Duck Dynasty patriarch and conservative cultural icon Phil Robertson dies
WEST MONROE, La. (AP) — Phil Robertson, who turned his small duck calling interest in the sportsman's paradise of northern Louisiana into a big business and conservative cultural phenomenon, died Sunday, according to his family. He was 79.
Robertson's family announced in December on their Unashamed With the Robertson Family podcast that the patriarch of the clan had Alzheimer's disease. The statement on social media from Robertson's daughter-in-law didn't mention how he died.
'Thank you for the love and prayers of so many whose lives have been impacted by his life saved by grace, his bold faith, and by his desire to tell everyone who would listen the Good News of Jesus. We are grateful for his life on earth and will continue the legacy of love for God and love for others until we see him again,' Korie Robertson wrote.
Phil Robertson skyrocketed to fame in the early 2010s when the A&E network created a reality show, presented like a sitcom. It followed the adventures of Robertson, his three sons — including Willie, who runs the family's Duck Commander company, their wives and a host of other relatives and friends.
Phil Robertson and his boys were immediately recognizable by their long beards and their conservative, Christian and family-oriented beliefs.
That got Robertson into trouble, too. He told a magazine reporter in 2013 that gay people are sinners and African Americans were happy under Jim Crow laws.
A&E suspended him from Duck Dynasty but reversed course in a few weeks after a backlash that included Sarah Palin.
At the time, Robertson's family called his comments coarse, but said his beliefs were grounded in the Bible and he 'is a Godly man.' They also said that 'as a family, we cannot imagine the show going forward without our patriarch at the helm.'
Robertson was born in north Louisiana and spent his life in the woods and lakes that make up the region called Sportsman's Paradise.
Robertson played football at Louisiana Tech and taught school. He also loved to hunt and created a duck call in the early 1970s that he said replicated the exact sound of a duck.
The calls were the centerpiece of the Duck Commander business Robertson would grow into a multimillion-dollar enterprise before A&E came calling.
The family just didn't sell outdoor and hunting gear, but a lifestyle.
'The Robertsons face everything from beavers to business deals in their own special way — with a twist of downhome practicality and a sharp sense of humor,' A&E wrote in its promotion for Duck Dynasty.
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Cision Canada
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Plan your next getaway with Travel Time, featuring travel deals, destinations and gear. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Travel Time will soon be in your inbox. Please try again Interested in more newsletters? Browse here. 'It's 5,000 years of creativity,' said Kate Parsons, the museum's director of collection care and access. It took more than a year, and 379 truckloads, to move the objects from the museum's former storage facility in west London to the new site. In the museum's biggest innovation, anyone can book a one-on-one appointment with any object, from a Vivienne Westwood mohair sweater to a tiny Japanese netsuke figurine. Most of the items can even be handled, with exceptions for hazardous materials, such as Victorian wallpaper that contains arsenic. 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Winnipeg Free Press
a day ago
- Winnipeg Free Press
London's V&A Storehouse museum lets visitors get their hands on 5,000 years of creativity
LONDON (AP) — A museum is like an iceberg. Most of it is out of sight. Most big collections have only a fraction of their items on display, with the rest locked away in storage. But not at the new V&A East Storehouse, where London's Victoria and Albert Museum has opened up its storerooms for visitors to view — and in many cases touch — the items within. The 16,000-square-meter (170,000-square-foot) building, bigger than 30 basketball courts, holds more than 250,000 objects, 350,000 books and 1,000 archives. Wandering its huge, three-story collections hall feels like a trip to IKEA, but with treasures at every turn. The V&A is Britain's national museum of design, performance and applied arts, and the storehouse holds aisle after aisle of open shelves lined with everything from ancient Egyptian shoes to Roman pottery, ancient Indian sculptures, Japanese armor, Modernist furniture, a Piaggio scooter and a brightly painted garbage can from the Glastonbury Festival. 'It's 5,000 years of creativity,' said Kate Parsons, the museum's director of collection care and access. It took more than a year, and 379 truckloads, to move the objects from the museum's former storage facility in west London to the new site. Get up close to objects In the museum's biggest innovation, anyone can book a one-on-one appointment with any object, from a Vivienne Westwood mohair sweater to a tiny Japanese netsuke figurine. Most of the items can even be handled, with exceptions for hazardous materials, such as Victorian wallpaper that contains arsenic. The Order an Object service offers 'a behind-the-scenes, very personal, close interaction' with the collection, Parsons said as she showed off one of the most requested items so far: a 1954 pink silk taffeta Balenciaga evening gown. Nearby in one of the study rooms were a Bob Mackie-designed military tunic worn by Elton John on his 1981 world tour and two silk kimonos laid out ready for a visit. Parsons said there has been 'a phenomenal response' from the public since the building opened at the end of May. Visitors have ranged from people seeking inspiration for their weddings to art students and 'someone last week who was using equipment to measure the thread count of an 1850 dress.' She says strangers who have come to view different objects often strike up conversations. 'It's just wonderful,' Parsons said. 'You never quite know. … We have this entirely new concept and of course we hope and we believe and we do audience research and we think that people are going to come. But until they actually did, and came through the doors, we didn't know.' A new cultural district The V&A's flagship museum in London's affluent South Kensington district, founded in the 1850s, is one of Britain's biggest tourist attractions. The Storehouse is across town in the Olympic Park, a post-industrial swath of east London that hosted the 2012 summer games. As part of post-Olympic regeneration, the area is now home to a new cultural quarter that includes arts and fashion colleges, a dance theater and another V&A branch, due to open next year. The Storehouse has hired dozens of young people recruited from the surrounding area, which includes some of London's most deprived districts. Designed by Diller, Scofidio and Renfro, the firm behind New York's High Line park, the building has space to show off objects too big to have been displayed very often before, including a 17th-century Mughal colonnade from India, a 1930s modernist office designed by Frank Lloyd Wright and a Pablo Picasso-designed stage curtain for a 1924 ballet, some 10 meters (more than 30 feet) high. Also on a monumental scale are large chunks of vanished buildings, including a gilded 15th-century ceiling from the Torrijos Palace in Spain and a slab of the concrete façade of Robin Hood Gardens, a demolished London housing estate. Not a hushed temple of art, this is a working facility. Conversation is encouraged and forklifts beep in the background. Workers are finishing the David Bowie Center, a home for the late London-born musician's archive of costumes, musical instruments, letters, lyrics and photos that is due to open at the Storehouse in September. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. Museums seek transparency One aim of the Storehouse is to expose the museum's inner workings, through displays delving into all aspects of the conservators' job – from the eternal battle against insects to the numbering system for museum contents — and a viewing gallery to watch staff at work. The increased openness comes as museums in the U.K. are under increasing scrutiny over the origins of their collections. They face pressure to return objects acquired in sometimes contested circumstances during the days of the British Empire Senior curator Georgia Haseldine said the V&A is adopting a policy of transparency, 'so that we can talk very openly about where things have come from, how they ended up in the V&A's collection, and also make sure that researchers, as well as local people and people visiting from all around the world, have free and equitable access to these objects. 'On average, museums have one to five percent of their collections on show,' she said. 'What we're doing here is saying, 'No, this whole collection belongs to all of us. This is a national collection and you should have access to it.' That is our fundamental principle.'
