Angel's Roam

Never be afraid.

My journals on my art, other people's art, and culture in general....

Harbringer by Estynia // June 2nd--June 8th, 2,022

For my painting class, we got to do a final acrylic painting, with no restrictions on what we could make, except that a portion of it had to be referenced from picture. So flippantly I decided to put an ironic twist on the classic "stork bringing life" archetype, twisting the stork into something more sinister and banal, a harbringer of death and destruction. A grim reaper stork, carrying the massive skull of a ram within his maw. It's in monochrome for two reasons: 1. I'm absolutely awful at color mixing, and 2. My incompetence with color actually helps here, enshrining a more somber and dark tone fitting to the subject manner. I'm actually quite proud of this piece and can't wait to hang it on my wall, maybe above my mirror.

The initial sketch, it took me about seven minutes. The canvas was covered in gesso, masking an older painting someone did. I went almost entirely off the sketch and didn't change it much at all.

Blocked in the darkest colors and filled in the background with a dark gray. I don't know how to use acrylics that well so it took a while. I considered making a more complex background but decided I wanted to keep the focus on the stork himself. That concludes the first hour, maybe more like 45 minutes actually, of working on it.

Worked on feathering details and painting in some of the midtones, decided the skull wasn't dark enough I guess! Fixed the shape of his head and made his chest puff out a bit more, a bit more robust. Layered more white on the cloth to clean it up a bit. At this point, I was already feeling confident in the quality of this piece and was excited to do more work on it.

On this day I focused more on the cloth and the skull details, as I knew this is what would help the piece come together. I had no reference for the cloth so I was just kind of winging it, with those kind of tension folds you often see when something is weighted down. Skull shape was kind of difficult, I didn't know how to indicate that there was still cloth under it and it looked pretty awkward here. Mostly detailing the horns and trying to get their values right.

Defined a lot of the highlights and shadows, a lot of intricate work on the skull and such. This is where it really comes together for me and starts to actually look like something substantial. Carved out the bottom of the jaw and just made it black for simplicity's (my incompetence) sake. More folds in the cloth, cracks in the skull, darker feathers and such. You get it.

This is the final redition. Of course, I could spend many hours more agonizing over all the little intricacies and flaws, but I think it's better if it's a bit messy and amateur looking. It reflects my woefull skill-level in acrylics anyhow. Mostly just cleaning-up work and going over the background once again, adding this strange black line pattern for some depth I suppose. In the end I spent around 4 and a half hours on it, give or take. I'm happy with it and I got a lot of compliments when I was walking around with it from class to class, as I didn't want to put it in my bag and end up damaging it. It's precious to me.

Gustav Klimt Speech // May 5th, 2,022

This was originally a speech I improvisied, so some is added and some is removed.

Through his work, Gustav Klimt always strived to achieve a frank and intimate portrayal of the world. He firmly asserted that “whoever wants to know something about me—as an artist, which alone is significant—they should look attentively at my pictures and there seem to recognize what I am and what I want.” Gustav Klimt was a prolific Austrian symbolist painter and a trailblazer in the Vienna Secession. A century after his death, his work still prominently displays an iconic and radical view of the world. He also warmly embraced the ideals of eccentricity and promiscuity, violently rejecting society’s expectations of him. He usually wore nothing but a dirty robe, he fathered at least fourteen children, and he never married, but had many intimate relationships. His work and general philosophy on life has much outstretched their reach from the narrow streets of Vienna, influencing global society. Gustav Klimt formed the Vienna Secession with other Austrian artists when he outgrew the traditionalist aesthetic of the Kunstlerhaus, Vienna’s largest association of artists. His break from conventional art coincided with the untimely deaths of both his father and his brother. Immense bereavement allowed him to reevaluate his artistic career, thus allowing him to blossom into a more decadent, risqué style. He derived inspiration from the popular Art Nouveau and Kitsch art movements to form a new expression of symbolism,heavily influencing modern developments in abstract and symbolist art. Balasz Tarkac “The Vienna Secession was undoubtedly established to promote innovation in contemporary arts regardless of any particular style,” in the article “The Philosophy and Aesthetic of the Vienna Secession Movement”. During his time in the Vienna Secession, the University of Vienna commissioned Klimt to create three paintings to embellish the ceiling of the Great Hall. These pieces quickly exuded public outcry, as they were criticized for being “overtly pornographic” and were subsequently never put onto display. This marks the last time Klimt ever accepted a public commission, and from then on he strived to create deeply provocative artworks. He lamented that “"I've had enough of censorship ... I reject all state support, I don't want any of it.” He actively strove to provoke people with his work. Klimt’s Golden Phase celebrates extreme opulence and filigree. His father was a goldsmith, and so he extensively uses gold leaf to decorate his pieces, inspired by ukiyo-e, the ornately designed wood prints of Japan. The wildly famous painting Portrait of Adele Bloch-Bauer I has been solidly cemented into popular culture, while also entertaining a scandalous past. In the article “The Splendid History of Gustav Klimt’s Glistening “Golden Phase,” Kelly Richman explains that “this piece portrays one of Klimt's real-life contemporaries, its bold use of gold gives it an ethereal feel reminiscent of a Byzantine mosaic, illustrating the timeless quality of the new Viennese woman.“ For decades, the painting went unseen after it was looted during the Nazi invasion of Austria-Hungary. The Bloch-Bauer family sued the modern state of Austria in 2006 for ownership of the painting. After numerous failed attempts, the painting was finally relinquished to them, and it auctioned off for $135 million. This shows how truly valued and influential this phase was as a whole. Gustav Klimt famously quipped, “all art is erotic,” a sentiment so thoroughly expressed throughout his artistic career. Even with the painstaking amount of work he put in, his art was widely disregarded as degenerate and tasteless scum. In his later works, the anguish from his loneliness becomes readily apparent, as he forgoes the delicate gold foil work and embraces chaotic color and raw emotion. While he fruitfully embraced the pinnacle of eroticism, he still preserved its genuine intimacy and wholesomeness. Through allowing himself to freely express the grits of his often shameful identity, he irreversibly altered the fabric of society.

The original chaotic drafts and musings with a friend of mine

I. Intro II.Through his work, Gustav Klimt always strived to achieve a frank and intimate portrayal of the world. He firmly asserted that “whoever wants to know something about me—as an artist, which alone is significant—they should look attentively at my pictures and there seem to recognize what I am and what I want.” A. Hook:

B. Background: Gustav Klimt was a prolific Austrian symbolist painter and a trailblazer in the Vienna Secession movement. C. Background: He warmly embraced eccentricity and promiscuity. as he fathered at least fourteen children, but he never married. I’ll leave that up to you to judge that, but D. Background: Thesis:his art as the pinnacle of eroticism, while also still maintaining its intimacy and..?..

A.Supporting Detail: Decades before the conception of his most famous works, Gustav worked jointly with his brother Ernst, decorating theaters, universities, and churches with their monumental artwork.

a. Explain/Quote:In 2021

Rušin Bulić in the article “Raising the Curtain on Early Klimt,” characterizes his early art style; “Klimt painted these paintings at a very young age with extreme ease and confidence. It is interesting to recognise in them the genius of a painter who was preparing to push the boundaries of his time.” b. Explain:

B. Supporting Detail:

a. Explain/Quote: b. Explain:

C. Concluding Statement D.

While Klimt grew up in poverty, his artistic talents were immediately noticed and nurtured since birth. Decades before the conception of his most famous works, Gustav worked jointly with his brother Ernst, decorating countless theaters, universities, and churches with their monumental murals and mosaics. The pair even received the Golden Order of Merit from the Emperor as an appreciation of their efforts. His artistic excellence shone through at a young age, as hehsdkhsdds. In 2021, Rušin Bulić in the article “Raising the Curtain on Early Klimt,” characterizes his early artworks: “Klimt painted these paintings at a very young age with extreme ease and confidence. It is interesting to recognize in them the genius of a painter who was preparing to push the boundaries of his time.” E. Main Idea One: Vienna Secession

1. Supporting Detail/Lead-in: Gustav Klimt formed the Vienna Secession with other Austrian artists when he grew tired of the strict, conservative values of the Kunstlerhaus, Vienna’s largest association of artists. His break from the traditionalist art society coincides with the untimely deaths of both his father and brother. His bereavement allowed him to reevaluate his artistic career, and blossomed into a more poetic and symbolic style.

a. Quote + Citation: b. Explain: The guiding principle of the Vienna Secession concerns Gesamtkunstwerk, a German word that means “aiming for a harmoniously composed environment”

2. Supporting Detail:

a. Quote: b. Explain:

3. Concluding Statement:

Gustav Klimt formed the Vienna Secession with other Austrian artists when he outgrew the traditionalist aesthetic of the Kunstlerhaus, Vienna’s largest association of artists. His break from conventional art coincided with the untimely deaths of both his father and his brother. Immense bereavement allowed him to reevaluate his artistic career, thus allowing him to blossom into a more decadent, risqué style. He derived inspiration from the popular Art Nouveau and Kitsch art movements to form a new expression of symbolism,heavily influencing modern developments in abstract and symbolist art. Balasz Tarkac “The Vienna Secession was undoubtedly established to promote innovation in contemporary arts regardless of any particular style,” in the article “The Philosophy and Aesthetic of the Vienna Secession Movement”. During his time in the Vienna Secession, the University of Vienna commissioned Klimt to create three paintings to embellish the ceiling of the Great Hall. These pieces quickly exuded public outcry, as they were criticized for being “overtly pornographic” and were subsequently never put onto display. This marks the last time Klimt ever accepted a public commission, and from then on he strived to create deeply provocative artworks. He lamented that “"I've had enough of censorship ... I reject all state support, I don't want any of it,” radically SWAYING HIM TOWARDS… F. Main Idea Two: Klimt’s Golden Phase celebrates extreme opulence and filigree, while also doubling down on his desire for eroticism.

1. Supporting Detail:

a. Explain/Quote: b. Explain:

2. Supporting Detail:

The wildly famous painting Portrait of Adele Bloch-Bauer I stands as his magnum opus, while also entertaining a scandalous status.

a. Explain/Quote: In the article “The Splendid History of Gustav Klimt’s Glistening “Golden Phase,” Kelly Richman elaborates that “this piece portrays one of Klimt's real-life contemporaries, its bold use of gold gives it an ethereal feel reminiscent of a Byzantine mosaic, illustrating the timeless quality of the new Viennese woman.“ b. Explain: The painting was lost for decades, and was ferociously fought for buwqdudwuu c. The painting was finally sold in 2006 for $135 million dollars,

3.Concluding Statement: Klimt’s Golden Phase celebrates extreme opulence and filigree. His father was a goldsmith, and so he extensively uses gold leaf to decorate his pieces, inspired by ukiyo-e, the ornately designed wood prints of Japan. The wildly famous painting Portrait of Adele Bloch-Bauer I has been solidly cemented into [], while also entertaining a scandalous past. In the article “The Splendid History of Gustav Klimt’s Glistening “Golden Phase,” Kelly Richman explains that “this piece portrays one of Klimt's real-life contemporaries, its bold use of gold gives it an ethereal feel reminiscent of a Byzantine mosaic, illustrating the timeless quality of the new Viennese woman.“ For decades, the painting went unseen after it was looted from the

G. Conclusion H. Signal Phrase: Gustav Klimt famously quipped, “all art is erotic,” a sentiment that (is clearly embraced)so thoroughly expressed throughout his artistic career. I. Restate Thesis: His influence on modernism eudjdudjdj Even with the painstaking amount of work he put in, his art was widely disregarded as degenerate and tasteless scum. In his later works, the anguish from his loneliness becomes readily apparent, as he forgoes the delicate gold foil and embraces color and raw emotion. J. Summarize Main Ideas: Pinnacle of eroticism, while still maintaining its intimacy and wholesomeness K. Clincher/Final Thought: felt so free in his identityThrough allowing himself to freely express the grits of his identity, he influenced

Gustav Klimt famously quipped, “all art is erotic,” a sentiment so thoroughly expressed throughout his artistic career. Even with the painstaking amount of work he put in, his art was widely disregarded as degenerate and tasteless scum. In his later works, the anguish from his loneliness becomes readily apparent, as he forgoes the delicate gold foil work and embraces chaotic color and raw emotion. While he fruitfully embraced the pinnacle of eroticism, he still preserved its genuine intimacy and wholesomeness. Through allowing himself to freely express the grits of his often shameful identity, h e irreversibly altered the fabric of society. Through his work, Gustav Klimt always strived to achieve a frank and intimate portrayal of the world. He firmly asserted that “whoever wants to know something about me—as an artist, which alone is significant—they should look attentively at my pictures and there seem to recognize what I am and what I want.” Gustav Klimt was a prolific Austrian symbolist painter and a trailblazer in the Vienna Secession. A century after his death, his work still prominently displays an iconic and radical view of the world. He also warmly embraced the ideals of eccentricity and promiscuity, violently rejecting society’s expectations of him. He usually wore nothing but a dirty robe, he fathered at least fourteen children, and he never married, but had many intimate relationships.His work and general philosophy on life has much outstretched their reach from the narrow streets of Vienna, influencing society on a global scale. Gustav Klimt formed the Vienna Secession with other Austrian artists when he outgrew the traditionalist aesthetic of the Kunstlerhaus, Vienna’s largest association of artists. His break from conventional art coincided with the untimely deaths of both his father and his brother. Immense bereavement allowed him to reevaluate his artistic career, thus allowing him to blossom into a more decadent, risqué style. He derived inspiration from the popular Art Nouveau and Kitsch art movements to form a new expression of symbolism,heavily influencing modern developments in abstract and symbolist art. Balasz Tarkac “The Vienna Secession was undoubtedly established to promote innovation in contemporary arts regardless of any particular style,” in the article “The Philosophy and Aesthetic of the Vienna Secession Movement”. During his time in the Vienna Secession, the University of Vienna commissioned Klimt to create three paintings to embellish the ceiling of the Great Hall. These pieces quickly exuded public outcry, as they were criticized for being “overtly pornographic” and were subsequently never put onto display. This marks the last time Klimt ever accepted a public commission, and from then on he strived to create deeply provocative artworks. He lamented that “"I've had enough of censorship ... I reject all state support, I don't want any of it,” radically swaying him towards the more carnal side of art. He actively strove to provoke people with his work. (I believe this is closer to the original speech.) Today I will be speaking about a painter who had 14 kids, wore dirty robes like Diongenes, had cats pee over his drafts, and has paintings that sell for over 100 million dollars. Through his work, Gustav Klimt strived for a frank and intimate portrayal of the world. He even says “whoever wants to know something about me […] they should look attentively at my pictures and [...] recognize what I am and what I want.” In the art world, he is known as a prolific Austrian symbolist, and a trailblazer in the Vienna Secession. And even a century after his death, his work still prominently displays an iconic and radical view of the world. In life and in art, he warmly embraced the ideals of eccentricity and promiscuity which was and is a violent rejection of social expectations. He never married, but had many intimate relationships as shown by his 14 children. From a humble beginning in the narrow streets of Vienna, Gustav Klimt’s work and philosophy have since influenced every corner of the globe. His mother was a failed musician and his father was a goldsmith. Of Gustav’s many siblings, most notably was his younger brother, Ernst. Although they grew up impoverished, their artistic talents were immediately noticed. in the article “Raising the Curtain on Early Klimt,” Rušin Bulić says: “Klimt painted these paintings at a very young age with extreme ease and confidence. It is interesting to recognize in them the genius of a painter who was preparing to push the boundaries of his time.” In the beginning, he and his brother Ernst created murals and mosaics in the halls of theaters, universities, and churches. For their work they received the Golden Order of Merit from the Austro-Hungarian Emperor. Now this would be the last time the emperor publicly recognized Klimt, because while his art was mostly allegorical, christian type historical works, later he would be known for his rebellious debauched themes. Five years before the artistic movement, the Vienna Secession, Gustav lost both his father, and brother. This immense loss was revelation, and in his sorrow he found decadence and eroticism. Hoping they’d get something like his earlier wholesome works, the University of Vienna commissioned Klimt to create three paintings for the ceiling of the Great Hall. These pieces quickly exuded public outcry, as they were quote “overtly pornographic” and never made it on display. This was the last time Klimt ever accepted a public commission, and afterwards his art became even more provocative saying “"I've had enough of censorship ... I reject all state support, I don't want any of it,” This rejection of sponsorship, led to what is known as his Golden Phase. Inspired by ornate wood prints from Japan and the gold leaf used by his late father, while he went even more risque, more opulent in his art, he was becoming more disheveled and wild in his personal life. His most known work from this time is the Portrait of Adele Bloch-Bauer I. Commissioned for a wealthy Jewish patron. It depicts Adele as a powerful feminine symbol. After Nazi’s took over Austria, this painting was confiscated by the then austrian government. Later, Bloch Bauers family sued the modern state of Austria. And only In 2006, did they finally win. And after auctioning it off, it went for 135 million dollars.

Off The Cuff Speaking (4 Mins)

Write below what you were able to speak without notes about Gustav: WHY IS THIS CENTERED ALRIGHT SO GUSTAV KLIMT RIGHT FAMOUS SYMBOLIST AUSTRIAN PAINTER UM GENERAL PHILOSOPHER KIND OF AN ASCETIC AND…. A LOT OF PEOPLE DON’T KNOW HIM FOR ANYOTHING OTHER THAN THE KISS, AND MAYBE…MAYBE THE PORTRAIT OF ADELE BLOCH BAUER I THE FIRST PORTAIT IF THEYRE LIKE CULTURED SO HE WAS PROBABLY BORN AROUND THE 1850’S OR SO….HIS MOTHER SHE WAS MUSICALLY TALENTED, SHE WANTED TO BE A PROFESSIONAL MUSCIAN…BUT SHE UH NEVER REALLY LIVED UP TO THOSE STANDARDS UUUUHM HIS FATHER WAS A GOLDSMITH AND THEN HE HAD A BROTHER NAMED ERNST KILMT AND HE HAS A LOT OF OTHER SIBLINGS I DON’T REMEMBER ANYTHING ABOUT THEM BUT HE HAS THOSE….HE GREW UP IN POVERTY BUT HE WAS A REALLY UH TALENTED ARTIST FROM A PRETTY EARLY AGE THEY SAID THAT HE WAS AN EXCELLENT DRAFTSMAN HE WENT TO A FAMOUS ARTS AND CRAFTS SCHOOL….WELL NOT FAMOUS BUT ARTS AND CRAFTS SCHOOL NONETHELESS….AS HE WAS GROWING UP HE WORKED WITH HIS BROTHER ERNST KLIMT TO PAINT MURALS AND MOSAICES AND OF THE SUCH FOR UNIVERSITIES…LIKE THE UNIVERSITY OF VIENNA BUT THAT OBVIOUSLY FELL THROUUUGH…..AND THEATHERS AND CHURCHES AND ALL THAT THAT’S SOMETHING HE DID. THAT WAS MOSTLY MORE TRADITIONAL WORK LIKE ALLEGORICAL, CHRISTIAN TYPE HISTORICAL WORK. IT WAS REALLY BEAUTIFUL BUT Y’KNOW IT KINDA MESHES BACK INTO EVERYTHING ELSE….UH, YEAH AND HE STARTED TO MOVE PAST THAT ESPECIALLY WHEN HIS BROTHER AND HIS FATHER DIED PRETTY MUCH IN SHORT SUCCESSION….UUHHH FUCK ME AHHHAHAH UHHH YEAH THWEY BOTH DIED IN SHORT SECESSION HE FORMED THE VIENNA SECESSION MOVEMENT WITH A BUNCH OF OTHER AUSTRIAN ARTISTS YEAH HE BASICALLY KUNSTLERHAUSE NIGGER WHATEVER IT WAS A MOVEMENT INSPIRED BY GESAMTKUNSTWERK WHICH IS ALSO PRETTY PROMINENT IN LIKE RICHARD WAGNER AND BEETHOVEN WORK HE PAINTED THE BEETHOVEN FRIEZE AND SHIT LIKE THAT…GESAMTKUNSTWERK IS BASICALLY LIKE,UHH HE WAS TRYING TO MAKE A HARMONIOUSLY COMPOSED ENVIRONMENT AND BASICALLY THEY JUST WANTED EVERYTHING TO FALL TOGETHER AESTHETICS WISE WHILE STILL NOT REALLY HAVING LIKE THESE SELF IMPOSED BOUNDARIES OF WHAT ART SHOULD BE. AND HE WAS IN THAT FOR A WHILE THAT’S WHEN HE MADE STUFF LIKE THE JUDITH AND THE HEAD OF HOLOFERNES AND BEETHOVEN FRIEZE AND UHHHH STUFF OF THE SORTS. AND AFTER THAT HE MOVED ON TO THE GOLDEN PHASE. AND THAT’S WHEN HE TOOK INSPIRATION FROM HIS FATHER’S GOLDSMITH WORK HE WORKED WITH GOLD FOIL AND HE WAS ALSO INSPIRED BY JAPONISM LIKE UKIYO-E WOOD

Morning Star Triptych by Estynia // May 2nd, 2,022

Through the making of this triptych, I discovered that my soul is undisputably orange. Everytime I drew "myself,", albeit a very disconnected self, subconcsiously I used orange to represent myself. All three pieces were drawn late at night or early in the morning, depending on how you interpret it. 10 PM - 3 AM. Each time my soul separated from my body, floating just barely above it, and through these I was trying to explain my disconnect. How it feels, suddenly someone with everything and nothing, an identity that disgustingly morphs and twists and configures itself a new every damn millisecond. It hurts, yeah. I assembled this on my door after finishing the last piece, the one on the right, after ascertaining that they all belong together and represent something more than me.

Generational Interview with Grandma // Wed., December 12th, 2,018

Q: What year were you born? On what date? What day of the week was it? Did your parents tell you anything about the day you were born?

A: 195X, February 8th, Sunday. I don’t think they really told me anything about the day I was born.

Q: What was your apartment or house like that you grew up in? How many bedrooms did it have? Bathrooms? What was your bedroom like?

A: I grew up in [CITY], it was a two-story home, there was a crabapple tree out front, it had 3 bedrooms and 1 bathroom. It had a white picket fence around it. My sister and I shared the whole upstairs bedroom. We had built-in dressers, two twin beds, a play house, and it had a dormer.

Q: How did your family earn money? How did your family compare to others in the neighborhood - richer, poorer, the same?

A: My dad was an inspector, he worked for the government, and he also was a mechanic. My mom was a school bus driver. It was about the same.

Q: Can you describe the neighborhood you grew up in?

A: The houses were fairly close together, we all had front steps, there were sidewalks. We spent a lot of time outside during the summer and went roller-skating and rode bikes a lot.

Q: What was the best gift you received as a child?

A: Probably my own princess telephone upstairs in my bedroom. It was a land phone, but pink. Mine had the dial. I think I got it for my sweet 16 birthday. I was excited, I was able to call my friends in the privacy of my own room. I had to share it with my sister though, that was the downside.

Q: When you were a teenager, what did you do for fun? Did you have a favorite spot to “hang out”? What time did you have to be home at night? Did you ever get into any trouble?

A: Umm, probably riding our bikes and going to McDonald’s besides eating in the school cafeteria. We went on vacations every year to different spots, we went to New York City and Washington D.C, and we went to Hawaii one year. Probably just in our neighborhood we would hang out. Probably about 11 P.M. No, never got into any trouble. Back then you didn’t really get into trouble, you were made to toll the line.

Q: When did you get married? How old were you? Where did you get married? What was your wedding like?

A: Too young. 18th of June. If you want the age you’ll have to figure it out, I was 18 when we got married, too young. Maybe I was 17, I don’t remember. We got married at [SAINT'S] Episcopal Church in [CITY]. I had 3 bridesmaids, umm, flowers were sent from Hawaii for the flowers on the cake. I had real flowers sitting on the top of the cake. And on the layers. They were little orchids. Umm, grandparents attended and family, and reception followed. I wore my sister’s veil, it was what she wore. And I wore an antique bracelet that was a family’s heirloom, umm, it was a long dress with little tiny buttons on the back. The bridesmaids they wore, one had a yellow dress, two had a turquoise dress. She was my junior bridesmaid that wore the yellow dress. The groom wore white. My bouquet, I think it was gardenias and roses. We went on a honeymoon up to the North shore. I was excited and happy, my parents weren’t too happy about it ‘cause I was too young. We were only married for 18 years.

Q: What makes you proud of your children?

A: That they’re supporting their families, taking good care of them. I don’t know, I’m just proud of them ‘cause they’re my kids.

Q: How is my mother like me? Unlike me?

A: I think your mom used to like to draw, uhh, you’re both short, you both have determination, you’re both procrastinators. Uhhhhhm, you’re different because you’re a vegetarian and your mom isn’t. You’re a homebody and mom likes to go out and do things. You draw, on your computer, you listen to your music. She hangs out with her friends, she likes to travel.

Q: What was your first job? What did you like or not like about it?

A: Working at Finance & Commerce, it’s a legal paper. My grandma worked there, she was a legal secretary. I did proofreading before the paper went to print. I was paid roughly $1.15 an hour. I would ride the bus from [CITY] to downtown Minneapolis. I liked being with my grandma, I didn’t work directly with her, I worked with another lady in proofreading. She would read and then we would take turns reading to make sure everything was spelt right. Sometimes the days were real long, I didn’t like that. On Friday nights I would ride back with my grandma and grandpa up to [TOWN], [STATE].

Q: What do you think are your three best qualities? Your three worst?

A: I’m a hard worker, uhh, I’m dependable, and I’m patient. Now three what? I don’t have any worst qualities.

Q: What’s the best compliment you ever received?

A: One of my clients said I was an angel for taking care of him. That I was his angel.

Q: How are your children like you? Unlike you?

A: We’re procrastinators, we’ve all been successful. We’ve supported our families. They’re outgoing, more ambitious. I don’t know. They like sports more than me. I don’t like sports. Only if I know the people that are playing in them, then I like them. Otherwise it’s boring.

Q: What was most important to your parents?

A: To provide for their family, and to raise a good family.

Q: What’s your typical day like now? How is it different from your daily routines in the past?

A: I get up, I go to work, I do hospice for [COMPANY]. I enjoy my job. Uhmm, I only have to work 6 weekends out of the year. I get to set my own hours. I work with great co-workers. I come home, if I haven’t done my charting, I do my charting. Sometimes I do my scrapbooking, watch TV, and go to bed. I live with my daughter and my grandchildren. I run them to places and back home. We have meals together. Now I’m not raising my children, I can do what I want, I don’t have to...worry about, I don’t know, how would you word it? Do anything I don’t want to do.

Q: If you live another 20-30 years, what will you do? Do you want to live another 20-30 years?

A: I’d do my hobbies and spend time with friends and family. Travel. Out of the country, maybe to Sweden and Norway, because that’s my heritage. England, that’s where my grandpa was from. Probably the Caribbeans would be nice. Umm, I would sight-see and visit family. Yeah, I do. So I can see my grandchildren grow up and graduate, live their lives. Becoming a great-grandma.

Q: What’s your most cherished family tradition? Why is it so important?

A: My favorite? Can’t I just list all the holidays? Uhmm, I think Christmas is probably my favorite...tradition. We watch all the kids open their presents and all the excitement. Christmas tree, the lights, the hustle and bustle of Christmas shopping and getting things wrapped. Making cookies. It’s important because you’re celebrating Jesus’s birth and being with family.

Q: How do you define a “good life” or a “successful life”?

A: That you keep a roof over your head, food on the table, being kind to people. Treating people the way you want to be treated. Not to be in any debt, to have lots of money. Have good family and wonderful friends.

Q: How do you feel about growing old? What’s the hardest thing about growing older? The best thing?

A: I’m not growing old, I’m growing better. I look forward to someday retiring and not having to work. Maybe doing some volunteer work when I retire. Spending more time with family and friends. What’s the hardest thing about growing older? Hmmm, that time goes fast when you get older. Uhhh, knowing that somebody I’ll have to give up my car and not go anywhere when I want to. I’ll have to have somebody take me. Well, not having to work, uhh, when the weather’s bad I won’t have to go outside, I can stay inside. Do more of my artsy crafty things. That’s about it. I’m boring, that’s what I say.

Q: What do you think you have the most of: talent, intelligence, education, or persistence? How has it helped you in your life?

A: Repeat the question. [I can't believe I just ended it there.]

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Anyone who can love me is the purest kind of angel.