out 2) than by name. She has spent decades quietly propping up lead actors playing their wives, mothers and grandmothers in films such as Scent of a WomanAbout Schmidt and Palm Springs. 

“While Thelma is primarily a comedy, it is underpinned by a more serious theme: the way society treats its elderly. We see Thelma’s well-meaning family talking about her when she’s still in the room and pondering whether to move her into a home. … But she is happy to report that, in her 10th decade, she has had nothing but love and respect from her family and has retained her independence. She lives in an apartment complex in the San Fernando Valley. … ‘And I have a wonderful assistant without whom I couldn’t keep working,’ Squibb says. ‘I have two cats and I make sure that, first thing in the morning, they’re taken care of. And then I have most of the day to myself if I’m not filming. I have no trouble getting around, though I do get tired. Tiredness is real when you get to my age.’

“Yet Squibb has rarely been in such demand. She credits her increased workload to a ‘greater interest in the aging process. There’s more work for people my age than ever before. … When I was a young, good-looking actor in New York, I was constantly aware that people looked at me as an object.’ She and her contemporaries had their coping mechanisms, ‘but I got mad too. When #MeToo happened, all of us in our 80s were amazed. We were, like, “Oh my God, we’ve lived this our whole lives.” ‘ …

“Squibb learned her craft in the 1950s at the Cleveland Play House, where she met Jack Lee, who went on to become a leading musical director on Broadway. ‘He decided I had to sing. So, I began singing and I did all the comedienne roles in all the musicals. … My first 20 years in New York were all musicals.’ Then came a gear-change after she met her second husband, Charles Kataksakis, an acting coach. Kataksakis thought she had it in her to play more serious roles (he and Squibb were together for 40 years until his death in 1999). …

“Squibb was 61 when she made the move from stage to screen. … ‘I went to my agent and said, “I think I should be doing this too.” The next week I was auditioning for Woody Allen.’ That film was Alice, a romcom starring Mia Farrow in which Squibb played a maid. The casting director, Ellen Lewis, took an instant shine to Squibb and set her up for a meeting with Martin Brest, who cast her in his new Al Pacino vehicle, Scent of a Woman. …

“After that came roles in TV shows . … [Alexander] Payne brought her on board for 2013’s Nebraska, in which she played the abrasive and unfiltered Kate, wife of Bruce Dern’s delusional Woody. The role earned her an Oscar nomination for best supporting actress. …

“Squibb just wrapped another film, playing the lead in Eleanor the Great, about a 90-year-old who moves back to New York after decades in Florida. It is the directorial debut of Scarlett Johansson, who Squibb describes as ‘so bright, so smart.’ Being No 1 on the call sheet, she says, means ‘going into it with a feeling of responsibility that you don’t have with a supporting role. I always felt what I did was important. But as the lead you’re kind of responsible for the whole film.’ ”

More at the Guardian, here. Have you seen this movie yet? (Looking at Laurie, who seems to see everything.)

When Olive Oyl Danced

Photo: Sharon Kinney via ArtsMeme.
The recently deceased actress Shelley Duvall dancing as Olive Oyl in director Robert Altman’s Popeye (1980). 

One of the films that the late, versatile actor Shelley Duvall was best known for was her wistful interpretation of a cartoon character — Popeye’s girlfriend Olive Oyl.

Website ArtsMeme says, “Duvall (1949-2024), who recently passed away, led a long and memorable career primarily as a character actress, but in this case she played a full leading role countering Robin Williams as Popeye. …

Sharon Kinney … the creator/choreographer/coach of Shelley’s special dance, tells us that Duvall did her own singing in the number. She was not dubbed, which would be common in this circumstance.

“The dance world reveres Sharon for having been one of choreographer Paul Taylor‘s original dancers in his iconic dance company. But since retiring from performance, she has led a fruitful career as an instructor at Cal State Long Beach, as a filmmaker and indeed as a dance-film choreographer/coach living in Los Angeles. Sharon shared with Facebook friends her memories of working with the lanky Ms. Duvall in staging a solo song ‘He Needs Me,’ in the Altman film.

“Sharon reminisced, ‘She was so professional, so invested and really wanted to personify Olive Oyl and her love for Popeye! She did great things before with Altman and had just finished The Shining with Stanley Kubrick! She then went on to do some other great work with Faierie Tale theater!’

“Shelley Duvall’s inscription to Sharon Kinney on the glossy photo [above] is good natured. ‘Think I’ll ever make New York City Ballet?’ she mused. Dance ‘people’ will recognize the innate beauty of her pose that is rooted in the cartoon version of OO as gangly. Even in her clodhopper shoes, this Olive Oyl is luscious.” Check out YouTube videos of Duvall singing “He Needs Me” and “He’s Large,” in which she’s defending an early attachment to the character Bluto.

In a comprehensive reminiscence after her death, Owen Gleiberman at Variety notes, “In Robert Altman’s Popeye, an early visionary/cracked comic-book musical. With goldfish eyes, pursed lips, and a Victorian knot of hair set off by her dainty clenched-fist pose of adoration, Duvall gave a performance as Olive Oyl that was so perfect it was almost a joke.

“As an actor, Duvall could seem naturally stylized, which made Olive a role she was born to play. Yet within all that, she found a reservoir of heart. The highlight of Popeye might be Duvall’s performance of ‘He’s Large,’ in which Olive explains her devotion to the oversize Bluto with a girlish defiance that’s indelible.

“And indelible, make no mistake, was the word for Shelley Duvall. She imprinted her presence upon you; once you’d seen her, you couldn’t forget her. It was Altman who first had that reaction. In 1970, a few months after MASH came out and made Altman the hottest director in Hollywood (a status that wouldn’t last long — he was far too independent an artist), he was shooting his next feature in Houston, a fantasy comedy called Brewster McCloud, when he met Duvall at a party and, encouraged by a handful of crew members, decided to cast her in the movie.

“She’d had no experience as an actor. What they were all reacting to was what you can only call Duvall’s being — the eyes that were like something out of anime, her rabbity two front teeth, and a quality that could make you laugh or break your heart: the softness of her gaze, the tender passive radiance with which she looked out at the world.”

More at ArtsMeme, here, amd at Variety, here.

Alcohol-Free Comedy Club

Photo: SoBar Comedy.
SoBar Comedy worked in collaboration with Dray Drinks, Boston’s first non-alcoholic bottle shop to assemble its lineup of non-alcoholic beers, wines and mocktails.

We’ve featured articles about watering holes that ban cellphones (here, for instance) so people can socialize without distractions. Turns out, there are also people who hate all the alcohol that flows at comedy clubs, people who would really like to enjoy the comedy. Enter, Boston’s SoBar.

WBUR Radio’s Elijah Nicholson-Messmer reports, “When John Tobin started working as a door person at a local comedy club in the early ‘90s, his boss asked him how he liked the work.

“ ‘I love being in the comedy business,’ Tobin said.

“But his boss Dick Doherty, a legend in the city’s comedy scene who drank and drugged his way through the ‘60s, ‘70s, and early ‘80s, was quick to correct him.

” ‘You’re not in the comedy business,’ Tobin recalled Doherty saying. ‘You’re in the alcohol business.’

“Over three decades later, that business has started to change. Younger adults are drinking less than they did 10 or 20 years ago and show producers like Tobin and his business partner Norm Laviolette are taking notice.

[In June] they launched SoBar Comedy, the country’s first sober-curious comedy club [to host] bi-weekly improv and stand-up shows, located in Faneuil Hall.

“Tobin and Laviolette own and operate some of the biggest comedy clubs across New England, including Laugh Boston and Improv Asylum. Laviolette said they started noticing the trend at their other comedy clubs, where food and beverage sales form a cornerstone of the business model. The pattern soon became clear — younger audience members were increasingly forgoing beers and cocktails when going out.

“ ‘As we started to watch we’re like, “Well, geez, maybe there’s an opportunity . . . to do something that speaks directly to that mindful drinking, sober-curious [mindset],” ‘ Laviolette said. …

“On opening night at SoBar, some folks were excited to sample the non-alcoholic beers and mocktails on offer, crafted in collaboration with Dray Drinks, Boston’s first non-alcoholic bottle shop. …

“Performing comedy for an all-sober audience is a daunting task for some comedians, but for Corey Manning, who headlined and hosted SoBar’s inaugural show, having an alcohol-free night of comedy comes with plenty of upside.

“ ‘One of the things that’s different about a sober show than the regular comedy show is that I didn’t have to deal with a drunk audience member, which is always a good thing not to have to do,’ Manning said.

“This December, Manning will celebrate 30 years of sobriety from drugs and alcohol. Now, he helps others as a substance misuse counselor. But in the early years of his sobriety, performing in comedy clubs across the country made that journey challenging. …

“Crowds and performers expect alcohol at comedy clubs like they expect popcorn at a movie theater, Manning said. But for audiences and comedians who want a fun night out without the drinking, that relationship can be far from ideal. Over the years, Manning’s sobriety has helped other comedians as well.

“ ‘Because I have been consistently the person that didn’t drink at comedy shows, it actually has inspired other comedians who are having difficulties with drinking and stuff like that to not drink,’ Manning said. ‘And one of the things that I also started trying to do is work that material into my set, because sometimes I hit home with someone in the audience.’

“Other comedians like Mary Spadaro, who performed at SoBar’s opening night, make an asset of their sobriety, flipping what could easily be a heavy subject into fresh comedy material.

“Decades after Tobin got his start as a comedy club door person, his old boss’s words still ring true for much of the industry today. Many comedy clubs across the country are still very much in the alcohol business. But for Tobin and Laviolette, it’s all about putting the comedy first.”

Uh-oh. I found that the club is on hold until “early 2025.” I hope it succeeds long term. With two successful clubs under their belts, I think the owners know what they’re doing. Maybe summer was just not the best time to launch in Boston. Do you think a sober comedy club could thrive where you live?

More at WBUR, here.

The Play in the Prison

Photo: A24.
From left, Paul Raci, Sean San José, Colman Domingo, Sean “Dino” Johnson, and Mosi Eagle star in Sing Sing.

There are certain kinds of stories that always get my attention, and I’m grateful when other people find the same things interesting. Things like climate change, entrepreneurs, immigration, the kindness of strangers, housing, and life after prison. Just to name a few.

So you may be sure I liked today’s story about a theatrical production at a prison and the movie made about it.

Stephen Humphries writes at the Christian Science Monitor, “The world’s most unpredictable play only had one performance. It was staged inside a prison. The comedy, Breakin’ the Mummy’s Code, is about a man from ancient Egypt who embarks on a time travel adventure. Along the way, he encounters Robin Hood, Roman gladiators, cowboys, Hamlet, pirates, and – because why not? – Freddy Krueger from The Nightmare on Elm Street. It included a Shakespeare soliloquy – plus dance numbers. 

Breakin’ the Mummy’s Code was created by incarcerated men inside Sing Sing Correctional Facility in New York. It received a standing ovation in Cellblock B.

Now, a new movie explores the play’s legacy: the healing effect it had on its participants.

Sing Sing, directed by Greg Kwedar, reenacts the making of Breakin’ the Mummy’s Code. It even stars one of the play’s original actors. Already generating Oscar buzz, the movie … chronicles a budding friendship between two incarcerated men. Thematically, it’s about identity. The characters live in a hypermasculine environment that venerates bravado, toughness, and aggression. But the amateur actors come to discover that empathy, vulnerability, and tenderness are strengths, not weaknesses. The movie makes a case for the rehabilitative impact of arts programs inside prisons.

“ ‘I was a witness to it,’ says Mr. Kwedar, who taught an acting class in a prison with his creative partner, Clint Bentley, as part of their research. ‘I think the greatest teacher is what it’s like to step into another character and move in their shoes and step outside of yourself. That is a process of empathy’. … It gives you a prism to look at all the relationships in your life and to see perspective.’ …

“[Mr. Kwedar] spent seven years developing Sing Sing with Rehabilitation Through the Arts (RTA), the nonprofit that runs the theater program.

“There are dozens of similar theater projects across the United States. Perhaps the most well-known is Shakespeare Behind Bars. That program, which operates in three prisons in Kentucky and in one in Michigan, boasts a 6% recidivism rate for those who have participated in its productions. The Monitor was the first publication to write about that program. Then it became the subject of an award-winning 2005 documentary, Shakespeare Behind Bars

“ ‘Prisons function on shame and guilt,’ says Shakespeare Behind Bars founder Curt Tofteland, who has longtime collegial connections with the RTA. ‘But shame and guilt doesn’t change behavior. Why? Because shame and guilt doesn’t change thinking.’ …

“When change does happen, it’s a result of the actors exploring questions that the scripts raise, including ‘Who am I?’ 

“The two men at the heart of the story – John ‘Divine G’ Whitfield (played by Colman Domingo) and Clarence ‘Divine Eye’ Maclin (who portrays himself) – had to grapple with those existential questions. As the film unfolds, the audience learns that Mr. Maclin was one of the most feared men in the prison. Acting freed him to shed the gangster identity he’d clung to. The program helped him learn to express emotions. He even cried onstage. Now, he’s a natural performer on screen. …

“ ‘This is a movie about the landscape of the human face,’ says Mr. Kwedar. ‘It’s about drawing close to someone and looking them in the eyes and hearing their stories, and to know their names. And when you do that, it’s impossible to see that person as anything less than human.’

Sing Sing was filmed inside a recently decommissioned prison in New York. Its cast of established and first-time actors includes 13 RTA alumni. The production employed community-based filmmaking. For starters, it had a nonhierarchical pay structure. Everyone on set … was paid the same rate. …

“Last month, the director screened the movie inside the Sing Sing facility itself. He calls it the most profound theatrical experience of his life.”

More at the Monitor, here. No paywall. Subscriptions encouraged.

Art: Charlotte Holden.
A watercolor by Charlotte Holden, one of the artists in the Bartels Science Illustration Program at the Cornell Lab of Ornithology in Ithaca, New York, was used on the 2023 mug sent to members of the Ornithology Lab.

Our family has a lot of bird mugs. You may have some, too, especially if you have supported any environmental organization. As important as it is to protect creepy crawly insects, say, or an ugly fungus, those things don’t make great tea cups. Everyone, however, loves birds.

Today’s story is about the contemporary artists behind the bird art on your holiday cards, calendars, and coffee mugs.

Stephanie Hanes wrote at the Christian Science Monitor, “When international researchers recently discovered that a population of hummingbirds in South America was actually two distinct species – a finding made after much trekking and tracking and genome sequencing – they called on Jillian Ditner to help explain their work.

“Ms. Ditner is a bird illustrator at Cornell University’s Lab of Ornithology. And in her rendering, she could highlight the distinctions between Patagona gigas, the southern giant hummingbird, and Patagona sp. nov., the new northern giant hummingbird. …

“The birds look nearly the same. But look closely, and the plumage on the right has a bit more reddish-brown saturation. There is more distinct coloration around the northern’s neck; a beak that extends just a bit longer. 

This is one of the skills of the bird illustrator. More so than a photographer, Ms. Ditner explains, these artists can accentuate and highlight differences in species.

“They can exaggerate just a bit the ideal features that help reveal an animal’s distinct parts; play with that boundary between reality and understanding. 

“ ‘Photographs are always going to be limited,’ she says. ‘With scientific illustrations – you can take endless angles of a photograph and put them in one picture … there’s the ability to condense a lot of detail into one visual.’

“Ms. Ditner runs Cornell’s unique Bartels Science Illustration Program, a year-long fellowship for bird artists that has seen skyrocketing popularity since its founding two decades ago. (This year, Ms. Ditner received 215 applications for the solo spot; that’s up from a few dozen, she says, when she started in her position six years ago.) The Bartels program is part of Cornell’s Lab of Ornithology, which many birders in the area just call ‘the Lab.’ …

“At a time when a global library of digital images lives in one’s pocket, when attention is fought over and commoditized, there is something precious about the act of deep observation and the hand-drawn beauty that science illustration requires.  

“The bird artists at the Lab are specialists in that larger field of science illustration, a profession that includes everything from botanical sketches and renderings of the solar system to medical drawings and wildlife art. 

“Despite advances in both photography and artificial intelligence, the scientific illustration field is growing, say those who work in the field. According to The Franklin Institute, Philadelphia’s renowned natural history museum, new technology has only increased the need for science illustrators, who can help bring either nanoparticles or galaxies to a comprehensible scale; a handful of colleges have science illustration programs.

“Charlotte Holden, an artist and longtime bird lover, was one of the Bartels Illustrators in 2002. During her time in the program, Ms. Holden worked with researchers, studied bird anatomy, and honed her realism style by combining bird images with illustrations of their native flora. Like many who go through the program, her work appeared in Cornell’s Living Bird magazine, on posters, and on other materials. …

“Although Ms. Holden has been watching birds ever since she was a child outside of New York City, it was only by drawing, she says, that she began to recognize details like a bird’s different feather groups, or unique colors. 

“It’s like life, she says. It’s hard to see the details when everything is in motion. Ornithological art slows us down. It has a long history that blurs science and art and wonder; a moment to pause and appreciate the world around us. …

” ‘Art in itself is just very inspiring,’ says Maria Klos, a 2023 Bartells Illustrator who now lives in California. ‘It seems to always draw people in.’  

“One of Ms. Klos’ projects during her time in the program was to draw a pair of life-size American condor wings, which are now attached to one of the Lab’s exterior walls. Visitors can put their arms up against the image to see how their own ‘wingspans’ measure up; one more moment of art, bird, and human together.  

“Both Ms. Klos and Ms. Holden have continued their jobs as professional illustrators; both recently put on shows of their art and both say they are inspired to continue drawing nature professionally. The Bartels program has opened doors to new professional contracts, they say, but also a new way of seeing the world.

“ ‘It fosters a deeper connection to nature … when you just sit with it and observe it,’ Ms. Klos says. ‘You see things that you might have been overlooking for a long time, or might never have noticed if you didn’t sit down with it and draw it.’ ”

More at the Monitor, here. No paywall.

Photo: Jean Ogden via Wikimedia.
Navajo Churro sheep.

There’s a story at National Public Radio about the special relationship between a kind of sheep and the Navajo people, or Diné. Ayesha Rascoe hosts the NPR program, which you can listen here, if you prefer.

Ayesha Rascoe: For centuries, the lives of Navajo people have been intertwined with livestock — specifically, one particular breed of sheep they’ve relied on for meat and wool. The tribe is well known for weaving the wool of Churro sheep into colorful clothing and tapestries. Those weavings can fetch thousands of dollars from collectors, but they have far more than monetary value. Raising Churro sheep and weaving their wool is an important way Navajo people pass cultural knowledge from generation to generation. KSJD’s Chris Clements visited a Navajo Churro sheep celebration.

Chris Clements: Inside a crowded farmhouse on the edge of the Navajo Nation, weavers are demonstrating how to spin, dye and treat wool from Churro sheep, which they consider sacred.

Roy Kady: Hello. My name is Roy Kady. I am from Goat Springs, Ariz.

Clements: Kady, who’s in his 60s, is standing outside, wearing an ornate turquoise necklace, earrings, bracelets, and a white hat. He’s considered a master weaver, part of centuries of Navajo citizens who’ve carried on traditional beliefs that date back to the 1500s when Churro sheep arrived with early Spanish colonists.

Kady: I’m filling these big shoes that my mother wore as an agropastoralist.

Clements: Tyrrell Tapaha is Kady’s student and his grandson, who’s here at the event. …

“Tyrrell Tapaha: There’s always been weaving in my life, whether it be his work, my grandma’s work, or my great-grandma’s work. ..

“Kady: Tyrrell [says] I want to weave a human form. Do you have any ideas how I could do that? And so I just share with him. …

“Clements: Tapaha has been learning the tricks of the trade since he was very young. When he was only 8, Kady had him teach a class on the art of finger weaving at a nearby chapterhouse. … Tapaha knows that Kady’s teachings will live on with him.

“Tapaha: At least it’ll last my lifetime, you know? And I kind of hear that in how Roy talks about his contribution to the space is like him being an older person now and kind of seeing that handed off.

“Clements: After the morning’s presentations, it’s time for lunch. The weavers roast mutton, a Churro sheep they slaughtered earlier in the day. Participants of the sheep celebration gather around the grill, watching the fire hiss and sputter as the mutton cooks. It’s common for every part of the animal to be used. Nothing, not even its hooves goes to waste.

“In 1863, the U.S. military forced Navajo people to leave their ancestral homelands and relocate to an internment camp. It’s known as the Long Walk. … It almost led to the extinction of the Churro sheep.

“Navajo people were allowed to return home four years later. Some tribal members who’d managed to escape the Long Walk, kept some Churro alive. And today, thousands of Churro sheep live on or near the Navajo Nation.”

Read more about the sheep and the passing along of Diné culture at NPR, here.

Image: CNN.
When you see phrases like “intricate interplay,” a concept I illustrate with this CNN image, suspect AI. There are lots of other common usages to be alert to.

Hello, Word People. That is, People Who Are Fascinated by Words. When you do online searches in the future, will you know what words and phrases may indicate AI behind the scenes? Kyle Orlando has some answers at Ars Technica.

“Thus far, even AI companies have had trouble coming up with tools that can reliably detect when a piece of writing was generated using a large language model [LLM]. Now, a group of researchers has established a novel method for estimating LLM usage across a large set of scientific writing by measuring which ‘excess words’ started showing up much more frequently during the LLM era (i.e., 2023 and 2024). The results ‘suggest that at least 10 percent of 2024 abstracts were processed with LLMs,’ according to the researchers.

“In a preprint paper posted earlier this month, four researchers from Germany’s University of Tübingen and Northwestern University said they were inspired by studies that measured the impact of the Covid-19 pandemic by looking at excess deaths compared to the recent past. By taking a similar look at ‘excess word usage’ after LLM writing tools became widely available in late 2022, the researchers found that ‘the appearance of LLMs led to an abrupt increase in the frequency of certain style words’ that was ‘unprecedented in both quality and quantity.’

“To measure these vocabulary changes, the researchers analyzed 14 million paper abstracts published on PubMed between 2010 and 2024, tracking the relative frequency of each word as it appeared across each year. They then compared the expected frequency of those words (based on the pre-2023 trend line) to the actual frequency of those words in abstracts from 2023 and 2024, when LLMs were in widespread use.

“The results found a number of words that were extremely uncommon in these scientific abstracts before 2023 that suddenly surged in popularity after LLMs were introduced. The word ‘delves,’ for instance, shows up in 25 times as many 2024 papers as the pre-LLM trend would expect; words like ‘showcasing’ and ‘underscores’ increased in usage by nine times as well. Other previously common words became notably more common in post-LLM abstracts: The frequency of ‘potential’ increased by 4.1 percentage points, ‘findings’ by 2.7 percentage points, and ‘crucial’ by 2.6 percentage points, for instance.

These kinds of changes in word use could happen independently of LLM usage, of course — the natural evolution of language means words sometimes go in and out of style.

“However, the researchers found that, in the pre-LLM era, such massive and sudden year-over-year increases were only seen for words related to major world health events. …

“In the post-LLM period, though, the researchers found hundreds of words with sudden, pronounced increases in scientific usage that had no common link to world events. … The words with a post-LLM frequency bump were overwhelmingly ‘style words’ like verbs, adjectives, and adverbs (a small sampling: ‘across, additionally, comprehensive, crucial, enhancing, exhibited, insights, notably, particularly, within’). …

“The pre-2023 set of abstracts acts as its own effective control group to show how vocabulary choice has changed overall in the post-LLM era.

“By highlighting hundreds of so-called ‘marker words’ that became significantly more common in the post-LLM era, the telltale signs of LLM use can sometimes be easy to pick out. Take this example abstract line called out by the researchers, with the marker words highlighted: ‘A comprehensive grasp of the intricate interplay between […] and […] is pivotal for effective therapeutic strategies.’

“After doing some statistical measures of marker word appearance across individual papers, the researchers estimate that at least 10 percent of the post-2022 papers in the PubMed corpus were written with at least some LLM assistance. The number could be even higher, the researchers say, because their set could be missing LLM-assisted abstracts that don’t include any of the marker words they identified. …

“Papers authored in countries like China, South Korea, and Taiwan showed LLM marker words 15 percent of the time, suggesting ‘LLMs might … help non-natives with editing English texts, which could justify their extensive use.’ On the other hand, the researchers offer that native English speakers ‘may [just] be better at noticing and actively removing unnatural style words from LLM outputs,’ thus hiding their LLM usage from this kind of analysis.”

More at Ars Technica via Wired, here.