#lawrence daws

[weepingwidar]

Lawrence Daws (Australian, 1927) - Omen Bird (1970s)

#lawrence daws

[taxi-davis]

Lawrence Daws (1927 - Present)      

#lawrence daws #art #painting #meteor #scifi #science fiction #disaster #catastrophe #apocolypse #panic #mass panic

[biblioklept]

The Cage -- Lawrence Daws

The Cage, 1972 by Lawrence Daws (b. 1927)

View On WordPress

#Lawrence Daws

[comtessezouboff]

Paintings from Buckingham Palace: part I

A retexture by La Comtesse Zouboff — Original Mesh by @thejim07

100 followers gift!

First of all, I would like to thank you all for this amazing year! It's been a pleasure meeting you all and I'm beyond thankful for your support.

Spread among 13 occupied and historic royal residences in the United Kingdom, the collection is owned by King Charles III and overseen by the Royal Collection Trust. The British monarch owns some of the collection in right of the Crown and some as a private individual. It is made up of over one million objects, including 7,000 paintings, over 150,000 works on paper, this including 30,000 watercolours and drawings, and about 450,000 photographs, as well as around 700,000 works of art, including tapestries, furniture, ceramics, textiles, carriages, weapons, armour, jewellery, clocks, musical instruments, tableware, plants, manuscripts, books, and sculptures.

Some of the buildings which house the collection, such as Hampton Court Palace, are open to the public and not lived in by the Royal Family, whilst others, such as Windsor Castle, Kensington Palace and the most remarkable of them, Buckingham Palace are both residences and open to the public.

About 3,000 objects are on loan to museums throughout the world, and many others are lent on a temporary basis to exhibitions.

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This first part includes the paintings displayed in the White Drawing Room, the Green Drawing Room, the Silk Tapestry Room, the Guard Chamber, the Grand Staircase, the State Dining Room, the Queen's Audience Room and the Blue Drawing Room,

This set contains 37 paintings and tapestries with the original frame swatches, fully recolourable. They are:

White Drawing Room (WDR):

Portrait of François Salignan de la Mothe-Fénelon, Archbishop of Cambrai (Joseph Vivien)

Portrait of a Lady (Sir Peter Lely)

Portrait of a Man in Armour with a red scarf (Anthony van Dyck)

Portrait of Alexandra of Denmark, Queen Consort of the United Kingdom and Empress of India (François Flameng)

Green Drawing Room (GDR):

Portrait of Prince James Stuart, Duke of Cambridge (John Michael Wright)

Portrait of Frederick Henry, Charles Louis and Elizabeth: Children of Frederick V and Elizabeth of Bohemia (unknown)

Portrait of Infanta Isabel Clara Eugenia of Autria and her Sister, Infanta Catalina Micaela of Austria (Alonso Sanchez Coello)

Portrait of Princess Louisa and Princess Caroline of the United Kingdom (Francis Cotes)

Portrait of Queen Charlotte with her Two Eldest Sons, Frederick, Later Duke of York and Prince George of Wales (Allan Ramsay)

Portrait of Richard Colley Wellesley, Marquess of Wellesley (Martin Archer Shee)

Portrait of the Three Youngest Daughters of George III, Princesses Mary, Amelia and Sophia (John Singleton Copley)

Silk Tapestry Room (STR):

Portrait of Caroline of Brunswick, Princess of Wales, Playing the Harp with Princess Charlotte (Sir Thomas Lawrence)

Portrait of Augusta, Duchess of Brunswick With her Son, Charles George Augustus (Angelica Kauffmann)

Guard Chamber (GC):

Les Portières des Dieux: Bacchus (Manufacture Royale des Gobelins)

Les Portières des Dieux: Venus (Manufacture Royale des Gobelins)

Les Portières des Dieux (Manufacture Royale des Gobelins)

Grand Staircarse (GS):

Portrait of Adelaide of Saxe-Meiningen, Queen Consort of Great Britain (Martin Archer Shee)

Portrait of Augustus, Duke of Sussex (Sir David Wilkie)

Portrait of Edward, Duke of Kent (George Dawe)

Portrait of King George III of Great Britain (Sir William Beechey)

Portrait of King William IV of Great Britain when Duke of Clarence (Sir Thomas Lawrence)

Portrait of Leopold I, King of the Belgians (William Corden the Younger)

Portrait of Prince George of Cumberland, Later King George V of Hanover When a Boy (Sir Thomas Lawrence)

Portrait of Princess Charlotte Augusta of Wales (George Dawe)

Portrait of Queen Charlotte at Frogmore House (Sir William Beechey)

Portrait of Victoria of Saxe-Coburg-Saafeld, Duchess of Kent (Sir George Hayter)

State Dining Room (SDR):

Portrait of Charlotte of Mecklenburg-Strelitz, Queen Consort of the United Kingdom in Coronation Robes (Allan Ramsay)

Portrait of King George III of the United Kingdom in Coronation Robes (Allan Ramsay)

Portrait of Augusta of Saxe-Gotha, Princess of Wales (Jean-Baptiste Van Loo)

Portrait of Caroline of Ansbach when Princess of Wales (Sir Godfrey Kneller)

Portrait of Frederick, Princes of Wales (Jean-Baptiste Van Loo)

Portrait of King George II of Great Britain (John Shackleton)

Portrait of King George IV of the United Kingdom in Garther Robes (Sir Thomas Lawrence)

Queen's Audience Room (QAR):

Portrait of Anne, Duchess of Cumberland and Strathearn (née Anne Luttrel) in Peeress Robes (Sir Thomas Gainsborough)

Portrait of Prince Henry, Duke of Cumberland and Strathearn in Peer Robes (Sir Thomas Gainsborough)

London: The Thames from Somerset House Terrace towards the City (Giovanni Antonio Canal "Canaletto")

View of Piazza San Marco Looking East Towards the Basilica and the Campanile (Giovanni Antonio Canal "Canaletto")

Blue Drawing Room (BDR)

Portrait of King George V in Coronation Robes (Sir Samuel Luke Fildes)

Portrait of Queen Mary of Teck in Coronation Robes (Sir William Samuel Henry Llewellyn)

-------------------------------------------------------

Found under decor > paintings for:

500§ (WDR: 1,2 & 3)

1850§ (GDR: 1)

1960§ (GDR: 2 & 3 |QAR 3 & 4)

3040§ (STR, 1 |GC: 1 & 2|SDR: 1 & 2)

3050§ (GC:1 |GS: all 10|WDR: 4 |SDR: 3,4,5 & 6)

3560§ (QAR: 1 & 2|STR: 2)

3900§ (SDR: 7| BDR: 1 & 2|GDR: 4,5,6 & 7)

Retextured from:

"Saint Mary Magdalene" (WDR: 1,2 & 3) found here .

"The virgin of the Rosary" (GDR: 1) found here .

"The Four Cardinal Virtues" (GDR: 2&3|QAR 3 & 4) found here.

"Mariana of Austria in Prayer" (STR, 1, GC: 1 & 2|SDR: 1 & 2) found here.

"Portrait of Philip IV with a lion at his feet" (GC:1 |GS: all 10|WDR: 4 |SDR: 3,4,5 & 6) found here

"Length Portrait of Mrs.D" (QAR: 1 & 2|STR: 2) found here

"Portrait of Maria Theresa of Austria and her Son, le Grand Dauphin" (SDR: 7| BDR: 1 & 2|GDR: 4,5,6 & 7) found here

(you can just search for "Buckingham Palace" using the catalog search mod to find the entire set much easier!)

Drive

(Sims3pack | Package)

(Useful tags below)

@joojconverts @ts3history @ts3historicalccfinds @deniisu-sims @katsujiiccfinds @gifappels-stuff

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#the sims 3 #ts3 #s3cc #sims 3 #sims 3 cc #sims 3 download #sims 3 decor #edwardian #rococo #baroque #renaissance #buckingham #buckingham palace #royal collection trust #wall decor

[1five1two]

'London at Night'. Lawrence Daws. 1967.

#art #london #england #cityscape

[mybeingthere]

Lawrence Daws (b. 1927, Adelaide) is a major figure of modern and contemporary Australian art. He has sustained a successful career as a painter and printmaker for over a half a century. Daws’ depictions of the Australian landscape are as unique as the psychological landscapes he often grafts within them. His works are a personal journey of self-awareness and discovery, and often about the formal qualities of paint itself – "Even when a painting is full of menace, I try to paint it in a beautiful way so you're seduced by the paint quality and you don't get subsumed by the horror."

Growing up on the Fleurieu Peninsula in South Australia, Daws studied engineering and architecture at the University of Adelaide before moving to study at the Melbourne National Art School between 1950-1953. He first attracted serious critical attention when he co-exhibited with Donald Laycock, Clifton Pugh and John Howley at the Victorian Artists Society gallery in Melbourne in 1955.

https://www.philipbacongalleries.com.au/art.../lawrence-daws

[noraqrosa]

TL;DR: in this post, i wax on about the abandoned concept album/multimedia project Lifehouse by Pete Townshend/The Who in the context of algorithms and artworks

people on Twitter aren't understanding that this is an ad for a scifi novel. it sounds interesting, to a degree.

the first sentence reminds me of [The Who's] Pete Townshend's Lifehouse, still one of the most fascinating musical experiments i've ever read about.

i wish i knew about all that back when the Lifehouse Method website was a thing. for those unaware, it was a site created by Pete in conjunction with composer Lawrence Ball and software developer Dave Snowdon in which someone could input their personal data and generate "authentic musical 'portraits,'" pieces of music customized via algorithms that work based on whatever data you input. if you know anything about The Who, you'll probably recognize this as a facet of what would eventually become the album Who's Next, Lifehouse, a huge multimedia project involving a rock opera album, live performances with audience participation and complex tech on stage, a movie, who knows what else.

https://archive.is/8tYoM

i've always wished i could do one of these "musical portraits." i remember when I first heard about algorithmic (i refuse to call it AI because it isn't true AI) music generators, this was the first thing i thought of. back when they were in a rudimentary state, i played around with one for my own amusement (not for my own music, all that comes from my own head unfortunately for you), and while it was fascinating, it didn't go far enough in the direction i hoped. thinking of OpenAI's MuseNet, it takes a few notes worth of MIDI data & a style suggestion and then kinda randomly guesses what would be a good fit after those notes.

<image sourced from https://gigazine.net/gsc_news/en/20190426-muse-net>

and y'know, it makes for some fun meme videos:

<shoutout to the papaya>

but you can also see it only goes so far, and still requires musical input. it isn't quite on the level of being usable for much. and it really isn't quite the same. it's using inputted data, but not, say, biometric or biographical data. it's musical parameters that are being input as the data.

i really want to one day see a true realization of Lifehouse. one of my wildest goals is to be the one to do that. admittedly, i feel like in the current artistic climate the art world might no longer be ready for it; people would see it, instantly think "AI ART EW," and back away. but in this case, i don't feel like that's a fair assessment of what the concept is. the idea was to find each person's unique signature melody via these musical portraits. it isn't meant for anything really beyond personal identification, when it comes down to it. it fascinates me from a musical standpoint, and as a person who holds a psychology degree. imagine what someone can learn about oneself via this process! would your musical portrait be different at different points in your life? what could you tell about your personality from a single melody, or about your life history, or your beliefs and values? how would all of that reflect in your music? what genre is your soul? could a musical portrait truly capture any of that? with sufficiently advanced tech, sure, but idk if we're there yet.

heck imagine the therapeutic implications! imagine this tech being used in an art/music therapy setting, in which you work with a therapist to input your data, get a melody, and then use that melody with whatever form of musical expression you prefer (e.g. if you prefer to play the piano, guitar, a DAW, etc). what would you and your therapist be able to learn about you?

i truly do believe that, when it comes down to it, everyone has their own musical identification, "a song in their heart" if you will. i wish to expose people's hearts to get that music out, so that people may hopefully understand themselves better.

we might actually be at the level of tech necessary to truly realize a project like Lifehouse, but the tech isn't being used in this way. our current tech relies on predictive algorithms that kinda mostly draw on established musical forms, tradition, and there are only so many notes in the musical alphabet and only so many combinations and permutations thereof. a true realization of this tech would work, say, maybe in a similar way to how Pokémon speedrunners essentially break the game and essentially reprogram it to do what they want via a series of unexpected inputs. arbitrary code execution is what that's called, and i bet a similar function might help greatly in creating a uniquely generated musical portrait. because, when it comes down to it, are we not all Glitch Pokémon who cannot be contained by the boundaries of our programming?

anyway that was a long ramble. feel free to gimme feedback like you're a guitar held up to an amp or feedback like an echo chamber, whichever you prefer. this post idk if it'll make both pro & anti AI people mad or not, but that's what happens when your position on a thing is more complicated than a simple binary.

currently homeless still, so please help me if you can:

My partner's donate links are here: https://linktr.ee/IzukuLeeYoung. that's the best place you can send us money to keep us in our current hotel room and off the street.

https://odiohi.me/pages/product-categories - if you wanna help me by buying my wares (including my music)

To support me directly:

https://ko-fi.com/NoraQRosa

https://cash.app/NoraQRosa

https://patreon.com/NoraQRosa

#artistic musings #essay #“AI art” really isn't true AI. when we finally realize that true AI actually lives and exists among us... #...you know we're gonna see them take offense to how we currently talk about AI and algorithms and be very upset #people don't care because they don't see AI as people but as new slaves. #they don't want artificial intelligence. they want custom-made servants. #we aren't at a point where we see true AI making art #we only currently see uncreatives abusing algorithms and then going “look i did this” when all they did was type out a few words. #at least Lifehouse was for a purpose and not for techbros to use and abuse! #it actually has a fascinating concept that i fear has been corrupted in this day and age. we need to fix that. #homeless plural trans queer artist in need of dire mutual aid #Youtube

[nurhanarman]

Joseph Haydn: String Quartet op 42 1st movement

From the pandemic years...

Joseph Haydn: String Quartet op 42 1st movement

I. Andante ed innocentemente

Sinfonia Toronto

Nurhan Arman, Conductor

Orchestra version recorded live on April 1, 2022 at the St. Lawrence Centre for the Arts, Toronto

https://youtu.be/SwySWKz-dAw?feature=shared

#youtube

[usnatarchives]

Serena Williams at the Family Circle Cup Tennis Tournament, Daniel Island, SC. 4/17/2002. NARA ID 6627636.

Women Soccer Team USA Celebrate, 2015. Obama Library, NARA ID 219775427

Celebrate Title IX's 50th!

By Miriam Kleiman, Public Affairs (who played on the Byron Jr. High softball team thanks to Title IX).

Before Title IX, 1 in 27 girls played sports. Today that # is 2 in 5.

We're celebrating Title IX's 50th with a document display, sports exhibit, great programs and expanded online resources.

Title IX, part of the Education Amendments Act of 1972, prohibits sex discrimination in education programs supported by federal $. While it dramatically increased the # of women playing sports by guaranteeing equal opportunity, it did not guarantee equal spending. Women’s athletic budgets and scholarship funds still lag far behind men’s. The fight for Title X is part of continued advocacy for women’s rights - a fight that continues today.

Title IX–related Document Display: The Patsy Mink Act Through September 7, 2022, West Rotunda Gallery, National Archives Museum DC Denied entry to med school because of her sex, Patsy Mink entered law school instead. She was the 1st Asian American and 1st woman of color elected to Congress, where she co-authored and fought for Title IX - later renamed the “Patsy T. Mink Equal Opportunity in Education Act.” The display includes the Senate vote tally for S. 659 (Title IX) and Public Law 107-255:  honoring Rep. Patsy Mink.

Upcoming Exhibit: All American: The Power of Sports National Archives Museum, DC, 9/16/22 through 1/7/2024

All American features a section on Title IX, including a display of the original Title IX.  All American features Althea Gibson, Kathrine Switzer, Billie Jean King, #SheBelieves (Women's World Cup), the WNBA, Dominique Dawes, and more! Press release here. All American: The Power of Sports is made possible in part by the National Archives Foundation through the generous support of AT&T, AARP, and Jacqueline B. Mars. Additional support provided by HISTORY® and the Lawrence F. O'Brien Family. 

Related programs and online resources: 

Records in the National Archives Catalog relating to Patsy Mink

Honoring Notable Asian Pacific Americans for APA Heritage Month

Celebrate the 50th of Title IX with Archival Footage of Sporting Legends

Title IX and Women’s Soccer in NARA’s Film Holdings

Women's Rights: Legislation and Advocacy

Rightfully Hers: documents from the fight for woman suffrage

Working for Suffrage: How Class and Race Shaped the Suffrage Movement

Online Exhibit: Rightfully Hers highlights, Google Arts and Culture

Women's Rights: Records, information, and resources

DocsTeach: primary sources for teaching about Women's Rights 

Women and the Vote: 19th Amendment, Power, Media, and the Making of a Movement

Records Reveal Women’s Equal Rights Struggles - National Archives News 

Women’s History and Centennial of the 19th Amendment 

#title ix #women's rights #girl power #sports history #all american sports #she believes #justice system #inequality #era #baseball #women's sports #feminism #serena #patsy mink

[tangian]

Sino daw po yung naka blue with glasses? For the survey po.

May kaagaw ka na @uwenako galaw-galaw din HAHAHAHA.

Lawrence 😃

[taxi-davis]

#lawrence daws #ominous #creepy #landscape #red #dusk #painting #art

[brookstonalmanac]

Birthdays 11.16

Beer Birthdays

Peter Ballantine (1791)

Johann Evangelist Götz (1815)

Charles Liebmann (1837)

Mark Dredge (1984)

Five Favorite Birthdays

Daws Butler; voice actor (1916)

Paul Hindemith; composer (1895)

Diana Krall; Canadian jazz singer (1964)

Burgess Meredith; actor (1907)

Martha Plimpton; actor (1970)

Famous Birthdays

Gene Amdahl; computer scientist (1922)

Craig Arnold; poet (1967)

Gemma Atkinson; model (1984)

Oksana Baiul; Ukrainian-American skater (1977)

Andrea Barrett; novelist and short story writer[ (1954)

Lisa Bonet; actor (1967)

Joey Cape; rock singer, guitarist (1966)

Eddie Condon; guitarist (1904)

Francis Danby; Irish painter (1793)

Pete Davidson; comedian (1993)

Elizabeth Drew; journalist (1935)

Dwight Gooden; New York Mets P (1964)

Maggie Gyllenhaal; actress (1977)

Jónas Hallgrímsson; Icelandic poet, author (1807)

W.C. Handy; composer (1873)

Marg Helgenberger; actress (1958)

George S. Kaufman; writer (1889)

Dave Kushner; guitarist (1966)

Joan Lindsay; Australian author (1896)

Mabel Normand; actor (1894)

Steven Pearl; comedian (1955)

Missi Pyle; actress and singer (1972)

Jose Saramago; writer (1922)

Guy Stockwell; actor (1934)

Amar'e Stoudemire; basketball player (1982)

Valeria Bruni Tedeschi; Italian-French actress (1964)

Lawrence Tibbett; actor (1896)

Richard von Coudenhove-Kalergi; Austrian philosopher (1894)

#Birthdays

[thestageyshelf]

SOLD 🎭 Charlie and the Chocolate Factory @ Theatre Royal Drury Lane 2015 (#220)

Title: Charlie and the Chocolate Factory

Venue: Theatre Royal Drury Lane

Year: 2015

Condition: Wear to edges

Author: Based on the novel by Roald Dahl. Book by David Greig. Music by Marc Shaiman. Lyrics by Scott Wittman and Marc Shaiman

Director: Sam Mendes

Choreographer: Peter Darling

Cast: Jonathan Slinger, Ross Dawes, Josefina Gabrielle, Jasna Ivir, Paul J Medford, Lara Denning, Derek Hagen, Roni Page, Myra Sands, Kraig Thornber, Barry James, Joe Allen, Meg Astin, Joel Baylis, Andy Brady, Simon Campbell, Georgia Carling, Andrew Carthy, Collette Coleman, Dan Cooke, Divine Cresswell, Billy Cullum, Connor Dowling, Kelly Edwards, Gemma Fuller, Sam Lathwood, Lucinda Lawrence, Mark Oxtoby, Matthew Rowland, Rebecca Seale, Steven Serlin, Gregory Sims, Robert Tregoning, Tara Verloop, Michelle White, Mark Williamson

FIND ON EBAY HERE

#Charlie and the Chocolate Factory #Theatre Royal Drury Lane #Musical #theatre #theatre programme #stageyshelf #sold

[tigermike]

White Cloud (1880)

He was born May 15, 1840, son of Francis White Cloud and Mary Many Days Robidoux. His Ioway name was The-gro-wo-nung. On the paternal side, he was grandson of Mahaska, for whom White Cloud, Kansas, is named. On the maternal side, he was grandson of Joseph Robidoux IV, founder of St. Joseph, Missouri and his second wife, whose name is unknown.[2] His parents founded one of the main families of Métis people who played a major role in the 19th century fur trade in Missouri and Kansas. Another prominent Métis family, that of Joseph Dorian, was likely related to two of James' wives. His father was killed in 1859 in a skirmish with the Pawnee.

He served as Chief of the Ioway Indian Nation from 1865 until his death in 1940.

On February 28, 1867, James married a full-blooded Ioway named Pumpkin Vine (Wy-to-hum-gra-mee), later known as Grandma Louise White Cloud. She lived from 1848 to 1914 and was the daughter of Sho-tom-he and his wife Daw-ya-ma-mee. Of their two sons, only Lewis White Cloud grew to maturity.

Ioway custom allowed as many wives as a man could afford and, in 1874, while still married to Pumpkin Vine, James married Lydia Dorian, an Ioway woman. James and his two wives lived in the same house. James and Lydia divorced in 1875. James' third marriage was in 1875 to Sallie Dorian of the Sac and Fox Nation. They had two children, Emma Little Crow and Joseph White Cloud, and they divorced in 1883. His fourth wife was Josie Dorian, an Ioway. They married in 1884 and divorced in 1885.

James received 160 acres of land in northeast Brown County on the Ioway Reservation, 100 acres of which was in cultivation. The farm had a three-room house, with outbuildings, a well, and a bark mill, the only one on the reservation.

James and his granddaughter Louise White Cloud both died in 1940 and were buried in Tesson Cemetery in Brown County. The Tesson Cemetery was named for Joseph Tesson, of the Sac and Fox Nation, who was the brother-in law of James White Cloud, having married two of his sisters.

After his death in 1940, his great-grandson, Jimmy Rhodd (1935–1997; alt. James Mahaska Rhodd), became chief of the Iowa Tribe of Kansas and Nebraska.

White Cloud attended mission school at Highland, Kansas, and served as a Scout for Company C, 14th Regiment Kansas Volunteer Cavalry of the Union Army in the American Civil War. He saw action when the Union repelled William Quantrill's raid at Lawrence, known as the Lawrence massacre.

[mybeingthere]

Clifton Pugh (1924 – 1990) was an Australian artist and three-time winner of Australia's Archibald Prize. One of Australia's most renowned and successful painters, Pugh was strongly influenced by German Expressionism, and was known for his landscapes and portraiture. Important early group exhibitions include The Antipodeans, the exhibition for which Bernard Smith drafted a manifesto in support of Australian figurative painting, an exhibition in which Arthur Boyd, David Boyd, John Brack, Robert Dickerson, John Perceval and Charles Blackman showed; a joint exhibition with Barry Humphries, in which the two responded to Dadaism; and Group of Four at the Victorian Artists Society Gallery with Pugh, John Howley, Don Laycock and Lawrence Daws.

Frank Neilson, photographer, tells about his visit to Clifton Pugh:

Clifton Pugh, one of Australia’s most celebrated artists and three-time winner of the Archibald Prize for portraiture, lived on his 15 acre property “Dunmoochin” at Cottle’s Bridge in country Victoria. Clifton, born in Melbourne on 17 December 1924, was a prolific painter and print-maker of landscape and portrait subjects. He received the honour of Officer of the Order of Australia for his services to art. A staunch supporter of the Australian Labor Party, one of his memorable Archibald wins was for his 1972 painting of Labor Prime Minister Gough Whitlam.

"I first saw one of Clifton’s paintings during the early sixties, and was impressed by the very “Australian” style he used. That painting was of the carcase of a dead animal in the desert, painted in strong yellows and reds, with expressionistic black outlining. I got to know Clifton in about 1988, whilst photographing a series of works he had produced on the theme of Leda and the Swan; for which I used a studio lighting technique I had developed which correctly threw the brush-strokes into relief. They were made into high-quality posters, which Clifton loved, saying that they looked as good as the originals." Continue https://frankneilsen.com.au/gallery/clifton-pugh

[goalhofer]

U.S. Daily Precipitation Records Tied/Broken 5/31/22

Arapaho National Forest, Colorado: 0.8" (previous record 0.7" 1991)

Unincorporated Boulder County, Colorado: 0.9" (previous record 0.7" 1991)

Rocky Mountain National Park, Colorado: 0.8" (previous record 0.5" 1991)

Brooklet, Georgia: 1.17" (previous record 1.03" 1933)

Unincorporated Kaua'i County, Hawaii: 0.44" (previous record 0.3" 1991)

Unincorporated Kaua'i County, Hawaii: 0.85" (previous record 0.77" 1949)

Ashton, Idaho: 1.12" (previous record 1.1" 1999)

Kamiah, Idaho: 1.23" (previous record 0.82" 2000)

Sedgwick Peak summit, Idaho: 0.3" (also 0.3" 2019)

Spirit Lake, Iowa: 1.88" (previous record 0.42" 1943)

Abilene, Kansas: 2.13" (previous record 1.2" 1898)

Alta Vista, Kansas: 2.8" (previous record 2.46" 1977)

Blue Township, Kansas: 1.92" (previous record 1.46" 1896)

Cottonwood Falls, Kansas: 2.78" (previous record 2.5" 2006)

Ellsworth Township, Kansas: 3.64" (previous record 1.04" 2016)

Garnett, Kansas: 2.8" (previous record 1.55" 1982)

Geneseo, Kansas: 1.63" (previous record 1.25" 2006)

Holton, Kansas: 2.4" (previous record 1.36" 1999)

Lawrence, Kansas: 2.5" (previous record 1.73" 2013)

Lincoln Township, Kansas: 1.39" (previous record 1.31" 2012)

Manhattan, Kansas: 2.52" (previous record 1.98" 1896)

Manhattan Township, Kansas: 1.93" (previous record 0.87" 2012)

McFarland, Kansas: 3.22" (previous record 1.68" 1977)

Rossville, Kansas: 3.63" (previous record 1.8" 2012)

Smoky Hill Township, Kansas: 1.68" (previous record 1.4" 1977)

Wichita, Kansas: 3.9" (previous record 1.76" 2021)

Browns Valley, Minnesota: 1.25" (previous record 0.8" 1996)

Dawson, Minnesota: 0.85" (previous record 0.8" 1951)

Pipestone, Minnesota: 0.94" (previous record 0.92" 2011)

Wheaton, Minnesota: 2.91" (previous record 2.44" 1938)

Kansas City, Missouri: 2.96" (previous record 2.44" 1996)

North Kansas City, Missouri: 3.15" (previous record 2.17" 1959)

Platte Township, Missouri: 1.7" (previous record 1.53" 2013)

Unincorporated Carbon County, Montana: 0.55" (previous record 0.53" 1969)

Custer National Forest, Montana: 0.9" (previous record 0.7" 1987)

Gallatin National Forest, Montana: 0.5" (also 0.5" 1987)

Unincorporated Dawes County, Nebraska: 1.03" (previous record 0.66" 1967)

Unincorporated Sheridan County, Nebraska: 2.06" (previous record 0.98" 2005)

Unincorporated Sioux County, Nebraska: 2.07" (previous record 1.8" 1935)

Unincorporated Elko County, Nevada: 0.65" (previous record 0.57" 1990)

Ashley, North Dakota: 1.75" (previous record 1.42" 2007)

Unincorporated Foster County, North Dakota: 2.02" (previous record 1.04" 2004)

Langdon, North Dakota: 2.08" (previous record 1.35" 2013)

Pembina, North Dakota: 2.33" (previous record 1.73" 2013)

Unincorporated Stutsman County, North Dakota: 1.4" (previous record 0.64" 2018)

Unincorporated Tillman County, Oklahoma: 3.91" (previous record 3.2" 1973)

Alexandria, South Dakota: 2.7" (previous record 1.5" 1991)

Unincorporated Brule County, South Dakota: 0.66" (previous record 0.51" 1996)

Crow Creek Reservation, South Dakota: 2.6" (previous record 0.41" 2013)

Edgemont, South Dakota: 1.28" (previous record 0.74" 2005)

Gettysburg, South Dakota: 2.34" (previous record 1.93" 1949)

Unincorporated Sanborn County, South Dakota: 1" (previous record 0.97" 1954)

Sand Lake National Wildlife Refuge, South Dakota: 2.26" (previous record 1.08" 1971)

Wessington Springs, South Dakota: 0.93" (previous record 0.7" 1996)

Winner, South Dakota: 0.95" (previous record 0.85" 1945)

Lake Chelan National Recreation Area, Washington: 0.8" (previous record 0.43" 1940)

Unincorporated Bighorn County, Wyoming: 1.01" (previous record 0.75" 1992)

Bighorn National Forest, Wyoming: 0.7" (previous record 0.4" 2013)

Black Mt. summit, Wyoming: 1.37" (previous record 0.98" 1971)

Boysen State Park, Wyoming: 0.6" (previous record 0.58" 1979)

Bridger National Forest, Wyoming: 0.5" (previous record 0.3" 1994)

Buffalo, Wyoming: 0.85" (previous record 0.82" 1909)

Casper Mt. summit, Wyoming: 0.7" (also 0.7" 1991)

Cody, Wyoming: 1.1" (previous record 0.7" 1967)

Unincorporated Goshen County, Wyoming: 0.63" (previous record 0.58" 1967)

Medicine Bow National Forest, Wyoming: 0.6" (also 0.6" 1992)

Midwest, Wyoming: 1.13" (previous record 0.97" 1939)

Unincorporated Natrona County, Wyoming: 2.1" (previous record 0.51" 1969)

Unincorporated Natrona County, Wyoming: 0.55" (previous record 0.38" 1947)

Unincorporated Park County, Wyoming: 0.38" (previous record 0.37" 1981)

Pavillion, Wyoming: 1.3" (previous record 0.6" 1967)

Riverton, Wyoming: 1.19" (previous record 1.03" 1971)

Sheridan, Wyoming: 1.69" (previous record 1.08" 1967)

Unincorporated Sheridan County, Wyoming: 2.75" (previous record 0.92" 1992)

South Pass summit, Wyoming: 0.8" (also 0.8" 1989)

Spring Creek Divide summit, Wyoming: 0.5" (also 0.5" 2005)

Teton National Forest, Wyoming: 1.4" (previous record 1.2" 1991)

Togwotee Pass summit, Wyoming: 0.6" (previous record 0.4" 1999)

Unincorporated Washakie County, Wyoming: 1.24" (previous record 0.9" 1971)

Unincorporated Washakie County, Wyoming: 1.3" (previous record 0.7" 2007)

Younts Peak summit, Wyoming: 0.7" (previous record 0.4" 2005)

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