Showing posts with label artsy fartsy. Show all posts
Showing posts with label artsy fartsy. Show all posts

April 10, 2009

"Faculty"? Yeah, that should annoy a few people...



Celebration of Faculty Creative Works from 2007-2008

The Office of the Provost and the UT Arlington Library announce the first annual exhibit to highlight recent books, art exhibit catalogs, music recordings and patents of the UT Arlington faculty and staff. Provost Donald R. Bobbitt and Dean of the Library Gerald Saxon will toast all exhibition participants at a reception honoring these individuals.

The depth and breadth of scholarship and creativity at UT Arlington is a great source of pride on campus and beyond. The exhibit will open with a faculty and staff reception on Tuesday, April 14, from 5 – 6:30pm in the sixth floor atrium of Central Library.

For several years the library has sponsored an annual lecture series called "Focus on Faculty," featuring a half-dozen talks a year by award-winning faculty. This exhibit takes it to the next level and features more than 80 entries, recognizing works completed in the 2007-2008 academic year.

A booklet cataloging each entry will be available, and the exhibit will remain in place through May 31, 2009. The exhibit is free and open to the public. Hours of the Central Library sixth floor atrium are Monday, 8am to 7pm and Tuesday through Saturday, 8am to 5pm.



(Of all the recognition I've received for the book, the ones at my old university mean the most to me, no doubt because of my less-than-stellar performance as a student. That's right, kids. Stay in school. It's more fun than actual work.)

March 10, 2009

Casting of pods

If you liked my last entry but found the whole "left-to-right eyeball tracking" thing to be a distraction, you'll be pleased to know that QN Podcast (The Podcast Formerly Known as Quirky Nomads) featured the entry in their March 9th edition, "Ambush". Thanks, Sage!

You'll be even more happy to know that it's not my yokelly voice this time. It's encouraging how much smarter I sound when someone else is reading.

May 7, 2008

Ten words = free stuff?


My friend Karen Harrington, author of Janeology, is having a fun contest on her site. To celebrate her recent good review from the New Mystery Reader, she's giving away signed copies of her book. All you have to do is write a ten word story about a dysfunctional family. (One of the core elements of her book is a pretty extreme level of family dysfunction, I think it's safe to say.) Ten words, no more and no less.

Win free copies of JANEOLOGY

For my own entry, I came up with this, about a 100% totally fictional family with whom I am not one bit associated and who should not call later to complain, because it's just a joke and a little writing exercise, and, uh, yeah.

"If they'd known about the book, they might have behaved."

Incidentally, I don't get to read a lot of fiction, certainly not as much as I'd like to, but Karen's book was a lot of fun. I liked it so much, I reviewed it on Amazon. I'm swell that way.

April 15, 2008

Rockabye


Promo Proofs
Originally uploaded by girlsgonechild
One of the things that still catches me off guard is the fact that anyone gives a damn about what I think concerning books. Even now, in this age of consumer-driven content and Amazon reader reviews, the idea that my own credentials as a writer might give my opinion some added weight or validity doesn't naturally occur to me. When Karen Harrington, author of the very excellent Janeology made mention in an email of the review she had received "from a big-time memoirist", it actually took me a few seconds to realize that she was talking about me.

Nevertheless, when a book really does it for me, I try to put something together to express my feelings of gratitude to the author. And it really is gratitude. A good book is no small thing, nor (more to the point) is a bad one. When you watch a movie that you think is going to be good and it turns out to be a stinker, that's a good two hours of your life that you've tossed away. But when it's a book that leads you astray, the hours and even days that you've invested in it that you'll never get back. You'll be on your death bed one day, muttering to yourself, "If only I hadn't spent so much time reading all that fucking L. Ron Hubbard." You learn to cherish the good ones.

When I started reading Rebecca Woolf's Rockabye: From Wild to Child, I'd followed the marketing closely enough to know what I was supposed to be getting. I settled in to read another memoir of a party girl transitioning to parenthood while struggling to remain hip and cool. Which was certainly fine. Never having been actually cool myself, that transition was fairly straightforward for me, so I occasionally like to vicariously gank some cool from others.

By the time I finished Rockabye, I was looking at a different book altogether.

Simply put, this is a book about the tranformational power of a parent's love, the kind of love that can envelope you and warm you, but also consume and burn you. In bringing her son Archer into the world, Woolf begins to discover her own true heart and her own capacity for love and growth. Yes, part of that evolution involves leaving behind some of the party-all-the-time aspects of her youth, but the more important parts of herself, her independence and her insistence on doing things her own way, relying on her instincts, these are the pieces that she clings to.

I want to make something clear. Rebecca Woolf is a fantastic writer. She's open and honest, unblinkingly so at times, and yet her command of language and the near poetry of her wordplay feels like music. It's been a long time since I've gotten lost in language like that, just floating in someone's wordplay.

There are some striking parallels to Woolf's story and mine (or rather, to Archer's and Schuyler's), but I don't want to make too much of them. I would recommend her book to anyone who liked mine, if only because of some of those parallels, but honestly, I'd rather recommend Rockabye for no other reason than I found it to be a viscerally satisfying read. At its best, it feels like a gift, and it's at its best a lot.

I think you'll like this book. I'm pretty sure most of you will. Rebecca Woolf's the writer that I wish I was, and that's the truth.

Thank you for choosing me to mother you. Thank you for sneaking in through my window and saying "Boo! Here I am!" Thank you for stirring and purring and screaming and crying and laughing and talking and standing and jumping. You are my exclamation point in a world of dot-dot-dots. You are my star in a sky muted by city lights. You are my sun. My son. My sun.

Rebecca Woolf, "Rockabye: From Wild to Child"

January 14, 2008

The Quiet World of Ice Girl

We went for a walk in downtown Dallas yesterday, not for any particular reason other than to visit the Crow Collection of Asian Art, which Julie had been wanting to see for a while and which was within the budgetary range most suitable for the grand Rummel-Hudson estate. (Free, of course.)

After we made our way through the gallery, we took a stroll around the art-filled grounds of the Trammel Crow Center and came across an outdoor sculpture called "Men Against Man" (1968), by a Norwegian-American doctor and sculptor named Kaare Nygaard. (In a weird coincidence, Nygaard was the surgeon who treated Australian composer and nutbag Percy Grainger, whose music I like.) The sculpture depicts six uniformed and faceless figures (soldiers? policemen?) carrying a struggling prisoner by his arms and legs.

Schuyler was taken by it immediately.

She bent close to the prisoner's face (or what would have been his face if he'd had one), touching it gently. She held his hand. She walked around the sculpture several times, touching his feet and hands, but she was very careful to never touch any of the captors.

Finally, she stopped near the prisoner's head and stayed there. She touched his face again, tenderly and with great care, and put her forehead against his while whispering softly in Martian. As I tried to take photos as quietly as I could, she kissed his head and smiled sadly to herself. Finally, she simply rested her face next to his, giving him the same wordless comfort that she's always given to me when she knows I'm sad. When it was time to leave, she looked at him one last time, purposefully not recognizing his tormentors, and gave a little wave to him as we walked away.

Schuyler is an eight year-old girl, and much of the time she's not all that different from any other. She laughs, she plays, she watches Kim Possible on television, and she makes up imaginary scenarios for us all to participate in. (In her most recent story, she is a superhero named Ice Girl, and Julie and I are her co-horts, Ice Mama and Ice Daddy. I told her we could assemble an Ice Girl costume for her and she could come to my first book signing as Ice Girl. So, you know, watch for that.) Most of the time, Schuyler is just like any other kid.

But then, like yesterday, something else will appear behind her eyes, something a little dark and a little sad, but also wise beyond her years. When it does, Schuyler doesn't try to express it to us, but instead she moves through her world like a shaman. I watched her yesterday as she poured out her compassion and her sad love for the idea of someone suffering oppression, a concept that I doubt she could even express if pressed.

Schuyler is like any other kid you might meet, and Schuyler is like no one else in the world. In her mysteries (and she has so many), she is a puzzle and a source of immense pride. Schuyler is my most inscrutable enigma, and also my most perfect muse.


My housekeeping? It's good, thank you for asking.


Good Housekeeping
Originally uploaded by Citizen Rob.
Well, I've wanted to mention this for a long time, but I didn't expect it to happen quite this soon.

The February 2008 issue of Good Housekeeping has an article about Schuyler. Page 161. Look for Dr. Phil on the cover. Dr. Phil and me, we're tight now. He's going to come talk me down the next time I freak out.

The article is actually "by" me, in the sense that it consists mostly of blog material from the past year or so, edited to remove gratuitous F-bombs, clarify some of the narrative and generally make me look like a little less of a dumbass. It's long, about six pages, and features a full page photo of Schuyler. (It's the photo from the book cover, except in color, which is a little startling to see after all these months of looking at it in black and white.) I am extremely happy with how it turned out.

I mean, I feel a tiny little bit like throwing up, but in the good sort of "need to throw up" sort of way.

-----

While we're on the subject of the book and my increasingly fancy pants, if you live in the New York City area and would like to meet and/or abuse me in person, mediabistro.com is very graciously hosting a book release party for Schuyler's Monster on February 20th, the day after the official book release. Here's some info for you.

Book Publishing Party
with special guest author
Robert Rummel-Hudson

(Schuyler's Monster: A Father's Journey
with His Wordless Daughter
)

Hosted by mediabistro.com

Dip
416 Third Avenue
(between 29th & 30th)
New York, NY 10016

RSVP required


Stalkers, start clearing a space in your freezer for my head. A swell hat would be nice, too.

November 29, 2007

Also available with the kung-fu grip


Schuyler
Originally uploaded by Citizen Rob.
Living our lives in such a public way, even before the book, has occasionally led to some interesting and unique experiences, mostly centering around Schuyler. She gets to people, she emotionally affects people out there who never meet her except through my writing, and they express that connection in a variety of artistic ways. I can't even begin to tell you just how cool that can be.

Now, for the first time that I'm aware of, Schuyler is a doll, with a tiny little Big Box of Words. This was a total surprise -- I didn't know about it until someone sent me the link -- and one that we thought was absolutely great.

I haven't had a chance to show Schuyler that page yet. Her little head is going to explode when I do.

November 12, 2007

"Paths of Glory"


"Paths of Glory"
Originally uploaded by Citizen Rob.
I haven't written about this before now, mostly because I know how my writing about music tends to make crickets chirp and the baby Jesus cry. However, I thought Veterans Day presents a pretty good occasion to explain why I am boycotting the Dallas Symphony Orchestra.

Money concerns force DSO to drop concert

Britten's 'Requiem' 'very expensive'


One of the headliner concerts promised for the Dallas Symphony Orchestra's 2007-08 season is being scratched. Benjamin Britten's War Requiem, which was to have been performed under principal guest conductor Claus Peter Flor, will be replaced by another program because of money concerns.

"We were reviewing the budget for next year, and we determined the need to make a few programming adjustments," says Fred Bronstein, president and CEO of the Dallas Symphony Association. "It's a very expensive piece to produce, and we just determined it would be prudent to postpone it."


You know, I understand that the War Requiem is an expensive piece to perform. It requires a full orchestra, a chamber orchestra, a full chorus, a boys' choir and soloists, and it's still a rental piece. It's modern and difficult and probably not a huge audience draw, although every time I've seen it performed, it has been to a full house.

However, in a time of war, when the message of Benjamin Britten and Wilfred Owen is as relevant as ever before, and particularly in a community as conservative as Dallas, in which support for the president's increasingly unpopular and idiotic war remains inconceivably high, it is, in my opinion, impossible to cancel a performance of this piece without covering yourself in the stink of artistic cowardice.

I mean, the War Requiem didn't get more expensive to perform in the time since it was programmed by the DSO. But the statement that it stood to make about the futility and pity of war? That just becomes more relevant and desperate (and controversial, at least in this town) by the day. The War Requiem is a vastly important work, one that an audience has much to learn from. It represents the very best of what a contemporary symphony orchestra should be trying to accomplish, bringing music of the highest quality and most significant social relevance to a community. Canceling a performance like this one, even for financial reasons (or perhaps especially so) doesn't just disrespect the veterans who have faced these issues in a slightly more harrowing setting than a cushy concert hall. It disrespects art.

Because I have become a grouchy old man, I sent an email saying as much to the DSO back in May. After getting a response from an anonymous Patron Services Center representative (a response that felt like a canned response, which I found to be a hopeful sign since it suggests I'm not the only person who responded negatively), I sent the following, which pretty accurately represents my current thinking about the issue and the responsibility of artists in troubled times.

I did not receive a response. I did not require one.

-----

Subject: War Requiem
From: robert@schuylersmonster.com
Date: May 21, 2007
To: customerservice@dalsym.com

I understand the financial difficulties of putting together a performance like that. But it is also unfortunate and frankly suspect timing that this piece should find itself on the block in the midst of a controversial and politically charged time of war. Britten's piece is divorced of politics, addressing instead the undeniable horror, futility and suffering of war, topics that go beyond politics and patriotism and force the listener, no matter what their partisan beliefs, to look deeper. Regardless of the financial reasons for doing so, canceling your performance of this piece in particular sends a strong message, and not a positive one.

Music matters. The artistic choices that an orchestra makes send a message to a community. If this is a matter of purely financial concern, then I and a great many other will be watching your choice of replacement repertoire with great interest. I wish you the best of luck in maintaining your organization's artistic integrity as you make that choice.

Robert Rummel-Hudson
Plano, TX

November 5, 2007

Does the cat-building make it science fiction?


BBoW
Originally uploaded by Citizen Rob.
Well, it's November and NaNoWriMo time, which explains why everyone seems to be writing about writing this month. (My favorites are the people who spend time on their blogs writing about not being able to write, or even better, not having enough time to write.) While I don't really have anything to add, I thought it might be fun to share something that was sent home by Schuyler's teacher the other day. I particularly like how she's working her real world experience into her fiction.

Once there was a scarecrow. He went to New York with his best friend Schuyler. Schuyler and the scarecrow played outside in the sandbox. Schuyler built a doll. The scarecrow made a cat. Schuyler and the scarecrow eat a pizza.


Because after genetically engineering a cat, nothing hits the spot like a little pizza...

September 8, 2007

My Beloved Cyborg and Me

When Schuyler gets handed school projects that are beyond the scope of her monster, we roll up our sleeves and get creative. This weekend, she has to make a giant poster for her turn as the Second Grade Star Student of the Week, although it's unclear if she's actually the start student or if this is just getting the poster ready early. Apparently every kid gets a turn, which is probably as it should be in second grade. Let every little monkey get a taste of celebrity and power.

Schuyler functions pretty well in a mainstream setting, and she'll continue to improve as she goes alone. But like many of her projects, the big poster presented some challenges. Schuyler's handwriting is still very hard to read, for example, and she doesn't deal well with small spaces in which to write. We've been having her write out as much of her homework as possible, as opposed to printing it off the Big Box of Words like we did last year, but for her poster, we decided to use the computer and help her create something with a little zazz.

I know some people probably would disagree with helping her out with a project like this, as if we were ashamed of her monster-fogged work. I guess we felt that Schuyler's poster should reflect the girl behind the monster, rather than seeing all her interests and loves obscured by the Difference. Her artwork is good stuff, and her ideas of what she wanted to present were very cool and, yes, very Schuyler. (She drew King Kong, of course.) But since her writing is a problem and doesn't really keep up with the crazy race going on inside her head, we decided to do a few items for the poster as a family, and in doing so, bring some computer power into play.

Which was how Schuyler and I came to create a real artistic collaboration, a little comic book-style page telling about her new puppy, Max. She wrote the text and helped choose the photos, and I did the formatting for her, using basic Apple "drag this here and type this here and suddenly everyone thinks you know what you're doing" software.

(I was already thinking of comic book formatting because I'd been tidying up my old site, reformatting my old "pet blog" parody site, Flappo!, the night before. I know Flappo! was crude, and since the pet pages trend mercifully died out pretty soon after, the joke of vile, rude pets instead of cute, fluffy ones is sort of dated. Still, I have to admit, of all the pre-diagnosis things I ever did, Flappo! was maybe my favorite. It was my first attempt at humor after September 11th, although I'm not sure anyone else thought it was actually funny. Still, I sort of miss the guy who was writing that sort of thing, back before I became all Twenty-four Hour Tragedy Dad.)

When our Max page was done, we all just sort of looked at it and said, "Wow, maybe it looks TOO good." We didn't want it to appear that Schuyler just sat around playing with her dinosaurs while mom and dad obsessed over having the Absolutely Most Perfect Poster of all the Plano Kids, by golly. She served as both writer and director, after all.

But for Schuyler, with so much of her future waiting for her in the world of computers that will help her speak and create, even more so than most kids, perhaps it was fitting that she once again was able to compensate for her monster by electronic means. If Schuyler's going to have to engage in these compensatory measures to get through school, I think it's only fair that she be able to do so with style.

Schuyler's future looks great, so long as there's electricity. If civilization collapses and we all revert back to primitive life, however, I suspect she'll still be the kid holding the conch shell.

August 19, 2007

Art Monster


I've been wanting to show this to everybody for a long time, like a little kid with a barely-contained secret, ever since I got the preliminary sketches. A few months ago, I commissioned Debbie Ridpath Ohi to do an illustration (as part of her Little Nightmares series) for the book site. I received the finished piece today.

(Go check it out in context. I redesigned the book site, and I'm a lot happier with this new look, which seems warmer and more appropriate to the book and its subject. Also check out the new endorsement I received from Neal "Alternadad" Pollack, over on the Press page. Okay, pimpage over...)

I had a pretty specific idea of what I wanted, but what Debbie came up with far exceeded my expectations. Even all the way back in her initial rough sketch, she had Schuyler down perfectly. In her final version, she managed to capture exactly the tone that I hope comes across in the book itself. The illustration has humor and pathos; it's a little dark but full of Schuyler's tough girl spirit.

The monster seems to me to appear both friendly and just a touch menacing, an ever-present companion who nevertheless has a healthy respect for the monster slayer in pink Chucks.

And Schuyler? She looks entirely unconcerned and ever so slightly amused, ready to play with the monster or kick its ass, depending on the need. Either way, she's content with the outcome.

Thank you, Debbie.

August 3, 2007

Stolen Child


Where the wave of moonlight glosses
The dim gray sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And anxious in its sleep.

Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

(excerpt from "The Stolen Child", by W.B. Yeats)

July 17, 2007

Trailer

(NOTE: UPDATED 7/18)

So the big thing these days is apparently book trailers, which are exactly what they sound like: little video trailers for upcoming book releases. There are some pretty amazing ones out there, and there are some that are just awful. Mostly, I seem to find the bad ones. There's a reason we're writers and not filmmakers.

Be that as it may, I decided to try my hand at making a trailer for my book. I'm not convinced that this isn't cheesy and awful, but at least I was honest enough with myself to cut it down from my original version, which had voice-overs that could best be described as "seemed like a good idea at the time". I think my original idea suffered from the same thing that a lot of these book trailers suffer from, in my opinion. I was trying too hard. Way too hard.

I may be trying too hard with this version, too. I'll have to look at it in the morning and see how I feel about it then.



(UPDATE: Okay, this is an updated version, with some changes suggested by you. I think I like it a little better, and although I liked the Debussy, I think I was perhaps the only one. Let's see if Chopin fairs any better.)

-----

(UPDATE TO THE UPDATE: I kept all the other changes, but I restored the Debussy, for no better reason than the fact that it's one of my favorite pieces of music in the whole wide world (or at least the parts of the world where copyright lawyers don't send me email.) I find it to be lovely and ethereal and, you know, doodly in all the right places. Doodly is important.)

February 14, 2007

Quiet



Originally uploaded by Citizen Rob.
I know I've been quiet lately. I suspect that's not going to change any time soon.

Want to know what I listen to when I feel quiet? I found a short excerpt of one of my favorites.

Old & Lost Rivers, by Tobias Picker

I'm listening to it now. It's funny how the loudest noises in the head can be drowned out by something as quiet and ethereal as this.

I hope everyone's having a nice Valentine's Day.

February 12, 2007

The Twitchy Time

I drew a bee, upon Schuyler's instructions. I believe that it is a very fine bee, and I don't particularly feel like putting my own face in front of a camera any time soon, so here you go. My mad skillz on display.

It is the twitchy time for me right now, which everyone told me would happen in the interim between turning in my manuscript and getting it back for edits and rewrites. I've also been told to enjoy the feeling that my book is actually, you know, mine, because soon I'll be fighting to hold onto some tiny measure of control over everything from the final content to the cover art to how it's described in the catalogue. I'm not too worried, if only because 1) I've heard good things about St. Martin's Press and how they treat their authors, and 2) there's not much I can do about it now anyway. Everything will happen in its own time and its own way.

Which is to say that yes, I am a big box of worry.

I may have some trips coming up to distract me from my empty mailbox. It looks like I am probably going to be going to Los Angeles next month for a few days, not for anything book-related but to do some photography work (and general entourage duty) for a friend who's got a big event going on, complete with real live celebrities, by golly. I'm looking forward to it; I've never been to California before, and it'll be a nice change, from self-promoting author to friend-promoting paparazzi. I am going to spend the next three weeks engaged in a strict regimen of deyokelization.

I may also be going to Austin this weekend to hang with some old friends from my former life at the bookstore, too. Nothing fancy about that one, though. Just a wacky themed party ("junior high talent show!") and an opportunity to be either embarrassing or amusing.

Or both, really. I have some ideas.

So yeah. Twitchy. Twitch twitch twitch twitch.

May 2, 2006

What I'm Listening to Tonight

Tables and Chairs by Andrew Bird

If we can call them friends we can call them on red telephones
and they won't pretend that they're too busy or they're not alone.
If we can call them friends we can call,
holler at 'em down these hallowed halls,
but we can't let the human factor fail to be a factor at all.

Don't, don't you worry
about the atmosphere
or any sudden pressure change.

'Cause I know
that it's starting
to get warm in here
and things are
starting to get strange.

And did you
did you see how
all our friends were there
drinkin' roses from the can?

How, how I wish I
I had talked to them
and wished they
fit into the plan.

And we were tired of being mild.
We were so tired of being mild.
And we were tired.

I know we're gonna meet someday in the crumbled financial institutions of this land.
There will be tables and chairs,
there'll be pony rides and dancing bears,
there'll even be a band.
'Cause listen after the fall there'll be no more countries
no currencies at all.
We're gonna live on our wits
gonna throw away survival kits
trade butterfly knives for adderal.
And that's not all.
Woah!
There will be snacks, there will
there will be snacks!

And we were tired of being mild.
We were so tired of being mild.
And we were so tired.

So don't you, don't you worry
about the atmosphere.

May 1, 2006

My rapidly expanding ego will soon eat your town.


Rob
Originally uploaded by Inkygirl.
And as if that last thing from Jen wasn't cool enough, check out this very nice entry by one of my favorite artists, Debbie Ohi. Look at that, it's me! I've been drawn by a few people in my lifetime (and I'm not just talking about on the bathroom wall in high school), but I think it's safe to say that this is my favorite.

Here's the part that makes me the happiest. Like Jen and her wonderful gift yesterday, Debbie didn't tell me she was doing this, or even that she'd done it. I was wandering through my flickr contacts and saw that she'd posted a new entry in her Little Nightmares series. I love this series; one day I am going to buy as many prints from it as I can. (This is my favorite so far.) As I was looking at it, I glanced at the little Previous Photo window.

"Hey, that's me!" thought me.

And then I followed the link and the rest is history. Or, you know, a blog entry, anyway.

April 30, 2006

Artsy Fartsy


Schuyler's Monster
Originally uploaded by Citizen Rob.
Do you want to know why the internet is cool? Do you?

I got an amazing gift in the mail today, from my friend Jen. She had it drawn by her brother Tom Owens, an animator and storyboard artist at Dreamworks. I had no idea what she was up to until it arrived. I'm hanging it in my office tomorrow. I only regret that I don't have a scanner large enough to properly share it with you.

What an awesome way to start the week. Beats the crap out of last week.

April 26, 2006

Listen


Anne Lamott, Schuyler and me
Originally uploaded by Citizen Rob.
"A sober friend once said to me, 'When I was still drinking, I was a sedated monster. After I got sober, I was just a monster.' He told me about his monster. His sounded just like mine without quite so much mascara. When people shine a little light on their monster, we find out how similar most of our monsters are. The secrecy, the obfuscation, the fact that these monsters can only be hinted at, gives us the sense that they must be very bad indeed. But when people let their monsters out for a little onstage interview, it turns out that we've all done or thought the same things, that this is our lot, our condition. We don't end up with a brand on our forehead. Instead, we compare notes."

--Anne Lamott, Bird by Bird