Black Eye Coffee Gets a Huge Mural

Black Eye Coffee Gets a Huge Mural

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Thanks to Kickstarter, a young Denver coffee shop now has a large painting of a man and a kangaroo on its wall

If you like your coffee with a lump or two of cultured whimsy, stop by Black Eye Coffee next time you’re in the Highlands in Denver. More precisely, look at the side of the brick building it’s in, the historic and restored Coors Theater, upon which you’ll find a colossal depiction of an old-timey, mustachioed man engaging in a bout of boxing with a kangaroo, which is in the process of laying an uppercut on him.

The painting, completed by Colorado local Larry Polzin, came into existence by means of a plucky Kickstarter campaign that lasted from March 27 through May 1. By that date it surpassed its goal of $6,000 with a satisfying $6,280 from 76 backers, more than enough to pay for Polzin’s “expertise, scaffolding, materials, video production, unforeseen costs and gifts provided,” as the painter completed the project for the seven-month-old Black Eye Coffee at a discount. The shop stated that its intent was to further the restoration of the century-old structure and turn it into more of a city landmark through greater investment in its appearance, including the large mural.

Eater reported yesterday that the mural is finally finished, and that Ali Elman, one of the shop’s owners, said that most of the Kickstarter contributors came from “the community and business owners in the area.”

A color of Bakersfield

Murals are one of those things that every city has. From murals on the side of small businesses, random walls in the neighborhoods, and even restaurants. Many people appreciate the mural for the looks, but do they think about who painted it?
Jennifer Willams-Cordova is professor at CSU Bakersfield, who teaches graphic design. She has many decorative art pieces and murals around Bakersfield. They are eye-catching with lots of fun and vibrant colors.
“I started about four years ago doing little murals and public artwork. I started with a small mural at a coffee shop called Café Smitten, and it just kind of went from there, and now I get to do these large-scale pieces of public art and it’s really fun,” Cordova said in our interview.
KGET asked her to paint a mural of a peacock representing their logo, but they wanted it to be something that stood out. They let her do her take on the logo.
She wanted it to brighten up that plain and boring wall, so community members could come and look and take pictures with the mural.

Photo of Bloom by Jennifer Williams-Cordova located at the Beale Ave overpass. Photo by Jessianne Solis/The Runner

Bloom is her biggest project and is underneath the Beal St. overpass and uses a wall and four of the pillars that hold the overpass up. She said it is her favorite piece.
“Bloom will defiantly go down for the rest of my life as one of my all-time favorite projects because it was just a huge community undertaking. It was just transformative for that space, and I’m just still so floured that I was allowed to paint that much concrete … It was dedicated to the girls of East Bakersfield. The girls in the mural live in the community. It brought a lot of people together, and we all felt connected to it, and it just felt really good that something that special came from a group of people that wanted to do this,” Cordova said.
She said it is important to create art. Because of the pandemic, art is a creative outlet and can give people something to look forward to. She emphasized the importance of giving yourself a break from stress and how art allows you to shut your mind off and create.
Cordova gave a few suggestions to those who want to make art part of their career.
“The first step to becoming an artist is to actually create as much art as you can. Then you have to get to the point where you have to charge for your art and actually respect it as a legitimate craft and that will really move you farther along in the process … The key component in actually doing this is treating it like it is valuable,” Cordova said.

Honoring Juneteenth Through Art in Galveston

On June 19, 1865, a Union general issued an order that led to the freeing of slaves in Texas. A mural will now mark the spot where it happened.

This article is part of our latest special report on Museums, which focuses on reopening, reinvention and resilience.

More than two years after President Abraham Lincoln signed the Emancipation Proclamation in 1863, slavery was abolished in Texas.

This June, Galveston will dedicate a 5,000-square-foot mural, entitled “Absolute Equality,” on the spot where Gen. Gordon Granger issued the orders that resulted in the freedom of more than 250,000 enslaved Black people in Texas. The Southern states refused to obey the Proclamation during the war.

The date of the Texas order was June 19, 1865, which is now celebrated around the country as Juneteenth (or Freedom Day, Emancipation Day or Jubilee Day). Some companies are recognizing the day as a paid holiday, and there are efforts to make it a federal one.

The mural “sprinkles the hard bitter truth with sugar,” said Reginald C. Adams, a Houston artist who was commissioned to create the art. “The sugar is the beauty and energy of the mural, while the bitter truth is that for two and a half years, people were held in slavery against a federal declaration.”

The theme of the brightly colored work is “absolute equality,” drawing from the words used in the General Order No. 3, which officially ended slavery in Texas. It reads, in part: This involves an absolute equality of personal rights and rights of property between former masters and slaves and the connection heretofore existing between them becomes that between employer and hired labor.” The entire order is written at the bottom of the mural.

The mural includes the story of an enslaved Moorish navigator who was shipwrecked off the coast of Galveston in 1528, the first recorded nonnative slave to arrive in the territory, said Samuel Collins III, a historian and co-chairman of the Juneteenth Legacy Project. Many more would follow.

The mural moves on to Harriet Tubman and Lincoln, who is holding a chain with a broken manacle. And there is General Granger seated, signing an order giving the Union control of Texas, which led to the Juneteenth order. Behind stands one white Union soldier and four soldiers from the United States Colored Troops.

The story told on the mural ends with a parade of people marching (including one in a wheelchair) and an astronaut with a clenched fist on his or her uniform — all of them moving toward the goal of absolute equality. It also includes a section with artwork by local young people.

“This is more than just a mural — it’s more than just paint on the wall,” Mr. Collins said. “I think this corner has been transformed into an outdoor classroom.”

The mural has some accompanying educational elements, including a written and spoken word poetry contest for middle- and high-school students and undergraduates in the Houston area explaining what “absolute equality” means to them.

Visitors will also be able to use their phone to scan portions of the mural to learn more, through augmented reality videos, about the stories portrayed.

Mr. Collins was the driving force behind the mural. Born in Galveston, he has researched Black history, particularly in Texas. Although there are commemorations of Juneteenth in Galveston — it was declared a state holiday in 1979 — Mr. Collins felt more was needed.

He read an article in The Galveston News by Sheridan Mitchell Lorenz, a philanthropist who lives in Austin but has deep ties to Galveston. In the piece, written shortly after the murder of George Floyd by the police in Minneapolis, Ms. Lorenz noted that as a white woman, “I’m complicit if I don’t use my voice to acknowledge and speak out against systemic racism.”

Mr. Collins reached out to Ms. Lorenz about his mural idea because he liked her article, and knew that her family owned the retail space Old Galveston Square and adjoining parking lot.

That parking lot is where the Osterman building housing Union Army headquarters once stood and where General Granger issued the order. And there was a huge blank wall. Mr. Collins proposed an idea to Ms. Lorenz: What about putting a mural there depicting the scene?

“I got chills thinking about that,” said Ms. Lorenz, as she recalled receiving Mr. Collins’s email. “I thought, ‘How come we didn’t think of that sooner — what an opportunity!’”

Ms. Lorenz donated the seed money. She now heads the Juneteenth Legacy Project with Mr. Collins, and the project received additional financing from a GoFundMe page and individual and foundation donors. At the same time, the project was gathering local government approval.

Mr. Adams seemed a natural choice to design the mural, Ms. Lorenz said, with his background in public art.

“This was the smoothest approval process I’ve ever experienced for a work of art,” Mr. Adams said.

Erika Doss, an art historian who has written about public art, called the mural and its related initiatives “a gigantic project,” adding that public art such as this one “has grown out of a very politicized moment.”

The goal, she said, is “creating something meaningful for a community that tells a different kind of history and gets people talking about history.”

Dr. Doss did note that murals often aren’t maintained and fade very quickly, but Ms. Lorenz said the project has built in fund-raising for upkeep.

Not everyone is pleased with the mural. Mr. Collins said that he had heard some criticism that two white men — President Lincoln and General Granger — appear too prominently.

He understands that sentiment, but said he believes that “all these people were part of the story. There are people in the Confederacy who want it to be an all-white story, and those who are more Afrocentric that might feel it should be an all-Black story, but that’s just not our reality in America,” he said. “It took everyone to work together to bring this message of freedom, and it will continue to take all of us to try to achieve this absolute equality that we hope for.”

Mr. Collins also noted that General Granger was deliberately portrayed as seated, with the four members of the United States Colored Troops standing over him “as men and patriots.”

Jeff Mahoney recently stumbled upon the mural while visiting from California. “The imagery is fantastic,” he said. It captures “celebration, but also skepticism” about the progress of racial equity. Mr. Mahoney, who was visiting the South for the first time, said he felt that the mural signifies hope “It shows change,” he said. “We need more of this.”

Santa Cruz Huatulco to Pluma Hidalo

The first stop on our tour was at a lookout above Santa Cruz where we enjoyed a panoramic view of the bay. The nine bays and 36 beaches of Huatulco are a profusion of green splashed with turquoise blue water and indigo sky and this bay is especially pretty.

According to local legend, Santa Cruz is where Saint Thomas, one of the apostles of Christ, landed by boat and raised a large wooden cross, remnants of which are still revered today. Bahia Santa Cruz is also home to a marina, the cruise port, hotels and several businesses, shops and boutiques.

Founded in 1984, Bahias of Huatulco is an oasis of green with vast tracts of lowland tropical forest protected from development. Pedestrian walkways, a wide boulevard shaded by palms, flamboyant trees and Guanacaste trees and a sewage treatment plant make it one of the cleanest communities I’ve encountered in Mexico.


Put steak on a plate, coat it with olive oil, then season the meat liberally with sea salt and black pepper. Let steak sit out until it comes to room temperature.

Preheat your oven to 500 F.

Heat a cast-iron skillet to medium-high heat on the stove.

Put the steak into the skillet and let it sear for at least 4 to 5 minutes on one side, then turn it over and sear for another 4 to 5 minutes. Both sides should have a nicely browned crust.

Transfer skillet into the oven for about 5 to 6 minutes, until a meat thermometer inserted reads 135 F for medium rare or 145 F for medium.

Remove skillet from the oven then remove the steak from the pan and place it on a cutting board but do not cut it! Lightly cover the meat with aluminum foil and let it rest for 10 minutes to allow the juices to redistribute.

Meanwhile, place the butter, garlic and rosemary into the skillet and scrape up all the browned bits (known as fond) to make a quick pan sauce. Let the herbs flavor the butter for 2 to 3 minutes, but do not let it burn.

When you're ready to serve the steak, slice it up and pour a few spoonfuls of the buttery sauce over each serving.

Need to Fill a Wall? These Huge Murals Are Amazing

Have a big wall in your kitchen or dining room? Want to fill it with something dramatic? Have I got the thing for you. Meet the murals at Anewall Decor. Watercolors not your thing? Try these instead:

I love this oversized print — big enough to fill a wall or stretch the length of your dining table. The retro vibe and sunny waves are so inviting.

If vintage maps are more your thing, then this pocket map of London is just the piece to stretch over your wall.

The shop has a mix of oversized prints like the ones above, and murals like this one that are printed on wallpaper rolls. You can fill a big wall for not too much money, too. Huge prints like these are hard to find for reasonable prices, and these let you fill a wall with something beautiful and dramatic.

Faith is the Editor-in-Chief of Kitchn. She leads Kitchn's fabulous editorial team to dream up everything you see here every day. She has helped shape Kitchn since its very earliest days and has written over 10,000 posts herself. Faith is also the author of three cookbooks, including the James Beard Award-winning The Kitchn Cookbook, as well as Bakeless Sweets. She lives in Columbus, Ohio with her husband and two small, ice cream-obsessed daughters.

Huge Oatly mural encourages London to ‘Ditch Milk’

The striking advertisement for Oatly’s oat milk features a simple, black and white milk bottle outline containing the words ‘DITCH MILK’. At the bottom of the mural, passers-by are encouraged to ‘swap to oat drink and save 73 percent in CO2 emissions’.

This mural is the latest addition to Oatly’s campaign for non-dairy produce. It follows the posters that recently appeared around London, explaining how Oatly is ‘like milk but made for humans’.

According to Plant Based News, after the release of the posters Oatly said: “It’s been very impactful and we’ve seen a growth in demand for all of our products. The new chilled oat drinks have been performing way ahead of expectations, but we’re busy working with our customers to cover this demand.”

Clearly, Oatly’s eye-catching and provocative advertisements are inspiring UK consumers to switch up their diet. Their new, bold demand for change certainly seems to be working.

Danny Howells, a local who saw the Shoreditch mural, told Plant Based News: ‘It’s superb! The industry is fighting against the use of the word ‘milk’ but it can’t fight against this. Genius!”

DC paints huge Black Lives Matter mural near White House

WASHINGTON (AP) — City workers and volunteers painted the words Black Lives Matter in enormous bright yellow letters on the street leading to the White House, a highly visible sign of the District of Columbia's embrace of a protest movement that has put it at odds with President Donald Trump.

D.C. Mayor Muriel Bowser tweeted aerial video of the mural shortly after it was completed Friday. The letters and an image of the city's flag stretch across 16th Street for two blocks, ending just before the church where Trump staged a photo-op after federal officers forcibly cleared a peaceful demonstration to make way for the president and his entourage.

“The section of 16th street in front of the White House is now officially ‘Black Lives Matter Plaza,’” Bowser tweeted. A sign was put up to mark the change.

The White House had no comment.

The local chapter of Black Lives Matter did not support painting of the street and took a swipe at Bowser. “This is performative and a distraction from her active counter organizing to our demands to decrease the police budget and invest in the community,” it said on Twitter.

The street-painting project follows Bower's verbal clashes with the Trump administration over the response to protests of the killing of George Floyd in Minneapolis. Bowser has complained about the heavy-handed federal response and called for the removal of out-of-state National Guard troops. She says their differences highlight the need for D.C. to be a state and have more control over its internal affairs.

On Thursday, as the protests turned peaceful, she ended a curfew imposed after people damaged buildings and broke into businesses over the weekend and Monday. A large demonstration is expected in the city on Saturday.

The mayor also tweeted out a letter from House Speaker Nancy Pelosi, who wrote the president to express alarm that peaceful protesters were being confronted by heavily armed federal agents and officers, many of them with their identities and agencies obscured.

A huge mural celebrating American workers has been two decades in the making

For 20 years, artist Ellen Griesedieck has been creating an enormous mural that shows American workers doing their jobs, from farming and firefighting to fishing and fixing cars. Along the way, she’s had lots of help from kids.

Griesedieck (pronounced GREE-zeh-deck) is a small woman, but the people she paints are gigantic. There’s Melissa, a firefighter. Stitch and Steve, who are auto mechanics. And Edwin, a New York City police officer.

“Edwin [depicted in the mural] is three times the height of any person you know,” Griesedieck says.

Their size is meant to show how important these people, and the work they do, are to everyone.

When Griesedieck’s kids (who are grown up now) were little, she realized they didn’t know much about the different kinds of work people do to keep our world running smoothly. Talking with her children, she learned that they weren’t taught in school about the kinds of jobs so many kids’ mothers and fathers do. So she decided to do something about it.

Because she’s an artist, she figured she’d create a work of art dedicated to American workers, who sometimes “can seem invisible,” she says. To make sure nobody could miss them, she decided to make her portraits of the people really, really big. And to show how everybody in our country works together, she put the portraits together to form a gigantic mural.

Her American Mural Project (AMP) is so big — 120 feet long, 48 feet high and up to 10 feet deep — she needed help making it. In addition to asking other grown-ups, she asked kids to pitch in. When you visit AMP in the town of Winsted, Connecticut, you see a mural that’s five stories tall, a giant 3-D puzzle, as Griesedieck puts it. The mural is made up of many materials, including painted metal, fiberglass, wood, blown glass and fabric — and even a bunch of watches. It also includes many smaller pieces that kids helped create. Kids also gave money, usually a few dollars per child, to help pay for the mural.

Where do you put a huge work of art like AMP? An art gallery or museum? Nope. They’d be too small. Griesedieck found an old mill building that once was used by a company that manufactured men’s socks. But even that wasn’t big enough! She had to bring workers in to raise the roof.

The kids who first helped Griesedieck make AMP are grown-ups now. But kids your age can still get involved. Griesedieck had an idea to have schoolchildren in all 50 states take part in her project. In the next few years, kids from across the nation will have a chance to help make the American Mural Project bigger and better.

In the meantime, some kids who live in Connecticut get to visit AMP through their after-school programs. Once a week, they go there to do art projects, using the mural as inspiration.

Many of the jobs people depicted in AMP do are not the kinds of jobs parents and teachers usually encourage kids to do when they grow up. But, Griesedieck says, we need welders and firefighters and truck drivers — people doing jobs we call “trades.” One of her goals in creating AMP is to “make the trades as exciting as we know they are.”

“All of these people” Griesedieck says, “are heroic in what they’re doing.”

Puffy Eyes, Dark Circles, and Bags: Dermatologists Explain the Difference

I’ve always been bothered by my dark under-eye circles. No matter how many hours I sleep a night, they’re always there, and no amount of serum or color corrector can make them go away. Recently I was talking to a bunch of my coworkers, and we all seemed to have some version of the same complaint. We all rolled our tired eyes, remarking on how we’re perpetually sleep-deprived (it’s cool to be too busy to sleep, haven’t you heard?) and on the constant hunt for the best concealer.

Now, I know there’s nothing productive about sitting around complaining about “flaws” that aren’t actually flaws. We are aware of the way we’ve internalized idealized standards of beauty—and that articles about how to “fix” them can reinforce those standards. (The irony is not lost on me as I write this very article.) And yet there we were, comparing notes about our particular eye concerns, wondering what was causing them and what we could do about them, when suddenly we realized: We don’t actually know what we’re talking about. One person said she had “puffy eyes.” Another rued the “bags” under hers. We thought we were all talking about the same thing, but maybe we weren’t. We started to wonder: What are puffy eyes versus bags versus dark circles, anyway? And which ones were we actually complaining about?

We decided to call in the experts. First, we lined up in a conference room and took pictures of our tired-looking eyes—first thing in the morning, and makeup free. Then I called up a couple dermatologists and asked them to review the photos and tell me what we were looking at. I’m not saying that we needed to be diagnosed or that we had “problems” that needed to be “fixed.” But we knew we had these things that bothered us, and we wanted to learn about what we were working with, and what tricks we could use to minimize their appearance. The dermatologists I spoke to explained what makes eyes puffy, what causes dark circles, and what so-called bags even are. They pointed out the telltale signs in our photos, and gave their expert recommendations for how to treat them.

Watch the video: Black Eye espresso (July 2022).


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