Category Archives: Culture

Culture

10 Reasons I (Sorta) Hate Going to the Porsche Dealership (& the 1 Reason I Stay)

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It’s not all 9,000-RPM test drives; our friend at Rennlist has just finished breaking down the top 10 headaches at the Porsche dealership and the one reason why you will keep coming back.

Well, hate might be a little strong, but I can see why people would dislike going to the Porsche dealer. I have listed 10 reasons that in my personal experience and in talking to others in the community why the thought of going to the Porsche dealership is akin to a visit to the dentist’s chair. But there is one reason above all that I, and all of you keep coming back. Let’s discuss.

The truth is that I don’t hate going to the Porsche dealer. I have been going to Porsche dealers since I was a teenager. I have bought and sold many cars at a Porsche dealership. I go there for grand openings, new model reveals, Porsche Club of America membership meetings, cars and coffee events and more. I was just at a local dealership last night for a few hours. I have made plenty of friends at Porsche dealerships in my area. And it is not just me that enjoys the experience. In the most recent J.D. Power 2026 U.S. Customer Service Index (CSI) Study, Porsche ranks highest in satisfaction with dealer service among premium brands. It is the second consecutive year that they earned that distinction. So, why all the hate?

#1 Dislike – Playing the Allocation Game

After struggling for years and driving a beat-up Chrysler Sebring Convertible, your Pet Rock business takes off and you are now flush with cash. You want to replace that old convertible with the new 911 GT3 S/C. You head to the Porsche dealer excited to finally be in a position to buy your dream car. You burst through the dealership doors full of anticipation for speccing and ordering your new Porsche. You grab the first salesperson you see and tell them that you would like to order a new GT3 S/C. And they reply with “Yeah, you and everyone else buddy. How about we test drive this former service loaner Macan we have over here?” Having to be a dealership favorite with a long history of purchases to get a whiff of any of the desirable sports car models is one of the worst things about the modern Porsche dealership experience.

#2 Dislike – Talking About Added Dealer Markups

Let’s pretend for a moment that by some miracle, the dealership does have an available allocation for the GT3 S/C. That is only hurdle number one. Next, it is time to talk about how much money the dealership is going to drain from your account for the mere privilege of placing an order on your behalf. This added dealer markup is not small potatoes either. In some cases, it can go into the six-figure range. Some folks happily pay this, but personally, I hate the practice of dealer markups.

#3 Dislike – The Price for Service

OK, you got your allocation and you swallowed your pride and forked over the cash for the ADM. You have been enjoying your car for a while, and it is time for a service. If you have not serviced a Porsche at a dealership before, you might want to sit down before you get the invoice. Service pricing at a dealership can be a real eye-opener to say the least. Do they fly your car to Mars to change the oil? How the heck can it be so much when you can buy a 5-quart jug (that is about 4.73 L for my Canadian friends) of the recommended synthetic Mobil 1 at Walmart for less than 30 bucks? Paying dealership prices for parts and service can get painful very quickly.

#4 Dislike – The Lack of Technical Knowledge

This will vary on a case-by-case basis, as I have dealt with some very knowledgeable Porsche sales professionals. That being said, I am sure some of you have experienced talking to a Porsche salesperson and realized that you know far more about the vehicles on the showroom floor than they do. You expect them to be experts in the field, and many are. But when you encounter that one that tries to convince you that they can order you a new Carrera T with a PDK, it is uncomfortable for everyone.

#5 Dislike – Intimidating Atmosphere

As I said earlier, I have been going to Porsche dealers since I was a teenager, so I have pretty much always felt comfortable there, but that is not the case for everyone. For those new to the brand, walking through those Porsche dealership doors can be incredibly intimidating. No one is intimidated going in the local Honda store, but Porsche is on a different level. Is there a dress code? Will they run my credit before offering me a cup of coffee? No matter how friendly the dealership actually is, it can still be a bit like being on the set of Fear Factor for those that have not had much Porsche shopping experience.

#6 Dislike – Test Drives Aren’t Guaranteed

This can vary wildly from dealer to dealer and person to person. But there is a chance that getting a test drive might prove to be harder than you think. Although, to be fair, you have to have realistic expectations as well. If you are a 16-year-old kid pulling up in a ratty old Nissan Altima and ask to test drive the pre-owned 918 Spyder they have in stock, you should expect some questions. But sometimes dealers can be wary of offering test drives on just regular core models if they don’t know you.

#7 Dislike – Feeling Judged

And that is when you might feel judged. Even if you aren’t being judged, the mere fact that you are in a Porsche dealership may make you wonder if folks are evaluating you and your intentions just by looking at you. Are you wearing a pair of Hermès Bouncing sneakers and a Rolex Daytona, or a pair of Skechers Slip-ins and a Casio A158WA-1? Does it matter? It shouldn’t, and maybe it doesn’t and you will be treated with the same respect no matter what. But walking into a luxury dealership like Porsche can make you feel like you don’t measure up to others in there with you. Personally, I don’t give a crap, but I know some that are bothered by this.

#8 Dislike – The Urge to Upgrade

You are perfectly happy with your Porsche. It has been everything you dreamed it would be. Then you pop into the Porsche dealer for service or to pick up your twentieth Porsche t-shirt. And that is when you spot it, the 911 GT3 Touring that you have been dreaming of. It is just sitting there looking for a new home. You don’t need it. But you WANT it. You start doing the mathematical gymnastics in your mind. Little Jimmy probably won’t want to go to college anyway. And Ramen noodles aren’t that bad. The next thing you know, they are appraising your car, and you are trying to figure out what piece of jewelry you are going to need to buy your wife after you tell her what you just did.

#9 Dislike – Spoils You for Other Dealers

Porsche dealers are a nice place to spend some time. The atmosphere and amenities are far above your typical car dealership. A couple of years ago I was shopping for a car for my wife. We started at the Porsche dealership, looking at Macans. Naturally, she loved it, but we wanted to look at other options, so we went to the Toyota dealership to look at a 4Runner. Word of advice, do not ever go directly from a Porsche dealer to a Toyota dealer. Talk about culture shock. Not that the Toyota dealership was bad, but when you get used to the Porsche vibe, you get spoiled.

#10 Dislike – Driving Leads to Buying

I tell my non-Porsche owning friends this all the time. Do not test drive a Porsche unless you are ready to buy a Porsche. Once you get behind the wheel, you will be hooked. Climbing back into your old car will feel like a gut punch. A Porsche test drive can wreck your budget if you are not prepared to buy the car.

For the Silo, Joe Kucinski.

Culture

Perched Over LA’s Sunset Strip—Rare Street-to-Street Compound For Sale

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Another superb realty spotlight via our friends at TopTenRealEstateDeals.com. Perched above the Sunset Strip in the Hollywood Hills, LA’s Bird Streets form a compact enclave defined by steep, winding roads and striking architecture.

“Bird Streets”

Named for avian-themed streets like Oriole, Thrasher, and Blue Jay, the area has become a showcase for contemporary residential design, with glass-walled homes oriented toward panoramic city and ocean views. This coveted neighborhood embodies the city’s fusion of landscape, privacy, and modernist aspiration, in which topography shapes both lifestyle and aesthetics. The Bird Streets also function as a benchmark for high-end real estate, influencing design trends and development patterns across the city.

Truly Modernist Design


The listing of a new Bird Streets home for $12.9 million usd/ $17.65 million cad offers the chance to join this unique zone. Set high above the city, the contemporary estate offers sweeping panoramic views from the city skyline to the Pacific Ocean shores. Designed by award-winning Colega Architects, the home is a tribute to modernist design, showcasing stark geometric forms, walls of glass, and an exquisite terraced construction that melds into the surrounding hill. The result is a seamless living experience that emphasizes light, space, and integration with the surrounding landscape.

Featured Image:Jason Fields

Culture

The Courage of Sudanese Women in a Country at War

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Last week, I travelled to Sudan with two colleagues and six journalists. We went to listen, to learn, and to see more clearly what too much of the world now sees only in fragments. What I came home with was not one neat conclusion, but a deeper conviction that amid one of the gravest humanitarian catastrophes on earth, Sudanese women are still carrying extraordinary burdens with immense courage. More than 30 million people in Sudan are in urgent need of humanitarian assistance, and major humanitarian agencies now describe Sudan as the world’s largest humanitarian crisis. 

Photo: France24.com Hospital director Dr. Safaa Ali shows the bullet holes that still riddle the wards of the reopened Saudi hospital in Omdurman. © Ebrahim Hamid / AFP

That truth was visible in the wreckage of Khartoum, in the strain of Port Sudan, and in the harsh fragility of the refugee camp near Al Dabbah. But nowhere was it more clear than in the women we met, women who were not simply surviving the war, but, in many ways, still holding Sudan together.

One of the most unforgettable voices of the trip was Dr. Safa Ali, an obstetrician and gynecologist and the director of Saudi Maternity Hospital in Khartoum. She is one of the Sudanese women who have become symbols of moral seriousness in this war, not because they sought attention, but because they refused to leave when everything around them was falling apart. During the war, she stayed at her post even as parts of the city emptied out and the health system buckled under violence, shortages, and flight. She has been publicly recognized for her courage, including as one of the women highlighted internationally for remaining at work through the conflict. 

Photo: Dr. Safa Ali speaking with international journalists in Khartoum. The word “dream” is repeated across her headscarf, a striking detail in a conversation about war, survival, and the future of Sudanese women.

When we met her, there was nothing theatrical about the way she spoke.

With the precision of a physician, she described a hospital under intense pressure: shattered windows, failing electricity, scarce water, damaged equipment, too few medicines, and too few staff. Yet women kept coming, because pregnancy and childbirth do not stop for war. Birth continues whether the world is stable or falling apart. Dr. Safa Ali described women arriving after long and dangerous journeys, weakened by malnutrition and anemia, often without antenatal care, and carrying pregnancies already under immense strain. She spoke of the collapse of neonatal support, the shortages of medicine, and the lasting damage the war is doing as experienced health workers leave and younger staff are forced to fill impossible gaps. 

She also described stories that were difficult to hear and impossible to forget. A pregnant woman arrived with a gunshot wound to the abdomen. The bullet tore through her womb, injured the baby, and fractured the child’s arm. Somehow both survived. Another woman, critically wounded in a missile strike, could not be saved. She and her unborn child both died. Dr. Safa Ali also treated women made pregnant through sexual violence. A colleague who was struck and killed by a stray round mid-conversation. What stood out in the way she recounted these cases was not anger or self-dramatization, but steadiness. She said the first task was to create safety, to tell survivors it was not their fault, and to treat them with dignity. In a war like Sudan’s, even basic care becomes an act of resistance. 

If Dr. Safa Ali showed what leadership looks like inside a collapsed health system, Duaa Tariq revealed something equally important: what it means to defend human dignity and agency under pressure. Duaa is an activist, humanitarian, and artist. She is also the co-founder and director of Color Sudan, a collective of artists that promotes civic and political rights through art and public engagement. Since the war began, she has remained deeply involved in grassroots efforts to support civilians, including through local mutual aid and women-led initiatives. Humanitarian networks have recognized her as one of many Sudanese women who stayed in Khartoum to support those left behind. 

Photo: Duaa Tariq sits in front of “The Unfinished Piece” a mural that was interrupted when the war in Sudan began and the artists involved fled Khartoum.

What struck me most about Duaa was not just what she said, but what happened when the conditions around her changed. Before our interview formally began, she was warm, animated, charismatic, and full of life. But, she was careful. Government representatives were in the room listening to what she had to say to the journalists. 

That moment said something profound about Sudan today.

The country is not only a place of bombs, displacement, and ruined institutions. It is also a place where people self-censor, where power enters the room quietly, and where what can be safely said depends on who is standing nearby. Duaa’s poise under those conditions was, in its own way, leadership. She represented a different but equally necessary form of courage: the courage to keep speaking, organizing, and staying present in a place where speech itself is constrained. This is hardly a surprise from a woman who insisted on going for walks in the city during the Battle of Khartoum, to demonstrate that women remained. To show other women that they are not alone.

If there was a theme that kept surfacing throughout the trip, it was this: Sudanese women are not incidental to the story of Sudan’s survival. They are central to it. In hospitals, camps, communities, and civic spaces, they are preserving life, preserving memory, and preserving some thread of continuity while so much else has been broken.

We saw that clearly near Al Dabbah, where displaced families were trying to survive amid too little sanitation, fragile water access, and clinics barely holding public health together. Even there, mothers were still trying to keep children focused on the future. Teachers were still teaching. In a retrofitted shipping container, 4-5 births happen each day. Families were still trying to impose some order on profoundly disordered lives. In camps like these, resilience is often talked about too casually, as though it were a noble trait. What we saw was not noble in the abstract. It was exhausting, practical, relentless. People were carrying life forward because they had no choice. 

Sudan is often described in North America as a forgotten crisis.

That phrase is accurate, but insufficient. Sudan is not forgotten because there is nothing to see. It is forgotten because the world has chosen, again and again, to look elsewhere. Yet as the war enters another year, the scale of the emergency is staggering. More than 34 million people, roughly two-thirds of the population, now need urgent humanitarian assistance, and millions have been displaced. International officials and aid groups continue to warn that Sudan remains the world’s largest humanitarian disaster, even as global attention drifts. 

That is why the courage of women like Dr. Safa Ali and Duaa Tariq matters so much. They are not symbols in the abstract. They are evidence that even under conditions of violence, surveillance, exhaustion, and profound uncertainty, leadership can still be humane, practical, and morally clear.

What I will remember most about Sudan is not only the destruction in a city of shattered glass, though there was plenty of that. It is the stubbornness of life in the middle of war. A doctor staying. An activist continuing. A mother enduring. A teacher teaching. A people insisting, despite everything, that this is still their home. 

Sudan does not need pity. It needs attention, honesty, and sustained engagement. Readers should keep paying attention, even as the world’s focus is pulled in a dozen other directions, because Sudan remains too important, and too devastated, to be left to the margins. The women holding the line there deserve at least that much from us.

For The Silo, Justin McAuley/ONE.org.

ONE.ORG ONE fights for a more just world by demanding the investments needed to create economic opportunities and healthier lives in Africa.  

ONE se bat pour un monde plus juste en exigeant les investissements nécessaires pour créer des opportunités économiques et des vies plus saines en Afrique.

Culture

Former Canadian Minister Of Defense Claimed UFOs Are Here

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Some years ago, back in 2015,  I spoke with Paul Hellyer the former Canadian minister of defense, who stated he believes UFOs are from another planet and that the U.S. Government has kept it covered up.

As Canadian Minister of National Defense in 1963, Hellyer was responsible for integrating and unifying the Royal Canadian army, navy and air force into a single organization, the Canadian Armed Forces.

He was outspoken about UFOs visiting Earth and the US Banking System that he felt was greatly responsible for economic hard times. He felt that we are naive and (take a breath) fail to understand we are being visited by alien life forms.

https://www.tvo.org/video/archive/hon-paul-hellyer-on-ufos

He told me he had spoken with key US government officials who confirmed aliens are visiting us and providing advanced technology.

Light At The End Of The Tunnel Hellyer BookHis book, “Light at the End of the Tunnel: A Survival Plan for the Human Species” reveals that humans are hell bent for extinction unless we change our attitudes and actions with an urgency appropriate to an impending disaster. In the book, Paul Hellyer suggests that we have about ten years to wean ourselves from the oil economy and profoundly regrets that the Copenhagen Conference reflected little progress in that direction.

World Leaders Have to Do Better

The whole atmosphere was one that reminded him of Emperor Nero fiddling while Rome burned. World leaders simply have to do better! The book outlines the three monumental changes required to accommodate the miracle. First, the book claims that exotic energy sources already exist. They have been developed by the U.S. “shadow government” at the massive underground “black operation” installations in Nevada and Arizona using technology borrowed from visitors from other planets. Yet they remain secret for the alleged benefit of the privileged few. Second, the money has to be found to subsidize poor nations and facilitate major changes. This can be accomplished by a fundamental re-working of the monetary and banking system. Bank leverages must be dramatically reduced and the percentage of virtual money they create as debt strictly limited so that governments can gain the financial flexibility to finance the transition to sustainability. Finally, it will be necessary for all countries, races, faiths and colors to drop their antagonisms and work together in common purpose to save the heritage they have in common.

When Hellyer was Canada’s Minister of National Defense he stated, “I got periodic reports on sightings and I looked at them very casually, and it was decided that about 80 percent of them were natural phenomena of one sort or another, and the other 20 percent roughly were unexplained, and therefore unidentified. While spending one Thanksgiving holiday north of Toronto, Hellyer and his wife spotted an UFO. “The two of us stood there transfixed for 20 minutes, looking up at this thing moving first in one direction, and then another. By process of elimination, we determined it wasn’t a star or satellite and it wasn’t the space station, so there was really no explanation for it other than it was, in fact, a UFO.”

“It looked like a star, but it maneuvered in a way that stars do not. I must admit that when I saw this one, I wondered whether it was extraterrestrial or American. And I guess the thought that occurred to me was that if it is American, then they have learned some pretty big secrets about acceleration, because it accelerated at a pace that nothing I’ve ever known about that was built here is capable of.”   For the Silo, George Filer.  Join MUFON.

Supplemental- renowned Scientist Stephen Hawking warns about the danger of Extra-terrestrials.

Art

Rice University Upcoming- Masako Miki: Shapeshifters, Sprites, and Spirits

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April, 2026 (Houston, Texas) — The Moody Center for the Arts at Rice University announces that its summer 2026 exhibition will feature the work of Masako Miki (b. 1973, Osaka, Japan). The artist’s first solo show in Texas, this site-specific, sculptural installation is populated with spirits, shapeshifters, and other changelings animated by a longing for recognition and connection amid a rapidly changing world.

The Influence Of Surrealism And Japanese Folklore

Rendered through Miki’s vibrant visual language in a style informed by twentieth-century art historical movements, including European Surrealism and Japanese manga, this exhibition interprets themes from Japanese folklore and brings them into relation with the present, reflecting the artist’s interest in storytelling and myth as forces that shape how the world is understood.

 “The empathetic throughline of Miki’s work draws visitors together into a space that is both entirely original and deeply familiar,” said Alison Weaver, co-curator and Suzanne Deal Booth Executive Director for the Moody Center for the Arts. “Amid global conflict and widening cultural divides, in the year following the eightieth anniversary of the bombing of Hiroshima and Nagasaki, this exhibition offers a bridge across time and tradition to demonstrate how shared narratives can foster connections across seemingly insurmountable differences.”   

Central to Miki’s practice, and to the folkloric traditions from which it draws, is the belief that all beings and things contain a spirit.

Specifically, the influence of Shinto animism informs Miki’s sculptures of everyday objects and natural elements—gourds, dolls, trees, and others—that assume human scale and a vivid sense of character. Constructed from felt layered over wood armatures, Miki’s creatures form abstract silhouettes that feel both natural and fantastical. Questions that inform Miki’s approach include: Why do some stories live on for generations while others are forgotten? And how do strangers relate to one another despite cultural and political divides?

According To The Artist

According to the artist, “[These] mythologies have the potential to counter past narratives such as the legacy of World War II in Japan and the history of slavery in the United States. My characters are ordinary but have extraordinary powers; they are secular but are attuned to sacred traditions. As a collective, they advocate for both individual and collective agency, and the importance of stories as unifying systems in today’s complex world.” This exhibition is curated by Associate Curator Claudia Mattos with Suzanne Deal Booth Executive Director Alison Weaver. 

Masako Miki: Shapeshifters, Sprites, and Spirits is made possible by the City of Houston through the Houston Arts Alliance, the Moody Center for the Arts Excellence Fund, the H. Russell Pitman Fund for the Moody Center for the Arts, the Tamara de Kuffner Fund, the Kilgore Endowment Fund, and the Sewell Endowment.

More About the ExhibitionMasako Miki, Blissful One-Eyed Spirit, Courtesy of the artist and Jessica Silverman. Photo: Steve Ferrara

Bringing mythic and mundane worlds into contact, Masako Miki focuses her Moody presentation on yōkai—supernatural entities taking the form of beings, objects, and apparitions—particularly those that appear in the Night Parade of One Hundred Demons (Hyakki Yagyō), a legend dating to medieval Japan. In this tale, discarded household objects, from a monk’s string of prayer beads to abandoned umbrellas, come to life and gather in an unruly procession, making themselves known to a world that has failed to recognize their presence. 

Forms That Go Overlooked

“By attuning viewers to forms of life that often go overlooked, Miki raises questions about belonging, resilience, and who—or what—has been cast aside or forgotten,” said Claudia Mattos, co-curator and Associate Curator for the Moody Center for the Arts. “

Mindfully arranged in our gallery, each grouping suggests companionship, conspiracy, or collectivity, allowing sculptures to assert a presence in relation to the space, the viewer, and one another.” In tandem with the exhibition, the Moody will screen episodes of GeGeGe no Kitarō, a Japanese animated series based on a manga created in 1960 by artist Shigeru Mizuki (1922–2015), a World War II veteran whose work was shaped by his experiences of war.

Credited with reviving interest in Japanese yōkai in twentieth-century popular culture, the story follows a childlike yōkai named Kitarō who moves between human and supernatural realms and intervenes when conflict arises between them. The episodes were influential to Miki’s development growing up, and their contemporary reimagining of folklore resonates with themes that shape her practice today. Masako Miki: Shapeshifters, Sprites, and Spirits invites visitors to imagine how traditional stories can speak to contemporary sociopolitical realities. The exhibition makes the case that expressions of joy and the human imagination are radical acts with the potential to disrupt prevailing cultural discourse to imagine a more compassionate, harmonious, humane future. 

Moody Center for the Arts at Rice University Announces Summer 2026 Exhibition Masako Miki: Shapeshifters, Sprites, and Spirits
On view May 29 – August 15, 2026, Masako Miki’s first solo show in Texas brings folklore into a present-day focusMasako Miki, Waiting Cloud, 2025. Photo by Chris Gunder

Masako Miki, Rising Pink Prayer Beads, Courtesy of the artist and Jessica Silverman. Photo: Phillip Maisel About the ArtistMasako Miki. Courtesy of the artist and Jessica Silverman. Photo: Francis Baker.

Masako Miki (b. 1973, Osaka, Japan) holds an MFA from San José State University, CA, and a BFA from Notre Dame de Namur University, Belmont, CA. Her work has been the subject of solo exhibitions at the Institute of Contemporary Art, San Francisco; de Young Museum, San Francisco; Massachusetts College of Art and Design, Boston; Berkeley Art Museum and Pacific Film Archive, CA; ICA San José, CA; and KMAC Contemporary Art Museum, Louisville, KY. Her work is in the permanent collections of SFMOMA; BAMPFA; the McEvoy Foundation for the Arts, CA; Collección SOLO, Madrid; Byrd Hoffman Water Mill Foundation, New York; and Tweed Museum of Art, Duluth, MN, among others. Miki lives and works in Berkeley, CA.
Masako Miki, Pine Tree from Ancient Time, Courtesy of the artist and Jessica Silverman. Photo: Steve Ferrara

For the Silo, Jarrod Barker.

Art

Met Exhibit Will Explore Human Body & Musical Instrument Physical Connections

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The exhibition will feature an interactive space for visitors to make music through body movement, as well as immersive elements, live performances, and workshops
Exhibition Dates:  June 7–Sept 27, 2026
Location: The Met Fifth Avenue, Gallery 199

(New York, April, 2026)—From clapping hands and tapping feet to beatboxing and whistling, the human body is a musical instrument. In turn, instruments often draw their form and decoration from the body. Musical Bodies, which opens on June 7 at The Metropolitan Museum of Art, will explore the multifaceted relationship between musical instruments and the human body. This is the first major exhibition to address this theme and will bring together some 130 works from around the world and across time, including musical instruments, paintings, sculptures, and drawings from The Met collection along with important international loans.

Musical Bodies was conceived as an experiential exhibition. An innovative interactive will enable visitors to create music through intuitive movements and explore the blurred boundaries between body and instrument. Large-scale projections will display newly commissioned footage of beatboxing, body percussion, tap dancing, and more by such acclaimed New York–based and international artists as tap dancer Savion Glover, Beatbox House, and whistler Molly Lewis. Special activations throughout the run of the exhibition will take place in the gallery and include musical performances from an array of artists as well as workshops that activate the body as an instrument. More details will be announced at a later date.

 “Musical instruments, which represent an important part of the Met’s collection, have long been recognized and celebrated as dynamic tools for creative expression, and also as works of art in their own right,” said Max Hollein, The Met’s Marina Kellen French Director and CEO. “This multisensory exhibition is the first to explore—through remarkable instruments, objects, and works of art—the fascinating ways in which sound, musical objects and the human form have been in conversation for millennia. Including outstanding instruments, powerful performances and immersive in-gallery experiences, Musical Bodies is a show that will resonate, fascinate and inspire.”

The exhibition is made possible by Barbara Tober, the Diane W. and James E. Burke Fund, the William Randolph Hearst Foundation, and the Gail and Parker Gilbert Fund.

Additional support is provided by Anonymous, The Dancing Tides Foundation, and the Vanguard Council.

Encompassing 4,000 years of music history and art, Musical Bodies will feature a range of objects from across the visual arts, literature, religion, pop culture, and mythology. This includes ancient Egyptian rattles, paintings by Titian and Degas, instrument-inspired apparel, and one of Prince’s most notable guitars. The ways in which the boundaries between body and instrument have been artfully blurred will be explored through visionary works such as Nam June Paik’s TV Cello; the PianoArc circular keyboard designed in collaboration with Brockett Parsons, keyboardist for Lady Gaga; and a steel guitar in the form of a crutch that was made for country music singer and songwriter Barbara Mandrell while she was recovering from an automobile crash.

Musical Bodies will include prominent works from across 10 of The Met’s curatorial departments, including over 50 instruments from the Department of Musical Instruments as well as ancient works from Egypt, 19th-century masterpieces from European Paintings, and 20th -century works from the Department of Modern and Contemporary Art. The exhibition will also feature significant loans from collectors and institutions such as the Musée de la musique (Paris), the National Music Museum (Vermillion, South Dakota), and the Royal College of Music (London). One of the earliest surviving bowed string instruments, a rare figural lira da braccio from the Kunsthistorisches Museum (Vienna), and a lavish hurdy gurdy from the Victoria & Albert Museum (London) will be shown in the United States for the first time.

“Musical Bodies first formed in my mind as a deceptively simple question: Why are so many instruments shaped and decorated like the human body?” said Bradley Strauchen-Scherer, Curator in the Department of Musical Instruments at The Met.”The quest for an answer has become an exploration of humanity through the lens of instruments and music. We find ourselves represented in these instruments because, for much of our history, music has been central to who we are and what we do. I hope this exhibition will reconnect all of us with our innate musicality and shared heritage of harmony.”

Through six thematic sections, the exhibition will illuminate the relationship between the body and musical instruments and how they serve as channels for self-exploration and expressions of culture and belief systems. Musical Bodies will also reveal how instruments are used to stand in for the body to address topics that are traditionally considered taboo, such as sex and death.


Credits and Related Content

Musical Bodies is conceived and organized by Bradley Strauchen-Scherer, Curator in the Department of Musical Instruments at The Met, assisted by Ava Valentino, Research Assistant in the Department of Musical Instruments.

A fully illustrated catalogue will accompany the exhibition and will be available for purchase from The Met Store.

The catalogue is made possible by the Mary C. and James W. Fosburgh Publications Fund.

The Met will host a variety of exhibition-related educational and public programs, including a Creative Convening, Artists on Artworks and Met Expert talks in the galleries, a music workshop, and more. Details will be announced.

Musical Bodies will be on view during the presentation of the exhibition Costume Art (May 10, 2026–January 10, 2027), which will examine the centrality of the dressed body in fashion and art. The two shows will provide visitors with distinct and engaging explorations of the body’s relationship to artistic expression.

For the Silo, Jarrod Barker.


Featured Image: Thomas Zach, Violino Harpa Forma Maxima, 1874. Wood (spruce, maple, ebony), metal strings. Collections Musée de la musique / Cliché Claude Germain, 2020. Cité de la musique-Philharmonie de Paris
Visit The Met
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New York, NY 10040 metmuseum.org
Culture

Acupuncturist Explains Eastern Medicine Methods and Chi

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Living the EnerQi ConnectionAs westerners we’re used to running to the doctor for a prescription when we’re sick, but the down side to this is that many pharmaceuticals come with serious side effects.

  That’s just one reason why Asians believe in helping the body heal from more natural methods. Sheri Laine studied under one of the great Chinese medicine masters and in her new book, Living the EnerQi Connection, she shares a profound understanding of Asian medicine and explains the many benefits people are realizing from switching to natural products.

Powerful Eastern Chinese Words

Many of us have heard the words Eastern/ Chinese/Asian medicine, acupuncture, and chi, but we don’t really understand what they mean or the long tradition behind the culture of it. We are westerners. We are used to doctors in white lab coats rushing to meet with us and write a prescription for whatever problem we have at the moment. Living the EnerQi Connection presents a new idea to health, medicine, and introduces us to what those words really mean.

The Correct way to pronounce Qi

The book discusses Asian medicine as a whole, but one of the main points that it touches on is qi (pronounced “chee” and sometimes spelled chi). This is the energy that is constantly circling through our bodies. Sometimes the flow of our qi can become blocked in some way, because we’re tired or run down which can leave our bodies susceptible to illness. Sheri Laine, L.Ac, has developed a way through Asian medicine to help us maintain our health and keep our qi flowing.

In this book Laine presents the L.A.I.N.E. system, which stands for: Learn, Align, Inform, Natural, and Energy.

Each chapter of the book explains a part of her system to give us a better understanding of the concepts of the energy in our bodies and the energy around us. This will help us to take a more active stance on our lives, our health and our healing.

Sheri Laine Diplomat of Acupuncture

Laine shows us moments from her childhood when she loved to play doctor to her friends and family, giving them shots by sticking them with cactus needles and giving them medicine from the plants in her back yard. Many years later she is doing this again, but she is no longer playing make-believe. Acupuncture and herbal medicine are a powerful way for Laine to help enhance our qi and energy.

Doctor Richard Teh-Fu Tan LAc, OMD
Doctor Richard Teh-Fu Tan LAc, OMD

Sheri Laine studied for many years under the Chinese medicine master, Richard Teh-Fu Tan. It is a long tradition that an apprentice study under a master for many years to get such an extensive knowledge of the medicine, the science, and the tradition behind it. This is how Laine is able to help us understand the concepts for ourselves so that we may apply them in our lives. She is the president of Eastern Medical Arts, a licensed acupuncturist, herbalist and nutritionist, with a focus on Integrative Lifestyle Medicine.

Page Excerpt

“Deep in their roots, all flowers keep the light. “– Theodore Roethke

Oriental Medicine draws from nature to diagnose internal medical challenges. We have all admired a great majestic tree. Your health is like that great majestic tree. The roots are your immune system, your qi essence, and the power of your qi essence. The branches of your tree are your subjective symptoms of a greater imbalance. The problem is not in a bad branch; it actually lies in the roots of the tree and within the soil that nourishes the tree, what is the underlying cause of distress?”– Chapter 2: Drawing from Nature: The Elements of EnerQi

Supplemental- Just how gentle can acupuncture be?

Culture

5 Spring Cleaning Tips For Your Garage

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Another superbly helpful article from our friends at Hagerty– if you find yourself ‘shuffling’ things around without any real improvements in organization you are not alone. Read on……
Kyle Smith

Spring time means cleaning time?

Spring cleaning is a concept that has existed for centuries. It’s the annual reminder to take personal stock of what we have, what we need, and what might need a little bit of organization or clean-up. Whether you take it seriously or not, spring cleaning is something worth at least trying if your garage is also a workshop or DIY space for your automotive habits. Make your annual cleanup better than ever with these five tips, straight from my overflowing and disorganized garage, direct to yours.

Beware of the organization trap

mounting ice tires XR250R Kyle's Garage
I think I might have a tire problem.Kyle Smith

When I was young, I would spend the occasional Saturday morning piddling around the garage with my father, who described the time as “organizing,” but if I snuck upstairs for a mid-morning snack, my mother would ask how dad was doing “shuffling his shit.” I spend a lot of my time shuffling my shit, so I guess that might be genetic. Perhaps you got that same gene.

If you do, be warned. We are the particularly gifted type who regularly put five pounds into the 10-pound bag—often without drama. The bag is not a literal bag here, but instead the area on a shelf or under a workbench. Packing things in more tightly is technically organizing, but it does not make it easier to get work done. Spending time unburying a part you now need but know is tucked behind a bunch of other things is still a waste of time. Organizing should make things easier to retrieve and use, not just allow you to fit more into the same space.

Be honest, are you actually gonna get to that?

workbench height demonstration Kyle's garage
Maybe we don’t talk about how long the project hiding under that towel has been sitting there…Kyle Smith

Spring cleaning might be about returning your storage bench to a workbench, but it is also prime time to take stock of how much time you have against how many projects you have. This doesn’t have to be about getting rid of things. Instead, consider keeping the priorities up front and putting in a little extra effort to pickle and store the long-term projects better. This ensures that when you do get to them, they are how you left them—not a mismatched pile of parts that has been shuffled five times in three years, that’s also starting to rust.

Think forward

projects garage
Kyle Smith

While most of the thinking in the garage is very present-focused, it’s also important to think about the future and what projects might be coming up. Are there some things in the trash pile that would be useful for that project? A few things worth hanging onto just a little bit longer?

It can be easy to simply default to “throw everything away” or “keep everything.” Resist this urge and instead look at the discoveries you make while spring cleaning and honestly assess them against the to-do list or calendar that helps keep track of the projects and tasks you have on the docket. Some make sense to keep and keep track of due to an upcoming task. Let this help guide your selection of what stays and what goes.

Take out the trash

Motorcycle cables on garage floor
Every used cable I’ve taken off a project bike.Kyle Smith

It sounds simple, but actually throwing things away is tough. During an annual clean-out, a new pile will likely form in the garage, full of bits and pieces amassed during the colder months that you had every intention to throw out. It’s important to actually follow through.

The struggle—for me at least—is often that items in the trash pile do still have some small perceived value. For example, nearly every motorcycle I bring into the garage gets new control cables in the interest of safe operation. Some of the cables I pull off other bikes are still functional, just in less-than-desirable shape. Perfect spares, right? Yet I can easily find myself keeping all the cables “just in case,” which means I have a trash pile by a different name.

Create homes, not spots

parts storage Kyle's garage
A lot of parts, a little organization.Kyle Smith

Organizing is hard. Putting things down is easy. Be careful not to fall back into just piling things together. Instead, take the time to catalog—even if only mentally—the parts and pieces as they appear from the depths of disorganization. This holds for tools also; the items that get rare usage might end up in the same spot, but it’s not a good spot for them to live. Spring cleaning is the time to look at workflow and space to put things where they should be, rather than a place where they fit.

Here’s an example: The vise for my drill press often ends up living on top of a toolbox, meaning it has to move each time I open the box and again when I go to use the drill press. This spring, it’s going to get a better home.

Spring cleaning should feel refreshing when complete. That can be tough in a garage where we are often forced to confront the progress (or lack thereof) on a project each year. Whether life was good to us or not, taking a moment this spring to assess and get back on track can be powerful. If you have tips or tricks you use for your spring cleaning, be sure to leave them in a comment below.

For the Silo, Kyle Smith.

Culture

The Dangers Of Kissing And Aspartame- When Western Medicine Fails You

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The Diet Coke Of Relationships Things My Ex Said

What do you do when Western medicine fails to heal what ails you? 

Mitzi Mensch knows only too well what happens once doctors have exhausted their bag of tricks.  Through her writing, Mensch hopes to raise awareness of the dangers of Aspartame, challenge doctors to find answers – not simply mask symptoms – and to bring out the hopeless romantic in her readers.

Healthcare has turned into a multi-trillion dollar industry as patients around the globe are herded into doctor’s offices, only to leave with prescriptions in-hand for brightly colored pills.  But what happens when the pills don’t work and the doctor is out of ideas of how to treat your symptoms?  Mitzi Mensch knows first-hand the challenges this presents and has written about her experience in The Dangers of Kissing and Diet Coke:  What Your Doctor Doesn’t Know and Won’t Bother to Find Out, a neurological nightmare juxtaposed with a riveting love story.

This medical mystery has Mitzi playing dual roles of patient and detective all while embroiled in an intense affair with her long lost first love.

There was the “Go to Psych” doctor, the “We’re out of time doctor”, the “No, next” doctor.  Physicians pushed pills which turned her into an emotional zombie and didn’t work.  Alternative practitioners practiced protocols and provided potions which didn’t work.  As Mitzi muddled through the morass she searched for anything that claimed to cure pain, calm nerves, create somnolence.

Still her headache raged on, her tics escalated, she didn’t sleep.

Mitzi was determined to find out what was wrong and fix it. And then there is the power of first love, potent and compelling.  The Internet has made it so very easy for people separated by years and distance to rekindle what was long ago left smoldering.  But should they?  Much more than a self-help book, The Dangers of Kissing and Diet Coke sizzles, allowing the reader to voyeuristically experience an affair from the perspective of the ‘other woman.’

Yeah we know...it's an ugly picture- but so is Aspartame! Take that irony! CP

Mensch would like to help people through her writing.  “Even if one person’s health is saved by eliminating Aspartame, or one person is cured of constant headache, or one doctor will look beyond the obvious – my words will have meant something.  One thing I would like for readers to take away from this book is to be your own advocate when you get sick.  As for lovers who love down through the decades, sometimes it works.  They are the lucky ones. ”

Mitzi Mensch was born and raised in New England and attended college in Vermont.  An island girl at heart, she lives in Hawaii.

Available on Amazon.com, AuthorHouse.com and local bookstores. The Dangers of Kissing and Diet Coke:  What Your Doctor Doesn’t Know and Won’t Bother to Find Out By Mitzi Mensch Publisher:  AuthorHouse  ISBN-13:  978-1491814147

Culture

Top 5 Things that Make Finland Happiest Country For Ninth Consecutive Year

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People and companies tend to do well in similar surroundings. Here’s how Finland cultivates an environment in which personal happiness and business success are not at odds but grow out of the same ground.

Several things contribute to Finnish happiness, many of which also make Finland a great country to do business and invest in. We listed five reasons why Finland is a country where people experience a high quality of life—and which also make Finland a place for entrepreneurship and innovation that punches above its weight in many sectors.

1. Stable, functional, and predictable—everyday

In Finland, people experience a high level of personal freedom, public services are widely available, buses run on time, and things just generally work. Daily life can be almost boring in its predictability— in the best possible way.

Such stability also represents a competitive advantage. In the recent 2026 Finland Investor Confidence Barometer, 54% of Finnish-owned and 62% of foreign-owned company business leaders considered social stability and functionality to be among Finland’s key strengths.

2. People work well together in a high-trust society

Finland is characterized by a widely shared sense of trust among both neighbors and strangers. It is also characterized by people’s trust in the authorities and governing bodies. Corruption remains low (2nd in Transparency International’s Corruption Perceptions Index in 2025), and people and organizations don’t need to spend a lot of time and energy trying to work out who they can trust. This removes obstacles to collaboration, making for a happier, stress-free environment.

3. Work-life balance lifts both sides

Finnish society supports people’s ability to combine work with family life and the pursuit of one’s own interests and hobbies. Finnish policies support subsidized parental leave, infant health services, and daycare. This means people can both build a career and fulfill their dreams of a family without creating an undue burden on either. A big part of the Finnish dream is the accessibility of a fulfilling life for everyone.   

4. World-class digital infrastructure keeps you connected

Finland has long had a thriving ICT sector. So it’s no surprise it’s among the top countries in the world when it comes digitalization. As a country of long distances, Finland benefits from reliable high-speed networks that support working from home, as well as enjoying life and staying connected outside office hours. In the Finland Investor Confidence Barometer, approximately half the surveyed leaders of both domestic and foreign-owned businesses listed the country’s digital infrastructure as one of Finland’s core strengths.

5. Connection with and appreciation of nature

Even with great digital connections, Finns also know how to log off. Anywhere in Finland (even in the cities), you’re always within a 10-minute walk from a nature trail or park. The proximity of nature gives people a sense of calm—and people who are relaxed, recharged, and happy outside work are also happy and productive people when they’re in the office. Finland is also committed to preserving its valued nature with a credible climate policy. Carbon neutrality is a common target for many cities and municipalities, and the green transition is viewed as a major opportunity for businesses. 

The coming together of these factors contributes to the Finnish sense of happiness, both during and outside business hours. And it shows. The UN World Happiness Report surveys people from around the world annually, asking them to evaluate their current quality of life: on March 19, the report’s 2026 edition announced Finland as the world’s happiest country for the 9th consecutive year.

For the Silo, Salla Salovaara/ Business Finland.

ABOUT

Business Finland is the Finnish government organization that provides innovation funding and internationalization services, promotes travel and investments, and attracts talents to Finland. Business Finland’s around 450 experts work in 12 offices globally and in 15 regional offices around Finland. Business Finland is part of the Team Finland network. www.businessfinland.fi

Invest in Finland helps foreign companies identify business opportunities in Finland, produces information on Finland as an investment destination, and enhances and coordinates national efforts to attract investment by actively networking with regional and international entities. Invest in Finland also collects and updates information about foreign-owned companies in Finland. Invest in Finland is part of Business Finland. www.businessfinland.com

Culture

How Meta and TikTok Turn User Rage into Revenue, While Pretending to Keep You Safe

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Whistleblowers from Meta and TikTok revealed that both companies knowingly allowed more harmful content, including violence, extremism, and exploitation of minors, on their platforms to win the algorithm-driven engagement race, prioritizing stock prices and political relationships over user safety.

Disclaimer- According to Kate Miller at The Fastest Media, the original source for this story, Cybernews, has been caught in significant inaccuracies.

Cyberbullying Enabled

These platforms also prioritize resolving complaints from politicians over those from vulnerable people, such as minors experiencing cyberbullying. 

“While platforms and lawmakers take their sweet time debating what borderline content is, people are left to deal with the psychological fallout of social media addiction. From the inability to tell right from wrong or fake from real, loss of concentration, sleep, and even sense of self, to radicalization, depression, and self harm – the consequences of companies toying with their algorithms to meet business goals are dire for humanity,” writes Jurgita Lapienytė, Editor-in-Chief at Cybernews. 

Profit Over Safety?

A new BBC report revealed what we suspected all along – big tech platforms turn a blind eye to harmful content for the sake of profit. Platforms allow so-called borderline content – misogynistic, sexist, racist, conspiracy-driven – that is harmful yet legal.

According to the report, based on accounts from a dozen whistleblowers and insiders, Meta engineers were instructed to allow more borderline content to compete with TikTok. Meanwhile, TikTok is said to have prioritized several user complaints involving politicians to “avoid threats of regulation or bans.”

Unsurprisingly, big tech platforms denied any wrongdoing, insisting that they do not amplify harmful content.

Algorithms are allegedly designed to better understand user interests and needs, and cater to them accordingly. Unfortunately, most of what a user “wants” turns out to be conspiracy theories, AI slop, deepfakes, and pro-Nazi content. Or at least the algorithm seems to think so – because most of this is so-called ragebait content, designed to provoke a strong response from the user.

And since users engage with it, the algorithm is tricked into “thinking” this is what people want. Humans behind the algorithm must clearly understand this is not the case, but clicks translate to cash. So why would Big Tech cut the branch it’s sitting on?

In 2024, Meta earned $16 billion, or 10% of its annual revenue, from scam ads and banned goods. The information comes not from a third-party analytics firm but from Meta’s own documents, proving that the tech giant is well aware of how much harm it can spread – and how much money it can make along the way.

While platforms and lawmakers take their sweet time debating what borderline content is, people are left to deal with the psychological fallout of social media addiction. From the inability to tell right from wrong or fake from real, loss of concentration, sleep, and even sense of self, to radicalization, depression, and self harm – the consequences of companies toying with their algorithms to meet business goals are dire for humanity.

It’s not only our mental health that’s at stake. Adversaries, well aware of algorithmic logic, abuse it to spread misinformation and straightforward lies, sowing division to influence elections all over the world – making us wonder just how much harm performative compliance has already done to democracy.

Cybernews is a globally recognized independent media outlet where journalists and security experts debunk cyber by research, testing, and data.

Cybernews has earned worldwide attention for its high-impact research and discoveries, which have uncovered some of the internet’s most significant security exposures and data leaks. Notable ones include:

  • Cybernews researchers found that Android AI apps leak Google secrets the most, 700TB of files already exposed.
  • Cybernews researchers discovered multiple open datasets comprising 16 billion login credentials from infostealer malware, social media, developer portals, and corporate networks – highlighting the unprecedented risks of account takeovers, phishing, and business email compromise.
  • The research team also studies over 19 billion newly exposed passwords, and found that most people use 8–10 character passwords (42%).
  • Cybernews researchers analyzed 156,080 randomly selected iOS apps – around 8% of the apps present on the App Store – and uncovered a massive oversight: 71% of them expose sensitive data.
  • Recently, Bob Dyachenko, a cybersecurity researcher and owner of SecurityDiscovery.com, and the Cybernews security research team discovered an unprotected Elasticsearch index, which contained a wide range of sensitive personal details related to the entire population of Georgia. 
  • The team analyzed the new Pixel 9 Pro XL smartphone’s web traffic, and found that Google’s latest flagship smartphone frequently transmits private user data to the tech giant before any app is installed.
  • The team revealed that a massive data leak at MC2 Data, a background check firm, affects one-third of the US population.
  • The Cybernews security research team discovered that 50 most popular Android apps require 11 dangerous permissions on average.
  • An analysis by Cybernews research discovered over a million publicly exposed secrets from over 58 thousand websites’ exposed environment (.env) files.
  • The team revealed that Australia’s football governing body, Football Australia, has leaked secret keys potentially opening access to 127 buckets of data, including ticket buyers’ personal data and players’ contracts and documents.
  • The Cybernews research team, in collaboration with cybersecurity researcher Bob Dyachenko, discovered a massive data leak containing information from numerous past breaches, comprising 12 terabytes of data and spanning over 26 billion records.
  • The team analyzed NASA’s website, and discovered an open redirect vulnerability plaguing NASA’s Astrobiology website.

For the Silo, Živilė Kasparavičiūtė.

Featured image via Cybernews- Elon Musk’s artificial intelligence (AI) firm xAI has said it is working to remove posts by its chatbot Grok that praised Adolf Hitler as the best person to deal with “vile anti-white hate.”

Art

Late Inuit Artist’s Work Named 100 Best Artworks Of 21st Century

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Annie Pootoogook’s drawing entitled Man Abusing His Partner was  selected as one of the best 100 artworks of the 21st century by ArtNews. 

Kinngait (Cape Dorset), Nunavut – A drawing by late Inuit artist Annie Pootoogook, who died under suspicious circumstances in 2016, has been named as one of the best artworks of the 21st century by ArtNews, one of the most trusted sources for news about the global art world and art market. 

Known for her drawings that depict contemporary Inuit life, her drawing entitled Man Abusing His Partner was selected as one of greatest artworks of the past 25 years.  

Annie Pootoogook works on her art on July 10, 2013, in Ottawa. The investigation into her 2016 death has stalled, sources tell CBC News. (Alexei Kintero)

The work on paper illustrates a haunting personal memory from Annie’s life during the early 1990s, when she was in an abusive relationship with a man in Nunavik.

The artwork depicts a  violent and threatening scene, with a male figure holding a piece of wood above his head,  directed toward a woman who lies defenseless on a bed. Initially, like many women facing  similar situations, Annie remained silent about her experiences, reflecting the broader social  stigma and silence surrounding violence against women. However, as she found her voice, it became clear that Annie possessed immense courage. She began sharing her story of survival as an Inuit woman, using her artwork as a powerful medium to communicate struggles with addiction, mental health, and intimate partner abuse. 

Sadly, on September 19, 2016, Annie’s body was found in the Rideau River in Ottawa. Police declared it a suspicious death, however no arrests were ever made. Annie’s story, which she often conveyed through her work, became a representation of the broader experiences of Inuit and Indigenous women, highlighting the ongoing impact of colonialism and patriarchy in their lives. Her drowning and the subsequent police investigation drew significant attention because of her status as an internationally renowned artist and Inuit woman. 

“This significant recognition of Annie Pootoogook is a testament to her enduring importance as a contemporary creator,” said West Baffin Cooperative President Pauloosie Kowmageak. “As we remember her significant contributions we also have the opportunity to look forward, knowing that her personal resilience and artistic innovation is inspiring new generations.’ 

Pootoogook was an artist member of the West Baffin Cooperative, Canada’s oldest Inuit owned and led social enterprise.

She was the third youngest in a family of ten children and grew up surrounded by artists, including both of her parents, as well as her grandmother, the renowned artist Pitseolak Ashoona (c.1904–1983), and her uncle, Kananginak Pootoogook (1935–2010). 

Influenced by them, Annie based her drawings on her personal experiences, including her struggles with addiction and domestic violence. Her work found fame in the larger art world and was showcased at the National Gallery of Canada, Art Gallery of Ontario, McMichael Canadian Art Collection, The Power Plant, Biennale de Montreal, Art Basel and Documenta 12, among other exhibitions. 

For the Silo, Jarrod Barker.

About West Baffin Cooperative 

Established in 1959, West Baffin Cooperative has enjoyed an international reputation for the exquisite prints, drawings and carvings created by its Inuit artist members. In addition to operation of the Kinngait Studios at the Kenojuak Cultural Centre in Kinngait, the cooperative maintains a Toronto marketing division office, Dorset Fine Arts, which is responsible for interfacing with galleries, museums, cultural professionals, Inuit art enthusiasts and the art market globally. The mandate of West Baffin Cooperative includes public relations, promotion, advocacy, government relations and special projects relating to Kinngait Inuit art. Governed by an all-Inuit Board of Directors, the organization also maintains a local retail grocery/hardware store, a restaurant, rental properties and various utility contracts. As a community owned organization, practically all Kinngait adults are shareholders, profits are distributed back to the community in the form of annual dividends.

Featured image- Annie Pootoogook, Man Abusing His Partner, 2002 Coloured pencil and ink on paper, 51 x 66.5 cm
Collection of John and Joyce Price

Culture

What Are Mind Control Religions?

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Is Tom Cruise the poster boy for alternative religion?
Is Tom Cruise the poster boy for alternative religion?

In most western-world countries, laws protect consumers from fraud and unethical business practices. But to date, there are no laws on the books that recognize destructive mind control, much less prohibit the use of it by cult-like groups of religion. However, if my colleague Steven Hassan,  the pioneer of exit counseling for cult members and a critically acclaimed author, and thousands of  other ex-cult members have any say about it, that may soon change.

The mind, despite all of its strengths, depends on a stream of coherent information for it to function properly.

Put a person into an  environment where the senses are overloaded with incoherent information and the mind becomes numb. In this confused state, critical thinking skills don’t work and the mind becomes suggestible to those who would replace an individual’s self-interest with the group’s best interests.

Everyone, like it or not, is vulnerable to mind control. Everyone is looking for something better in life: more happiness, more meaning and more security. Recruiters prey upon these basic human needs. People don’t join; they are recruited, and more often than not, during a stressful time in their lives.

Mind-control religions use our fantasies of an ideal world to draw us in. The “love bombing” and the sincere, committed members that newcomers initially encounter prove far more attractive and convincing than the doctrines.

Recruitment doesn’t just happen.

“It’s a process,” Hassan says, “imposed on people by other people.”

During that orientation process—it could be a seemingly innocuous six-month Bible study—irrational phobias are placed in the potential member’s unconscious mind. The first is that no one can really be happy and successful if they’re not a member of that particular religion.

deprogram-definition

After they become members, life is about sacrifice and living in a fantasy world created by the group.

The need to live in the present is continually reinforced with warnings like “Armageddon is just around the corner,” giving members a sense of urgency about the tasks at hand. Those who begin to doubt will find leaving painful, as one of the penalties will be extreme shunning.

Children raised in these groups typically receive an inferior education, are taught that the world is an evil place controlled by the devil, and must rely on church leaders’ interpretation of reality.

Mind-control clichés like “we alone have the truth” or “all non-members will die at Armageddon” are continually reinforced, which puts up an invisible wall between believers and outsiders. This makes members feel special, believing they are counted among God’s chosen few.

Control. Control And Control.

Behavior control, Information control, Thought control and Emotional control (the BITE model) has great power and influence on the human mind. Together, these four control mechanisms are used by destructive religious groups to form a totalistic web, which can manipulate even the strongest-minded people. (Hassan provides a thorough explanation of how BITE works in his three best-selling books.) And if that’s not enough, mind-control religious members are required to proselytize; research in social psychology shows that nothing confirms one’s beliefs better than trying to sell those beliefs to other people.

Given freedom of choice, people will choose what they believe is best for themselves. However, the criteria for determining what is “best” should be one’s own, not someone else’s.

Freedom of choice is the first thing that one loses when one becomes a member of groups like Scientologists, Moonies and Jehovah’s Witnesses. Unchecked, these groups will continue to wreak untold psychological and physical damage on millions of people who have no idea of what constitutes unethical mind control. Unless action is taken to make destructive religious groups accountable to society for their violations of the basic civil rights of their members, in particular the children of members, they will continue to deceive the public into believing they are a harmless group of people, deserving the same constitutional guarantees as benevolent religions.

Grant money for research projects and treatment of mind-control victims is needed now. Reform within public education must be made to encourage people to think for themselves, to understand the psychological principles of mind control and to teach students to be suspicious of any environment that discourages them from asking critical questions. If you would like to help, go to www.freedomofmind.com.

For the Silo, Richard E. Kelly.

Art

Ben Miller Fly Cast Painting To Benefit Colorado River Native Tribes

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The Colorado River Indian Tribes include four distinct Tribes – the Mohave, Chemehuevi, Hopi, and Navajo. The reservation stretches along the Colorado River on both the Arizona and California side. It includes approximately 300,000 acres of land, with the river serving as the focal point and lifeblood of the area.

River Art Created Uniquely

Art honoring the Colorado River and benefitting the Colorado River Indian Tribes (CRIT) will be envisioned and created live during Scottsdale Art Week March 19-22 at WestWorld of Scottsdale. Artist Ben Miller, a Montana-based painter best known for his Endangered Rivers series, will travel to the Colorado River Indian Tribes reservation to paint a depiction of the Colorado River at the Ahakhav Tribal Preserve which will be created and featured during Scottsdale Art Week. A portion of the proceeds from the artwork will benefit the Colorado River Indian Tribes (CRIT). This comes at a time when the life of the Colorado River is in danger because of drought and overuse. 

Ben Miller, in association with Gary Snyder Fine Art, has spent the past eight years painting the endangered western rivers of Montana, Washington, Colorado and Wyoming, and more recently the rivers of Chicago, New Jersey, New York, and Miami. On the end of a fishing rod, Miller attaches what he calls Fly Brushes, designed from wool, cotton, rubber, nylon and other materials, soaked in paint and cast onto clear plexiglass.

Ben Miller/ Gary Snyder Fine ArtMiller will bring his artistic vision to life during the art fair. His team will travel to CRIT’s Ahakhav Tribal Preserve to photograph and video the portion of the river that runs through the Preserve. On March 19 as Scottsdale Art Week begins, Miller will be on site at Scottsdale Art Week to begin Fly Cast Painting on a six foot by eight foot by one inch block of plexiglass weighing 300 pounds that will be on a special easel. Those attending will see Miller create the artwork as the painting emerges on the other side of the plexiglass. On Friday March 20th the finished work will be on display. A portion of sales will go to CRIT. Recently, CRIT has taken the bold step to acknowledge personhood status for the Colorado River which protects it under Tribal Law.
Miller said, “This year I will bring my vision of the Colorado River to life as Scottsdale Art Week begins. It’s only fitting that we do this as CRIT considers the River to be a living being which is why they acknowledged its Personhood Status.”
Now in its second year Scottsdale Art Week will feature contemporary and fine art from more than 120 galleries from 18 countries. It is America’s first art fair with an emphasis on indigenous expression.
The event will also host cultural seminars and innovative programming, including live music and a fashion show. For more information or for tickets and tables go to www.ScottsdaleArtWeek.com.

About Scottsdale Art Week Presented by Scottsdale Ferrari:

Scottsdale Art Week presented by Scottsdale Ferrari (SAW) is situated at the historical and cultural crossroads of the American Southwest, which attracted such art historical greats as Georgia O’Keeffe, Frank Lloyd Wright and major stars of the land art movement of the 20th Century. The largest new American fair of art & design in decades, SAW features an exciting combination of historical and contemporary works, welcoming well over 120 galleries from across the U.S. and around the world while honoring its home in Arizona by highlighting contemporary Indigenous artists.  

For the Silo, Jarrod Barker.

Art

What Interior Design Is All About

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Maybe you watch all the TV shows, follow the blogs, and read all the magazines (or perhaps just look at the pretty pictures) and still wonder what Interior Design really is, what a Designer does, and if you would benefit from working with one?  If so, then read on because here’s the nitty gritty on Interior Design and the passionate Designers working within it.

Interior Design is about providing “creative design solutions for interior environments and its clients.  It is the combination of technical and analytical skills with an aesthetic vision to achieve spaces that are functional, support the health, safety and well-being of users, enhance the quality of life of the occupants, and are visually attractive.

Balancing Factors

Interior Design can cover a variety of disciplines, including residential, corporate/workplace, retail, healthcare, hospitality, public, and institutional design.  Designers pay special attention to function, space planning, ergonomics, lighting, and of course the “pretty” surface elements such as colours and fabrics.  Interior Designers can be thought of as an “interior architect” and are skilled in the aspects of spatial planning, preparing technical drawings and documents, and can help design and renovate interiors from drawing up the initial floor plans to placing the last decorative accent.

How does an Interior Designer gets to be a certified professional? 

 It begins with 3-4 years of schooling, followed by a minimum of 2-3 years of work experience, and then certified by rigorous examinations facilitated by the professional bodies of ARIDO and IDC.  Designers are required to carry liability insurance, participate in ongoing professional development programs, and uphold a professional code of ethics and standards to maintain their credentials.

Interior Designers can be hired for remodels, renovations, redecorating, and new build projects.   They often work with architects, trades, and other design professionals to achieve the clients’ goals while following safety standards and building codes.  Designers are often involved with planning from the very beginning but can be brought in at any stage of the design and construction process.

The cost of hiring an Interior Designer may seem prohibitive for those on a tight budget, but the benefits are advantageous.

Those who don’t have the time or desire to plan, shop, select, and oversee their project will ultimately profit from hiring an expert.  An Interior Designer can prevent clients from making costly mistakes; whether it is with project management, decision-making, or providing savings on products and materials purchased.  Designers bring with them an array of professional contacts for trades, suppliers, custom fabricators, and favorite stores.  Regardless of the project size and needs, clients often have the option to choose from a variety of services to suit their budget.

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If you are considering hiring an Interior Designer know what you want by determining your needs beforehand, and define your style through design and architecture magazine clippings.  You can find a Designer through word of mouth, web-based research, professional associations, or trade magazines.

Most of all- have fun.

Interview them to review their portfolio, determine that your personalities mesh, discuss your project scope as well as the designer’s fees and process.  Most important of all, have fun with the process – your interiors will thank you, and you will have made an investment into the enjoyment and functionality of your space. For the Silo, Ramee Cyr/ R Design Studio.

Featured image- Colwood house is a perfect mid-century nod to a modern Canada home designed by Erica Colpitts Interior Design.

Art

Aird Gallery Toronto- ABSTRACTS 2025 Now Live

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ABSTRACTS 2025

ABSTRACTS 2025

Juried Online Exhibition and Catalogue

JUROR: LYLA RYE
DESIGNER: ELIZA TRENT RENNICK
FOREWORD BY ARNIE GUHA

Abstraction is not an absence. It is a decision.

To abstract is to strip away the familiar scaffolding of representation and ask a more difficult question: what remains when narrative recedes? What persists when image is released from obligation to describe?

The works gathered in ABSTRACTS, curated and juried by Lyla Rye, demonstrate that abstraction is not a single language but a constellation of methods. Across painting, digital media, photography, drawing, sculpture, and mixed media, the artists in this exhibition approach abstraction not as retreat, but as inquiry. Form becomes structure. Colour becomes an event. Gesture becomes argument.

Some works carve space. Some map pattern. Some lean into material process; others into digital construction. Some are quiet. Others declare themselves boldly. What binds them is not style, but intention, a commitment to exploring what visual language can do when it is freed from depiction.

In a moment saturated with image and immediacy, abstraction asks us to slow down. It resists instant readability. It rewards attention. It invites the viewer into a more active role: not decoding a message but participating in meaning.

Lyla Rye’s curatorial vision has brought together an expansive and diverse group of artists, each working from a distinct vantage point. The result is not a unified aesthetic, but a dynamic field of approaches; evidence that abstraction remains a vital and evolving force within contemporary practice.

This catalogue, designed with clarity and care by Eliza Trent-Rennick, extends the life of the exhibition beyond the gallery walls. It documents not only the works themselves, but the range of conversations that abstraction continues to generate.

The Aird Gallery exists to provide a platform for artists across Ontario to present rigorous, thoughtful work. ABSTRACTS reflect that mandate fully. It demonstrates that abstraction is not a historical chapter closed in the twentieth century, but an ongoing experiment — one that continues to expand, fracture, and renew itself.

On behalf of the Aird Board and our partner societies, I extend sincere thanks to Lyla Rye for her discernment and generosity in shaping this exhibition, and to all participating artists for the strength and depth of their contributions.

Abstraction endures because it asks us not simply to look, but to engage. Thank you for engaging with the Aird and with our shared commitment to the arts in Ontario.

Arnie Guha
Executive Chair

ABSTRACTS 2025 ARTIST LIST

Doug Adams, Maria-Bida Albulet, Sandra Altwerger, Hadeel Alzoubi, Jarrod Barker, Peter Barron, Peggy Bell, Leslie Bertin, Ioana Bertrand, Ilija Blanusa, Monica Burnside, Mike Callaghan, Jeannie Catchpole, Emily Conlon, Anne-Marie Cosgrove, Damon Couto-Hill, Edward Donald, Holy Dunlop, Agata Dworzak-Subocz, Azar Ebrahimi, Jill Finney, Saremifar Firouzeh, Julie Florio, Elissa Gallander, Monica Gewurz, Kathy Granger Tucker, Arnie Guha, Diana Hamer, Katherine Hartel, Katharine Harvey, Janet Hendershot, Leighton Hern, Ted Karkut, Hyunryoung Kim, Rupen Kungus, Em LeightonHern, Maureen Lowry, Dimitrije Martinovic, Lisa Mason, Claudia McKnight, Carole Milon, Leah Oates, Ovidiu Petca, Ann Piche, Fraser Radford, Leena Raudvee, Dale M Reid, Heather Rigby, Liz Ruest, Colleen Schindler, Pearl Sequeira, Sara Shields, Nancy Simmons Smith, Shawn Skeir, Alayne Spafford, Marisa Swangha, Karen Taylor, Sarah Thompson, Lorraine Thorarinson Bretts, Terry Torra, Margaret Wasiuta, Holly Winters, and Anna Yuschuk.

Download Catalog

BIOGRAPHY

Lyla Rye is a Toronto based artist who began her studies in architecture. She works in installation, sculpture, video and photography to explore our experience of architectural space. Rye studied at the University of Waterloo, York University and the San Francisco Art Institute. For over 30 years her work has been exhibited in galleries and screenings across Canada and internationally including New York, San Francisco, Adelaide, Auckland, Paris, and Berlin. She has exhibited at The Power Plant, The Whitney Museum of American Art, Prefix ICA, Southern Alberta Art Gallery, The Textile Museum of Canada and Olga Korper Gallery among others. She represented Canada at the Karachi Biennale, Pakistan in 2019. She has work in the public collections of the Art Gallery of Nova Scotia, York University, Cadillac Fairview Corporation, The Tom Thomson Art Gallery, The Robert McLaughlin Gallery and as part of Ways of Something at The Whitney Museum of American Art, NY.

Featured image- Liminal Space number 4 by Jarrod Barker.

Culture

A Contraband Sandwich In A Spacesuit

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“I hid a sandwich in my spacesuit,” Astronaut John W. Young confessed in the April 2, 1965, issue of Life Magazine. The conversation about and the consumption of the sandwich, which lasted only about 30 seconds during the Gemini III flight, became a serious matter that drew the ire of Congress and NASA’s administrator after the crew returned home. Congress was particularly upset and brought the matter to leadership’s attention at hearings about NASA’s 1966 budget. Representative George E. Shipley was especially disgusted, knowing how much money and time NASA had spent to prepare the Gemini III spacecraft for launch. The fact that a crewmember brought something into the crew cabin, which Shipley likened to a “surgeon’s operating room,” put the techniques used to prevent a spaceflight mission from failing at risk; crumbs could have made their way behind instrument panels interfering with the operation of flight equipment and the loss of the mission and its crew. Shipley called Young’s antics “foolish” and asked NASA leaders to share their thoughts.

A Beef with Corned Beef

George Mueller, associate administrator for Manned Space Flight, stated unequivocally that the agency did not “approve [of] unauthorized objects such as sandwiches going on board the spacecraft.” And he promised Shipley that NASA has “taken steps, obviously, to prevent recurrence of corned beef sandwiches in future flights. There was no detriment to the experimental program that was carried on, nor was there any detriment to the actual carrying out of the mission because of the ingestion of the sandwich.” Manned Spacecraft Center Director Robert R. Gilruth was more forgiving of Young’s decision. These sort of antics, he told the committee, helped the crews to “break up the strain” of spaceflight, and he hesitated “to be too strict in the future by laying down a lot of rules for men who have this responsibility and who, in all the flights so far, have done such good jobs.” Webb disagreed and said, “this is the United States of America’s space program and, as a matter of policy, we are not going to permit individuals to superimpose their judgment as to what is going to be taken on these flights. I think it is fine for Dr. Gilruth to take a very strong position with respect to the individuality of these men, but from those of us who have to look at the totality of the matter, this was not an adequate performance by an astronaut.”

The loss of a Gemini mission, especially one so early in the program, would have been particularly challenging for an agency attempting to land humans on the Moon where each mission built on the previous flight. The United States was in a race with the Soviet Union, and for Congress at least, the purpose of Gemini and the cost of the space program was far too serious for these sorts of fun and games. For NASA Administrator James Webb, it was a sign that Gilruth was too lax when it came to managing his astronauts. Gemini III was just one example of the lack of control he noticed, and he pressed Gilruth for a report on the sandwich incident to determine if Young should be disciplined or at the very least reprimanded.

The In-Flight Meal

Young hatched the idea during training, when his commander, Virgil I. “Gus” Grissom grew “bored” with the food they practiced with for the mission. Grissom regularly complained about the dehydrated “delicacies” food scientists concocted. Bringing a sandwich onboard, an item that was freshly made and did not have to be rehydrated, “seemed like a fun idea at the time” to Young.

Grissom and Young inside the Gemini III spacecraft

Astronauts Gus Grissom (foreground), command pilot; and John Young, pilot, are shown inside their Gemini III spacecraft as they prepared for their launch from Cape Kennedy, Florida, on March 23, 1965.

NASA

One of the goals of their flight was to evaluate NASA’s flight food packaging and whether the containers leaked when foods were reconstituted, as well as the procedures for disposing of the meal and its packaging after eating. Foods included rehydratable items such as chicken bites, applesauce, or drinks, and compressed foods such as brownie bites. The Gemini food system was not haute cuisine, however, and crews complained about its taste. Young described the chicken bites as “barely edible” in his post-flight debriefing. Don L. Lind, a scientist-astronaut selected in 1967, described the early Gemini food as “strange.” Their class took some to jungle survival training in Panama, and while no one wanted to eat it on the first two days, by the third day they were so hungry that they were willing to give it a try. Another problem was that all rehydrated meals for Gemini were mixed with cold water, which made them less appetizing than a hot meal.

An array of food items in clear plastic packaging is shown on a blue background

Food packets planned for the Gemini III flight, including dehydrated beef pot roast, bacon and egg bites, toasted bread cubes, orange juice and a wet wipe. The astronaut’s method for rehydrating a pouch of dehydrated food with water is shown in the top left.

Locally Made Corn Beef Sandwich

A freshly made corned beef sandwich made at a local restaurant sounded like a better option, so Young had fellow astronaut and backup command pilot Walter M. “Wally” Schirra pick one up. Schirra purchased the sandwich for Young, and as he headed out to the launchpad, Young put it in the pocket of his pressure suit.

Nearly two hours into the flight, as Young started his food and waste evaluation, he pulled out the sandwich from his suit and offered it to his commander. As captured on the air-to-ground recordings, Grissom asked what it was and where it came from. “I brought it with me,” Young responded, “Let’s see how it tastes.” He didn’t expect the sandwich to be so pungent, “Smells, doesn’t it?” Grissom took a bite but found the rye crumbled so he placed the sandwich in his suit pocket to prevent the crumbs from floating about the cabin.

Where did that come from?

Gus Grissom

Gus Grissom

Gemini III Commander

Two days later, nearly a thousand members of the media from the United States and around the world gathered to hear from the crew and NASA management at the postflight press conference at the Carriage House Motel in Cocoa Beach, Florida. Space reporter Bill Hines asked Young about the sandwich, erroneously referring to it as a “baloney sandwich,” and what happened when Gus was offered a taste. “And,” he asked, “what became of the sandwich?” Young seemed surprised, “How did you find out about that?” and then laughed adding Grissom “ate the sandwich.”

Gemini III press news conference

John Young and Gus Grissom speak with the press about the Gemini III mission during a news conference at the Carriage House Motel in Florida. Behind the table, left to right, are Dr. Kurt H. Debus, director of Kennedy Space Center, Christopher C. Kraft, Jr., MSC assistant director for Flight Operations, astronauts John Young and Gus Grissom, Dr. Robert R. Gilruth, MSC director, Dr. Robert C. Seamans, NASA associate administrator, and Julian Scheer, assistant administrator for NASA’s Office of Public Affairs.

Carry-on Restrictions for Spaceflights

Ironically the Gemini Program offered astronauts more control over their flights than during Project Mercury, including the ability to maneuver their spacecraft and to be more independent from Mission Control; but the uproar over this event led NASA to draft rules about what astronauts could and could not take onboard a spacecraft. Starting with Gemini IV, flight crews had to present a list of items they planned to take on their missions. Prohibited items naturally included sandwiches as well as bulky or heavy items or metal that could negatively impact the operation of spacecraft equipment. (NASA still allowed astronauts to take personal items such as wedding bands or coins for families and friends in their personal preference kit.)

Young never received a formal reprimand for the incident but was made aware of Congress’s frustration. Others in the corps were advised to avoid similar stunts and to focus on the mission. The decision to bring a sandwich onboard did not have a negative impact on Young’s career. He was the first astronaut to fly to space six times —two Gemini missions; two Apollo missions, including the dress rehearsal for the first lunar landing; and two space shuttle missions including STS-1, known as the bravest test flight in history. He also served as chief of the Astronaut Office for 13 years.

For the Silo,

The headshot image of Jennifer Ross-Nazzal

Jennifer Ross-Nazzal. NASA Human Spaceflight Historian

Featured image- Astronaut John W. Young, the pilot for Gemini III, checks over his helmet prior to flight. Credits: NASA

Art

The Met to Present a Major Exhibition Dedicated to the Careers of Lee Krasner and Jackson Pollock

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Featuring over 120 works from more than 80 U.S. and international lenders, this exhibition marks the first major New York presentation of either artist’s work in over two decades—and their first at The Met.

Exhibition Dates: October 4, 2026–January 31, 2027
Exhibition Location: The Met Fifth Avenue, Gallery 899, The Tisch Galleries

(New York, February, 2026)—Krasner and Pollock: Past Continuous at The Metropolitan Museum of Artis a major exhibition that charts the full arc of the careers of Lee Krasner (1908–1984) and Jackson Pollock (1912–1956) in parallel, examining the distinct yet connected practices of these artistic peers and life partners. On view October 4, 2026, through January 31, 2027, it marks the first major New York presentation devoted to either artist in more than 20 years, introducing their work to a new generation while reassessing their enduring impacts on modern and contemporary art.

A meeting of two great artists


Krasner and Pollock were emerging artists in New York when they met on the occasion of being included in a 1942 exhibition organized by the artist John Graham. They married in 1945 and moved to Springs, Long Island, where they remained entwined personally, artistically, and professionally until Pollock’s death in 1956. Pollock’s life’s work had secured his legacy, while the nearly three decades that Krasner survived him marked some of the most transformative years of her career. Drawing its subtitle, Past Continuous, from a 1976 painting by Krasner, the exhibition traces parallel lives and practices, first forged by lived experience and then shadowed by memory. It foregrounds the range and art historical significance of Krasner’s work while offering a sustained examination of Pollock’s rich and complex practice.

Number 31. 1950. Jackson Pollock

Outstanding philanthropy


The exhibition is made possible by Kenneth C. Griffin and Griffin Catalyst, Marina Kellen French, and the Barrie A. and Deedee Wigmore Foundation.
Additional support is provided Trevor and Alexis Traina, the Aaron I. Fleischman and Lin Lougheed Fund, The Huo Family Foundation, and Joyce Kwok.

Number 11. 1952. Jackson Pollock

A novel way of reexamining modern art


“With its distinctive premise and scope, Krasner and Pollock: Past Continuous exemplifies The Met’s commitment to reexamining modern art through rigorous scholarship and fresh perspectives,” said Max Hollein, Marina Kellen French Director and Chief Executive Officer of The Metropolitan Museum of Art. “By considering each artist on their own terms while also foregrounding their consequential relationship, the exhibition situates Krasner’s and Pollock’s work within a broader cultural and artistic context—an approach central to the mission of The Met’s Department of Modern and Contemporary Art and to the vision of the forthcoming Oscar L. Tang and H.M. Agnes Hsu-Tang Wing, opening in 2030. This project affirms Krasner and Pollock not only as defining figures of their moment, but as artists whose work continues to shape and inspire future generations.”

What makes an artist revolutionary?


“Krasner and Pollock: Past Continuous begins with the fundamental premise that these artists are equals, partners in life, giants in the history of art, and revolutionaries who defined what abstraction could be,” said David Breslin, Leonard A. Lauder Curator in Charge, Department of Modern and Contemporary Art, The Met. “Each found a partner who would insist on the primacy of art over life; and they both aspired to an art that was forged out of historical connections but that also promised freedom and radical possibility in a world forever changed by war. The exhibition concerns entwined lives but is also about how different artistic directions come from shared terrain.”

“Krasner and Pollock: Past Continuous approaches these artists not as a single story, but as two practices unfolding in proximity over time,” said Brinda Kumar, Associate Curator, Department of Modern and Contemporary Art, The Met. “The exhibition examines how Krasner and Pollock shared a commitment to testing the possibilities of abstraction—through shifts in scale, material, and form—and how those investigations continued to evolve along distinct trajectories.”

Krasner and Pollock: Past Continuous follows each artist’s life and work.

The exhibition highlights their differences as much as their interrelation, with some galleries that place the artists together and others where they are presented independently. Krasner and Pollock were shaped by their distinct upbringings and formative trainings. Krasner adopted and negotiated the tenets of the European avant-garde, particularly Pablo Picasso, Henri Matisse, and Piet Mondrian. Her training under Hans Hofmann was key to her development. Pollock’s network of broad influences included Thomas Hart Benton and American Regionalism, Mexican mural traditions, Surrealism, and even his own family of artists.

Their early paths unfold as complementary divergences, tracing distinct strands of American modernism that would ultimately converge in the rupture known as Abstract Expressionism. For Pollock, his breakthrough was the “drip” technique, a radical mode of painting that flourished in a condensed but prolific period from 1946 to 1951. Krasner’s varied practice was typified by ceaseless explorations of abstraction, often cued by her abiding interest in the possibilities of nature and color. This manifested in bold collages, gestural canvases and vividly hued hard-edge painting. Historically, Pollock’s reputation has eclipsed Krasner’s. LIFE Magazine asked in 1949 if Pollock was “the greatest living painter in the United States.” His early death and posthumous media attention further amplified his fame and eclipsed critical appraisal of Krasner’s contributions. Today, both artists’ practices are rightly recognized as key to the innovations of art from the mid-20th century onwards. This exhibition continues and amplifies this reevaluation.

Rarely loaned works

Combat. 1965. Lee Krasner


The exhibition draws on The Met collection and rarely loaned works from more than 80 U.S. and international lenders, bringing together over 120 paintings, works on paper, and ephemera to reconsider Krasner’s and Pollock’s careers—both on their own terms and in dynamic relation to each another and their shared artistic context. Major institutional lenders include Peggy Guggenheim Collection, MoMA, the Whitney Museum of American Art, Tate, National Gallery of Art, National Gallery of Victoria, Centre Pompidou, Buffalo AKG Art Museum, Dallas Museum of Art, The Art Institute of Chicago, and SFMoMA. The exhibition will also include several rarely seen works from important private collections.

Organized into 12 chapters that span each artist’s career and are punctuated by defining moments, Krasner and Pollock: Past Continuous unfolds from the 1930s through the postwar years to the end of their respective lives, moving between moments of convergence and difference. The exhibition’s design, informed in part by historic spaces and installations, enhances moments of exchange—across time and practices—while allowing for discrete encounters with works by each artist, from Krasner’s Little Images series and Pollock’s drip paintings of the late 1940s to his monumental canvases in the 1950s and Krasner’s Umber and Earth Green series. The exhibition charts ongoing dialogues—Pollock’s late return to earlier motifs in the mid-1950s and Krasner’s extended engagement through the 1960s and 1970s with artists such as Klee, Picasso, Mondrian, and Matisse. This presentation will reveal two artists in constant negotiation with each other, themselves, and the cultural, political, and aesthetic stakes of their time.

A constellation of landmark works anchor the exhibition’s exploration of both artists’ practices, including Lee Krasner’s Composition (1949), The Seasons (1957), The Eye is the First Circle (1960), and Combat (1965), along with Jackson Pollock’s Stenographic Figure (1942), Guardians of the Secret (1943), Number 1, 1950 (Lavender Mist) (1950), and The Deep (1953). Two earlier exhibitions, Krasner/Pollock: A Working Relationship (co-organized by Guild Hall and Grey Art Gallery, 1981) and Lee Krasner-Jackson Pollock: Kunstlerpaare Kunstlerfreunde (Kunstmuseum Bern, 1989–90), concentrated on the approximately 15-year overlap in the artists lives, from 1941, when they met, until Pollock’s death in 1956. Krasner and Pollock: Past Continuous is the first exhibition to consider both artists’ practices, in their full chronological sweep, together.

The Met has long been significant for both Krasner and Pollock.

Pollock first exhibited a painting at The Met in 1943 in an exhibition in support of World War II. By the end of the decade, he would be among the artists—The Irascibles—who mounted a notable critique of the Museum’s then-prevailing attitude to contemporary art. However, a short while after Pollock’s death, The Met acquired the landmark painting Autumn Rhythm (Number 30) (1950). The Met’s collection of works by Lee Krasner—from her earliest self-portraits to her late magnificent Rising Green (1972)—includes important gifts to the Museum by the artist during her lifetime. The Met was notably also the venue for Krasner’s memorial service in 1984. Krasner and Pollock: Past Continuous builds on this history, marking the Museum’s first major exhibition devoted to either artist. A focused survey, the exhibition traces the arcs of their artistic developments, offering fresh perspectives on two of the most influential figures of 20th-century art.

The exhibition also reflects The Met’s commitment to showcasing artists whose work continues to shape how art is made and understood today. Krasner’s and Pollock’s contributions to modernism and their serious engagement with the possibilities of painting continues to be significant for the work of contemporary artists. In advance of the opening of the Tang Wing for Modern and Contemporary Art, opening in 2030, Krasner and Pollock: Past Continuous models a curatorial approach that reexamines canonical narratives and connects 20th-century innovations to the concerns of today’s artists and audiences.

Palingenesis. 1971. Lee Krasner

Exhibition Catalogue


The exhibition’s accompanying catalogue, Krasner and Pollock: Past Continuous, expands the project’s central themes through newly commissioned texts. Featured essays by the exhibition’s curators as well as Johanna Fateman, Prudence Peiffer, and Matthew Holman consider a range of topics, including Krasner and Pollock’s intertwined creative lives as an artist couple, their strategies of abstraction in the 1950s, and the transatlantic reception of their work, while artist Amy Sillman offers a contemporary painter’s perspective on artistic breakthrough and legacy. The volume also includes an illustrated, interwoven chronology as well as reflections by leading contemporary artists, underscoring the enduring resonance of Krasner’s and Pollock’s work across generations.

The catalogue is made possible by the Pollock-Krasner Foundation.

Additional support is provided by the Aaron I. Fleischman and Lin Lougheed Fund, The Robert David Lion Gardiner Foundation, Karen and Sam Seymour, the Wyeth Foundation for American Art, Suzanne Deal Booth, and Kelly Williams and Andrew Forsyth.

For the Silo,  Julie Niemi.

Credits and Related Content
Krasner and Pollock: Past Continuous is curated by David Breslin, Leonard A. Lauder Curator in Charge, and Brinda Kumar, Associate Curator, with the assistance of CJ Salapare, Research Associate, all of the Department of Modern and Contemporary Art, The Met.

The Met will host a variety of exhibition-related programs, to be announced at a later date.

Featured Image: Lee Krasner (American, 1908–1984), Bald Eagle, 1955, Oil, paper, and canvas collage on linen, 77 × 51 1/2 in. (195.6 × 130.8 cm), ASOM Collection © 2026 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Culture

Residential Reinvention In North America

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Maximizing Property Potential Via Popular Home Expansions 

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For many homeowners, the need for more space arrives long before the desire to move. Growing families, remote work, multigenerational living, and changing lifestyles are pushing homeowners to rethink how their existing homes can evolve. Home additions have become one of the most practical ways to gain space, improve comfort, and increase property value without starting over in a new location. Yet deciding which type of addition makes sense requires a clear understanding of costs, construction complexity, and long term return on investment.

Across the United States as in Canada, home addition costs vary widely depending on region, labor availability, building codes, and design choices. In America, the average cost of a home addition often exceeds the commonly cited figure of $51,000 usd/ $70,000 cad, especially for projects involving plumbing, structural changes, or second story construction. Per square foot costs typically range from roughly $100 usd/ $137 cad to $500 usd/ $684 cad, depending on the type of addition and level of finish. Understanding these ranges helps homeowners plan realistically and avoid budget shock midway through construction.

A dry addition or a wet addition?  

One of the most important distinctions in home additions is whether a project is considered a dry addition or a wet addition. Dry additions include spaces such as bedrooms, living rooms, offices, or sunrooms that do not require plumbing. These additions are generally less expensive because they avoid water lines, drains, and complex waterproofing requirements. Wet additions include kitchens, bathrooms, and laundry rooms, which add cost due to plumbing work, additional permits, and stricter building code requirements. Knowing which category your project falls into is one of the most reliable ways to estimate overall expense early in the planning process.
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Room additions, often called bump outs, are among the most approachable projects for homeowners looking to add space without a full-scale renovation. These additions typically extend an existing room by a few feet to create more usable square footage. Nationally, bump outs often cost between $250 usd/ $342 cad and $500 usd/ $685 cad per square foot, depending on size and finish. While smaller in scope, they can dramatically improve daily living by relieving cramped layouts and improving functionality.

Adding a second story

Second story additions represent one of the most transformative but also most expensive home addition options. By building upward rather than outward, homeowners can double their living space without sacrificing yard area. These projects often range from $300 usd/ $410 cad to $500 usd/ $685 cad per square foot and require extensive structural reinforcement. Foundations, load bearing walls, and framing may need upgrades to support the added weight. Plumbing, electrical systems, and roofing are also typically impacted. While the upfront cost is significant, second story additions can deliver substantial long term value, particularly for homeowners committed to staying in place for many years.

Sunrooms offer a different kind of expansion, focusing on light, comfort, and connection to the outdoors. These spaces are often used as family rooms, dining areas, or quiet retreats. Costs typically fall between $200 usd/ $274 cad and $400 usd/ $547 cad per square foot, with total project budgets ranging from $40,000 usd/ $55,000 cad to $90,000 usd/ $123,000 cad or more. Three season sunrooms tend to be less expensive, while fully insulated, climate controlled spaces cost more but offer year round usability. Energy efficiency requirements and insulation quality play a major role in pricing.

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The most cost effective way to add livable space

Garage conversions are one of the most cost-effective ways to add livable space because they utilize an existing structure. Nationally, these projects often range from $120 to $200 per square foot, with total costs commonly between $20,000 usd/ $27,300 cad and $50,000 usd/ $68,400 cad. Conversions typically involve insulation, drywall, flooring, electrical upgrades, and heating or cooling systems. Adding a bathroom increases both cost and value, but requires plumbing work and additional permits. For homeowners seeking flexibility without major exterior changes, garage conversions often deliver strong value.

Over the garage additions combine vertical expansion with efficient land use. These projects create new living space above an existing garage and commonly cost between $250 usd/ $340 cad and $400 usd/ $550 cad per square foot. Structural reinforcement is often required, and design integration with the main house is critical. When executed well, over the garage additions add bedrooms, guest suites, or home offices without reducing yard space, making them appealing in many suburban and urban settings.

ADU- aka the accessory dwelling unit

Accessory dwelling units have become increasingly popular as homeowners look for rental income opportunities or space for extended family. ADU costs vary widely but often fall between $100,000 usd/ $137,000 cad and $300,000 usd/ $410,400 cad depending on size, design, and site conditions. Well planned ADUs can generate significant returns through rental income while increasing overall property value. In many markets, returns between 50 and 80 percent are possible when long term income and appreciation are considered together.

The most complex home improvement

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Kitchen expansions and additions are among the most complex home improvement projects. Building a new kitchen or expanding an existing one typically ranges from $50,000 usd/ $68,400 cad to $150,000 usd/ $205,200 cad or more. These projects involve plumbing, gas lines, electrical systems, ventilation, and often structural changes. High quality finishes, appliances, and cabinetry can significantly increase costs, but kitchens consistently rank among the highest value improvements for resale.

Expensive to be sure

Bathroom additions and expansions also carry meaningful costs but deliver strong returns. Adding a new bathroom often ranges from $30,000 usd/ $41,000 cad to $75,000 usd / $102,600 caddepending on size and plumbing complexity. Expanding an existing bathroom typically costs less but still requires careful planning around waterproofing, ventilation, and fixture selection. Bathrooms add both daily convenience and resale appeal, particularly in homes with limited existing bath space.

What type of addition should you choose?

Choosing the right type of home addition requires balancing personal lifestyle needs with financial considerations. Homeowners should assess how they use their space today, how that use may change in the future, and which additions offer the greatest functional improvement. Equally important is considering how future buyers might perceive the added space. Additions that align with common buyer preferences tend to deliver stronger returns.

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Successful home additions are built on careful planning. Hidden costs such as permit fees, utility upgrades, and structural repairs can emerge once construction begins. Understanding local building requirements, maintaining detailed budgets, and setting aside contingency funds are critical steps. Consulting experienced professionals early in the process helps homeowners avoid delays, unexpected expenses, and design mistakes that can be costly to correct later.

It’s not just about square footage

Ultimately, home additions are not just about adding square footage. They are about adapting a home to better serve the people who live there. When thoughtfully planned, an addition can improve daily life, increase long term property value, and allow homeowners to remain in communities they love. With clear expectations, realistic budgets, and informed decision making, home additions can be one of the most rewarding investments a homeowner makes. For the Silo, Jon Grishpul/ Greatbuildz.com.

Culture

How Your Headshot Forms Impressions In Milliseconds And What To Do About It

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In today’s uber-competitive, rapid-fire workforce, a headshot isn’t about looking good; it’s about being believed. ..in an instant.  From LinkedIn profiles and resumes to professional biographies and press mentions, your professional photo becomes the stand-in for you when you’re not in the room. Psychology shows that people form impressions in milliseconds, and your image carries the weight of that decision. The difference between forgettable and compelling is rarely accidental. And the implications can be make-or-break consequential.

The Career Accelerator Headshot:
How to Convey Trust, Authority & Likability in a Single Frame


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In business, first impressions often happen before a word is spoken. This is what makes your headshot is more than a picture; it’s a visual handshake, a silent introduction that conveys confidence, likability, and professionalism in a single frame. Like a handshake, it can be firm and reassuring, or limp and forgettable. The difference often lies in small but critical choices.

It Lives Everywhere

A headshot lives everywhere a professional’s reputation does—LinkedIn, websites, pitch decks, press releases. Before colleagues, clients, partners, vendors or hiring managers meet you, they meet your image. That photograph carries cues about how trustworthy you appear, how engaged you seem, and whether you project authority or warmth. Research in psychology consistently shows that people form judgments of competence and likability in milliseconds. Your headshot is the first test of that instinct.

Here are some tips to best ensure your photo visually conveys your desired personal brand image:

Do’s: Making the Most of Your Visual Handshake

  • Do use genuine expression. Confidence is communicated through the eyes; likability through the mouth. Together they create the balance of authority and warmth that makes people lean in. Forced smiles or stiff stares fail that test. If your smile doesn’t reach your eyes, it is fake.
  • Do consider the message you want to send. A corporate board member may want gravitas; a startup founder may want energy. There is no right answer other than the one you decide on. The headshot should serve that purpose, not just “look good.”
  • Do refresh periodically. If your appearance has changed meaningfully, update your headshot. Mismatched expectations can erode trust before you’ve even said hello. A ten year old shot or an AI shot is professional catfishing.

Don’ts: Pitfalls That Undermine Presence

  • Don’t rely on selfies or casual snapshots. What may work for personal social media rarely translates into professional credibility.
  • Don’t over-edit. Excessive retouching may erase authenticity and make you look like you lack confidence. A headshot should present the best version of you, not an unrecognizable one.
  • Don’t ignore body language. Slight posture cues—a tilt, crossed arms, leaning too far back—can signal defensiveness or disengagement. Tilting your head towards the shoulder closest to the camera makes you look weak. 

The Broader Impact

A strong headshot doesn’t just open doors; it can also align a team’s brand. When a company or firm presents cohesive, polished headshots across its leadership, it communicates unity, credibility, and attention to detail. Conversely, mismatched or outdated images suggest inconsistency and a lack of care and resources. In an age where clients, investors, and partners often vet online before meeting, those subtle cues matter.

Think of your headshot the way you’d think of a handshake in a critical meeting: intentional, practiced, and aligned with the impression you want to leave. Done well, it can become one of the simplest yet most effective tools in your professional arsenal.

For the Silo, Chris Gillett.

Famed headshot photographer and expression coach Chris Gillett is nationally-regarded for his work helping executives, entrepreneurs and attorneys master the “visual handshake” by combining confidence and likability in every image. Connect with him at www.liketherazor.com

Art

A Review Of Joan Lyons At Stephen Bulger Gallery Toronto

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When I first walked into Stephen Bulger Gallery to see Joan Lyons’s retrospective exhibition, I exclaimed without much thought: These are so contemporary!

A truly inane statement on my part, for many reasons. First, Joan Lyons is a contemporary artist who continues to make work into her 80s. Secondly, the work I was referring to was made in 1973, not the 1700s. And lastly, why would something being “contemporary” necessarily be a compliment?

Untitled (from the Artifacts Portfolio), 1973 © Joan Lyons / courtesy Stephen Bulger Gallery

I guess what I meant is that there’s an enduring quality to the work.

Photography, at its best, can capture something fundamental about the human condition. This is exactly what Lyons does. I look at her photographs, and I see myself, despite the half-century of time between us. Whether a frustrating conversation with a male doctor, a jacket that I could see myself wearing, or the faces of a woman staring unwaveringly at the camera—there I am.

In “Xerox Transfer Drawings: Women’s Portrait Series,” which spanned from 1972-1980, Lyons set out to capture historical representations of women, by women. Through multiple transfers of the Xerox machine—I recall creating similar portraits as a young girl visiting my mom at work—a single image is constructed. “They are not naturalistic, but awkward in gesture, immobile and flattened—women frozen in their representations,” writes Lyons in the accompanying description of the work. “They countermand the idea of a photographic portrait as the record of a fleeting moment. In the 1970s, I was seeking to find myself as a woman within my culture and to locate my art practice within the history of artmaking.”

“Untitled (from Womens’ Portrait Series)” 1974. © Joan Lyons / courtesy Stephen Bulger Gallery

In these photographs, the image plane is skewed at an unnatural angle.

It’s like gravity doesn’t exist. The portraits feel close, as if the bodies are pressed up against the other side of the glass. The lack of any telling historical or geographic information in these images creates an artifact that exists outside of time.

Lyons writes that she was interested in “constructing,” rather than “taking,” a photograph. This construction of a photographic image is central to most, if not all, of Lyons’s work. Her exhibition at Stephen Bulger Gallery through February 28 feels like a journey through the history of photography.

Lyons wasn’t precious about what camera she used or pledged a relentless allegiance to one brand.

Instead, she used various techniques and equipment—including Xerography, screen-printing, Diazo paper, large-format Polaroids, digital cameras and pinhole photography—as a way to communicate. Through the quirks and features of each, Lyons leans into the medium’s uses and misuses, wielding the camera to best capture not only the reality of life but also its undercurrents of emotion.

Polaroids

About her series of large-scale Polaroids from 1980, Lyons writes: “ ‘Presences’ is an investigation of photographic portraiture. The images have a lot to do with multiple selves and with faces as masks. In these long exposures, bodies move, and backgrounds are stationary.” The images are jarring at times; my mind can’t compute how they were achieved. A face is slightly disfigured with motion or seemingly collaged together. In another, a woman in the foreground is oversaturated and blurry, whereas the background is crisply in focus and well saturated. The blend of abstraction and realism compresses time. These photographs are not snapshots meant to capture a single moment. By shunning this style of capture, they capture something more viscerally close to the unusual reality of life.

Me, reflected

I couldn’t help but photograph myself within the negative space of one of the Polaroid photographs, layering my face on top of the subjects. A mask on a mask. A photograph of a photograph. Another layer of history. For the Silo, Tatum Dooley/artforecast.

Featured image- Untitled, from the “Presences” portfolio, 1980 © Joan Lyons / courtesy Stephen Bulger Gallery

Culture

Why Good is the New Average in Today’s Workforce

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A growing paradox is reshaping the 2026 workforce: strong performers are still losing their jobs. According to a January 2026 HR Dive survey, nearly 50 percent of companies expect layoffs in Q1, even as most plan to hire selectively for growth roles, exposing a market where competence alone no longer protects careers. Strategic growth advisor and ‘The CodeBreaker Mindset‘ author Chitra Nawbatt warns this moment marks the rise of a “competence trap,” where professionals optimize output while organizations quietly reprice value around speed, adaptability, and influence. The result is a workforce operating by outdated rules in a system that has already moved on. Below are more of her insights.

How to Stay Relevant in 2026

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Across industries, a growing number of professionals share the same uneasy feeling: despite strong performance and proven competence, job security feels increasingly fragile. That anxiety is not imagined. The rules of work are shifting in plain sight, and the changes are cutting through roles that once felt insulated from disruption.

Layoffs

Layoffs are no longer limited to underperformers or redundant teams. They are appearing in the middle of organizational charts, within core functions, and among employees who were recently labeled essential. According to strategic growth advisor Chitra Nawbatt, author of “The CodeBreaker Mindset: The Unwritten Rules for Success,” this signals a deeper structural change in how companies define value.

“Competence used to buy you time,” Nawbatt explains. “In 2026, competence is table stakes. The market is rewarding a different set of behaviors, and many professionals are still playing by the old rules.”

This shift is often mischaracterized as a simple story about machines replacing people. In reality, the more immediate force is organizational redesign. Companies are flattening decision layers, reducing bureaucracy, and repricing labor around speed and adaptability.

Reuters already reported that Amazon was preparing additional corporate job cuts as part of an effort to streamline its structure and remove management layers, even as it continues to invest selectively in priority roles tied to long term strategy.

“The narrative is convenient,” says Nawbatt. “Blaming technology masks the harder truth. Many organizations are still figuring out how to operate efficiently in a volatile environment, and people get caught in that recalibration.”

Data shows a contradiction

Data from HR leaders underscores the contradiction. A January 2026 survey cited by HR Dive found that nearly half of companies expect layoffs will likely occur in the first quarter, while most also plan to hire selectively for roles tied to growth initiatives.

This dual track of hiring and cutting reveals why performance reviews alone no longer predict job security. The system itself is changing faster than individual output can keep up.

Rise of the CodeBreaker


Nawbatt describes the professionals who thrive in this environment as CodeBreakers. The term does not refer to rule breakers for their own sake, but to people who understand that success is governed by both written rules and unwritten ones.

“Written rules tell you how things are supposed to work,” she says. “Unwritten rules tell you how decisions actually get made when pressure hits. In periods of reorganization, the unwritten rules are what determine who stays and who goes.”

Based on her work advising leaders and teams across multiple industries, Nawbatt outlines five shifts that separate those who remain relevant from those who become interchangeable.

1. Stop optimizing and start reading patterns

Efficiency can feel reassuring in unstable times, but it can also be misleading. Nawbatt emphasizes that productivity without direction often leads professionals deeper into roles that are quietly being deprioritized.

“The winners are not the busiest people,” she notes. “They are the ones who can see where budgets are tightening, where automation is accelerating, and where their work is becoming easier to replace.”

2. Treat unwritten rules as the real operating system

Most professionals are trained to follow job descriptions and formal processes. During restructurings, however, informal dynamics take over. Who is protected, which narratives leadership repeats, and how risk is managed become far more important than stated policies.

“When written and unwritten rules diverge,” Nawbatt says, “the people who notice early have options. Everyone else is reacting.”

3. Build a nonlinear value stack

The traditional career ladder assumed stability and long time horizons. In today’s environment, resilience comes from a portfolio of relevance that spans skills, relationships, and credibility across contexts.

“You are not competing for a seat anymore,” Nawbatt explains. “You are trying to become a node in an ecosystem. The goal is to create value that travels with you when structures change.”

4. Focus on information quality, not quantity

Modern organizations are saturated with dashboards, metrics, and opinions. According to Nawbatt, the ability to distinguish data driven insight from perception driven or manipulation driven narratives is becoming a defining leadership skill.

“Clarity is power,” she says. “The person who can say what is true, what is assumed, and what is being spun becomes indispensable when decisions must be made under uncertainty.”

5. Replace ladders with loops

Career progress in 2026 is less linear and more iterative. Learning, testing, building proof, and compounding impact now matter more than waiting for titles or recognition.

“High performers often get stuck waiting to be noticed,” Nawbatt observes. “CodeBreakers build evidence. They create work that can be demonstrated, taught, and scaled.”

A Market That No Longer Rewards Comfort

If this moment feels uncomfortable, that discomfort may be the point. The market has stopped rewarding stability for its own sake. The professionals most likely to thrive are those who confront change early and adjust with intention.

AI will continue to improve. Organizations will continue to thin. The defining question is not whether people can outwork machines, but whether they can outgrow outdated playbooks.

As Nawbatt puts it, “The CodeBreaker mindset is not about fear. It is about clarity. It is about understanding how systems really work and moving with discernment when those systems shift.”

Sources

For the Silo, Devyn Kerns.

Culture

Secrets to Making a Living Doing What You Love

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Why the path to a sustainable creative life requires prioritizing your own joy and vision before the world offers its validation.

Art by Heather Rios

The path of pursuing a career in the arts for the last fifteen years has taught me that the journey is both as simple and as complex as you can imagine. Early on, I spent so much time wrestling with what to do, what to paint, later on what to post online, and who to reach out to. I was constantly hoping for some miraculous event that would finally put me on the path to my dream life.

I used to think that when someone finally noticed me, I would do the work. I thought that once the work sold, I’d paint bigger, or once I got the grant, I’d finally start that new body of work. But the reality is always the other way around.

The Science of Starting with Joy

We often think that success leads to happiness, but psychological research suggests the opposite is true. According to the “Broaden-and-Build” theory developed by Dr. Barbara Fredrickson, positive emotions like interest and love do more than just make us feel good in the moment. They actually broaden our sense of possibility and our ability to process information.

When you start from a place of doing what you love, your brain is chemically primed to see opportunities that a stressed or “discipline-only” mind would miss. This isn’t just fluffy advice. It is about how our biology responds to interest. Love and curiosity trigger the release of dopamine, which enhances creative problem-solving and cognitive flexibility. By starting with the thing you love, you are literally building the mental resources needed to sustain a career.

Moving Beyond the “When/Then” Trap

The real secret is that the vision must always come before the validation. We often wait for a sign to start, but devotion is required long before the proof arrives. It is not about a hardcore, drill-sergeant lifestyle of waking up at 4:00 AM. It is about really loving what you do and wanting to spend more time doing it. As a byproduct of that time, you get better. You articulate your vision more clearly, and people eventually respond to that.

Just this morning, I received a payment for paintings sold last month. While that feels normal to me now, it was once a burning hope for a younger version of myself who just wanted someone to want the things I loved creating. I’ve realized that I am only responsible for nurturing my own vision and falling in love with the process. People can sense when things are forced or formulaic, but they truly feel passion and love. When you resonate with your own work, the world eventually starts to resonate with it too.

Making the Day a Work of Art

Moving forward, my focus isn’t just on scaling a business or “growing my art career,” but on a deeper question: How can I make my day a work of art? When the path is enjoyable, you don’t have to force yourself to show up. It is kind of like how no one has to force you to get ice cream in the summer. You want that sweet, creamy, delicious dessert. If you are struggling with a creative or even business block, ask yourself if you are making the work for you or if you are following external pressure.

When you make something you are proud of, you naturally want to share it with the world. The social media and the newsletters happen on their own because they are just a byproduct of that excitement.

Let’s keep it simple.

Let’s follow our hearts and respond with love. That is what we, and the world, actually need. For the Silo, Ekaterina Popova/ Create Magazine.

Culture

February Blahs? Better Yourself Mentally at Home

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Cold, wintry and stormy weather in February can feel overwhelming. Its drab and grey and icy and it seems like warm days are a vast memory of the past. But there is light at the end of the tunnel.

Imagine a quiet February day in a snowy State or Province.

The sky is a seamless blanket of dull grey, stretching endlessly and merging with the horizon. The sun is a mere suggestion behind thick clouds, offering no warmth or light to the landscape below. Bare trees stand like silent sentinels along the empty streets, their branches reaching out like skeletal fingers against the monochrome backdrop. Patches of old snow cling stubbornly to the frozen ground, now more slush than powder, dulled by the passage of time and footsteps.

The air is crisp and biting, carrying a faint hint of dampness that seeps into your bones. The world feels paused—no birds chirping, no leaves rustling—just the distant hum of a car braving the cold. Sidewalks are lined with puddles reflecting the somber sky, and the occasional streetlamp flickers as if struggling against the gloom. It’s that in-between time where winter refuses to release its grip, yet spring feels like a distant hope.

On days like this, it’s easy to feel a sense of ennui, a kind of restless boredom that settles in like the overcast sky. But sometimes, in the midst of all the grey, you might catch a glimpse of something quietly beautiful—a warm light glowing from a window, the intricate patterns of frost on a windowpane, or the simple joy of a hot drink warming your hands.

A Turn?

These drab February days have a way of making us turn inward, reflecting on the past and dreaming of the future. Have you found any small comforts or surprises that brighten up these grey days?

  • Read 

It may be obvious, but ask yourself this: when was the last time you actually sat down and read something good? We’re not talking about an old hard copy magazine or newspaper (remember those?) or scrolling through your social media accounts – we’re referring to an actual book with a great story that allows you to escape to another world. The merits of reading a book are known universally, yet so many of us have neglected these merits – so why not start now? If you’re thinking of what you can read, try searching online for recommended book lists; we’d start with a list of classic novels which people have enjoyed for years, even centuries. 

  • Start a journal 

Starting a journal is related to reading, in a way, but if you’ve never had a diary or your last one was way back in high school, now’s the perfect time to start (or re-start). The mere act of writing in a diary or journal is relaxing and reduces stress, and it’s a brilliant way to get a better perspective on an issue or problem. In addition, by writing in a journal, you can effectively release your concerns, ideas, feelings, and emotions so they don’t have to stay repressed inside you. 

  • Play an easy game or two  

It may also be the ideal time to unleash your love for gaming – and if you’ve spent many hours playing games as a child, then you know exactly what we mean. For example, you can play a board game with your loved ones, or if you are flying solo, you can play a nice and easy online game like those casino games that are so popular nowadays (you may even win a prize or two!). Look for the best online casino in Canada, and you can’t go wrong if you choose a popular and trustworthy site. Moreover, playing a game helps you de-stress since you’re concentrating on another thing that’s entirely different from your work or home concerns, and it can definitely put you in an excellent mood if you win. 

  • Listen to your favorite tunes 

If you’re finding it increasingly difficult to concentrate, you may need to rejuvenate yourself and recharge – and what better way to do it than by listening to your favorite tunes? So bring out your playlist and spend an hour or two getting lost in the music you love – and if you want something more relaxing, try looking for relaxation or meditation songs online. Listening to music can lower your heart and pulse rate and reduce your stress hormone levels.  For the Silo, Diane Hutton. 

Feature image: Pixabay.com   

Vintage

Classic Simmons British Electronic Drums- Part Art Part Tech Part Icon

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Why on earth do you collect old Simmons electronic drums?” At some point I stopped counting how often I was asked this question. But probably the following story is a part of the answer.

Years ago, in May 2015, a scientific assistant of the National Museum of Music Research in Berlin contacted me. He explained that his institute is running a musical instruments museum. They were planning a special exhibition about the history of electronic musical instruments and if I would be willing to provide a Simmons exhibit. Of course I was!

Presenting Simmons gear is always better than storing it until the end of days. But nothing happened. He did finally contact me again and we negotiated the conditions. He was interested in an SDSV and I preferred to bring it by car (600km) rather than unromantically sending it with a carrier. Although the exhibition was from March to June, the institute needed the exhibits at the end of November in order to make the catalogue in time. So just a week before that deadline, I jumped into my car with a blue SDSV with brain and cymbal pad plus my Suitcase Kit and headed for Berlin.

Incidentally at the same time there was another SDSV for sale in Berlin.

I took the opportunity to bring one kit to the museum but also to bring a new kit back home. However… I had the chance to visit the museum and I am glad that I did. It was extremely cool!

Musical instruments representing all centuries.

Musical instruments I have never heard of. Very impressive. If you happened to have been in the Berlin area between March 25th and June 25th at that time and managed to visit the special exhibition “Good Vibrations – A story about electronic musical instruments” you know exactly what I am talking about. If you missed out- there is always this video to fill the void:


Early in the morning… Don’t make appointments at noon if you have 600km to go


At least not much traffic at that time


12:30. We are about to land soon


First stop in Berlin: Appointment with the seller of a white SDSV pad set. To be honest: A friend of mine asked me NOT to buy those pads and leave them for him. I agreed. He had been waiting for years to find a pad set for his brain. A round of applause for my modesty, please…


There is still some time until I meet the guy from the museum. Time to discover some essential buildings


Finally! The hall of fame!


After we brought the gear inside I explained how to set up the kit right


Inside the box on the left there’s a Mini Moog. The exhibition will include around 70 exhibits

I am invited to visit the museum.

It is much much bigger than I thought. It shows classical instruments from the 17th century as well as contemporary gear. But the focus is on classical instruments. My favorite exhibit is a “Trautonium”, a predecessor of the synthesizer


This is the space for the special exhibition. In some special events some of the gear will be explained and played


The craziest musical instrument I have ever seen. The organ is only the controller of a hall full of instruments like percussion, snares, timpanies, chromatic percussion, organ pipes… all triggered by compressed air.


I counted more than 20 harpsichords. All vintage and all restored in the institutes own workshop

I really recommend this museum if you are interested in music.

I will come and visit again (Will any of the instruments still recognize me?) and of course I went back to pick up my SDSV once the exhibition had ended. For the Silo, Wolfgang Stoelzle. Read much, much more about Simmons drums at Wolfgang’s blog here.

Supplemental- A brief history of Simmons drums

Short segment featuring Silo producer, artist and musician Jarrod Barker playing Simmons drums:

Culture

Breathing- The Undiscovered Zen Secret of Japan

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What Is Missoku?

Missoku is a traditional Japanese breathing practice rooted in Zen philosophy, emphasizing slow, intentional breaths to cultivate calm, focus, and inner awareness. This article explores its origins, cultural significance, and practical steps for integrating Missoku into modern life.

Akikazu Nakamura began his professional journey as a quantum chemist, having graduated from the Department of Applied Chemistry at Yokohama National University. However, it wasn’t long until he turned to the shakuhachi for his future career.

Akikazu studied under numerous shakuhachi masters, including Katsuya Yokohama. He then went on to study composition and jazz theory at Berklee College of Music, USA, graduating summa cum laude. He finished his tertiary studies at the New England Conservatory of Music as a scholarship student in the Master of Music Composition and the Third Stream program. 

His compositions are diverse and include orchestral music, choral music, chamber music, big band music, and traditional Japanese music.

He has established a performance method that makes full use of overtones, multiphonics, the traditional Japanese breathing technique of ‘Missoku’, and his own originally developed method of circular breathing, which involves exhaling and inhaling at the same time.

The Zen Origins of Missoku

ミソク

While staying true to the traditions of the Komusō monks and collecting, analyzing, and performing their repertoire, he also performs rock, jazz and classical music using a (previously unknown to the English-speaking world) Japanese Zen breathing technique of Missoku. Realizing that others will benefit from this technique and use it to pave a path towards a peaceful and mindful life, he has shared this zen secret of Japanese culture in this comprehensive book.

Final Thoughts: Rediscovering a Cultural Treasure

The interest in all things Japan, as well as the increasing effort to center both physical and mental health as a core value of any flourishing society, leads to the nexus explored in this book, Missoku, a unique breathing method that has been handed down through Japanese Zen tradition.

Missoku is a form of breathing in which the pelvis is tilted and the abdomen is in an expanded state. It’s proven to be effective in sports, martial arts, dance, theatre, and playing musical instruments. The benefits to overall health and stamina are bountiful. One incentive includes an increase in respiration capacity, which in turn stimulates the brain, balances autonomic nerves, and improves immune defenses.

People Also Ask

Q: Is Missoku the same as meditation?

No. Missoku is a breathing technique that can be used within meditation but also stands alone as a physical and mental discipline.

Q: How often should I practice Missoku?

Beginners can start with 5–10 minutes daily, gradually increasing as comfort grows.

Q: Is Missoku used in martial arts?

Yes. Many Japanese martial traditions incorporate controlled breathing to enhance focus, timing, and calmness.

Q: Can Missoku help with stress?

Yes. Slow, intentional breathing activates the parasympathetic nervous system, reducing stress and improving emotional regulation.

Why Missoku Matters in Modern Life

Missoku is a lesser‑known Japanese breathing discipline connected to Zen Buddhism and traditional arts such as tea ceremony, martial arts, and calligraphy. It teaches practitioners to synchronize breath with movement and awareness, promoting emotional regulation, clarity, and a grounded sense of presence. The article explains the cultural roots of Missoku, how it differs from Western breathwork, and why it remains an overlooked but powerful tool for stress reduction and mindfulness.

For the Silo, Jarrod Barker.

Vintage

5 ‘Bad Cars’ I Still Want Anyway And Why

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Isuzu

There’s an old joke, later made into an internet meme, that goes something like this: “Have you seen my dog? He has brown fur, he’s missing his right ear, blind in one eye and has three legs. He answers to the name of ‘Lucky’.” An underdog if ever there was one. And it’s in that spirit that I share the next installment of a sadly, almost endless list of cars with not-so-good reputations. They’re cars that for reasons neither I, my parents, my children, my wife, my close friends, nor even mere acquaintances can explain—I still want.

1980–82 Ferrari Mondial 8

Ferrari Mondial
Ferrari

What it is: The Mondial was the replacement for the Bertone-designed Ferrari (Dino) 308 GT4, a rather underrated, wedge-shaped mid-engine 2+2. The Mondial incorporated some of the design language of the Berlinetta Boxer and the Testarossa along with a pair of semi-usable rear seats. A cabriolet was added later.

What makes it bad: Road & Track asked if this was Ferrari’s Oldsmobile. Ouch. The two-valve, fuel-injected 3.0-liter V-8 was a bit of a dog. With a little over 210-horsepower, the Mondial 8 took an excruciating 9 seconds to reach 60 miles per hour. Mondial 8s were rust-prone and had fuse boxes reminiscent of the junior electrical engineer educational toy that brother bought my kid for his birthday a few years ago. Some people also found them unattractive. I find that assessment harsh, but truth be told, its predecessor, the 308 GT4 has aged better.

Why I want one: Ten years ago, I had a 308 GTS. It was great. Reliable (once I replaced the fuse box with a modern one), and a lot of fun to drive. Was it fast? Not really, but it sounded great, smelled great, and was wonderful to look at. Sadly, today I’d have to settle for a project car for what I paid for my perfect 21,000-mile 308 back then, so a Mondial is kind of it Ferrari-wise, unless I want to launch a raid on my kids’ college funds. I think the key here is to buy a coupe (the only way the two-valve 8 came). In black, they’re actually quite attractive, and there’s nothing like the sound of the little flat-plane crank V-8 and the tactility of a real gated shifter.

1985–89 Merkur XR4Ti

Merkur xr4ti front three quarter snow
Ford

What it is: Ford had one success to its name in importing and selling one of its European sporty cars—the Capri was a sort of mini-Mustang that was hugely popular until exchange rate fluctuations made it less profitable to sell here. By the early 1980s, the exchange rate again favored the U.S. dollar and then-V.P. of Ford Bob Lutz thought it might be a good idea to import an Americanized version of the Ford Sierra, under the banner of “Merkur,” which is German for “Mercury.” Get it? The 2.3-liter turbo four, also found in the Thunderbird Turbo Coupe and SVO Mustang made the XR4Ti a credible E30 BMW competitor, but like every car on this list, there were issues.

What makes it bad: Apparently European Ford quality in the ’80s wasn’t at the top of the priority list and the XR4Ti suffered from electrical problems, overheating, and turbochargers with a short life. Mercury dealers despised them, and with Ford’s then-new 48-month/50,000-mile warranty, they saw tons of them. After 1989, the Merkur signs came down and Ford was done with the XR4Ti and its larger brother the Scorpio. Immediately after warranties expired, Merkurs began the not-so-slow slog into the automotive fossil record.

Why I want one: I love the Merkur’s many quirks like the goofy biplane rear spoiler, and XR4Tis are rare even at RADwood or LeMons events, which is precisely why I want one. Honestly, you could do worse that to put together a collection of Bob Lutz-inspired cars—Everything from a BMW Bavaria, to a Viper and a Pontiac G8. An XR4Ti would fit nicely in the middle, and a perfectly nice one would barely cost five figures.

1980–81 Triumph TR8

Triumph TR8 convertible front three quarter
Triumph

What it is:  The Triumph TR7 was supposed to be the car that brought the British sports car out of the paleolithic era of pushrod tractor engines and separate bodies and chassis. And while the story that Harris Mann designed it on the back of a cocktail napkin (after a lot of cocktails) might be apocryphal, it’s totally plausible. The idea behind the TR8 was to make buyers forget about the four-cylinder TR7’s odd looks by offering V-8 noise and performance. The ex-Olds/Buick/Pontiac aluminum 3.5-liter V-8 by Rover just about did the trick.

What makes it bad: The same thing that made every British car of the era bad—lousy workmanship, poor quality components from suppliers that still included the infamous Lucas, and low R&D budgets. While the TR8 was predominantly produced in what was arguably one of Jaguar/Rover/Triumph’s better plants (the Rover factory in Solihull which is still cranking out Land Rovers to this day), the TR7’s reputation soiled the TR8.

Why I want one: What can I say? I’m a glutton for punishment, and I happen to love a V-8 stuffed into a small British sports car. Of the three most famous—Shelby Cobra, Sunbeam Tiger and Triumph TR8—only the latter remains affordable. Nice ones can be had in the high-teens to low-20s.

1975–76 Chevrolet Cosworth Vega

1975 Chevrolet Cosworth Vega
Chevrolet

What it is: The Cosworth Vega was supposed to be a high-performance version of the compact Vega that had debuted for 1971. Cosworth in the U.K. developed an alloy DOHC cylinder head for the Vega’s four-cylinder, which was mated with Bendix electronic fuel injection. It was very modern, very European.

What makes it bad:  While the Vega finally had a smooth, powerful engine, it still made 110 horsepower instead of the anticipated 140. Then there was the fact that it still wore the maligned Vega badge, and while good handling and balance were always part of the package, indifferent assembly quality and rustproofing were in the Vega’s DNA as well. Oh, and it was also barely cheaper than a Corvette.

Why I want one:  The magazines of the day touted Cosworth Vegas as instant collectibles, and many of the cars were stored, or intentionally kept with very low miles. The idea of owning a genuine Malaise Era time-capsule is more than intriguing. Plus, I’ve always liked the way Vegas look, a bit like miniature Camaros.

1983–89 Isuzu Impulse

Isuzu Impulse front three quarter
Isuzu

What it is:  Isuzu had a surprisingly fruitful relationship with the great Giorgetto Giugiaro of Italdesign, and it stretched back to the 1960s, when Giugiaro styled the lovely Isuzu 117 coupe. That car lasted all the way up until 1981, so because of its longevity and popularity, its successor had to be something special. The car was teased as a nearly production-ready Isuzu “Ace of Clubs” concept car. It went on sale the next year as the Piazza outside of North America, and as the Impulse in the U.S. and Canada.

What made it bad:  Seemingly, the entire budget for the car went to Italdesign. Brakes, chassis and engine were bargain-basement stuff, as under its pretty Italian skin, the Piazza/Impulse was based on the General Motors T-car platform. That’s right, it wouldn’t be much of a stretch to call the Impulse a Chevette in an Italian suit. Things did get a bit better later in the car’s run with turbocharging and chassis refinements by Lotus, but few were sold and almost none survive.

Why I want one:  The low survivorship factor makes these cars exceedingly rare, and it’s one of the few opportunities that anyone has to own something that looks like an ’80s concept car. It’s also an opportunity to be king for a day at RADwood, and when Impulses do turn up, they’re almost always cheap.

For the Silo, Rob Sass.

Culture

Since 2019 Canada Has Accepted Thousands Of Asylum Claims Without Hearings

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This report via our friends at Canadian thinktank C.D. Howe Institute, argues that front-end security screening cannot replace in-person questioning at a hearing.

Accepting Asylum Claims Without Hearings Raises Legal, Security, and Integrity Risks

January, 2026 – Since 2019, the Immigration and Refugee Board of Canada (IRB) has accepted tens of thousands of asylum claims without holding an oral hearing through a paper-based process known as “File Review.” A new report from the C.D. Howe Institute argues that this policy raises serious legal, security, and governance concerns, may exceed the IRB’s authority, and risks undermining core safeguards in Canada’s asylum system.

In “Accepting Asylum Claims Without a Hearing: A Critique of IRB’s ‘File Review’ Policy,” lawyer James Yousif examines how File Review originated as a pilot during the 2017 Yeates Review, when structural reforms, including the possible dissolution of the Refugee Protection Division (RPD), were under consideration. The policy was formally institutionalized in 2019. Introduced as an efficiency measure, the policy allows certain categories of claims – defined by nationality and claim type – to be accepted without questioning claimants or holding a hearing.

Irreplaceable: Oral Interview

The report argues that front-end security screening cannot replace in-person questioning at a hearing, which can reveal inconsistencies, misrepresentation, and inadmissibility concerns that may not be detectable through document review alone.

The report finds that File Review did not achieve its stated objective of reducing the asylum backlog. Despite substantial increases in IRB staffing, resources, and annual decision output between 2016 and 2024, the backlog expanded dramatically from roughly 17,000 claims to nearly 300,000. Over the same period, Canada’s overall asylum acceptance rate rose to approximately 80 percent, roughly double that of peer jurisdictions.

While global migration pressures, post-pandemic travel patterns, and other policy factors contributed to the surge in claims, the report cautions that maintaining a policy that permits rapid acceptance of claims without hearings may reinforce perceptions of speed, success, and reduced scrutiny – potentially increasing Canada’s attractiveness as an asylum destination.

So Called ‘Soft Law’ Was Used To Implement Policy

The report notes that File Review was implemented by the IRB unilaterally using a Chairperson’s Instruction, a form of internal “soft law” typically used for tribunal operations, not for system-wide policy change. The report also raises concerns about adjudicative independence. It argues that File Review may improperly fetter the discretion of RPD adjudicators, delegate aspects of fact-finding functions to non-adjudicative staff, and impose a mandatory internal consultation process. These features, the report suggests, may be inconsistent with established principles of administrative law.

The report concludes that the File Review policy should be brought to an end and that the default requirement of oral hearings should be restored. While this would likely reduce short-term decision volumes, the author argues that a more rigorous adjudicative process would strengthen long-term system integrity, better protect genuine refugees, and help restore public confidence.

“Efficiency gains that rely on shortcuts may prove illusory,” says Yousif. “A policy that prioritizes speed over scrutiny risks reinforcing the very pressures it is meant to relieve.”

Read the full report here. For the Silo, Percy Sherwood/C.D. Howe Institute.