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@johnokeefe.bsky.socialOct 1, 2026, 2:48 PM

Prepping some other materials and re-found this gem: A Chinese description of the #brooklynbridge with an illustration made by someone who only looked at the description. Love the #minarets which, from an 1892 Chinese perspective, are a generically "foreign" architectural element #skystorians

bridge crossing river diagonally, with minarets at left and center. land at far end appears mountainous
@ctcallisen.bsky.socialOct 1, 2026, 2:12 PM

#EarlyModern #skystorians

@dougmccrae.bsky.socialOct 1, 2026, 1:13 PM

This is confusing. Two secondary sources seem to be contradictory. First two from Brian Levack's entry "Lawyers", in Richard Golden's Encyclopedia of Witchcraft (2006). Third and fourth from Michael Wasser's "Defence Counsel in Early Modern Scotland" (2005).

#skystorian #skystorians #earlymodern

Although witches were entitled to defense counsel in all continental European and Scottish trials, few lawyers took such cases during the peak periods of witch hunting. The large volume of business that was directed to the appellate courts of France by itself accounts for a great part of this increase, because legal representation at appeals was mandatory.This usually concentrates on civil rather than on criminal law, and this is especially true in the early modern period in Europe because most jurisdictions either forbade or restricted defence counsel to a person accused of a crime.In France, article 162 of the 1539 criminal code likewise forbade the use of defence counsel to any person accused of a crime, and this was reinforced by the next major code in 1670.
@eicathomefinn.bsky.socialOct 1, 2026, 12:09 PM

For the #Skystorians , but not just for them. blog.royalhistsoc.org/2026/09/24/t...

@vch-home.bsky.socialOct 1, 2026, 11:31 AM

Our new project in #Lincolnshire on the town of #Spalding is supporting a workshop on an essential historical skill #Palaeography (reading old handwriting).

Led by @gabbystorey.bsky.social, this workshop is open to all. #Skystorians #LocalHistory.

@royalhistsoc.orgOct 1, 2026, 10:48 AM

Published later this month: the next title in the Society's 'New Historical Perspectives' book series for early career historians:

'Prostitution, Repentance and Social Welfare in Renaissance Florence', by Gillian Jack bit.ly/4gY9IQ7

Available in print and Open Access from 15 October. #Skystorians

@mobhistory.substack.comOct 1, 2026, 10:15 AM

#OTD (Oct 01)
Events in U.S. organized crime #history.

#Chicago #NewEngland #FarmingdaleNY #NewYork #Mafia #MafiaHistory 🗃️ #Skystorians

On this date, Oct 01... • in 1892, future U.S. mafioso Paul Palmeri is born in Castellammare del Golfo, Sicily. • in 1897, future U.S. Mafia boss Giuseppe Profaci is born in Villabate, Sicily. • in 1926, Chicago gang leader Al Capone is arrested for bootlegging. • in 1931, relatives identify the remains of a 'torch murder' victim found at Arthursburg NY as Pasquale Canizio of Brooklyn. • in 1963, Attorney General Robert Kennedy announces that turncoat mafioso Joseph Valachi will be used as a government witness in federal criminal trials. • in 1964, New England boss Raymond L.S. Patriarca instructs his underlings to have no involvement with Joseph Bonanno or any of his people, as they have been cast out by the Commission. • in 1966, 'Trigger Mike' Coppola passes away. • in 2008, FBI agents begin digging for suspected mob murder victims at Farmingdale, Long Island. • in 2009, two sets of law enforcement raids targeting the Lucchese Crime Family of New York result in 29 arrests. Image of Mike Coppola.
@downham.bsky.socialOct 1, 2026, 8:44 AM

#booksky #skystorians advice please? Currently going through proofs & publication is on the horizon what are the best ways to promote your work? Personally I don't like being a centre of attention or lecturing to a crowd of strangers (unless they are students, that's different) what worked for you?

@ijhs.bsky.socialOct 1, 2026, 7:00 AM

#skystorians #sporthistory
📍New article!

"The Beginnings of Water Polo in the City of Rio de Janeiro, Brazil (1900–1913)" 🤽‍♀️🤽 🇧🇷

by Caio Serpa, Renato Novaes, Silvio Telles, from Federal University of Rio de Janeiro

Check it out:
www.tandfonline.com/doi/full/10....

@dbellingradt.bsky.socialOct 1, 2026, 6:50 AM

The illustrated book from the 1580s is relevant for the #medsky, #HistNursing and #skystorians.

@sistoryhistory.bsky.socialOct 1, 2026, 6:04 AM

The miniseries finale!

"Wonders of the Wall - Hadrian's Horses"

We've gone fully #equestrian, inspired by Corbridge Town & the Roman Army Museum at Magna Fort. How did these noble animals fare on Rome's northern frontier? 🐎 🐎

#romanbritain #archaeology #skystorians #hadrianswall #militaryhistory

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@iduhouse.bsky.socialOct 1, 2026, 2:51 AM

🎭 Artist of the Day: Yinka Shonibare

Yinka Shonibare explores identity, race, and colonialism through art that fuses European form with African fabric. His work reclaims narratives by confronting power with color, irony, and wit.

yinkashonibare.com

#CreatorsAtWork #Skystorians #BlackSky #Art

Studio portrait of Yinka Shonibare seated in his motorized wheelchair inside his East London workspace, surrounded by the visual vocabulary of his career. He wears a pale blue blazer, dark trousers, patterned shirt, and vibrant turquoise sneakers, smiling at the camera. At left, shelves overflow with art volumes beneath a taxidermy lynx and a globe; behind him hangs a large red-and-black circular form. At right, garments made from Dutch wax printed cotton are pinned high on a white wall, beside a globe-headed figure lifting a brass instrument. The room feels less like a showroom than a working archive of ideas about empire, costume, travel, class, and identity. Shonibare was born in London in 1962 and raised partly in Lagos. At 18 he contracted transverse myelitis, an inflammation of the spinal cord that left lasting paralysis; he now uses a wheelchair and directs a collaborative studio. He has spoken openly about valuing the creative intelligence of his assistants rather than treating them as anonymous hands, accepting their contributions when they strengthen the work. That matters here because so much around him is physically elaborate: tailored historical costumes, fibreglass bodies, globes, props, textiles, and installations begin with research, sketches, conversation, and delegation. His signature Dutch wax cloth is itself a history lesson. Inspired by Indonesian batik, industrially manufactured in Europe, sold through colonial trade networks, and embraced across West Africa, it refuses the idea that culture comes from one pure place. Shonibare calls himself a “postcolonial hybrid,” and the studio makes that phrase tangible. Today his practice extends beyond objects into infrastructure: the Yinka Shonibare Foundation and Guest Artists Space support residencies in Lagos and Ijebu, while his 2026 projects continue asking who gets refuge, access, memory, and cultural power. The artist at the center of the room has spent decades turning contradiction into a methodYinka Shonibare’s Woman Shooting Cherry Blossoms, 2019, stands against a white background like a frozen impossible event. A life-size female figure in an elaborate Edwardian-style dress of vivid blue, yellow, red, and patterned Dutch wax cotton braces a long rifle at shoulder height. Instead of smoke or a bullet, the barrel erupts into a sweeping tree of dark branches covered with pale pink and deep rose cherry blossoms. Her head is replaced by a small globe. The work was commissioned by Fukuoka Art Museum for its reopening and for Shonibare’s first solo exhibition in Japan, Flower Power, timed to cherry-blossom season. It was also his first work built specifically around a Japanese theme. The contradictions are deliberate. The woman’s Western dress recalls fashions that entered Meiji-era Japan as the country modernized and negotiated Western power. The so-called African fabric complicates that history further: its patterns descend from Indonesian batik, were industrialized by Dutch and British manufacturers, and became embedded in West African identity. Even the globe refuses a fixed nationality. It bears the names of women activists from the nineteenth through twenty-first centuries who fought for women’s rights around the world. Shonibare also rejected the idea of one pure cherry blossom. The enormous branch combines multiple varieties, a botanical hybrid that mirrors the cultural hybridity running through the sculpture. Violence and beauty occupy the same object: a rifle becomes the source of spring flowers, while a woman dressed in signs of empire redirects the weapon toward imagination. Shonibare has long said he enjoys paradox because several ideas can remain true at once. Here Japan, Europe, Africa, gender, colonial history, feminism, and beauty collide without resolving into a single lesson. The sculpture asks whether inherited symbols must keep the meanings power gave them, or whether artists can load them differently and fire something new into the worldYinka Shonibare’s The Swing (after Fragonard), 2001, transforms an icon of European aristocratic pleasure into a life-size scene viewers can circle. A headless female mannequin hangs from ropes beneath an ivy-covered branch, her body thrown backward in mid-swing. Layers of orange, green, turquoise, and patterned Dutch wax cotton billow around her in an eighteenth-century gown. White-stockinged legs kick upward as one slipper flies loose at upper left. Flowering foliage sprawls beneath the swing, turning the white gallery into a theatrical garden. The pose comes from Jean-Honoré Fragonard’s The Swing, painted around 1767, a Rococo fantasy of flirtation, luxury, and leisure. In the original, a young woman swings between an older man and a lover hidden below, who peers beneath her skirts. Shonibare removes the men and gives the woman a three-dimensional body, leaving us to occupy the viewing position ourselves. Then he changes the material of privilege. Her dress is not French silk but Dutch wax cloth, a textile associated with Africa whose route runs through Indonesian batik, European manufacture, colonial trade, and West African adoption. Shonibare uses that tangled history to expose systems hidden beneath beautiful surfaces. He has said leisure interests him because spare time is bought by wealth often accumulated through exploiting others. The missing head adds another disturbance. It can recall the guillotine and the French Revolution that followed the aristocratic world Fragonard pictured so lovingly. What first looks playful therefore becomes unstable: pleasure beside violence, beauty beside extraction, “African” fabric beside European manufacture, homage beside critique. The Swing became one of Shonibare’s defining works because it established a method he still uses today: enter the Western canon, keep its seduction intact, then rearrange history until the viewer can no longer look at the original innocence the same way. The scene is beautiful, comic and tenseYinka Shonibare’s The Sleep of Reason Produces Monsters (Africa), 2008, is a staged photograph built like a nightmare from art history. A bald white man in richly patterned Dutch wax clothing sleeps collapsed over a wooden desk, his head on folded arms. Around him, wide-eyed owls stare, bats sweep through a smoky dark sky, a black cat peers beside him, and a lynx sits alert at lower right. The desk carries a French question based on the title: whether the dreams of reason produce monsters in Africa. Shonibare is reenacting Francisco de Goya’s 1799 etching The Sleep of Reason Produces Monsters from Los Caprichos, where a sleeper is surrounded by owls, bats, and a watchful lynx. Goya was attacking superstition, corruption, and the failures of supposedly rational society. Shonibare turns that Enlightenment critique back toward empire. This photograph belongs to a five-part series for Africa, America, Asia, Europe, and Australia. In each version, the sleeper’s racial identity conflicts with the continent named in the title, unsettling the habit of treating race, culture, and geography as natural equivalents. In the Africa image, the sleeping man is white, and his costume uses Shonibare’s globally hybrid wax cloth. The choice sharpens the historical question: European powers justified colonization through claims of civilization, reason, progress, and universal knowledge, even while partitioning and exploiting African societies. The 1884 to 1885 Berlin Conference sits behind that contradiction, when European states negotiated claims over Africa with no African representation. Shonibare does not simply replace Goya’s monsters with colonialism; he asks whether the violence was already inside the dream of reason itself. That question still runs through his work today, from restitution and looted Benin objects to migration, refuge, war, and institutions built to support artists across Britain and Nigeria. History becomes a dream; the viewer remains awake inside that question
@cheftalk.bsky.socialOct 1, 2026, 1:17 AM

Blog Spotlight: Carolyn Ekins 🇬🇧

She has lived on Britain's WW2 ration book on and off since 2009, and numbered every recipe. She is on No. 244.

https://blog.cheftalk.ai/carolyn-ekins-1940s-experiment-244-recipes-from-the-ration-book/

#Foodsky #Cookingsky #Skystorians #WW2

@kefauver4prez.bsky.socialOct 1, 2026, 12:46 AM

On his way to a dinner speech in Harrisburg, PA in June 1952, Kefauver stops to comb his hair using a drugstore window as a mirror.

When you're on the road, sometimes you need to make do with what you have!

#skystorians #history #polisky

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@footnotesinhistory.bsky.socialOct 1, 2026, 12:44 AM

#OTD in 1944, Senator Sheridan Downey of CA promotes his postwar plan for Japanese Americans. While the "disloyal" would be deported to Japan, Downey proposes resettling American-born Japanese across the US, while only permitting a few to return to the West Coast.
🗃 #skystorians

"Japs May Disperse In U. S.--Downey" WASHINGTON. Sept. 30. A gradual dispersal of Japanese-Americans throughout the United States after the war may be the only feasible solution to the Pacific Coast's racial problem, Senator Sheridan Downey, Democrat, California, said yesterday. Many of them, Downey pointed out. are American citizens, with rights protected by the Constitution. These probably cannot be forced to remain away from the Coast in peacetime, he added. although their present segregation may be necessary for military sources. However, Downey said, the disloyal Japanese, including American citizens of Japanese descent, must be weeded out and returned to Japan. Then, Downey said, chances will be good for a gradual solution of the problem, perhaps permitting the return of a few American Japanese to the coastal areas. The Seattle Times, September 30, 1944