I was forced to recast and redesign the part for The Mother. We just could not pull it off technically—‘we’ meaning DAZ Studio, Curious Labs Poser 4, Uzilite and me. None of this work is superior to a dedicated, human illustrator so we are trying to do the best we can under the circumstances. The Cool Coils hairstyle for The Mother was not working correctly (in DAZ Studio) so with the new mother we are using a short-afro texture map:

The Mother (based on Brown Sugar for V2)

This shot was rendered in Poser and the non-polygonal hairstyle provides a lower memory footprint—this is now a concern because the project will probably go ahead in memory-intensive Poser instead of DAZ Studio. This design is based on the excellent work by Dalinise—a name evidently coming out of Germany. The wide shot reveals a body this not that unrealistic:

The Mother (based on Brown Sugar for V2)

I’m not trying to perpetuate eating disorders among impressionable young people with more toxic fantasy imagery. I could make the breasts a bit smaller but remember this mother had a baby. Let’s say she lost most of her weight by swimming in her backyard pool—but not all of the fat came off… that’s not so unrealistic. I would put some ‘artistic’ stretch marks around her navel just to mark her in a ceremonial way but I’m just not that talented…

This is our designated month to celebrate African people. We speak the words “Black History Month” in the English of our captivity to commemorate people who accomplished the incredible.

The world of computer technology is not ‘free’ (in the Bush sense of the word) from African accomplishments. BDPA-Nevada member Mr James I Neusom reminds us of Dr. David R. Hedgley, Jr.:

In 1985 he solved the decades old problem of computer graphics by developing the mathematical algorithm that would tell computers which lines on a computer screen could and couldn’t be seen from various perspectives (or what we call today 3D). As he explained in the March 1986 issue of Ebony magazine, “The program came under immediate fire from the scientific community and was not accepted for at least a year. There were people in the field who had constantly begged the issue,” Hedgley recalls, “They gave me a hard time saying we don’t believe you. Being a Black man your credibility is questioned anyway.”

This level of achievement does not surprise me because I know who did not build the pyramids of the Old Kingdom. I make the effort to quote this trained professional referring to himself as Black—and referring to having problems because of it. I have since learned the hard, hard way that people who clearly have strong African features may not want to be associated with Black being. Sometimes our geniuses are “too smart” to get into this Black ‘thing’ so I take care to not disappoint these sophisticated agents of change with my ‘cartoon drawings’ of African suffering.

In the early days of my computing life I was so very pleased to see other people of African inheritance—especially people of my generation (the personal-computer generation—not the punch card elders of FORTRAN and COBOL). I have since found the hard, hard way that my pleasure would be short lived and the more ‘reasonable’ feeling of belonging religiously to a ‘larger’ society instead of ‘clinging’ to a ‘distant’ past has quite a life of its own. This is a stiff necked people.

New Music Available

February 7, 2005, Chicago

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Chicago Creative Arts on Line’s
Inaugural event at
the HOT HOUSE Chicago.
January 7, 2005

Tribute to John Coltrane
Ari Brown Tenor sax
Ernest Dawkins, Alto Sax,
Kirk Brown Piano
Isaiah Spencer Drums
Carl Testa Bass

“Trane’s Example,” written by Ari brown
“I don’t know?”, written by Carl Testa
“Chi town Shuffle” written by Ernest Dawkins
“Inaugural improvisations” by Ernest Dawkins

“Karma,” written by Corey Wilkes
Corey Wilkes—trumpet
Greg Ward—alto Saxophone
Josh Abrams—bass
Justin Dillard—piano
Isaiah Spencer—drums.

“VS-2” by Greg Ward
Corey Wilkes—trumpet
Greg Wardalto—saxophone
Josh Abrams—bass
Justin Dillard—piano
Isaiah Spencer—drums.


Even though the hair objects in my prop department come from DAZ3D, they appear to work better in Poser than in DAZ Studio. This new low-focal-length close-up of The Mother suggests something going on with the ‘hair edge’ at the top of her head:

The Mother's Hair

There is the temptation to reconstruct this in Poser just see how the hair is rendered differently. The rest of the hair line at the nape of the neck is classical design from the Old Country:

The Mother's Nape