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The site was first developed in 1919 as an airfield for Cecil B. DeMille. From 1935 until the early 1950s, a drive-in restaurant thrived there. In 1955 the Googie structure opened as Romeo's Times Square and was renamed Johnie's in 1966. Now owned by 99 Cents Only Stores, which has rented it out as a film location many times, the building has been closed since 2000.
"Hey Joe", a traditional song performed by many artists. Sometimes credited to Billy Roberts. Sometimes credited to Chet (or Chester) Powers a.k.a. Jesse Oris Farrow, née Dino Valente who became the lead singer of Quicksilver Messenger Service. In 1965 "Hey Joe" was recorded by The Leaves. In 1966 they recorded it again with a fuzztone guitar sound. Also the Surfaris, Byrds, Love, Shadows of Night, Warlocks and many other bands recorded the song in 1966. Tim Rose recorded "Hey Joe" in 1966, one month before the Leaves' version entered the charts. Rose played the song at less than half the tempo. He changed the key of the song to E instead of A. Rose also roared out the verses, and added his own variant on their structure. Jimi Hendrix picked up this version of "Hey Joe" and made a European hit out of it in 1967. Since then many other great guitar players have performed this song.i believe that we can get to the bottom of who wrote hey joe.
propello fan
this and the last six posts via v zars
The original spun metal designs (circa 1930-1940) of Russel Wright ® are being reissued by HK Designs under exclusive license with Russel Wright Studios. The decorative pieces are manufactured to the exact dimension, material, finish and process as the originals.
trick photography
another big nakashima selection at auction RAGO
world monuments fund
Roadside Architecture is one of my life-long passions. When I go off to agility trials on the weekends with my dogs, I try to squeeze in side-trips to check out unusual buildings, mini golfs, muffler men, etc. My traveling range is usually limited to the Northeast but you will find plenty of things included that are outside this area as well.
"KISS is more like Doritos or Pepsi, as far as a brand name is concerned," he said. "They're more characters than the individual person. I think they have a legitimate chance to carry the franchise."
pimped prius
People always ask me, "Why do you give scarves to Keith?" and "Where do you get the scarves that you give to Keith?". So many people have asked that I decided to create a separate page to explain the idea behind the skull scarves.
In the summer of 1997 I bought a black scarf with white skulls on it at a local "world" store (now out of business) called Macondo. I bought the scarf because I thought it was cool and it reminded me of Keith. I wore that scarf to my first show on the Bridges To Babylon Tour in September of 1997 in Columbus, Ohio. I had no intention of giving it to Keith until a security guard broke my camera for taking pictures of Keith. I was so angry, but determined not to let the broken camera ruin my first show of the 97-98 Tour. Then it dawned on me that since the "Bridge" was not yet built, the Stones would be walking right by me on the catwalk. I was 20th row last seat next to the catwalk. This was the closest I had ever been be to the Stones. Maybe I could give Keith this scarf? Not bloody likely as they say, but worth a try.
nellie lutcher - lake charles boogie - this 1952 dittie features ms lutchers rippin good stride piano styin'. this is texas/lousiana swamp roots-rock at its best melding jazz, blues, boogie woogie rock and roll and that velvety thing that only rubs off from hangin' with the king cole trio.
This dedication peaks in Mr. Belott's "Found Images," a DVD presentation of 1,000 snapshots that Mr. Belott retrieved from eBay or the Salvation Army. As fragments of scores of anonymous lives flash before your eyes, you may consider pledging to never pick up the camera again, however great the urge. ROBERTA SMITH
the shelf pieces displayed in the slideshow indicate a rather indiscriminate process in choosing a theme for the photo groupings. bad snapshots arnt interesting or fun. there are on average 35,000 photographic offerings up for grabs on ebay at any given minute day in day out for years now. its easy to buy junk in bulk. the challenge is finding lots of the good stuff before they're broken up for piecemeal sales.
maps of louisiana
house of antique hardware
historic house parts
liz's antique hardware
van dykes restorers
crown city hardware
on NO shotguns
In the 19th century, local craftsmen devised structural techniques that allowed houses to stand securely on the city's pudding-like alluvial soil, and to survive in the region's notoriously humid climate, with its insects, termites and mold. In place of the heavy, water-absorbing brick-between-post construction that had been used earlier, or the brick masonry common on higher ground in the city, they began using light balloon frames, self-reinforcing structures of two-by-four joists that could be raised above ground on brick or stone piers. For these frames they used local cypress wood, which resists both water and rot, and for secondary woods they favored local cedar, which is nearly as weatherproof as cypress, and dense virgin pine.
"We worked very closely to meet the call of the L.M.D.C.," Mr. Bernstein said in an interview. "There was a reason we were picked. This is what they were looking for."gratuitous use of emotion button pushing city names : grand rapids, portland, tallahassee and then bangladesh. (!?) geez, thats cold.
Neither the Lower Manhattan Development Corporation nor Governor Pataki, who was in Shanghai, had seen the report yesterday.
Stefan Pryor, the corporation president, said, "Any judgments that are made prior to the I.F.C.'s submission would be premature."
A leading critic of the museum, Debra Burlingame, whose brother Charles was the pilot of the airliner that crashed into the Pentagon, said there was nothing the International Freedom Center could do to make itself palatable as a tenant at ground zero. "They don't belong there," she said yesterday.
Her criticisms began with the opening gallery. "So the very first experience that the visitors will get when they come from Cedar Rapids, Portland, Ore., and Tallahassee, Fla., was not how we experienced 9/11 but how the people, say, in Bangladesh experienced it?" she asked.
"you cant believe the irony that you may be watching your own demise right on tv. its post modern in a kind of a way"people on jet blue in flight and in their seats watching their air emergency (a landing gear problem) on satellite tv as they passively participate in the emergency on tv are then interviewed afterwards describe watching the emergency and switching back and forth to other shows for distraction. seen live (taped) this am on cnn.
The back of each seat on a JetBlue plane is equipped with a small television set. As passengers watched, live, in-flight broadcasts of MSNBC (see video tape) and Fox News began to show their airplane. Ash glanced at the television of the passenger next to him: "At first I just thought, 'Of course, Fox News,' " he said, discounting the story as sensationalized. "But then it was on MSNBC." People started to worry. "It was so eerie watching ourselves," Ash said. "It was unimaginable…. We heard people speculating about this and that. It was so odd." Somehow, being on the TV news "made it a big deal." Passengers reacted with a range of emotions — some quietly upset and concerned, but most very calm. A few began laughing. Ash joined them. Once he saw the humor of it, the sense wouldn't leave him: "It was just such an absurd situation," he said. But his humor faded as he listened to television commentators talking about the flight.
ohio flood lot
The Trust is working with Congress to secure federal historic-tax incentives for people who want to rehabilitate their houses. Specifically, Trust staff are working to amend existing incentives to rehab hurricane-damaged historic commercial buildings; develop a new tax-credit program for rehabbing owner-occupied historic houses; and create a two-year, $60 million fund that would offer grants to help save properties listed in, or eligible for listing in, the National Register of Historic Places.
new york night
zombies / sometimes / intro takes, 1, 2, 4, 5 and 6
bedaz'
japanese upside down house
travel bob
hillbilly music source & symbol
September 14, 2005
The Return of UbuWeb
UbuWeb is back. After a summer of rebuilding, the site is back with thousands of avant-garde MP3s and is chockfull of new content including:
Music With Roots in the Aether: A seminal series of interviews and performances concieved and realized by Robert Ashley in 1976, consisting of 14 hours worth of video and audio. Subjects and performers include: David Behrman, Philip Glass, Alvin Lucier, Gordon Mumma, Pauline Oliveros, Terry Riley, and Robert Ashley. Robert Ashley says: Music with Roots in the Aether is a series of interviews with seven composers who seemed to me when I conceived the piece-and who still seem to me twenty-five years later-to be among the most important, influential and active members of the so-called avant-garde movement in American music, a movement that had its origins in the work of and in the stories about composers who started hearing things in a new way at least fifty years ago."
The Charlotte Moorman Archive: UbuWeb is proud to host the audio archive of Charlotte Moorman (1933-1991), containing hours worth of unreleased works and collaborations by Nam June Paik, John, Cage, Earle Brown, Karlheinz Stockhausen, Terry Jennings, Toshi Ichiyanagi, Jackson Mac Low, David Behrman, La Monte Young, Sylvano Bussoti, George Brecht, Dick Higgins, Giuseppe Chiari and others. The selection is curated by Stephen Vitiello, with special thanks to Barbara Moore / Bound & Unbound.
People Like Us: The Complete Recordings 1992-2005 UbuWeb now hosts the complete works of the UK-based People Like Us. The brainchild of Vicki Bennett, these hundreds of MP3s feature solo works and collaborations with Matmos, Negativland, Wobbly, The Evolution Control Committee, Ergo Phizmiz, Irene Moon, The Jet Black Hair People, Xper. Xr., Messer Chups, Kenny G and Tipsy.
Christof Migone: Montréal-based Migone is a multidisciplinary artist and writer. His work and research delves into language, voice, bodies, psychopathology, performance, video, intimacy, complicity and endurance. UbuWeb is pleased to present an audio retrospective of Migone's work, both solo and with collaborators. Also featured here are numerous writings by Migone, including a book-length work, La première phrase et le dernier mot, which is comprised of the first sentence and the last word of every book in Migone's library.
Also:
Glenn Gould "Radio Broadcasts and Radio Plays, 1967-1981", MP3
Walter De Maria "Cricket Music / Ocean Music" (1964/1968) MP3
Furious Pig "I Don't Like Your Face" (1980) MP3
Michael Snow "Sinoms" (1989) MP3
Derek Beaulieu "an afterword after words: notes towards a concrete poetic" (PDF)
Group Ongaku "Music of Group Ongaku", 1960-1961 (Takehisa Kosugi, Syuko Mizuno, Mieko Shiomi, Yasunao Tone), MP3
Öyvind Fahlström "Manipulate The World!" (1963) and "The Holy Torsten Nilsson" (1966) MP3
Yoshi Wada "Lament For The Rise And Fall Of The Elephantine Crocodile" (1982) MP3
Lasry-Baschet Chronophagie "The Time Eaters" (mid-1960s) MP3
Mairead Byrne "Some Differences Between Poetry & Stand-up Comedy", 2004 (PDF)
Carlfriedrich Claus "Lautaggregat" (1995) MP3
DJ Food "Raiding the 20th Century - Words & Music Expansion (starring Paul Morley and a cast of thousands)" (MP3)
Morton Feldman "Selections from the Feldman Archive at SUNY-Buffalo" (MP3)
Herbert Huncke "From Dream to Dream", 1994 (MP3)
Guy Debord "Le manque d'un avenir nécessaire" (lecture on Surrealism), 1957 (MP3)
Marshall McLuhan - Dick Cavett Appearance, 1970 (MP3)
Dan Graham / The Static (Glenn Branca, etc.) Live at Riverside Studios, London, 1979 (MP3)
Posted by Kenny G on September 14, 2005 at 07:20 PM in Art, Kenny G's Posts, MP3s | Permalink
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good bye to the international bar on 1st avenue. i remember the international at its original location on the north side of st marks btwn 1st and a. the landscape wall murals obliterated with burnt orange patina of steeping in a century of nicotine tea. years of yellow to brown nyc tabloids inexplicably stacked in tied bundles in the corner. three almost dead dogs everpresent. a little dog more almost dead than the rest on a cushion right on the bar in front of the tender - the bar short enough that she didnt have to pry off her stool to serve. the almost dead owner or twos would sleep in there after they shood everyone off at closing time. it smelled heavily of almost death too but the drinks were cheep and the company elegiac. then it moved around the corner to 1st ave next to mcdonalds with the next generation of heirs to title catching a brief decade or so of second *cough* ...wind. alec morton used to work there ill ask him wus up next time i see him.
zaha ha via selma
Othar Turner lived in the small Mississippi community of Gravel Springs, located not too far from the nearby towns of Senatobia and Como, about an hour south of Memphis. He spent most of his life within these same few miles, working his farm and playing his music. He was born in Rankin County, Mississippi in 1908. His parents had separated prior to his birth and it wasn't until he was nearly four years old that he met his father. Othar always held an interest in music. As a young child he played the harmonica and would beat on a 50-gallon lard can for a drum.
He first heard the sound of a fife at age 16 from a neighbor named R.E. Williams and was enchanted from his very first listen. The neighbor gave Othar his first fife and the boy would practice it constantly. His mother disapproved and told him to stop, but Othar continued whenever she was away from home. When she discovered that he had kept up the fife, she broke the instrument. Othar had studied the fife so intently, he was able to remember where the finger-hole positioning was and began to make his own fifes from the cane he found near his home, using a fireplace poker to burn the holes. Othar continued creating his own homemade fifes throughout his entire life.
realtor dot com is a good resource for looking at pictures of vernacular architecture for sale all over the country. it also serves as an instant appraisal of local markets. i was wondering how NO would fair after the flood but im not familiar with how the market was prior to the flood. what is apparent is how bottom heavy the housing market is. the houses for sale only show up on page 83. thats after 82 pages of rental listings and empty lots for sale.
Levee failure reason for 'complete destruction' of St. Bernard Parish
26,000 homes - a total loss - here we go...
posted: 09-13-2005
NEW ORLEANS (AP) -- Officials say the "complete destruction" of St. Bernard Parish apparently was caused by levee failure along the Mississippi River Gulf Outlet, a 76-mile-long shipping channel.
Army Col. Duane Gapinski, who is in charge of pumping out the area, said the levee built in 1963 is 17-and-a-half feet high.
The Army Corps of Engineers believes up to 90 percent of the levee is damaged. That levee is in front of St. Bernard Parish.
The parish president estimates no one will be allowed to return to that parish for four months and it could be next summer before some people can go back to where they used to live. There is damage from oil as well as water.
Scanlonville Cemetery, which dates to 1870, is a public graveyard that was never formally abandoned, wrote Mikell Scarborough, the Charleston County master-in-equity, in his Sept. 6 order. According to South Carolina law, abandoned cemeteries can be relocated to make way for development.
"From a preservation standpoint, this is an exceptional victory," says Michael Trinkley, director of the Columbia-based Chicora Foundation, Inc., who testified at a weeklong trial in June. "This is the first time we have had such a significant victory in cemetery preservation, particularly for African American cemeteries."
Modern Ironies: Notes on Losing the Bunshaft's Travertine House (1963)
not to mention vulture martha stewarts stewardship :
For me, a Californian who grew up in a builder ranch house, the floor plan of the Bunshaft house, as it appeared in Architectural Record Houses of 1966, challenged the whole concept of what a house was. A rectangle with a living room at the center, only two bedrooms, few internal doors, and no windows on the front elevation? How could this be a house?
Its beauty was its daring simplicity; I was captivated by the rhythms and abstract composition. Sensitively, instead of turning all the views to the water, Bunshaft had oriented the two bedrooms out to the landscape, because all water all the time would have been too much. He had masterfully translated the large scale of his experience as design partner at Skidmore, Owings & Merrill into a house of less than 3,000 square feet.
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It is ironic that Maharam would tear down a mid-century modern landmark, when the textile company that bears his family name owes its recent revival to mid-century modern design. Maharam’s sons have reissued fabric designs by icons such as Anni Albers, Ray and Charles Eames, Alexander Girard, Arne Jacobsen, Vernon Panton, and Gio Ponti, and they have been honored by the Russel Wright Design Center for their “Textiles of the 20th Century.”
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Certainly the Museum of Modern Art, which received the house as a gift from the Bunshafts, knew who they were selling the house to. Might MoMA be the real villain because it sold the property without concern for its cultural value? Isn’t the museum in the business of cultural values? Why didn’t it preserve the home or make preservation a condition of sale? Or, one hates to say it, why didn’t the Bunshafts give the house to the museum with more restrictions?
And the August issue of Vanity Fair reports that much of the house’s former travertine floor now paves the kitchen of Martha Stewart’s new home in Bedford New York, a clapboard compound that also features an Amish-built barn and a century-old fence brought from Canada.they're letting vulture martha skate!? "Perhaps there are no individual villains, just a sequence of unfortunate or misguided decisions." b.s., me thinks theres too much punch pulling in this story but well keep it for the neato photos. and as record of this despicible patch of architecturaly historical record.
nice thread on toms page engaging the subject of artistic quotation. in sum, the beatsie boys raise the status of a whole bunch of found licks to maxims of universal truth though a (now) illegal practice on their under appreciated paul's boutique album. burn a copy for a friend.
i have serious concerns with the likelihood of a federal agency declaring vast poor new orleans neighborhoods toxic superfund-sites and commandering them under eminent domain. then bulldozing historic (the whole damn place is historic) neighborhoods and turning them over to developer buddies for [social] redevelopment.
from pandagon :
Two shaky House incumbents, Democrat Melancon and Republican Boustany, hope response to hurricane rallies voters behind them. House Republican campaign chief Reynolds touts chance to market conservative social-policy solutions; Rep. Baker of Baton Rouge is overheard telling lobbyists: "We finally cleaned up public housing in New Orleans. We couldn't do it, but God did."
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Who knew the GOP listened to the Dead Kennedys?
The sun beams down on a brand new day,
No more welfare tax to pay,
Unsightly slums gone up in flashing light!
Jobless millions whisked away
At last we have more room to play!
All systems go to kill the poor tonight!
Yayoi Kusama with Robert Murdock: Audio Interview, 12/22/66 Location: New York, New York at Kusama's studio.
Kusama’s theme is repetition. Her ‘Air Mail Stickers’ [1962], consists of over 1,000 of the post office seals pasted onto a 181.6 x 171.5cm canvas. The inexactly-executed rows and columns in the piece - which forms part of the Whitney Museum of American Art’s permanent collection - create a dizzying trompe d’oeil. Like Kusama’s ‘Infinity Net’ and polka-dot-field work, ‘Air Mail Stickers’ anticipates Andy Warhol’s use of repetition.
"After Warhol came to my ‘1,000 Boat’ show, he called to ask permission to use my patterns in his silkscreens," recounts Kusama from her Tokyo studio. "But I refused. I had been working with repetition for years by that time, ever since my 1959 exhibition at the Brata gallery." Kusama leans forward and smiles, "Warhol’s repetitions came from me - But my repetitions came from my childhood."
There has been no healing, really. Four years have passed since the terrorist attack on the World Trade Center, and the road to recovery at ground zero looks bleaker than ever. A rebuilding effort that was originally cast as a symbolic rising from the ashes has long since turned into a hallucinogenic nightmare: a roller coaster ride of grief, naïveté, recriminations, political jockeying and paranoia.
Rendering by Lower Manhattan Development Corporation
The only project at ground zero whose future is not in danger of being dumped is the transportation hub, designed by the architect Santiago Calatrava.
The Freedom Tower, promoted as an image of the city's resurrection, has been transformed into a stern fortress - a symbol of a city still in the grip of fear. The World Trade Center memorial has been enveloped by a clutter of memorabilia.
And the promise that culture would play a life-affirming role has proved false now that Gov. George E. Pataki has warned that freedom of expression at ground zero will be strictly controlled. ("We will not tolerate anything on that site that denigrates America, denigrates New York or freedom, or denigrates the sacrifice and courage that the heroes showed on Sept. 11," he has said.) The Freedom Center, the Drawing Center, the performing arts center that would house the tiny Signature Theater Company and Joyce Theater - all now risk being dumped, either because they are viewed as lacking in sufficient patriotism or because officials were only toying with them in the first place.
[....]
I suppose that Governor Pataki and the Lower Manhattan Development Corporation could regain a measure of credibility by starting to scale back plans for development at the site. They could solicit proposals for an interim plan, say, that offers a more realistic time frame for rebuilding - not just in economic terms, but in psychic terms as well. The point would be to allow the site's meaning to evolve over time, from a place for grieving to a place where architecture reasserts the value of life.
But none of this will be possible without shifting the emphasis back to what is most important at ground zero: the cultural and public spaces that could be emotionally transformative. It would require some patience and humility. Until then, aesthetic judgments are all but irrelevant.
gordon matta clark at
white columnsqueens museum
"Reality Properties: Fake Estates"
little basin morris canal jersey city
amy wilson at abaton garage 9/11
9/11 and "inappropriate art"
the g stands for walter
bywater architectural patrimony
shotgun house
creole cottage
stream wwoz nola in exile
stream from baton rouge la the big 870 wwl am news * talk * sports
what would a rebuilt new orleans look like?
SITTING safely in Washington, I am watching harrowing footage shot from helicopters above the Ninth Ward of New Orleans, submerged under 14 feet of water when the Mississippi thundered through the breached levee at the Industrial Canal and destroyed everything in its swirling waters.
The author's home before the levee breach blocks away. Katrina damaged thousands of vernacular houses that embody the city's ethos.
My home is there, a West Indian-style plantation house built in 1826, standing as an ancient relic amid a maze of wooden houses a century younger. Some are classic bungalows, but most are distinctly New Orleans building types, with fanciful names like shotguns and camelbacks. I watch as a neighbor is rescued from his rooftop. Dazed, he has emerged from his attic, wriggling through a hole he hacked in the roof, swooped up by a Guardsman on a swinging rope. He is safe. Scores of others aren't. Bodies float through the streets of the Ninth Ward. Presumably they are from the diverse group that inhabits this deepest-dyed old New Orleans neighborhood: poorer blacks and whites, Creoles of color and a sprinkling of artists.
