Juana Gutiérrez Contreras in her family’s workshop in Teotitlán del Valle, known for its hand-woven rugs and other textiles. The Gutiérrez family works to preserve traditional plant and insect dyes. Credit Adriana Zehbrauskas for The New York Times
TEOTITLÁN DEL VALLE, Mexico — As a child, Porfirio Gutiérrez hiked into the mountains above the village with his family each fall, collecting the plants they would use to make colorful dyes for blankets and other woven goods.
They gathered pericón, a type of marigold that turned the woolen skeins a buttercream color; jarilla leaves that yielded a fresh green; and tree lichen known as old man’s beard that dyed wool a yellow as pale as straw.
“We’d talk about the stories of the plants,” Mr. Gutiérrez, 39, recalled. “Where they grew, the colors that they provide, what’s the perfect timing to collect them.”
Gregarious and possessed of an entrepreneurial spirit, Mr. Gutiérrez is descended from a long line of weavers. His father taught him to weave as a child; he even wove the backpack he took to school.
In this small village near Oaxaca, known for its hand-woven rugs, he and his family are among a small group of textile artisans working to preserve the use of plant and insect dyes, techniques that stretch back more than 1,000 years in the indigenous Zapotec tradition.
Textile artists in many countries are increasingly turning to natural dyes, both as an attempt to revive ancient traditions and out of concerns about the environmental and health risks of synthetic dyes.
Natural dyes, though more expensive and harder to use than the chemical dyes that have largely supplanted them, produce more vivid colors and are safer and more environmentally friendly than their synthetic counterparts.
To be sure, natural pigments are not always benign. The plants they are extracted from can be poisonous, and heavy metal salts are often used to fix the colors to the fabric. The dyes fade more quickly from sun exposure than chemically produced colors, arguably rendering the textiles less sustainable.
But environmentalists have long worried about the damaging effects of the wide array of toxic chemicals — from sulfur and formaldehyde, to arsenic, copper, lead and mercury — routinely used in textile production.
Runoff from textile factories pollutes waterways and disrupts ecosystems worldwide. And long-term exposure to synthetic dyes — first discovered in 1856 by an English chemist, William Henry Perkin — has been linked to cancer and other illnesses.
“They are very toxic,” Mr. Gutiérrez said. “The more awareness you raise, the more artists are going to use natural dyes and stay away from heavily chemically dyed yarn.”
Well, we’re big rock singers We got golden fingers And we’re loved everywhere we go (that sounds like us) We sing about beauty and we sing about truth At ten-thousand dollars a show (right) We take all kinds of pills that give us all kind of thrills But the thrill we’ve never known Is the thrill that’ll gitcha when you get your picture On the cover of the Rollin’ Stone
Dr. Hook & the Medicine Show
From a loft in San Francisco in 1967, a 21-year-old named Jann S. Wenner started a magazine that would become the counterculture bible for baby boomers. Rolling Stone defined cool, cultivated literary icons and produced star-making covers that were such coveted real estate they inspired a song.
But the headwinds buffeting the publishing industry, and some costly strategic missteps, have steadily taken a financial toll on Rolling Stone, and a botched story three years ago about an unproven gang rape at the University of Virginia badly bruised the magazine’s journalistic reputation.
And so, after a half-century reign that propelled him into the realm of the rock stars and celebrities who graced his covers, Mr. Wenner is putting his company’s controlling stake in Rolling Stone up for sale, relinquishing his hold on a publication he has led since its founding.
Mr. Wenner had long tried to remain an independent publisher in a business favoring size and breadth. But he acknowledged in an interview last week that the magazine he had nurtured would face a difficult, uncertain future on its own.
“I love my job, I enjoy it, I’ve enjoyed it for a long time,” said Mr. Wenner, 71. But letting go, he added, was “just the smart thing to do.”
The sale plans were devised by Mr. Wenner’s 27-year-old son, Gus, who has aggressively pared down the assets of Rolling Stone’s parent company, Wenner Media, in response to financial pressures. The Wenners recently sold the company’s other two magazines, Us Weekly and Men’s Journal. And last year, they sold a 49 percent stake in Rolling Stone to BandLab Technologies, a music technology company based in Singapore.
Both Jann and Gus Wenner, the president and chief operating officer of Wenner Media, said they intended to stay on at Rolling Stone. But they said they also recognized that the decision could ultimately be up to the new owner.
Rolling Stone, rock’n’roll magazine turned liberal cheerleader, up for sale
It is the magazine that described investment bank Goldman Sachs as “a great vampire squid wrapped around the face of humanity”, George W Bush as the “worst president in history” and featured a photo of a naked John Lennon curled around Yoko Ono on its front page.
But after almost 50 years of seminal covers and epoch-shifting articles, the owners of Rolling Stone have put the title up for sale amid financial difficulties.
Founded by Jann Wenner in 1967 when he was a 21-year-old hippy student in California, Wenner now runs the rock’n’roll magazine turned liberal cheerleader with his son Gus, president of the family publishing company.
Harry Dean Stanton in the 1984 movie “Repo Man.”Credit Universal Pictures, via Photofest
Harry Dean Stanton, the gaunt, hollow-eyed, scene-stealing character actor who broke out of obscurity in his late 50s in two starring movie roles and capped his career with an acclaimed characterization as a corrupt polygamist on the HBO series “Big Love,” died on Friday in Los Angeles. He was 91.
His death, at Cedars-Sinai Medical Center, was confirmed by his agent, John S. Kelly.
Mr. Stanton spent two decades typecast in Hollywood as cowboys and villains before his unusual talents began to attract notice on the strength of his performances in the movies “Straight Time” (1978); “Alien,” “Wise Blood” and “The Rose” (all 1979); and “Escape From New York” (1981).
In those roles — as a former criminal bored in the law-abiding world, a 22nd-century space traveler, a street preacher pretending to be blind, a devastatingly cruel country-music star and a crazed demolitions expert — his look and his down-home voice were the same, but his characters were distinct and memorable.
Vincent Canby wrote in The New York Times in 1978 that Mr. Stanton’s “mysterious gift” was “to be able to make everything he does seem immediately authentic.” The critic Roger Ebert once wrote that Mr. Stanton was one of two character actors (the other was M. Emmet Walsh) whose presence in a movie guaranteed that it could not be “altogether bad.”
But he remained largely unknown to the general public until 1984, when the seemingly impossible, or at least the unexpected, happened: Mr. Stanton, the quintessential supporting player, became a leading man.
That year he starred as a wandering amnesiac reunited with his family in Wim Wenders’s “Paris, Texas,” which won the Palme d’Or at the Cannes Film Festival, and as a fast-talking automobile thief training Emilio Estevez in the ways of his world in Alex Cox’s cult comedy “Repo Man.”
If there was any remaining doubt about his newly attained star status, it was eliminated in 1986 when he was invited to host “Saturday Night Live.”
Mr. Stanton was never anonymous again, although he continued to make his contributions almost entirely in supporting roles. He played Molly Ringwald’s underemployed father in the teenage romance “Pretty in Pink” (1986), the apostle Paul in Martin Scorsese’s “The Last Temptation of Christ” (1988), a private eye in David Lynch’s “Wild at Heart” (1990), a judge in Terry Gilliam’s “Fear and Loathing in Las Vegas” (1998), the hero’s ailing brother in Mr. Lynch’s “The Straight Story” (1999), a veteran inmate cheerfully testing the electrocution equipment in “The Green Mile” (1999) and Charlie Sheen’s father in “The Big Bounce” (2004).
Mr. Stanton was cast in one of his best-known roles when he was almost 80: that of Roman Grant, a self-proclaimed prophet with 14 wives, on “Big Love,” HBO’s acclaimed series about the everyday lives of polygamists. After his character was killed in the Season 3 finale in 2009, he joked that the show had generated more response than anything else he had done, “except for a couple hundred other movies.”
Mr. Stanton had an impressive singing voice and toured with a male chorus early in his career. He first sang on screen in “Cool Hand Luke” (1967), doing three numbers, including the hymn “Just a Closer Walk With Thee.” He later formed the Harry Dean Stanton Band, which played rock, blues, jazz and Tex-Mex numbers in Los Angeles nightclubs and on tour.
In 2014 he released an album, “Harry Dean Stanton: Partly Fiction,” consisting of songs he sang on the soundtrack of a documentary about him by the same name.
Harry Dean Stanton, A Supporting Actor Who Became A Star, Dies At 91 … NPR
For decades, Harry Dean Stanton was mostly cast as a supporting actor, but he landed lead roles in Repo Manand Paris, Texas. In 2017 he starred as a 90-year-old atheist in Lucky. He’s shown above in 1970.
Silver Screen Collection/Getty Images
Actor Harry Dean Stanton was cast in supporting roles for decades, and his weather-beaten face became a fixture on-screen for more than a half-century. With leading roles in the 1980s films Repo Man and Paris, Texas, he became something of a star and a cult favorite. His agent says Stanton died Friday of natural causes in Los Angeles. He was 91.
The 1984 film Paris, Texas opens on a thin, weathered man wearing an old suit and a red baseball cap, wandering the desert with an empty water jug. That’s Stanton, in his first lead role — at age 58. He’s Travis Henderson, a beat-down guy who left his wife years ago, taking their son with him.
He comes back and finds her in a Houston peep show, where he delivers a 10-minute monologue through a one-way mirror. She can’t see him, but gradually, she realizes it’s her husband, telling her the story of his life. The family reunites, and Stanton’s performance as a lead actor — after decades as a character actor — made him a star.
Stanton was born in Kentucky to a tobacco farmer father and a hairdresser mother. He studied theater at the University of Kentucky, served in the Navy in World War II, and then went to Hollywood. With his deep-set eyes and hawk nose he was cast over and over as an outlaw or an oddball.
He appeared in more than 100 TV and film roles, from Cool Hand Luke to The Godfather Part II to the first Alien in 1979. Of course (spoiler alert) Stanton gets eaten by the Alien monster, and that’s the way it was until 1984, when he starred in Paris, Texas and the cult classic Repo Man. Stanton was the Repo Man, Bud, schooling young Emilio Estevez’s character, Otto.
Enlarge this image
Stanton had a lifelong love of music. Above, he performs at Greenpeace’s 35th anniversary celebration in Los Angeles in September 2006.
Jae C. Hong/AP
Every once in a while he was cast as a normal guy — he played Molly Ringwald’s father in Pretty in Pink — but that was about it. Stanton was in six David Lynch movies and played the polygamist cult leader Roman Grant on HBO’s Big Love. Occasionally you would hear Stanton sing; music was his other love — he sang and played harmonica onstage and off.
In the 2012 documentary Partly Fiction, Stanton answered some deep questions from his friend and colleague, director David Lynch. His answers were sort of Buddhist and very Harry Dean Stanton. Asked to describe himself, he responded, “Nothing. There is no self.” Asked how he wanted to be remembered, his answer was, “Doesn’t matter.”
It may not have mattered to him, but the rest of us will remember Harry Dean Stanton as a singular presence on-screen.
Meteorological 2017 summer ends tomorrow, Thursday. That is a bit of a bold statement. But these well-above normal temperatures of late summer look like they will be replaced with below normal temperatures for the foreseeable future. Saturday morning, we may see our first seasonal snow over the Park and Gore Ranges of NW Colorado.
Back in the dark ages when I went to school, I remember a professor teaching about the concept of singularities. A singularity is a meteorological event that marks a significant shift in the weather patterns. At the time, in the 1980s, we knew that the persistence tool, that is forecasting today what had happened yesterday, would statistically yield the highest accuracy. The problem with persistence is that you miss every singularity that will impact your users.
The next few days look like the singularity that introduces the fall season weather pattern and brings an end this warm summer.
In current satellite imagery, you can see a closed low spinning along the central California coast and progressive, open troughs working across the NE Pacific towards shore. The closed Low will open tonight and work across western Colorado bringing increased chances of showers and cooler temperatures for Thursday into Friday. Then early Saturday, a strong cold front, associated with the next progressive trough, passes. This will take 700mb (about 10,000ft MSL) temperatures below 0C. Steamboat Mountain and Winter Park could get their first snowfall of the season. SW Colorado will remain moisture starved. Temperatures across northern and central Colorado will drop around 15 degrees below today’s high temperatures. You can see this in the latest 6-10 and 8-14 day outlook.
The western CONUS will quickly shift from above normal to below normal temperatures. The storm track will tend to favor the northern Rockies. The monsoon as we know it (subtropical high near or east of the Four Corners with subtropical moisture bubbling up from Mexico) will be over. There is still a good chance that cold-core Pacific storms will work across the Intermountain West and pull good moisture up from Mexico. It is that pattern that makes September and October some of our wettest months of the year on the West Slope.
You can read the latest thoughts of the local NWS forecasters here.
So enjoy your shorts and sandals, and ready your wool.
The news was hard to digest until one realized it was part of a much larger and increasingly disturbing pattern in the Trump administration. On Aug. 18, the National Academies of Sciences, Engineering and Medicine received an order from the Interior Department that it stop work on what seemed a useful and overdue study of the health risks of mountaintop-removal coal mining.
The $1 million study had been requested by two West Virginia health agencies following multiple studies suggesting increased rates of birth defects, cancer and other health problems among people living near big surface coal-mining operations in Appalachia. The order to shut it down came just hours before the scientists were scheduled to meet with affected residents of Kentucky.
The Interior Department said the project was put on hold as a result of an agencywide budgetary review of grants and projects costing more than $100,000.
This was not persuasive to anyone who had been paying attention. From Day 1, the White House and its lackeys in certain federal agencies have been waging what amounts to a war on science, appointing people with few scientific credentials to key positions, defunding programs that could lead to a cleaner and safer environment and a healthier population, and, most ominously, censoring scientific inquiry that could inform the public and government policy.
Even allowing for justifiable budgetary reasons, in nearly every case the principal motive seemed the same: to serve commercial interests whose profitability could be affected by health and safety rules.
The coal mining industry is a conspicuous example. The practice of blowing the tops off mountains to get at underlying coal seams has been attacked for years by public health and environmental interests and by many of the families whose livelihoods depend on coal. But Mr. Trump and his department heads have made a very big deal of saving jobs in a declining industry that is already under severe pressure from market forces, including competition from cheaper natural gas. An unfavorable health study would inject unwelcome reality into Mr. Trump’s rosy promises of a job boom fueled by “clean, beautiful coal.”
This is a president who has never shown much fidelity to facts, unless they are his own alternative ones. Yet if there is any unifying theme beyond that to the administration’s war on science, apart from its devotion to big industry and its reflexively antiregulatory mind-set, it is horror of the words “climate change.”
This starts with Mr. Trump, who has called global warming a hoax and pulled the United States from the Paris agreement on climate change. Among his first presidential acts, he instructed Scott Pruitt, the Environmental Protection Agency administrator, to deep-six President Obama’s Clean Power Plan, aimed at reducing carbon dioxide emissions from coal-fired power plants, and ordered Interior Secretary Ryan Zinke to roll back Obama-era rules reducing the venting from natural gas wells of methane, another powerful greenhouse gas.
Mr. Trump has been properly sympathetic to the victims of hurricanes Harvey and Irma, but the fact that there is almost certainly a connection between a warming earth and increasingly destructive natural events seems not to have occurred to him or his fellow deniers. Mr. Pruitt and his colleagues have enthusiastically jumped to the task of rescinding regulations that might address the problem, meanwhile presiding over a no less ominous development: a governmentwide purge of people, particularly scientists, whose research and conclusions about the human contribution to climate change do not support the administration’s agenda.
After the devastation wreaked by Harvey on Houston — devastation that was right in line with meteorologists’ predictions — you might have expected everyone to take heed when the same experts warned about the danger posed by Hurricane Irma. But you would have been wrong.
On Tuesday, Rush Limbaugh accused weather scientists of inventing Irma’s threat for political and financial reasons: “There is a desire to advance this climate change agenda, and hurricanes are one of the fastest and best ways to do it,” he declared, adding that “fear and panic” help sell batteries, bottled water, and TV advertising.
He evacuated his Palm Beach mansion soon afterward.
Rush Limbaugh in 2012, left; A satellite image on Thursday showed Hurricane Irma in the Caribbean Sea.CreditJulie Smith/Associated Press, left; NASA/NOAA GOES Project, via Getty Image
In a way, we should be grateful to Limbaugh for at least raising the subject of climate change and its relationship to hurricanes, if only because it’s a topic the Trump administration is trying desperately to avoid. For example, Scott Pruitt, the pollution- and polluter-friendly head of the Environmental Protection Agency, says that now is not the time to bring up the subject — that doing so is “insensitive” to the people of Florida. Needless to say, for people like Pruitt there will never be a good time to talk about climate.
So what should we learn from Limbaugh’s outburst? Well, he’s a terrible person — but we knew that already. The important point is that he’s not an outlier. True, there weren’t many other influential people specifically rejecting warnings about Irma, but denying science while attacking scientists as politically motivated and venal is standard operating procedure on the American right. When Donald Trump declared climate change a “hoax,” he was just being an ordinary Republican.
And thanks to Trump’s electoral victory, know-nothing, anti-science conservatives are now running the U.S. government. When you read news analyses claiming that Trump’s deal with Democrats to keep the government running for a few months has somehow made him a moderate independent, remember that it’s not just Pruitt: Almost every senior figurein the Trump administration dealing with the environment or energy is both an establishment Republican and a denier of climate change and of scientific evidence in general.
And almost all climate change denial involves Limbaugh-type conspiracy theorizing.
Bob Fulton died in his plane while flying over Pennslyvania in 2002. A very creative guy…artist, musician, film maker, philosopher, intellectual, poet. A Renaissance man……and a good guy… Lived in Aspen and put together a great film called ‘Pilot Notes’ with the BBC and other film projects… check him out.. JR