Toby Keith, I never ask you where your goin' I never ask you where you've been , I've never called and checked your story When you stayed out with all your friends , I've never tried to catch you lyin' I didn't want to know the truth , I'd rather go on lovin' blind girl Than go on lovin' without you, I wish I didn't know now what I didn't know then , I wish I could start this whole thing over again , I'm not sayin' it's you You could never be true , I just don't want to know how it ends , You'd still have my heart in the palm of your hands , I'd still look like a fool in front of your freinds , Yeah, I wish somehow I didn't know now what I didn't know then , I've always said what I don't know , Couldn't hurt as bad as leavin' you , Turns out I knew what I was thinkin', , It ain't an easy thing to do Well I guess I should be goin' , I sure found out too much
Ana Lisa Hedstrom ended the premier series on how Arimatsu artisans created new textile designs when faced with foreign trade opportunities, post WWII. Highlighting upon two key points, how global trade is a persistent catalyst for innovations and how artisans and artists are adaptable when met with new challenges and limitations that give birth to more possibilities.
Episode 4: Ana Lisa Hedstrom and
Yoshiko Iwamoto Wada, 2021.
To produce bold designs on broadcloth efficiently for the African market (1934-37 and 1945-1950), the Arimatsu artisans created a new shibori technique called
kikai-sekka, a compression-resist using a sewing machine on broadcloth or glossy cloth for a popular market. To better understand this under-researched historical period, with limited historical records, Yoshiko and Ana Lisa focused on, how Arimatsu artisans legitimized the sewing machine as an extension of hand-tools and created innovative designs by adding complexity with prints, wovens, and t
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