"Bright Shadow, Without the Shadow" is the name of a new Yang-Yang icon for our all-inclusive, all-loving God that is made from pure light. The 2024 edition of iD Magazine, Yellow Edition Revisited, is under construction and being built to replace to YER's defunct original 2023 version (at https://yellow-edition-revisited.constantcontactsites.com/). This new Wix version of Yellow Edition Revisited uses a logo with the prominent element being a Yin-Yang symbol that has been altered to become a new Yang-Yang sign that is the designer’s icon for our all-inclusive, all-loving God made of pure light. The ancient Chinese symbolic meaning of the Yin-Yang sign is "Bright Shadow." For the Yellow Edition Revisited logo, the designer used the main element of the sign of ages to create new Yang-Yang artwork that was formed by altering the Yin area of the Yin-Yang symbol. A brightly colored interpretation of a peacock feather was added within the original light Yang area, and its accompanying light dot in the original dark Yin swirl now depicts starlight instead of darkness to create this new Yang-Yang icon of pure light. The normal dark Yin dot within the original Yang swirl now contains the starlit nebula named “God's Eye” to demonstrate how light always pervades darkness. The title of this new art, “Bright Shadow, Without the Shadow,” was given by the designer to provide a new meaning to the Yin-Yang symbol that now represents only the pure light a higher power can emit. The artist's Yang-Yang icon for God is free for creative art providing spiritual respect and within designs promoting only the positive aspects of humanity including light, love, and peace that could help to bring unity to this world one awesome day. No profit is intended to be earned from its use now and always. If profit is accumulated from its use, a large portion of proceeds must be invested in providing art supplies to aid artists with the creation of countless unique artistic designs. YER’s logo was created using the “Bright Shadow, Without the Shadow” icon in addition to other works of art. This magazine’s logo appears directly above another different included design that uses found musical art to form a tribute to the God-given powers of the international language of Music, which reaches and teaches souls about many aspects of life - both bad and good. “Bright Shadow, Without the Shadow” was originally designed to become the logo of The Peacock Project, an old comprehensive plan involving iD Magazine and all its planned global art projects. Now the symbol is an icon for a higher power and has been made available for unlimited royalty-free positive, respectful use. The Yellow Edition Revisited logo contains an image of the Morris Island Lighthouse in South Carolina. This lighthouse art is used to form the lowercase "i" of iD, with its topping dot being an altered version of Clair Hartmann’s explosion design that symbolizes A City of Expression and its desire to create global bridges of peace. This mission for peace was temporarily achieved during the 1991 and 1992 Explosion of the Arts street festivals in addition to other events sponsored by this old group of young (now not so young) upcoming artists. The "D" in iD brings the purple rain in which the artist formerly known as Prince has us laughing while we are healed by therapeutic waters and cleansed with new knowledge that helps to extinguish destructive, negative heated arguments. This highly detailed YER logo also contains a dolphin representing resurrection, while God (depicted as a wizard) releases the dove of peace to fly freely towards the light. Olive branches wrapping upward from around the bottom of the logo are meant to help provide a sense of peace of mind needed to heal souls. The Earth and Moon reflect light and are depicted as individual elements providing more sources of illumination. This new bright icon welcomes the new day's sunshine with a design that seems to scream "How About a Little Sunshine?" and "Let There Be Light!" This logo of the latest issue of iD Magazine, Yellow Edition Revisited, uses numerous found spiritually symbolic pieces of art including a lighthouse representing preachers and teachers along with the new Yang-Yang icon that depicts a higher power made of pure light. There is resurrection, life, peace, and diversity represented in this design. This is a tribute to music being the word and worlds of God that was created using found musical art which has been highly altered.

Before I talk about iD Magazine and Jacksonville, let’s start with Paris, France, and Scottsdale, AZ. Paris may often be known as the City of Lights, but any city could be a city of light. It depends on your perspective and your experience. Recently to me, Scottsdale, AZ was a city of light because I had a strongly positive experience that brought me to tears more than once at the Musical Instrument Museum, a modern showplace of instruments from all over the world. Sure, we’ve all probably seen pictures or even displays of musical instruments, but here they were on display, along with audio and video footage of the instruments being played. As a musician, it was moving to see the instruments and hear what each one could do, while listening to recordings and watching videos of people from another culture, another time, another continent, another language. As the sounds came through my ears, I felt the music. I felt a connection. I hummed along. I nodded. I felt the rhythm. I connected again. I felt moved to tears. Sure, I loved seeing guitars played by The Beatles and other rock gods, but it was my experience listening to instruments I’d never seen before that deeply resonated. This extraordinary experience filled me with hope and feelings of true light and delight. Here was human interaction between continents, between ages, between cultures. They called out, and I heard them. My heart stirred with some kind of ancient recognition passed down through our collective DNA to the time before time and back again. It gave me hope that art and music may often transcend time and politics and help us express ourselves peacefully and celebrate the light in all of us. Darkness and fear and ignorance and hatred and war and racism remain around us always either in the background or the foreground, and that is sad. It seems like it’s all coming to the foreground even more nowadays. And we may always return to hope. Let’s stay with that for a minute. Light. Art. Expression. Let’s turn any city into a city of light. So that’s where Jacksonville comes in. I moved there in 1990 to take a reporting job at The Florida Times-Union as part of a grand plan to eventually learn Spanish and work my way down to Miami as a writer. So, I moved into a speed bump village apartment complex somewhere in the Arlington area. I figured these residential Disney Worlds were all that Florida had to offer. Lo and behold, within a few months I had discovered Riverside-Avondale and moved in with a fellow reporter into a super cool and cheap apartment building on Donald Street. It turns out The Great Fire of 1901 in Jacksonville was a great thing for that neighborhood, re-built during the 1920s and 30s with plenty of sidewalks, parks, walkable shopping areas and parks and some Art Deco splendor like the statue “Life” in Memorial Park, all set in the lush oaks and Spanish moss growing around the area, not to mention beautiful St. Johns River views. Iconic! Instead of being built for parking lots, here was an area that encouraged human interaction. My apartment building had front stoops and back porches that wove in with your neighbor. You couldn’t help getting to know everyone in the building and partying with them. Before I knew it, my social life took a quantum leap up. I soaked in the barbeque and the alternative music scene at a club called the Milk Bar, which took its name from the Stanley Kubrick movie, Clockwork Orange. Before I knew it, I had met local artists Robert McMullen and Aku Tardiff and we formed a trio original rock band called The Ripe. I also became friends with Jacksonville singer Debbie Rider, who was working for Lynyrd Skynyrd at the time. Somewhere at some point, someone mentioned a meeting of artistic-oriented folks and we were talking about a magazine. I always loved magazines and even started up a short-lived literary magazine in college called The Edge. I had grown up reading Atlantic Monthly, Vanity Fair, and other publications that glorified the life of writers and artists and film makers and I bought into that vibe for my career aspirations. So we printed iD Magazine with adman Mark Gebhardt; Clair Mead [Hartmann] on art direction; Evan Chanacki, and then later Jim Minion as managing editors; among other local luminaries. It was grand. It helped stoke the local arts scene in the historic Riverside-Avondale neighborhood by tapping into an audience of younger, art-oriented folks who were rising in the city at the time. The magazine wasn’t around long, but it ignited some positive energy that remained in the area for years after, I like to think. The idea never dies – bring light to where you are. As the saying goes, you can find a world in a grain of sand. You can travel much by staying in one place, too. I ended up leaving Jacksonville in 1992 not for Miami but for the New York City area. I wanted to reconnect with my dad and the rest of my family after living in New England, Florida, and the Philadelphia area for roughly 11 years as a college student and newspaper reporter, because my dad had been diagnosed with non-Hodgkins Lymphoma. Before I left, my community reporting work for The Florida Times-Union had gained a couple of fans on the City Council – Tilly Fowler and some others – and they ended up giving me a Proclamation before I left. They didn’t even know about iD Magazine! The pursuits and goals of iD Magazine remained with me over the years, and I never forgot the lesson that you can bring light and hope through art anywhere.

Poems by Gayle Bluebird, 6-1-23 Happiness Spreads You take the gifts of your Life, The parts of you that Shine, You always knew that Rainbows Happened quickly, You have to catch them At the time, Or you miss out-- Happiness can last but You have to stroke it Like a steely cat-- Spread it, like, Cream cheese and jelly. You know others who are Homeless, Striding through impediments, ...in numbness, ...unable to feel Happiness-- Our shoes need to fit Wide enough To walk with others, Share until fatigue Wins out, But never stop being Happy, Walking Even when you Sleepwalk. ### Listen to the Birds In the many Trees Outside, Birds are singing Repetitively, Interpretively Words, Invitations to enjoy. Reminders that Life is not just filled with questions, But full of answers. Doors open wide. Flower friends Are sprouting different Colors blending with the sky. My mind must In stillness be. ### If You Are Older This poem is for you. Not done yet, we may need pep talks. Our bodies With a few cracks, Can still go dancing with new costumes And plumes in our hair. We have wisdom to Share from our life experiences, Places to go, Dreams yet to fulfill, Sun to capture at Sea-side edges With real vitamin D, Not from a bottle. We have memories, So many, we can't Remember them all. At our pace at full-steam- Ahead, We may be ready for romance, Should it happen our way. Skip cotton candy, but not the Ferris-wheel. A handful of peanuts for health in our pockets, Long walks in neighborhoods, Making new friends, We have new mysteries to ponder. For us, if we choose, A life still gratifying, and delicious. Not slow, but fast- as-we-can. Maybe just not on Horseback. ### From My Third Floor Window What I see, A blinking light in a distance, Cars come through the gate, Who is it? The roaming white cat All fed and plump, (Says he belongs here) And that is that! My car sitting safely On the parking lot, People walking beyond the Fence, (going to play, Eat, at a nearby cafe), The siren Red Rescue Occasionally, Someone here has Fallen or with a heart-stopped-- You might think my view is Petty, Not at all dressed up with Sights All pretty, But from it I see the clouds Move, The sun making up its Mind, And stars at night, No curtains, No closed blinds. I like the openness of The sky. When I see what Outside is happening, It’s mine, Temporarily, No matter how it might Seem. ### Rainy Day The trees bend, Wipers in cars Rotate back and Forth. Great day for upstretched Arms, exercise inside, Making a vegetable soup, Reading a book, Cleaning the bathtub, Taking a shower, Anything avoided piled Up-- You do an about- Face. You listen to politicians, Hoping they can take us Out of darkness into Light. You light scented candles In the dining room. Hope surrounds Us when we Join other voices. Be a part of the Whole World, Not just Where we sit in good And Plenty. Give what we have and Then some. Aware Awake, Alert— Knowing Change only happens when we do the work.

It was the summer of 2017. In the blistering heat under the Florida sun, two artists set out to make a difference in a historic enclave of our city. The locale of their artistic expression was in the heart of the Murray Hill neighborhood. Brenda Kato and Mary Allegretti embarked on a 2-month collaboration that became a masterful work of art. The 25-foot mural of sunflowers topped with a starry nights themed sky is a tribute to the famous artist Van Gogh. Being a close friend and business associate of Brenda, I can attest to her commitment to improving and uplifting our neighborhoods. She is the artist who fittingly named the sunflower mural Bloom Where You Are Planted. Brenda is a pillar in our community as a business leader and local creative influencer, so it is no surprise that she named the mural as a reminder to “always think positively and give back to your community”. Outdoor art enhances the cultural pulse of any city, which attracts business development, fuels local economies, and instills a sense of unity. Within the last 5 years, Jacksonville has experienced a cultural renaissance of outdoor art. This movement was expressly conveyed in the March + April 2021 edition of Arbus Magazine titled “The Mural Issue: Jacksonville’s Great Outdoor Art Galleries”. The established publication introduced 5 pedestrian-friendly maps in this issue, including the Murray Hill Mural tour. Bloom Where You Are Planted was the ninth installment recognized by the Murray Hill Preservation Association’s Mural Project. Murals in our city’s rich and diverse neighborhoods are the most organic form of inclusion and equality since they are available to the entire community. The mural embodies the notion of living art enshrined in our daily lives and movement throughout this area. I admire this fine work of art proudly displayed on the exterior of the old J&W building. As a member of the local art community in Jacksonville and an avid supporter of many beautification projects across the city, I have seen firsthand how valued this mural is in the neighborhood. Just a stone’s throw away from Bloom Where You Are Planted is the CoRK Art District where Keith Doles, a renowned local artist, has his studio. I interviewed Keith a couple of years ago, during which he made the following remark in reference to his works, “I would hope my viewer’s initial reaction triggers a memory from recognizing a shape or color from the layout.” Keith is the face behind many of the colorful murals peppered throughout the Jacksonville landscape. The mural Bloom Where You Are Planted penetrates the mind of every passerby, invoking an altruistic vibe that goes far beyond the concrete façade that it adorns. It triggers positive emotions, makes adults smile, makes a child giggle with delight, excites a teenager as a Pokémon Go stop, and brings us all together. The impact of this mural in our community goes far beyond the colors of paint on a building. It has become a staple in the revitalization of Murray Hill and must unequivocally be preserved. The flowers represent all the residents of this great community standing tall in unwavering stature, supporting one another in unity, and reaching for the stars. They are symbols of empowerment available for all to soak in and experience. These iconic blooms are a testament to our cultural advancements and must be appreciated and protected for years to come. Brenda plans to restore the mural to its original vibrance this November. Stay tuned to learn how and when to help her paint. She is also collecting stories from the community about how the Sunflower mural has impacted people’s lives. If you have been blessed by this mural, please let us know in the contact form on Kato's website at www.katocreative.com. Let’s restore the Bloom Where You Are Planted mural in our Murray Hill neighborhood.

Considering Keith’s soft tone, humble demeanor, and comforting smile, one would be in awe that he is the face behind many of the colorful murals peppered throughout the Jacksonville landscape... not to mention the adornment of many walls within respected businesses. His intellectual prowess mixed with his creative artistry proves to be a stimulating convergence of his brand. As an established figure in the cultural scene of Jacksonville, I felt compelled to discover Keith’s perspective regarding our theme of Healing Arts. I am fortunate to call Keith a friend, as well as an inspiration for so many others. Mike: Where did you grow up? Was there a cultural presence that impacted you in a positive way? Keith: I was born and raised in Jacksonville, Florida and spent most of my life living on the Northside. My parents introduced me to the arts when I was a young child by taking me to places like the Cummer Museum of Art and Gardens, Museum of Science and History and others in the city and elsewhere in the Southeast region of the country. We used to travel to South Florida to visit relatives during the holidays and would occasion art fairs in Miami. I met Thomas Blackshear at Eurasia Gallery when I was in high school. He was a figurative painter who made numerous portraits of African families and some were made into ceramic sculptures. My mom and aunt took me to meet him and had their sculptures autographed. That was probably the experience that made the idea of being a living, working artist a reality. Mike: So you had quite a bit of exposure to the arts at an early age. What were your most impressionable moments growing up? Keith: One of the field trips in elementary school I remember was a visit to a traveling Crayola tour bus where the students got to make crayons and produce encaustic drawings with them. The primary color crayons were put into a spinning vat to create our own set of crayons. I don’t remember what happened to my set, but my drawings were of the places we used to travel with my family. Mike: You seem to be remarkably close to your family. Who were the most influential people in your life that have shaped your creativity? Keith: My parents are at the top of the list. The art teachers I’ve had at Baldwin High School had an impact in developing what would eventually turn into a painting career. Audrey Campbell, my art teacher from 7th through 12th grade, introduced me to mixed media, graphite drawing, and ceramics. William Armstrong in 11th and 12th grade taught silkscreen printmaking and graphic design. The love for art increased during my college years studying fine art and graphic design at FSCJ and UNF respectively. Mike: That’s great to have had so many influential players in your life. Being presented with such a wide array of interests, was there a defining moment in your life that sent you on your current path? Keith: In early 2010, I submitted my art portfolio at MOCA Jacksonville Lab Gallery for a show in conjunction with the African American art exhibit on the 2nd floor. The work was a combination of abstract, portraiture, and landscape paintings. My work was accepted and I was paired with visual artist Princess Simpson Rashid for a Summer exhibition in the Museum Store. I made nearly 20 paintings inspired by the Downtown Jacksonville landscape during the economic recession at the time. The work was seen by many during the show’s run and led to solo exhibitions at the JAX Chamber in 2013, Haskell Gallery at Jacksonville International Airport in 2014, and FSCJ Kent and North Campus Galleries in 2015. Mike: Wow... those are some extraordinary accomplishments. How would you describe your painting style and why did you choose it? Keith: My painting style has influences from Synthetic Cubism and Abstract Expressionism. Both are relevant in my mixed media works that feature construction sites and landscapes as the symbolic subject matter. The collage in some of my works use construction paper, photographs, and words clipped out of magazines. Louise Freshman Brown, my fine arts professor at the University of North Florida, introduced me to the technique while I was working on my BFA degree. I went deeper into the medium in my figurative painting and graphic design courses with Paul Ladnier also at UNF. Mike: You are well versed on the elements of your craft. What would you like your viewers to take away from your work? Keith: I would hope viewers’ initial reaction triggers a memory from recognizing a shape or color from the layout. Craftsmanship on both the design and execution of the work are important as they show the difference between someone with a mastery of their technique versus an amateur or an artist’s work lacking an understanding of design elements and principles. My personal goal is to push an idea beyond a basic production to having a viewer expand their own knowledge of the subject. Mike: That’s fascinating. Do your paintings have a general theme or message that you wish to convey? Keith: My more recent works are about healing from personal trauma whether it’s overcoming an illness or dealing with the loss of a loved one. Abstraction can either show a broad view with my values and forms or limited versions. The construction site works I started three years ago touched on the depression I was dealing with after the death of my aunt who encouraged me to pursue art. The paintings were first exhibited in the Life Under Construction with Princess Simpson Rashid at Yellow House on King Street in 2017. Since that show, the abstract paintings have been added to the art collection at Community Hospice in Baptist Medical Center Downtown and a digital collection for Grand Image in Seattle, Washington. Mike: So you truly are influential from coast to coast. Regarding the current culture of our country, what is your take on diversity in America and how do you feel we can come together as a nation? Keith: I believe one side embraces diversity while the other appreciates the culture but not the people. We allowed ignorance to become mainstream. It will take love, education, and time for our nation to heal from this divisive period. When I studied Spanish years ago, my teacher said we had to immerse ourselves into the culture with the language, food, history, etc. to understand and appreciate the similarities and differences. Mike: That is some profound insight. Better understanding and appreciation can lead to a more accepting environment. How do you feel we can make a difference as individuals and as a community? Keith: Individuals can do several things to make a difference with issue(s) of priority. Education, getting people involved, invested in their community, and especially in local and state government. Mentoring young people is a huge opportunity if you want to see change and pass on your knowledge with guidance for them to lead in whatever goals they have. Mike: Those are great points. How would you say the younger generation could exhibit and spread their expressions in a positive and influential manner? Keith: Locally, I see the younger generation already expressing themselves through activism – peaceful protest against systemic racism, participating in elections, and using social media to share activity more broadly. I’ve had the pleasure of working with students who believe in climate change and are making the effort to use less gasoline, recycle, and adapt to eating less red meat. Other students chose to create visual art making commentary on changing systemic institutions especially in the state and federal government. Mike: That’s great that you’re involved with the students and a sincere mentor to them I’m sure. Now let’s have a little fun. I’m going to say a word and I would like you to describe that word from your point of view in one, short sentence. Are you ready? Keith: Sure, go for it! Mike: Faith. Keith: It is the belief that drives me to believe a situation can change for the better. Mike: Happiness. Keith: It’s a feeling of contentment in your environment. Mike: Hope. Keith: The same answer as faith. Mike: Love. Keith: An unconditional emotion and expression for life. Mike: Laughter. Keith: A reaction that can turn a negative feeling to a positive one. Mike: Peace. Keith: Living in a place where you... everyone... is accepted without prejudice or fear of your world crumbling around you. Mike: Unity. Keith: People from different backgrounds living and working for a reason beyond a personal agenda. Mike: Those were thoughtful insights, Keith. Let’s wrap things up. If there were a production about your life... your legacy... how do you think that would play out? Keith: I think a documentary with commentary from my family, mentors, and colleagues could tell an interesting story pieced from each perspective. My vision of the plot would tell how I went from an ignored, overlooked artist to my current form. The road would start in Jacksonville to South Florida and gradually back home in eight years. Finally, the end of the documentary would have reflections from my students and protégés where they carried on from their experience with me. Mike: That sounds like a film in the making! Keith, it has been wonderful chatting with you today and we appreciate your point of view. Your work is an enhancement to the culture of our city and we greatly appreciate all that you do. Keith: It has been my pleasure, Mike.