HerStory May 2019: Emilie Flöge

Here’s the thing about our May HerStory recipient, Emilie Flöge: she was amazeballs on her own, and we are plotting out pretty much all of the sewing projects in her style as we type. But, she was one of those women lost to history, consigned to a supportive role in a man’s story. Most of us recognize the name Gustav Klimt, and even if we don’t, his iconic painting style is surely familiar. But less familiar to us is likely his companion, his partner in life AND artistic expression, Emilie Flöge. And this is a not-uncommon predicament we find ourselves in here at Knitted Wit as we explore HerStory: the artistic (or scientific, or insert-anything-here) talent of a woman is often hidden behind the man she was associated with during her lifetime. Not because she objectively has less talent, and not because her entire reason for being was to “support her man,” but because we live in a patriarchal society, shored up by white supremacy and misogyny. 

At any rate, we are in love. Emilie Flöge was a trailblazer. She eschewed the established rules of fashion design AND what a woman’s life was “supposed” to look like. She threw away restrictive corsets and close-cut silhouettes in favor of voluminous a-line dresses and empire waists. She used bright colors and bold prints. Along with her two sisters, she founded a retail store that catered to women who were also status-quo-breakers, and created absolutely amazing pieces of wearable art that broke the rules, fashion-wise. She never married, and had a lifelong partnership with Klimt that seems to have been based on mutual respect and admiration. They collaborated and inspired each other; she’s often referred to as his “muse,” but it seems more likely that each was the other’s muse, in a very egalitarian way. The reasons she’s not a household name whereas he is are multifold, but come down to what she was making (clothing for women) and what sex she was. Plain and simple. 

So, drink in the beauty of Klimt’s painting of her. Realize that the colorful and flowing pieces his subjects wore were directly inspired by the colorful and flowing pieces his life partner created. And let’s all try to learn more about these artists on the margins, and bring them to the center of the stories, where they belong. And let’s all make long, flowing dresses in honor of Emilie Flöge, ok? Our Boho Chic colorway is directly inspired by the painting Klimt made of her. She’s powerful, and beautiful, and colorful. Let’s use this colorway to make something that will reflect all that Emilie Flöge was.

Socks on Vacay 2019

We are getting ready for Socks on Vacay 2019, and this year, we’re turning it up a notch, by offering some yarn-shop-only incentives AND by starting it a bit earlier than last year! This year, the whole event will kick off on Wednesday, May 1st (instead of Memorial Day), and, if you take part through your participating yarn shop, you’ll have the opportunity to collect awesome prizes!

Starting about now, shops will be receiving their first four National Parks color ways in our Sock base. They also have the cutest little postcards that indicate the National Parks color ways for 2019. If you purchase a skein of yarn a month from your LYS (so, four skeins throughout the summer), you will get an LYS-exclusive Knitted Wit patch to sew on your jean jacket or backpack or any old thing. If you purchase all four skeins every month from your LYS (so, sixteen skeins total throughout the summer), you’ll get an LYS-exclusive Knitted Wit enamel pin! SO EXCITING!!

And that’s not all, because we’re also doing the Instagram-centered #socksonvacay Summertime Sock Knitting Extravaganza, where you knit socks using our yarn and Shannon Squire’s sock patterns to be eligible for prizes and bragging rights. The KAL portion of the event begins on May 1st and runs through Labor Day, so get your needles ready, folks. Shannon will be releasing her fourth Socks for Busy B’s collection starting Thursday, May 9th, and, like last year, the pattern releases will be staggered for three weeks, and, like last year, the pricing will go up with each release. Make sure you’re signed up for her newsletter to get all of the details!

Also just like last year, we aren’t entirely sure what kinds of things we’ll be looking for during the IG KAL, but to give you an idea, for the last couple of years, we gave prizes for:

  • Most Exotic Photo
  • Most Finished Socks
  • Coolest Place to Knit

Among other things. Just knit socks, and have fun doing it, and you’ll be entered to win!

The rules are simple:

  1. You must make socks between Wednesday, May 1st and Monday, September 2nd, 2019 (aka May 1st and Labor Day here in the US);
  2. socks must be made with Knitted Wit yarn;
  3. socks must be made using one of Shannon Squire’s sock patterns; and
  4. you must share photos on IG and use #socksonvacay #socksonvacay2019 AND tag @knittedwit and @shannonsq.

And that’s it! Try to cast on and bind off between those two dates, but if you have a wee bit started before May 1st, we’ll try not to ding you.

We’re getting so excited about spending our summer surrounded by sock knitting once again, and sure hope you’ll join us! And please do check out the yarns at your LYS, because they are a treasure trove of amazingness (and they might even be hosting some sock KAL nights throughout the summer!)

HerStory April 2019: Maud Wagner

There are so many acts that, once upon a time (and not that long ago), were considered revolutionary for women. Wearing pants. Having short hair. Wanting to vote. Working outside the home. Choosing not to marry. And tattooing. Which brings us to our April HerStory recipient. (Hell, tattooing is STILL considered a revolutionary act for women, and it’s 2019!!) Maud Wagner was an American circus performer (cool!) and, more importantly for HerStory, the first known female tattoo artist in the United States.

Born in Kansas in 1877, Maud Stevens began traveling on the carnival circuit, perfecting her techniques as an aerialist, acrobat, and contortionist. She traveled the country, also a revolutionary act for a woman in those days. In 1904, she performed at the Louisiana Purchase Exposition (kind of a World’s Fair type of situation), and there she met Gus Wagner, aka The Tattooed Globetrotter. According to legend, Maud agreed to go on a date with Gus in exchange for a tattoo lesson, and the rest, as they say, is history. Before long, Maud was covered in tattoos, and the Wagners were a power couple on the carnival circuit. Maud began tattooing, along with her circus work, focusing on hand-poked tattoos as opposed to using the now-available electric tattoo guns, precursors to what we have now. She and her husband have also been widely lauded as influential in bringing tattooing inland in the United States; until they began their tattoo-and-tour situation, most tattoos were done in coastal towns. 

As anyone who has fallen headfirst into tattoo obsession (Shannon and Lorajean have both had this experience), once Maud started, she didn’t want to stop. She was covered up to her neck in tattoos, from all accounts done exclusively by either her mister or herself. She had a daughter, Lovette, who also became a tattooist (she started at age 9!), but was unique in that she was a tattoo artist with no tattoos on her own body. Maud wouldn’t allow Lovette to be tattooed by Gus, and Lovette stated that if she couldn’t get tattooed by her father, she didn’t want to be tattooed at all. 

Old Lines is our Maud Wagner-inspired color; it’s inspired by flash you would see at a tattoo shop. A kind of a tea-stained paper with traditional tattoo colors: mostly red and blue/black, with a little bit of teal and yellow poking through. We’re pretty pleased with how it came out, and are looking way forward to seeing it knit up into your lovely creations. 

HerStory March 2019: Ava DuVernay

Each month this year, we are exploring a different artistic avenue, and for March, we’re heading into the movie theater to spend a bit of time with A va DuVernay. She’s an American director, producer, and screenwriter, best known for 2018’s A Wrinkle in Time. Like many HerStory recipients, Ava DuVernay has a big stack of “firsts” to her name: the first black woman to win the directing award at the Sundance Film Festival (for Middle of Nowhere); the first black female director to have a film nominated for a Golden Globe (for Selma); the first black female director to have a film nominated for an Oscar (again, for Selma); the first black female director to be nominated for an Academy Award for a feature (13th); and the first black female director to direct a live-action film with a budget of over $100 million (for A Wrinkle in Time).

Although our March colorway, Tesseract, celebrates DuVernay’s work on A Wrinkle in Time, it is her life’s work calling out racism and centering the black and female experience in America that secured her place in HerStory. Her work has even inspired what’s known as the “DuVernay test,” which is the race equivalent of the Bechdel test. (The Bechdel test is a way to look at women’s roles in films: are there solely to support the main male characters, or are they are fully-formed characters in their own right?). In 2016, New York Times film critic Manohla Dargis coined the phrase the DuVernay Test, asking whether “African-Americans and other minorities have fully realized lives rather than serve as scenery in white stories.” It is in service to the DuVernay test that we celebrate A Wrinkle in Time for what it has done for characters of color in big film productions. Meg, the main character of the film, is a mixed-race child, and the fact that she is black is just that, a fact. Her blackness is not the central focus of the story; she’s the main character who happens to be black. 

Representation matters, and DuVernay is working every day to help ensure that representation happens. In 2010 DuVernay founded an organization called African-American Film Festival Releasing Movement (AFFRM), whose focus was to distribute films made by or focusing on black people. The driving force of her work in this organization is activism. In 2015, the company rebranded itself, and is now ARRAY, bringing into its work the elevation of women filmmakers as well. She has a podcast, The Call-In, centering and showcasing black and female filmmakers.  Last year, she launched the Evolve Entertainment Fund, whose mission is to promote inclusion and provide an opportunity for under-served communities to pursue a dream in the entertainment industry. 

She also continues to create her own projects exploring race. Her 2016 Netflix documentary, 13th, explores the intersection of race, justice, and mass incarceration in the US. The film’s title refers to the Thirteenth Amendment to the United States Constitution, which freed the slaves and prohibited slavery, with the exception of slavery as punishment for a crime. The film has won both critical and popular acclaim, and won an Emmy for Outstanding Documentary or Nonfiction Special in 2017. 

Ava DuVernay is a force to be reckoned with, and a still-rising star to keep your eyes on. The aesthetic beauty of A Wrinkle in Time was breathtaking, and her commitment to helping other black women rise in the entertainment field is inspiring. We hope you watch one of her films as you knit away on your Tesseract project, although, if you see the air shimmering slightly ahead of you, think twice before bounding into an alternate universe, ok? Unless, of course, the Mrs’ Who, Whatsit, and Which are there with you.

February Sassy Holidays 2019: Gumdrop Day

This club is exclusive to our Local Yarn Shop partners, so if you see a color way you need, contact your LYS! There is a list of Sassy Holidays-celebrating LYSs on our home page.

Friday, February 15th is National Gumdrop Day! There isn’t much information available on the origins of Gumdrop Day, so we’re going to share some gumdrop facts as we chew on some gumdrops of our very own and journey through Gumdrop Pass on our way up Gumdrop Mountain, playing Candyland with our kiddos…

Gumdrops are chewy, often sugar-coated candies that are well-known around the winter holidays as a treat AND a decoration for gingerbread houses. They come in fruit and spiced versions, and were believed to have been invented in 1801. The largest gumdrop ever created was a bit more than ten pounds (!) The NASA Apollo Command modules were nicknamed “Gumdrops” because of their conical shape (but don’t try to eat those; you’ll get a broken tooth or two!)

Our Gumdrop colorway, perfectly and aptly named Gumdrop, contains the primary Gumdrop colorways, red, yellow, green, and blue. But the real question is, are they the fruit-flavored gumdrops, or the spiced gumdrops?

So, grab your skein, grab a bag of gumdrops, and celebrate this sweetest day! 

HerStory February 2019: Teresita Fernandez

 We still have the music of January’s HerStory recipient, Beyoncé, accompanying our knitting (and life) as we head into February with visual artist Teresita Fernández. Teresita Fernández is an American-born sculptor known for large-scale installations that challenge the way we think about and perceive our surroundings. She was appointed by President Obama in 2011 to serve on the US Commission of Fine Arts, and is the first Latina to ever serve on the commission, and only the second person of Latino heritage to ever serve on the commission (her precursor served in the early 1970s). Her art explores the paradox of using easily-found and sometimes-disparate physical objects to represent formless elements: silk thread, stretched and suspended, to represent fire (in 2005′ Fire), or tens of thousands of hand-made mirrored glass cubes to reflect and represent the landscape of a dramatic Japanese inland sea (in 2009’s Blind Blue Landscape), for example. 

She also forces the viewer to see things in alternative ways; in 2015’s Fata Morgana, in New York City’s Madison Square Park, she created a massive outdoor sculpture, which consisted of installing a five-hundred-foot canopy of mirrors. As people walked the paths, they were forced to see the park they were strolling through as a “ghost-like, sculptural, luminous mirage that distorts the landscape and becomes a reflective portrait of urban activity.” (https://www.madisonsquarepark.org/view-do/calendar/mad-sq-art-teresita-fernandez)

Fernández’s 2012 installation, Night Writing, at gallery Lehmann Maupin in NYC (https://dailyartfair.com/exhibition/1199/teresita-fernandez-lehmann-maupin) is the inspiration for this month’s Preconceived Notion colorway. The installation is a bold vision in pinks, blacks, and greys. It’s constructed of a series of large works on paper, representing the very human impulse to look up to the night sky for information, guidance, navigation, and time-keeping, and how and why we interpret what we see. Fernández used Night Writing, the precursor to modern-day Braille, to translate text that became a constellation pattern of perforated holes backed by mirrors – making the work a dynamic, reflective surface. 

We hope you enjoy spending a bit of time being inspired by Teresita Fernández’s view of the world, and we hope you are able, through the knitting of this skein, to experience a bit of the turning-on-its-head of your usual preconceived notions that she would surely want you to feel. Maybe pair this skein with an acid green, or a bright yellow. A deep blue or a blood-red. Or knit up some socks that take you on a journey, like Skew or Sidewinders. Or just knit something mindless while you stroll through an exhibition of Teresita Fernández’s work. 

HerStory January 2019: Beyonce

Welcome to HerStory 2019! This year, we are focusing on artists of all stripes from all over the world. Our line-up is absolutely amazing, full of inspiring women, ass-kicking empowerment, and the most transcendent art you’ve experienced in many different mediums. We’re honoring women who create art in all kinds of ways, and our first artist is one the inspires the fearless leader of Knitted Wit daily, singer/visual artist/dancer/producer/everything, Beyoncé. She’s one of the few people in history who need only one name.

Why is Beyoncé our first HerStory recipient of 2019? Oh, let us count the ways: she is unapologetically herself, a black woman in the United States today. She tells the story of the struggle, and celebrates her culture in a way that is empowering and uplifting. Her recent work is all about telling stories of and for the women who have been left out of so many conversations, those who haven’t had a seat at the table. She uses her art to broaden feminism and center blackness in a time in which we are seeing more in-your-face racism and misogyny than we have seen in a long time.

Beyoncé’s public persona has taken on almost-mythic proportions, striking even in a society that lives to mythologize its celebrities. And she has taken full advantage of that mythologizing, using her celebrity to elevate the black voice, to celebrate black womanhood, and to refuse to allow even those who have put her on that pedestal to write her narrative. In short, Beyoncé is everything we need in today’s society, plus her music is catchy as hell.

Our Beyoncé-inspired colorway, Goddess, takes both its color inspiration and its name from Beyoncé’s centering of black feminism, black beauty, and black motherhood. The gold in the skein is directly inspired by her 2017 Grammy performance, in which an unapologetically pregnant Queen Bey paid homage to multiple goddesses who signify womanhood and fertility, from the African water spirit Mami Wata to Yoruba water goddess Oshun to Hindu goddess Kali. All three of these deities embody feminity, sexuality, and fertility, and Beyoncé channeled every single one in her performance. If you haven’t watched that performance, we strongly suggest you do so, and quickly. The other end of the skein is inspired by the stunning floral arrangements that surrounded her in the pregnancy and birth announcements she shared on Instagram in 2017. We are constantly struck by how much meaning she injects into everything she does, and these images were no different: in both her pregnancy and birth announcements, she mashed the Madonna/Venus archetypes together into her own beautiful interpretation. She deconstructed the Madonna/whore complex, enthusiastically stating that, in her and in all women, both and neither can be and are true at the same time, and womanhood and motherhood and sexuality are all a part of who and what she is.

Whew! We are inspired to listen even more closely to Queen Bey’s music and spend some time watching her visual works, to suss out even more of the meaning she infuses into everything she does. All while knitting socks out of Goddess, of course. How about you? Are you feeling as inspired as we are? Show us! Remember to share your projects on Instagram, by tag @knittedwit, and use hashtags #knittedwit and #herstory2019kal. On Facebook, join the Knitted Wit Knitalongs Group (https://www.facebook.com/groups/knittedwitkal), to be inspired by what your co-HerStory knitters have made, and inspire all of us with your creations.

January Sassy Holidays 2019: Bloody Mary Day

Welcome to Year Two of the Sassy Holidays Yarn Club! This club is exclusive to our Local Yarn Shop partners, so if you see a color way you need, contact your LYS! There is a list of Sassy Holidays-celebrating LYSs on our home page. We had a blast celebrating loads of lesser-known holidays last year, and have a fabulous line-up for 2019, starting it off right with January 1st, Bloody Mary Day. 

No one knows exactly when or where or why the Bloody Mary was initially invented (there are oodles of stories out there), but we sure are glad it was. It’s a hearty drink, thought to be the best cure for overindulgences, such as what many experience on New Year’s Eve, which is the reason January 1st is Bloody Mary Day. Wherever it originated, or why, we are definitely here for some Bloody Mary enjoyment this holiday season. We found a delicious-looking recipe online, which we tweaked a bit and are sharing here (inspired by the recipe found at https://www.foodandwine.com/recipes/zee-spotted-pig-bloody-mary).

Start the new year off right, with a new project and a hearty beverage! 

Best Bloody Mary Recipe (for a non-alcoholic version, merely omit the vodka):

  • 3T grated fresh or prepared horseradish
  • 2 ounces Worcestershire sauce
  • 2 ounces chile sauce (like Sriracha)
  • 2T lime juice
  • 2t celery salt
  • 1t kosher salt
  • Freshly ground pepper
  • 32 ounces tomato juice
  • 16 ounces vodka
  • Lime wedges
  • Pickled or fresh vegetables (optional)

Step 1    

In a pitcher, combine the horseradish, Worcestershire sauce, chile sauce, lime juice, celery salt, kosher salt and 2 teaspoons ground pepper. Add the tomato juice and stir well. Cover and refrigerate until chilled, at least 2 hours, but overnight would be awesome.

Step 2    

Pour the tomato juice mixture into 8 ice-filled rocks glasses. Add 2 ounces vodka to each glass and stir. Garnish each drink with a pinch of ground pepper, a lime wedge and pickled vegetables.

Mix up a pitcher or two this holiday season, and enjoy! 

HerStory December 2018: Zaha Hadid

This month in HerStory, we’re delving into the engineering aspect of STEM. Our December recipient, and “Queen of the Curve,” Zaha Hadid, was born in Baghdad, Iraq in October 1950. Her father was an industrialist and a leftist activist, and her mother was an artist. Hadid studied mathematics at the American University of Beirut, and then went on to London to study architecture at the Architectural Association School of Architecture. She studied under such revolutionary architects as Koolhaus, Zenghelis, and Tschumi, and blew their minds with her waaaay out of the box approach to design. Zenghelis noted that they “called her the inventor of 89 degrees. Nothing was ever at 90 degrees.” (The desire to build without resorting to a 90 degree angle was, in fact, the driving architectural philosophy throughout her career). She worked for former professors Koolhaus and Zenghelis for a couple of years after graduation, after which she started her own firm and continued to bend the rules of architecture.

For a while, it seemed that Zaha Hadid was the most radical and remarkable architect that couldn’t actually get anything built. She wowed her colleagues and blew the minds of her students with über-ambitious-yet-unrealized projects, but was frustrated that, even with all of the praise, contracts were often awarded instead to “safer” architects and projects. Finally, in 1991, Swiss furniture firm Vitra contracted with Hadid to design a fire station on their campus. The resulting building was spectacular (and, before ground was even broken on it, was featured in architectural journals for its brazenness and uniqueness). All raw concrete and glass, it housed the fire company’s fire department for a short period of time before being given over to an exhibit and event space. This project broke the dam, and Hadid’s designs finally began to cross from the theoretical to the physical, and her visions began to be made into reality.

Hadid existed in a world that didn’t fully understand her art. Even after she began be to awarded contracts, her work was always at least a little bit controversial; that controversy lay in the sheer audacity of what she created. Her buildings were so far from the norm that they made some folks uncomfortable. In a NYT article in 2016, Michael Kimmeman stated that “…her buildings elevated uncertainty to an art, conveyed in the odd way one entered and moved through the(m) and in the questions that her structures raised about how they were supported…” In short, her work made people uncomfortable, and because of that discomfort, she (and her work) received some hefty criticism, even as she was lauded for her refusal to fit neatly into the box of traditional architecture.

In 2004, Zaha Hadid was the first woman to win the prestigious Pritzker Prize, the architectural equivalent of the Pulitzer Prize. This occurred smack-dab in the center of a long list of prizes and awards she won, such as being made a dame by Elizabeth II for services to architecture in 2012, and winning the Sterling Prize (Britain’s most prestigious architecture honor) in 2010 and 2011. Even though she experienced a lot of “first woman to”‘s, Hadid did not consider herself to be a feminist icon, and preferred to be thought of as an architect, as opposed to a “female architect”. Although, in one interview, she grudgingly conceded that “if it helps younger people to know they can break through the glass ceiling, I don’t mind that (being referred to as a female role model).”

A bout with bronchitis in 2016 that turned bad resulted in the way-too-early death of Zaha Hadid. She had a heart attack at the age of 65. Her work continues, as some projects she had begun are still in progress, and her firm is still in existence. And the influences of her work can be seen in the world around us; think about Zaha Hadid whenever you see a building that curves and bends and seems to say “oh hell no” to right angles, think of her.

photo credit: Dmitry Ternovoy – https://terranova.viewbook.com/album/portraits.html

HerStory November 2018: Rosalind Franklin

This month, we’re diving deep into the very building blocks of life, as we honor Rosalind Franklin, whose research directly resulted in our understanding of how DNA is structured.

Rosalind Elsie Franklin was born in July 1920 to a prominent British Jewish family. Her early education occurred in the best schools around, and she was described by an aunt as “alarmingly clever.” Her interests always leaned toward science and math, and she excelled in both. Although her family was liberal by nature (they were active in women’s suffrage and helped settle Jewish refugees escaping the Nazis, particularly the children who were able to get away), her father just wasn’t all that into encouraging his daughter to pursue academics beyond college. Fortunately for the scientific world, Rosalind Franklin just wasn’t all that into listening to what her father had to say about her life. 

She attended Cambridge College in the late 1930s, well before they awarded actual B.A. or M.A. degrees to women. Until 1945, women received “honors,” which served to qualify them for employment at a bachelor’s level. Yikes. 

As she furthered her studies (eventually, she was awarded actual degrees for her work), she also lived in London and, along with her cousin, volunteered as an Air Raid Warden. This was during WWII, and London was a volatile and sometimes frightening place. She did research for a coal concern, and was instrumental in discovering the properties and the porosity of coal, which helped in both coal use for fuel and as a filter for things like gas masks. She broadened her research and knowledge by studying X-ray diffraction and crystallography, at first applying those techniques to the further understanding of coal’s structures, but eventually working on the structure of DNA. She was the first to capture a photograph of the helical structure of DNA (Photo 51, referred to by one researcher at the time as “amongst the most beautiful X-ray photographs of any substance ever taken,”) and the first to posit that there were two forms of DNA, and that at least one of those forms was helical in structure. Throughout her professional career, she found herself at odds with her colleagues, mostly, it seems, due to her male colleagues discomfort with the kind of woman she was (bold, unapologetic, more interested in lively scientific debates than the expected decorum of the time).

Watson and Crick are widely lauded as the discoverers of the double helix structure of DNA, and for cracking the code on the secrets of life. Their seminal and important work was based directly on the work of Franklin and her research partner, particularly a back-channel view of the aforementioned Photo 51; without that glimpse, they might not have reached the conclusions they reached for quite a long time. Seeing Photo 51 flipped a switch in Watson and Crick’s brains, and opened up the pathway to the DNA model they were eventually able to build. Franklin published her own papers on the structure of DNA, but it was Watson and Crick who received the most praise, and it was Watson and Crick who eventually received the Nobel Prize. 

Franklin continued to work on further understanding DNA, and had begun researching RNA’s structure when she fell ill to ovarian cancer. Two years after her diagnosis and treatment began, Rosalind Franklin was dead, at the age of 37. Because Franklin was a woman, and because she was a woman who didn’t squish herself into the mold of what her male colleagues thought a woman should be (she was brash and argumentative, she was unconcerned with her appearance, all of the things that make men uncomfortable around intelligent women), she was subjected to not only gender bias but gender harassment, treated like an assistant when she contributed as a colleague, not given credit where it was definitely due. 

Our Rosalind Franklin-inspired colorway, The Miracle of DNA, is comprised of rich, unapologetic colors that echo the colors of Hanukah. Franklin was widely considered to be agnostic; in fact, as a child, when discussing faith, she remarked to her mother, “Well, anyhow, how do you know He isn’t She?” just to see what kind of a reaction she could get. However, she considered herself to be Jewish, culturally if not religiously. Throughout her too-short life, Franklin honored Jewish traditions, and this colorway is our homage to both her cultural heritage and her boldness. 

image credit: Jewish Chronicle Archive/Heritage-Images http://www.britannica.com/EBchecked/topic-art/217394/99712/Rosalind-Franklin