Miigle, a Los Angeles-based startup that aims to make entrepreneurship more accessible to the world, not just those with connections in Silicon Valley has launched an exciting new platform for innovators.
The brainchild of founders Luc Berlin, Josh Fester, and John Pavlick, Miigle enables entrepreneurs globally to showcase their startups or projects and get help from each other and the general public on any challenges they face, from building their product to acquiring users to raising money.
“Less than 2 percent of startups globally receive help from venture capitalists, angel investors, and accelerator programs combined. Relying primarily on these institutions creates a bottleneck that slows innovation and economic progress while putting at a disadvantage entrepreneurs who aren’t well connected. We can’t all move to Silicon Valley, nor should we. We created Miigle with the belief that collectively, as entrepreneurs, we are the solution to the challenges each one of us faces. We particularly wanted to make it easier for people interested in fostering innovation to get involved,” says Miigle’s CEO, Luc Berlin, a Pepperdine University Global Business MBA graduate who’s spent years working at pioneering Internet companies in Los Angeles such as Shopzilla and LegalZoom.com.
Miigle is re-engineering the complex, offline process of innovation into a collaborative, online ecosystem based on a global human network. The platform’s algorithm helps people easily discover and contribute - knowledge, feedback, talent, money, and even emotional support - to startups worldwide that pique their interest. “From a technology standpoint, we had to find the right formula. Our priority was to build a platform that’s easy to use yet very effective,” asserts Josh Fester, Miigle’s CTO, a Missouri native, and graduate of Missouri State’s CIS & Entrepreneurship programs.
"Being a bootstrapped startup we’ve faced our share of adversities. In many ways it’s helped us build our product because we could relate to the frustrations of other entrepreneurs. For example, when we unveiled Miigle at the LAUNCH Festival in San Francisco, a noted Silicon Valley academic told us we would never succeed because we weren’t part of their ‘Boys Club’. That’s the conventional wisdom we’re fighting,” affirms Mr. Fester.
Miigle differentiates itself by its emphasis on social collaboration between startups and the general public. Creating an account takes less than a minute, but is optional. The platform also integrates with popular startup sites like AngelList, Kickstarter and Crunchbase allowing those startups to create their profile on Miigle in just two clicks. “We’re building a community where startups work with each other and the public to overcome their challenges.
On other sites, entrepreneurs struggle to find good connections because it’s difficult to identify how one relates with a stranger. We developed an algorithm to improve the relevancy of connections between our members,” says John Pavlick, who is Miigle’s Chief Software Officer and also a Computer Engineering student at Purdue University. “Our focus is getting great startups worldwide the exposure and help they need, whatever it may be,” concludes Mr. Pavlick. Learn more about Miigle and join their community at www.miigle.com. For current news, follow @miiglers on Twitter.
Renaissance Pleasure Faire creator Phyllis Ann (Stimbert) Patterson, of Novato, California, died on May 18th, 2014, at the age of 82. Over the past 53 years, Phyllis Patterson touched the lives of millions of guests at her events and became mentor and symbolic mother to generations of participants.
She was born on January 25th, 1932, in Omaha, Nebraska, to Mildred Irene and Elden Carl Stimbert; her father became Superintendent of City Schools in Memphis, Tennessee, where Phyllis attended Messick High School.
While earning her B.A. in English at Memphis State College in the mid-1950s, Phyllis wrote and directed one of the very first broadcast television shows, Phyll’s Playhouse, and was a DJ on ”all-girl“ station WHER. In 1956 she married artist and Air Force officer Ron Patterson, and the newlyweds moved to Los Angeles, where Phyllis began teaching high school English and history.
In 1960, while expecting son Kevin, Phyllis and Ron created “Into the Woods,” a backyard drama-and-arts program at the Patterson’s Laurel Canyon home in the Hollywood Hills, and later taught art and drama at the Idyllwild School of Music and the Arts. In response to students’ enthusiasm for Commedia dell’arte, Phyllis enlisted Pacifica radio station KPFK to sponsor the very first Renaissance Faire in America on May 11th-12th, 1963 at a local park called ”Haskell’s Raskells Ranch.”
When the Pattersons relocated the Faire to the Old Paramount (movie studio) Ranch in Agoura, California, Phyllis was instrumental in establishing legal precedence allowing public gatherings in rural locations throughout California and the west, cajoling LA’s 1950s-style bureaucracies into approving the “Faire,” one of the first organized creative expressions of the early 1960s.
In 1966, while expecting the birth of son Brian, the Pattersons expanded their event to the San Francisco Bay Area. China Camp (now a State Park) in Marin County was the Faire’s first Northern California location and was highlighted by psychedelic ethnic music groups and bohemian artists. It outgrew that setting and moved to the old Satori Ranch at Black Point in Novato in 1971. They established the Living History Centre, where workshops and performances flourished in the landmark Red Barn, and thousands of school-age kids came to the Faire Village mid-week for “Workshops in the Woods.”
The “Blackpoint Forest” (Northern Cal) and “Paramount Ranch” (Southern Cal) Renaissance Pleasure Faires not only supported a way of life for many counterculture trail blazers, they became world famous as hundreds of thousands of guests, many in costume, engaged in the rediscovered seasonal rituals of mummers plays, parades, pageants and traditional revelry. “The Faire reminds us of simpler times more in touch with nature and the world,” said Phyllis.
In 1970, the Great Dickens Christmas Fair was brought to life in San Francisco, using the same techniques of immersive interaction to draw visitors into an exuberant holiday experience of Victorian London. Now in its 36th season, and organized by son and daughter-in-law Kevin and Leslie Patterson, and performed in by son Brian Patterson, it continues as a family legacy and popular feature of San Francisco’s holiday season.
The early Renaissance Pleasure Faires have had a visible influence on American culture: the crafts revival of the 1960s to 1970s; gourmet foods at festivals; musical hybrids involving ethnic, folk and psychedelic genres; the “psychedelic fop” fashions ultimately embodied by such popular musicians as Jimi Hendrix, Jefferson Airplane, and Jim Morrison; the introduction to Americans of many British foods and beverages. Tony Award-winning actor Bill Irwin, mime Robert Shields, magicians Penn and Teller, The Flying Karamazov Brothers, and the Reduced Shakespeare Company, all performed at Faires early in their careers. As the Living History Centre promoted the concept of first-person interpretive living history and improvisational theater, its value to the larger world was beginning to be recognized. Phyllis became a living-history consultant for the California State Parks, Plymouth Plantation, Old Sturbridge Village in Massachusetts, and Colonial Williamsburg in Virginia. Phyllis's legacy extends to the United Kingdom as well, where a former student produces living history at the Tower of London and other Royal properties.
Phyllis will be missed—and remembered by all those she loved, influenced, inspired and transformed—with immense gratitude and great affection.
She is survived by her two sons Kevin and Brian Patterson; her daughter-in-law Leslie Patterson and family; her grandsons Andrew and Michael Patterson; her brother Vaughn Stimbert and niece Cindy Sands and family of Memphis, TN; and niece Susan Bullock and family of Virginia.
Visit Fairhistory.org for the Patterson family's richly detailed archive, an extensive collection of photos, videos, graphic arts, and writings from the personal collections of Ron & Phyllis Patterson, originators of the Renaissance Fair concept in America, the one and only Great Dickens Christmas Fair in San Francisco, and numerous other groundbreaking and inspired celebrations of history, theatre, art and the creative spirit.
Phyllis was my mentor and friend from my very first few months in California until her passing. Pictured here with Annie Lore, a more remarkable woman I doubt I'll ever meet.
Bit of rigmarole involved in attempting to cover the BottleRock Festival, over in Napa, for my print column, despite the fact that music is big in the South County and a major festival in its second year being just over the border in neighboring Napa is, in my opinion, pretty huge for wine country as a whole.
The fact that Petaluma band, The Incubators scored a highly sought-after positioning in the line-up for the 2014 Festival was a significant coop for rivertown friends and fans.
I didn't want to miss seeing The Incubators vocalist/guitarist Chris Chappell and singer/songwriter Kate Freeman and co bring their brand of harmonious root rock to opening day at BottleRock, even if it did mean plunking down the bucks for the ticket price bounty, standing in line for shuttles from a Mad Max satellite parking lot on the outskirts of the city, suffering sticker shock at $10 to $25 pricing for a single glass of wine (I stuck with Lagunitas being the loyal type and for the much better beer prices), portaloos right behind the food tents, parched, sticker-weed grounds, gaggles of sensibly dressed (if you're hiking) white guys from tech and wine industry over-enthusiastically spraying bald heads and anyone within fifteen feet with sunscreen every fifteen minutes and generally, all the joys of overpriced festival going.
Seeings as I didn't attend in any official media capacity, I can't share any photos of the bands.
Take it from me, though, The Incubators brought it with an outstanding set on the City Winery Lounge stage and it was fun to spot a lot of familiar faces from the home town there early on in the day to cheer the locals on.
Lucky for me that Chris, Kate and co were on the roster for Friday, as headliners for the evening, The Cure were my number one pick for attending BottleRock 2014.
Infrastructure (despite the parking lot aesthetics) worked well as far as getting in/out and around and I hope that the festival's new organizers make money enough to make a third year, next year. I'm sure that each year's lessons learned will keep on improving the experience. In an ideal situation, making a long weekend of it with a place to stay in central Napa would be the perfect ticket. I wasn't much interested in many more than five or six of the 24 bands on Friday's line-up, but there were others dotted around on Saturday and Sunday's schedules that I would have liked to have seen. The chance to wander around the pleasantly improved city center (just outside of the festival gates), enjoy a sit-down meal at one of Napa's downtown restaurants in between top-pick bands would be the way to go.
Robert Smith, larger than life vocalist of The Cure (Indie darlings of 1980s/90s Britain and one of the world's most popular all-time alternative rock bands) packed in crowds of around 20,000 at the BottleRock main stage, disappointing not a soul, it seemed, in an extraordinary two and a half hour, trademark lengthy show studded with scores of hit songs, culminating in nothing less than the power plug having to be pulled.
Tickets for the rest of the weekend are still available. If you go, do take low lawn chairs or blankets. Better still, arrange for a ride to drop off and pick up close to the main gates. Weather was mild for opening day, but it did reach a chilly low later in the evening making Bay Area's famous layering the fashion choice for festival goers. There's no bringing in of any sorts of imbibements. Food vendors do offer a variety of fairly tasty options and are not as overpriced as the wine, which was rather a shame given that this is wine country.
Equestrian Vaulting, an ancient and graceful form of gymnastics and dance on horseback, dating back to Roman times, is alive and well as a relativeky rare sport, here in Southern Sonoma County.
I found a sunny Sunday morning invitation to see Petaluma's young Tambourine Vaulters in action an education, thoroughly captivating and surprisingly relaxing (at least for me!)
Perhaps most commonly recognized as an equestrian act in circuses, the actual origins of Vaulting stretch back at least two-thousand years.
It is a sport that is open to both men and women, and is one of ten equestrian disciplines recognized by the International Federation for Equestrian Sports (Fédération Équestre Internationale orFEI).
I might have thought this an all-American sport, but in fact, Vaulting is most concentrated in Europe and other parts of the Western world, outside of the U.S.
Well-established in Germany and is growing in other western countries, German equestrian culture encourages young children to start with Vaulting before taking up early horse riding lessons. It is a gentle introduction to the horse, teaching inate skills of balance and trust.
Vaulting was introduced in the States in Santa Cruz County, in the 1950s, though limited to California and other areas of the west coast for the first two decades. In recent years the sport has gained popularity across the country.
The American Vaulting Assocation was formed in 1966. VA members demonstrated vaulting at the 1984 Summer Olympics in Los Angeles, and again at the Atlanta Olympics in 1996.
Today the AVA has over 1,000 members in 100 clubs and affiliates from Hawaii to Massachusetts and Washington to Florida. Originally focused solely on competitive vaulting, the AVA today has programs for all types of vaulters, from recreational and pony club vaulters to therapeutic vaulters, from beginner to world championship levels.
The team has continued to grow under dedicated Coach Kelley Holly participating in demonstrations and competitions from local fun fests to International Competitions.
High school advanced science teacher, Kelley began riding at the tender age of three and has been involved with many different disciplines, including competition level Saddle Seat, Western, Hunter Jumpers and Basic Dressage.
After high school she attended UC Davis and actively participated in the school's equestrian center's program as a rider and instructor. Kelley revitalized the UC Davis vaulting team and continued to work on her own vaulting team at home on the weekends, holding all medals up through and including a Gold.
If a masters in education and administration were not enough, Kelley also holds certification as Certified Horsemanship Association master instructor (English and Western), USEF and AVA "R" judge and a steward at the International Federation for Equestrian Sports FEI level 2.
Kelley herself holds a Gold medal in vaulting and has been the national 2-phase gold women's champion, taking both individuals and teams from the beginning levels on up through international rankings.
She is an FEI level steward, a USEF Vaulting TD, a USEF and AVA Vaulting judge, The Executive Vice President of the AVA, the Technical Committee Chairman, and the President of Region II. In 2011 Kelley was selected as the AVA Mentor of the Year in recognition of her extraordinary contributions in support and growth of the sport of vaulting.
Tambourine has 13 horses on its ranch. Active Clydesdale and Belgian Mustang cross horses, currently competing with the club, horses in training who are learning to become vaulting horses and retired horses that have worked with the club in the past but now have time to relax. Vaulters participate in horse care during practice sessions, getting to know each horse's personality in and out of the ring.
Helmets are not worn in Vaulting. Experts around the world apparently consider helmets not to improve safety in this particular equestrian sport, citing the use of them may actually increase risk of injury. Vaulting takes place on soft footing and safety skills are paramount for dismounting or 'bailing out' if a Vaulter (rarely) loses balance.
The horse is controlled by a lunger (in this case, Kelley), who controls the horse in a circle on a lunge line, attached to the bridle.
Tack called a surcingle is positioned where the front of a saddle would normally be located. This features hand grips and stirrup-like loops known as cossack loops.
Competition vaulters start off in a horse's walk mode and build up to their own individidually designed routines, to music, at canter. Click here for American Vaulting Association footage.
Tambourine Vaulters has vaulting available for all ages and levels. The youngest vaulter was 18 months when he started with Kelley and her oldest vaulter is in her 70s. Practices are offered throughout the year and new members are welcome.
For those who'd like to start vaulting as adults - a Vintage Vaulters class is offered for grown ups only.
As a recent fundraiser, parents designed and sold "You Do What?" t-shirts for Vaulters. The perfect slogan for a sport that you really do have to see to fully appreciate and once you do, you might just find yourself hooked.
From tiny tots who might as well have been perched atop an elephant, in size comparison, to a high school senior I spoke with who took up the sport as a senior project and literally took to it in leaps and bounds, this wonderful activity brings smiles to all its participants - as well as those of us sitting on the sidelines.
To learn more about Tambourine Vaulters, visit the website, here. Call Coach Kelley at 707-665-9281.
It was a packed house for mid-week literary lunch at Spinster Sisters, Santa Rosa, with author Ruth Reichl, former editor of Gourmet magazine and best-selling author of culinary memoirs Tender at the Bone and Comfort Me with Apples.
Ruth is currently on book tour (a rare beast in itself, these days) making her fiction debut with a story (naturally) set at an iconic food magazine in New York called “Delicious.”
Delicious! is a novel of sisters, family ties, and a young woman who must find the courage to let go of the past in order to embrace her own true gifts.
Executive Chef at The Spinster Sisters (401 South A Street), Liza Hinman worked at Gourmet Magazine herself prior to embarking upon her culinary career. Having her former editor in the house, across the country, in Sonoma, was a full circle celebration for the chef, who most certainly stepped up to the mark to make sure lunch was outstanding.
Chef Liza's Roasted Nantes Carrot Soup with Cilantro Creme Fraiche and Harrisa Oil caused a stir of quiet satisfaction amongst a chatty, packed house. Delicious indeed.
Condé Nast had cited a decline in advertising revenue and a shifting focus amongst food enthusiasts as reason to axe what many viewed an institution in monthly magazines. Gourmet had been the first of its kind and endured over half a century of publication.
Tucking into a marvelous Mezze Plate: Franco's Merguez Sausage, English Pea and Fava Hummus, Farro Salad with Favas, French Breakfast Radish, Sugar Snap Peas, Yogurt, Mint, Marinated Baby Beets and Caraway Flatbread, lunch guests listened with considerable interest to Ruth's appreciation of the new wave food reporting, largely online.
"There hasn't been a mainstream publication to replace Gourmet," she said. Magazines, in her educated ideal, must be willing to take risks, to give readers what they don't know they want, rather than what they think they want.
Ruth is a big fan of indie publications such as Lucky Peach and CherryBombe, magazines that push the boundaries of great food writing and photography. "Writers are coming out of the woodwork trying to write for them," she said. Modern Farmer is another of her top picks for the food culture scene of today.
Oh, and do check out her recommendation for the Italian issue of the new Swedish mag, Fool.
Ruth shared some funny stories of encounters within the tech world of today, where there are lots of strange ideas about not being bothered with taking the time to eat real food. "To miss out on biting into a fresh peach," she wondered. Sad in the extreme.
Given that her whole life's work has been devoted to sharing the pleasures of good food, Ruth has a pretty straightforward philosophy and that is to continue to teach the unquantifiable value of sitting together at table, to take the time to talk and to listen and to savor. "It's heartbreaking to think that there are so many young people who have no idea what it is like to sit at the table and enjoy a meal with family and friends," she said.
The Spinster Sisters luncheon with Ruth Reichl was a collaboration with The Book Passage. How refreshing not to have to drive across the county and given its successful sell-out, Sonoma County book lovers may look forward to lots more literary lunches at this popular restaurant in months to come.
When booking, if you plan to attend one of these (generally sell-out) events with friends (and reserve individually), do be sure to request who you'd like to be seated with and print out a copy of your receipt to bring along with you.
Valley Ford's first annual Wool Festival pulled in the crowds over the weekend, introducing all sorts of stellar fiber arts producers, farmers and fine folk of the region who take care of the countryside's growing flocks of sheep.
Ooohed and aaahed over the outstanding products including this striking woven clutch, by Napa Valley based Haute Bohemian Groupe (HBG). I did come home with one of their cushion covers.
It was great to see Petaluma weaver, Marta Shannon. Marta has been teaching weaving since 1981. She will be offering a Beginners Weekend Workshop at her studio at 3820 Bodega Avenue, Saturday and Sunday, 10 am to 4 pm, June 28th and 29th, 2014. Students will wind a warp, dress the loom and weave a simple scarf on a 4 shaft table loom in two busy days. A 'jump right in' experience, suitable for true beginners or those who'd like to remember how. Warp, weft and looms provided. Bring your own lunch. $85 plus $20 materials fee.
A Yipes, Stripes! and other Summer Fabrics Workshop at Martha's Petaluma studio invites beginners to weave a sampler, scarf, runner or other project with a striped warp. More experienced weavers will design a multicolor warp. Material costs vary. Tuesdays, 6 pm to 9 pm, June 10 to July 22 (no class July 8). $125 for a 6 week session. Table looms available to rent at $25 for the 6 week session.
An Exploring Brocade and Inlay Workshop is a two session class at Sebastopol Center for the Arts exploring supplementary weft techniques of brocade and inlay, taking place Wednesday and Thursday June 25 and 26th from 9.30 am to 12.30 pm. $65 members, $70 non members.
Collapse and Weave Workshop is for anyone up for weaving ruffles, ridges and bumps. A quick, two day workshop at Sebastopol Center for the Arts in which each student will design and weave a scarf using differential shrinkage. Students should have basic weaving experience and know how to warp a loom. $20 material fee covers both warp and weft for each scarf. Saturday and Sunday July 26th and 27th, 10 am to 4pm. $135 members, $140 non members.
To register for Petaluma classes, call 707 658 1707. For Sebastopol classes, call 707 829 4797.
Martha's bespoke baby blankets - available for special order. Soft and stylish and one-of-a-kind.
Marta's fellow Petaluma arist/natural material based crafter, Stefany Perlman (pictured left, with my fellow adventurer into wool land, Gail) also offers instruction for individuals and groups, both adults and children.
Stefany's fun and hands-on, informative classes include twined pattern basketry, felted hats and items, indigo and tie-dye, Indian corn necklaces, collage card making, lavender gifts, tapestry weaving, Japanese multi-strand braiding, pom poms and silk flower fairies.
Classes typically take two to three hours and are adapted to fit individuals and group needs and desires.
Contact her at 707 766 8627.
I have a framed photo of this classic little west country bolt-hole, taken by Gail last year. But I couldn't resist recapturing the yellow building with basketball net and grazing cows under a blue sky.
Just as we like to know where our food comes from, isn't it so much more fun (fascinating) and informative to view original works in the artists' studio?
If you're a fan of locally sourced artwork, mark your calendar for a little timeout from the ordinary weekend activities and take in Petaluma Arts Association Open Studio Tour, Saturday and Sunday, May 18th and 18th between 10 am and 5 pm.
Twenty three artists in 11 studio locations are looking forward to you stopping by!
Did you know, Petaluma Arts Association has been active in the arts in area schools for 57 years? Known for its largest fund raising event Art in the Park, that pops up at Walnut Park each September, Petaluma Arts Association first ever Open Studios Tour is a new event for the non profit group. A percentage of all art sold goes into aScholarship Programs for schools.
Public art - we love it here in Southern Sonoma Country land and can't get enough of it. So much so, mural mania appears to be expanding into private home territory.
Take this neighborhood pleaser on the corner of Sheldon and English Streets, in West Petaluma. This 1920s home has recently undergone a barn-style exterior makeover complete with rustic, stainless steel feeder planter boxes, sustainable landscaping and outdoor lighting. It's been fun spotting this and other of the year's selection of vintage homes that are being spruced up in Petaluma High School's quaint, surrounding neighborhoods, during morning drop-off.
But it took a tip from Southern Sonoma Country Life reader Anastasia for me to take in this colorful new addition, painted in panels, according to neighbors, by the home's artist owner, Caroline Hall and her Sonoma County-based mother-in-law.
The house, at 416 English Street is small in size but large in charm and certainly makes a statement when viewed from Sheldon, its quiet, little cross street. Love it!
Caroline went to college at the Brooks Institute in Santa Barbara, where she was an Advertising Photography major, worked in San Francisco for about a year, then moved to Edinburgh (the artist is a dual British/American citizen) for her master's degree in Visual Communications.
She and her husband felt the need to move back to the Bay Area after Edinburgh in order to be closer to family. Petaluma appealed. After the UK they wanted to live in a walkable town and not to have to drive everywhere. A strong downtown and community feel were high on their search list. "I was pleasantly surprised with how Petaluma had changed over the years to become a young, cool town, with good food, a big beer scene and lots of things to do, " said Caroline, who was raised in Santa Rosa, through high school.
The house on English Street was a bit of a distaster. "It was a foreclosure, and everything that wasn't nailed down was gone. It needed a lot of work, but the bones of the house were good. Beautiful domed plaster walls and ceilings, original oak hardwood floors, a big fireplace," said Caroline.
The couple set about making it their own and consider the work almost complete. "The exterior of the house was the biggest project; it was not taken care of, the paint and siding was peeling off, there was no insulation. So we started completely redoing the siding in September of last year," she said. Her cousin who is a landscape designer did ajob with the design of the yard. "The last thing was the big, ugly two story wall that made up our garage and studio above. It had no windows or doors, it was just a big green wall. I think I was inspired by the other billboard ads (the coca cola ad) or murals around town, and one day I just thought "I should do a mural here." I think my husband thought it was never going to actually happen, but when I mentioned it to my mother-in-law, she was in."
In September of 2013, as the construction started on the siding, Caroline designed the mural and she and her mother-in-law started painting it. "It had to be large enough to fill the space on the wall, and not be too diminutive, and we wanted it to go with the house and the town of Petaluma," she said. So after a bit of research on vintage farm posters and fruit labels, a design, hours of painting and trying to figure out the logistics of actually getting it up on the wall, they finished it, and re all so pleased with how it turned out.
For all the different sorts of mama's that we are or whom we were raised by - the weird, the wonderful, the wild and wayward, the wary, the watchful, the whimsical and even the occasional wretched, I thought it fun to forage around for ten literary quotes to cover the bases with daisies, this Mother's Day 2014:
"I am sure that if the mothers of various nations could meet, there would be no more wars" — E.M. Forster, Howard's End
"And all my mother came into mine eyes, And gave me up to tears." — William Shakespeare, Henry V
"Youth fades; love droops; the leaves of friendship fall; A mother’s secret hope outlives them all."— Oliver Wendell Holmes, Sr.
"Pride is one of the seven deadly sins; but it cannot be the pride of a mother in her children, for that is a compound of two cardinal virtues -- faith and hope." — Charles Dickens, Nicholas Nickleby
"She was of the stuff of which great men's mothers are made. She was indispensable to high generation, hated at tea parties, feared in shops, and loved at crises." — Thomas Hardy, Far From the Madding Crowd
“By day the banished sun circles the earth like a grieving mother with a lamp.” ― Cormac McCarthy, The Road
"Mothers were much too sharp. They were like dogs. Buster always sensed when anything was out of the ordinary, and so did mothers. Mothers and dogs both had a kind of second sight that made them see into people's minds and know when anything unusual was going on.”― Enid Blyton, The Mystery of the Hidden House
“The best place to cry is on a mother's arms.”― Jodi Picoult, House Rules
“My mother said the cure for thinking too much about yourself was helping somebody who was worse off than you.”― Sylvia Plath, The Bell Jar
"But behind all your stories is your mother's story, for hers is where yours begins."
— Mitch Albom, For One More Day