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@ghilondon.bsky.socialSep 30, 2026, 5:00 PM

Sign up via the link to attend in person or online: www.ghil.ac.uk/event...

#labour #newlabour #neoliberalism #welfarepolicy #modernhistory #skystorians
5/5

@ijhs.bsky.socialSep 30, 2026, 5:00 PM

#skystorians #sporthistory 🗃️
📍New article!

"Institutionalization of Padel in Brazil: A Frontier Phenomenon" 🎾

by David Sebastián Ibarrola, University of Buenos Aires

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

@onslies.bsky.socialSep 30, 2026, 4:14 PM

THIS LOOKS SO DEEPLY COOL! #earlymodern #SkyStorians #PrintHistory

@draftingthepast.bsky.socialSep 30, 2026, 2:49 PM

We're sharing 12 October new releases in history that we can't wait to read! And boy, was it tough to stop at twelve: www.draftingthepast.com/12-new-books... 🗃️ #booksky #skystorians

What are you looking forward to reading?

@acnzsn.bsky.socialSep 30, 2026, 2:45 PM

Here is the latest ACNZSN Newsletter. Please share widely :-) #ozstudies #canstudies #nzstudies #news #opportunities #fellowships #jobs #publications #academicsky #highered #skystorians

acnzsn.org/2026/09/30/a...

@downham.bsky.socialSep 30, 2026, 2:10 PM

Available for pre-order (Hive is the cheapest offer just now £12.49) #medievalsky #booksky #skystorians #history www.penguin.co.uk/books/452352...

@dbellingradt.bsky.socialSep 30, 2026, 1:19 PM

The image is so rich that the vases in the back - with handles of twisted snakes which spit at each other - are not even the best detail to mention. From 1805 with pure love. #skystorians

@sociammulb.bsky.socialSep 30, 2026, 1:00 PM

📆 5 OCT 2026 | Conférence : "Mobilités de la construction en bois en Gaule : artisans, matériaux et savoir-faire à l'âge du Fer et au début de l'époque romaine" - Pierre Péfau @cnrs.fr #skystorians #antiquité #architecture #ULB

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@livunipress.bsky.socialSep 30, 2026, 12:01 PM

Most Read | Transactions of the Historic Society of Lancashire and Cheshire
🟢 Manchester’s Challenge to the Supremacy of the Liverpool Cotton Market c.1895 to 1914 by Nigel Hall

Read now ⬇️
bit.ly/4AWldRl

#manchester #liverpool #skystorians #northernhistory

Promotional banner announcing the publication of "Transactions of the Historic Society of Lancashire and Cheshire" (Volume 174) by Liverpool University Press on behalf of the Historic Society, set over an aerial view of green patchwork fields.
@katebradleyhistory.bsky.socialSep 30, 2026, 11:20 AM

I’m v grateful for Owen for making this link! The panel I found washed up this morning is from the Cutty Sark - how & why it ended up here via the Thames & Medway rivers remains a mystery, though. #skystorians

@mobhistory.substack.comSep 30, 2026, 10:20 AM

#OTD (Sep 30)
Events in U.S. organized crime #history.

#Pittsburgh #Boston #BronxNY #Brooklyn #RhodeIsland #NewYork #Mafia #MafiaHistory 🗃️ #Skystorians

On this date, Sept 30... • in 1886, New York Whyos gang leader Daniel Driscoll is convicted of the murder of Bridget Garrity. • in 1901, Sicilian mafioso Vito Cascioferro arrives in New York aboard the S.S. La Champagne from France. • in 1908, the Italian consul in New York presents gold watches to Joseph Petrosino and Anthony Vachris of NYPD for helping bring Italian fugitives to justice. • in 1919, Pittsburgh newspapers publish a Joseph Cusumano statement, denying that his murdered boss Gregorio Conti had a role in a recent fraudulent liquor sale. • in 1922, Boston gangster Joseph Simboli is found stabbed to death. • in 1925, Carmine Clementi gets 10-20 years in prison for a Bronx NY amusement park robbery. • in 1935, Joseph Amberg and associate Morris Kessler are shot to death in Brooklyn. Salvatore Fontana of Profaci Crime Family disappears in South Brooklyn. • in 1958, a New York appeals court upholds a contempt sentence against Frank Costello. • in 1979, Charles V. Carollo of Kansas City passes away at age 77. • in 1985, Rhode Island Mafia leader Luigi Manocchio is released on bail to await a new trial on conspiracy and accessory to murder charges. • in 1997, mob associate Peter Savino, who testified against Genovese boss Vincent Gigante, dies at age 55 while in the federal witness security program. Image of Cascioferro.
@socforrefstudies.bsky.socialSep 30, 2026, 10:19 AM

Call for Book Chapters on: Religion in Egodocuments:

reforc.com/news/call-fo...

Deadline for proposals is 30th October. Please share!

#reformazing #earlymodern #religion #skystorians

@gabyrobilliard.bsky.socialSep 30, 2026, 10:02 AM

First sighting of the Magic in Europe in a Barcelona coffee bar. As a coffee historian, I am quite interested to see how long it takes for this new coffee brew from Melbourne to conquer the Continent … fyi: en.wikipedia.org/wiki/Magic_(... #coffee #skystorians

Menu Board with coffee varieties listed.
@eveliseaqui.bsky.socialSep 30, 2026, 9:55 AM

Happy to share my latest paper in the @ijhs.bsky.social with my great friend Daniele Medeiros. 🗃️

#sporthistory #skystorians

www.tandfonline.com/eprint/PUXTE...

@iduhouse.bsky.socialSep 30, 2026, 5:08 AM

🧵 Artist of the Day: Bisa Butler

Through fabric and color, Bisa Butler redefines portraiture. Her quilts turn texture into story, weaving threads of identity, memory, and resilience into vivid, larger-than-life portraits of the African diaspora.

#CreatorsAtWork #BlackSky #Skystorians #Art

Bisa Butler sits at a worktable in her Jersey City studio, sunlight falling across her face, hands, and a spread of patterned fabric. She holds blue-handled scissors and a narrow textile strip; purple and teal scissors, pins, tools, and cut cloth surround her, while two longarm quilting machines rise behind her. Photographed by Nina Choi for Luxe Interiors + Design in 2024, the image catches Butler in the labor that turns photographs into quilted portraits. She trained as a painter at Howard University, where teachers connected to AfriCOBRA encouraged Black artists to build their own color language outside European traditions. But paint eventually stopped fitting her life. Pregnancy made its smell unbearable, and later, as a young mother, she needed a medium she could practice safely around her children. In graduate school at Montclair State, a fiber-arts class unlocked the answer: fabric could carry drawing, painting, memory, and touch at once. Her mother and grandmother had already taught her to sew. Butler now enlarges source photographs, maps their light and shadow with marker, cuts fabric into shapes, layers them like a painter building glazes, and quilts the top, batting, and backing together. Her materials are never neutral. African wax prints, silk, velvet, lace, family scraps, and fabrics named for proverbs can signal ancestry, emotion, protection, grief, or power. For years she made this work at home, often after teaching high school all day; her Jersey City studio became her first professional workspace. That makes this photo more than a process shot. It shows an artist whose practice grew from domestic knowledge into museum-scale history painting without abandoning the intimacy of sewing. In 2026, Butler is preparing for Tender Monuments at the Smithsonian American Art Museum, her largest survey yet, spanning a 1995 self-portrait to a new 2026 one. The scissors on this table sit inside a thirty-year story still being cut, layered, and stitched into formBisa Butler stands before her quilt Dahomey Amazon, photographed by her husband, John Butler. She wears an off-the-shoulder dress in pink, yellow, blue, and brown African-print fabric, one hand on her hip, long locs over one shoulder. Behind her, the quilted woman meets the viewer head-on: her face is built from purples, cobalt blue, turquoise, and green; gold hoop earrings frame her face; cowrie-shell necklaces and patterned cloth create a commanding presence against a red-and-white geometric field. The photograph became widely used to represent Butler as her work moved from teaching into major museum recognition. Dahomey Amazon, dated 2019 by several museum sources, draws its title from the women warriors of the Kingdom of Dahomey in present-day Benin, remembered today as the Agojie. Butler constructs authority through textiles, scale, color, and gaze. That method comes from several lineages at once. Her Ghanaian father connected her to African history; her Louisiana-born mother and grandmother taught her sewing; and at Howard University she studied in an environment shaped by AfriCOBRA, whose artists championed “Kool-Aid colors,” Black pride, and visual languages made for Black communities. Butler carries those lessons into quilting, choosing fabrics because patterns can hold cultural memory and emotional meaning. She has said her portraits form a family album stretching across the Black diaspora, from America to Africa and the Caribbean. Standing beside Dahomey Amazon, Butler almost mirrors her subject: both women face us in patterned cloth, refusing the distance museums have placed between “fine art,” textile traditions, and Black women’s labor. Today, that refusal is part of the American art story. Butler’s quilts sit in major American museum collections, and her 2027 Smithsonian survey, Tender Monuments, will place nearly forty works beside artistic ancestors including Faith Ringgold and Betye Saar, making visible the lineage she has been stitching all alongBisa Butler’s Forever, 2020, is a near life-size quilted portrait of Chadwick Boseman. He stands before black mountains, green palms, and an orange patterned sky, a bright green arch curving over his head like a rainbow or halo. His face is rendered in blue, purple, red, green, and turquoise fabrics; his beard and hair are built from dark and neon-green textures. He wears layers of patterned cloth, including a red-and-black cape over richly colored tailoring, and looks at the viewer with a quiet expression. Butler made Forever after Boseman died in August 2020 at 43. Both artists were Howard University alumni: Butler earned her BFA there in 1995, while Boseman graduated in 2000 before portraying Jackie Robinson, James Brown, Thurgood Marshall, and T’Challa. Butler said the quilt began “out of love and admiration,” describing Boseman as an activist and advocate for honor, dignity, truth, and integrity. Every material choice carries part of that mourning. She explained that in her Ghanaian culture, red and black are worn at funerals when someone dies young, symbolizing the anguish of an early loss. Neon-green lace forms the coils of his hair; velvet speaks to softness and class; the lush landscape imagines him in paradise. Butler deliberately made the figure almost life-size so that he would feel present among us rather than reduced to an image of someone gone. The work entered the Los Angeles County Museum of Art and appeared in Black American Portraits, an exhibition that placed contemporary Black portraiture in conversation with two centuries of representation. That context matters: Butler’s larger project has always been to return fullness, dignity, and interior life to Black subjects, whether famous or anonymous. Forever does that through grief. It refuses to let Boseman become only a symbol, superhero, or headline. In Butler’s hands, cloth becomes memorial, color becomes emotion, and quilting becomes a way to hold a person close after history has taken him awayBisa Butler stands in her studio beside two towering quilts, photographed by Celeste Sloman for Smithsonian in 2023. Butler wears a black suit covered in gold stars, a cap, pink hair, and white sneakers; she reaches toward the central figure as if presenting him. That work, Young, Gifted and Black, shows a young Black man in a beret and patchwork suit against a blue patterned field. At left is As Long as Heaven and Earth Exist, the Rules of Fashion Will Never End, whose figure wears a leopard-patterned hat and scarf. The titles show how Butler builds beyond likeness. “Young, Gifted and Black” carries a Black cultural lineage through Lorraine Hansberry, Nina Simone, and Aretha Franklin, framing the sitter through possibility rather than absence. The neighboring title borrows the first line associated with the prayer of Les Sapeurs, the Congolese culture of elegant dressing in which clothing becomes discipline, performance, self-definition, and dignity. Butler often begins with photographs whose subjects were not fully identified by archives. She studies posture, clothing, history, and expression, then chooses fabrics that let her imagine the person’s interior world. She has described her process almost like cultural anthropology: trying to recover the human being behind the picture. Her fabrics may carry names, proverbs, ancestral references, fashion histories, or emotional codes; vivid skin colors shift attention away from literal complexion and toward spirit. The image catches Butler doing what her work asks museums to do: look longer, name people with care, and treat Black style as evidence rather than decoration. Three years later, that method is entering another chapter. In 2026 she completed a new self-portrait, and in 2027 the Smithsonian American Art Museum will open Tender Monuments, the largest survey of her career, framing these quilts not as soft alternatives to monuments, but as monuments themselves: stitched, intimate, and built to keep memory alive
@kefauver4prez.bsky.socialSep 30, 2026, 1:36 AM

A pair of East Tennessee boys made good!

Kefauver and Hollywood actor James Dobson (no relation to the evangelical leader) happened to pay a visit to the offices of the Knoxville News-Sentinel at the same time in October 1958.

#skystorians #history #polisky

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