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
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Fulton’s Father was the original adventurer….must be genetic memory… JR
“Cholitas” are Bolivian women with indigenous heritage known for their colorful attire, round top hats and ornate earrings. In the world’s highest capital city of La Paz, Bolivia, 11 Cholitas are on a mission to overcome sexism and discriminatory attitudes and climb mountains in their traditional garb. Led by Jimena Lidia Huaylas, the Cholita Climbers were once high-mountain cooks. But since December 2015, they’ve been ascending the country’s snowy peaks as mountain climbers. United by their love of mountains and a sense of defiance, the Cholita Climbers will stop at nothing to attain the feeling of freedom that comes from scaling great heights.
Kappa Sigma Social Director, Timothy Lane directing at a recent Rio Blanco social event.
BOULDER – Tryouts for the University of Colorado Spirit Squad will take place in the coming weeks for the CU Cheer Team, Dance Teams and Handlers for Ralphie, (team mascot) the Buffalo.
Directed by CU Spirit Coordinator Tim Lane, the CU Spirit Squad consists of a co-ed cheer team, an all-girl cheer team, the dance team and handlers for Ralphie the Buffalo. All teams represent the University of Colorado on the sidelines of football and basketball, volleyball matches and all social events at the campo in Rio Blanco.
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Tim Lane (left center) veteran of CU cheerleading ‘Spirit’ squad & handler for team mascot ‘Ralphie’. 
Tim (left) with another ‘Spirit’ leader
Kappa Sig frat house where Mr. Lane was at one time the Social Director and more recently (early 80’s ~ that’s 19) crashed on…
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How the West was Sold
Ralph Lauren Window @ Aspen
Burnham Arndt Esq.
The artist and pop culture icon meticulously built her own image. A sweeping survey at the Brooklyn Museum examines how she did it, and why.
By Rebecca Kleinman
Frida Kahlo’s exhaustively documented crossover from artist to pop culture icon isn’t happenstance. The painter meticulously crafted her own image on a par with Cleopatra. If she were alive today, she’d probably be teaching a branding class at Harvard. Now it’s America’s turn to see how, and, more important, why she did it.
Some of the contents of the home she shared with her husband, the muralist Diego Rivera — known as La Casa Azul (Blue House) in Mexico City — will be accessible for the first time in the United States in “Frida Kahlo: Appearances Can Be Deceiving,” an exhibition at the Brooklyn Museum, from Feb. 8 to May 12. Their belongings were to be locked away until 15 years after Rivera’s death, according to his instructions, but the task of unsealing and inventorying them didn’t happen until much later, in 2004. This is the biggest stateside show devoted to Kahlo and a considerably expanded iteration of last year’s exhibition at the Victoria and Albert Museum in London.
The sweeping survey adds greater insight into Kahlo’s collecting habits through works culled from the museum’s vault as well as the New York chapter of her timeline, and includes works lent by local institutions and galleries. The supplementary mix of Mesoamerican objects, one of the many types of art the couple favored, with her paintings and photographs divulge her yearning for Mexico’s indigenous and agrarian culture and her conflicts with capitalism, especially in the income inequality she witnessed during her travels in the United States.
Visitors will better understand Kahlo’s skill in searing her likeness into the public imagination, even if it meant dangling monkeys around her head and cultivating her most recognizable physical traits — a statement ’stache and unibrow. Neither her disabilities from polio and a bus accident, nor her frequent relapses of pain deterred Kahlo. By the time she died at the age of 47 in 1954, she left behind a public persona that is still being mined well into the 21st century; today she has more than 800,000 Instagram followers.
“People have an insatiable curiosity with her, and this presentation is a rare opportunity to see how she built her identity,” said Catherine Morris, a senior curator at the Elizabeth A. Sackler Center for Feminist Art, who organized the Brooklyn Museum’s version of the show with Lisa Small, senior curator of European Art. Here, they share some of their insights.
A mastermind at using fashion to her advantage, Kahlo delivered red-carpet moments wherever she went. “She even dressed that way to work in her studio,” Ms. Small said. Her ethnic ensembles, famously inspired by Oaxaca’s Tehuana, a matriarchal society, dismissed de rigueur looks dictated by Parisian designers and the soulless mass production of clothing. Vogue magazine took notice. Kahlo championed her homeland’s indigenous customs in wearing huipiles (woven tunics), rebozos (shawls) and flouncy, long skirts. They also drew attention away from her polio-ravaged right leg and body casts from several operations after her near-fatal bus accident. She frequently referred to herself as the great concealer.
Besides its feminine allure, jewelry struck a more personal chord for Kahlo. Like her intricate updos embellished with hair ornaments and blossoms, chandelier earrings and bold necklaces drew onlookers’ focus to her face. They were also another vehicle for her to express her passion for Mexican crafts including contemporary silver jewelry and native materials like jade, favored by the ancient Maya. “She most commonly wore gold rope necklaces and Mesoamerican jade stones, which she’d string into extraordinarily chunky necklaces,” Ms. Small said.
In one gallery, the curators set out to re-create the vibe of Kahlo and Rivera’s home. Azure-painted walls and a case of Mesoamerican ceramic and stone sculptures and vessels, from the Brooklyn Museum’s permanent collection, evoke its spirit. The ancient objects convey the couple’s eclectic taste and deep appreciation for Mexican art and archaeology. “They’d have a colonial portrait next to a pre-Columbian piece next to a gas mask from the 1940s,” said Ms. Small, who located a Colima dog sculpture in the museum’s collection similar to those at La Casa Azul.
FLAGSTAFF, Ariz. (AP) — Arizona is facing a deadline to become the last of several states in the U.S. West to approve a plan ensuring shared water from the Colorado River doesn’t dry up for millions of farmers, cities, tribes and developers that depend on it.
The other six states have agreed to plans that recognize a long-running drought, the dwindling supply of water and how they…
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Following one of the hottest and driest years on record, the Colorado River and its tributaries throughout the western U.S. are likely headed for another year of low water.
That’s according to an analysis by the Western Water Assessment at the University of Colorado Boulder. Researcher Jeff Lukas, who authored the briefing, says water managers throughout the Colorado River watershed should brace themselves for diminished streams and the decreasing likelihood of filling the reservoirs left depleted at the end of 2018.
The briefing relies on data from the National Oceanic and Atmospheric Administration, the U.S. Geological Survey and the Natural Resources Conservation Service among others.
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Big Lebowski character meets up with Sex and the City‘s Carrie Bradshaw in this Super Bowl commercial for Stella Artois
A week after a tantalizing snippet of Jeff Bridges back in his Dude garb hit the internet and raised wildly-unrealistic hopes that a Big Lebowski sequel was in the works, the full video has been released that shows it’s merely a Super Bowl commercial for Stella Artois. And it’s not even a Dude-centric Super Bowl commercial, but rather one that focuses on Sarah Jessica Parker — reprising her Sex and the City character Carrie Bradshaw — stunning everyone at a fancy restaurant by ordering a Stella Artois as opposed to her standard cosmopolitan. Near the end, the Dude walks in wearing his signature jelly sandals and cardigan sweater. He also shocks the place by forgoing a White Russian in favor of a Stella Artois.
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