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Despite Willie Nelson, Merle Haggard and Emmylou Harris achieving #1 hit success with his songwriting, Townes Van Zandt never ascended to the upper eschelon of celebrity bestowed upon so many of his peers, no matter how lauded he was. The reason was clear: Van Zandt never settled into the familiar promotional avenues that so many others who did achieve success traveled, and instead chose an endless loop of travelling, playing his songs, and racking up more experiences to put into them. Plus, he wasn't easy to categorize: folk, blues, country were all factors in what he did, but he'd be a marketing man's nightmare, even despite a growing reputation. Hence, he relied on a good friend to put out his records and do what he could to spread the word, while Townes did what he only knew best.from brian turner wfmu beware the blog
Margaret Brown's documentary, Be Here To Love Me (premiered at Angelika here in NYC December 2nd) is a long overdue look at his music and life, which was ceaslessly tempestuous. In his 20's he was administered shock treatment after being committed for falling from a four story window willingly ("to see what it felt like"), and the result erased much of his childhood memories. This inability to cement connections in his life led to a continual wandering, and the film takes a very intimate look at the people, friends, and family who all were affected by this. In Townes' own words, his own sanity and life itself depended on the ability to "blow off everything and go." Despite this, Brown's interviews with Townes' children and ex-wives reveal a true reverence towards him despite the darkness of their relationships; his little daughter sings his songs, his sons even reckon that their personal relationships may have not been able to happen any other way and not lessen the impact of what he did musically. Sadly, hard living drained him by the 1990's, though his fervor to create never lessoned. Sonic Youth's Steve Shelley, who was set to record Van Zandt at Easley Studios in Memphis after a label deal was struck with DGC, recounts the tragedy of the aborted 1997 session which happened right before the man's demise, despite his insistency to crank out one more record.
The film is a well-done telling of his story, there's some great live clips and TV interviews, and riveting testimony from the likes of Willie Nelson, Steve Earle, Kris Kristofferson, Guy Clark and others. Our own Hatch interviewed director Brown on his show last night, and you can check it out here. (real audio). You can also check out a trailer of the film here.
But first I want to persist with the ongoing story of post-Katrina reconstruction, and to respond to readers who felt that my last post, on the Mississippi Renewal Forum, was a bit rough on the New Urbanists and their design ideas for rebuilding a dozen or so Gulf Coast towns. David Sucher, in particular, of City Comforts, argued that I failed "to separate urban site plan—which is the core of New Urbanism—from architectural style"; and then wondered whether I and other critics would "really prefer to have Rem Koolhaas and Frank Gehry—as opposed to Andres Duany et al.—taking lead roles in helping Mississippians in their rebuilding." Perhaps I was too hard on the New Urbanists' efforts to advocate pedestrian-oriented communities; though I'd still argue that the popular appeal of the movement is based less on its planning principles than on its neotraditional pattern books; which means that developers often forsake the principles—the emphasis on regional planning, mixed uses, multi-family housing, transit corridors, et al.—and focus on the period decor, on the porches and porticoes, the gables and gambrels.
folk-songs for the five points
gilmore clark's 
the BRP
world of kane
thanks jim b
watched barry lewis's walk through the bronx on 13 last night. fair warning, its pledge week. of particular interest were the terra-cotta bas-reliefs of parkchester which were looking very john ahearn like to me. coming from westchester i guess this is my borough by extension. it was pretty intense in the 70's. we would catch a lift down gilmore clark's brp (bronx river parkway) to 241st street right on the edge of mount vernon and the bronx to take the 2 or the 5 train into the city. all the while picking up fashion tips (red pro-keds with alternate lacing techniques) and checking out the cool subway graffiti ("stay high 149").
ill try and find more info on those late deco parkchester relief sculptures. it was mentioned that they were commisioned to soften those hard edged (literally) buildings. heres three pages with lots of pictures for starters.
Alison Brooks's Salt House, among the oyster-pickers' old cottages in Essex, is a triumph of ingenious, affordable design.
In the aftermath of Hurricane Katrina, it was easy to conclude that New Orleans--at least the New Orleans of popular imagination--had ceased to exist. But there have always been two New Orleanses: the picture-postcard version, catering to tourists; and the strange, eccentric, vibrant, and troubled living city. As the water receded and residents slowly made their way back into the ravaged neighborhoods, it became clear that the postcard had largely survived but that day-to-day New Orleans faced a much more uncertain future.links to metropolis mag w/ pictures
The battle for the Crescent City--one that is almost certain since billions of federal dollars are committed to disaster relief--will ultimately be a test of whether the city can rebuild on a massive, unprecedented scale and still retain its essential character.
In the days following the disaster I spoke to four designers from the region about the challenges and opportunities ahead. All of them were well versed in the political and social vagaries of the city--its problems prior to Katrina and its prospects now--but none had succumbed to cynicism or despair. Obviously it was much too early in the game, and they love the city too much to go there yet.
**
Participants
Lake Douglas, landscape historian and coauthor of Gardens of New Orleans
R. Allen Eskew, founding principal of architecture and urban-design firm Eskew + Dumez + Ripple
Reed Kroloff, dean of Tulane University's School of Architecture and former editor in chief of Architecture magazine
Elizabeth Mossop, director of the School of Landscape Architecture, Louisiana State University, and principal of Spackman + Mossop Landscape Architects
Secretary of Housing Alfonso Jackson, meanwhile, seems to be working to fulfill his notorious prediction that New Orleans is “not going to be as black as it was for a long time, if ever again.” Public-housing and Section 8 residents recently protested that “the agencies in charge of these housing complexes [including HUD] are using allegations of storm damage to these complexes as a pretext for expelling working-class African-Americans, in a very blatant attempt to co-opt our homes and sell them to developers to build high-priced housing.”
Minority homeowners also face relentless pressures not to return. Insurance compensation, for example, is typically too small to allow homeowners in the eastern wards of New Orleans to rebuild if and when authorities re-open their neighborhoods.
Similarly, the Small Business Administration—so efficient in recapitalizing the San Fernando Valley in the aftermath of the 1994 Los Angeles earthquake—has so far dispensed only a few million dollars despite increasingly desperate pleas from tens of thousands of homeowners and small business people facing imminent foreclosure or bankruptcy.
As a result, not just the Black working class, but also the Black professional and business middle classes are now facing economic extinction while Washington dawdles. Tens of thousands of blue-collar white, Asian and Latino residents of afflicted Gulf communities also face de facto expulsion from the region, but only the removal of African-Americans is actually being advocated as policy.
Since Katrina made landfall, conservatives—beginning with Rep. Richard Baker’s infamous comments about God having “finally cleaned up public housing in New Orleans”—have openly gloated over the possibilities for remaking New Orleans in a GOP image. (Medically, this might be considered akin to a mass outbreak of Tourette Syndrome, whose official symptoms include “the overwhelming urge to use a racial epithet.”)
The idea that New Urbanists such as Duany and Calthorpe may be helping to write plans for the new Gulf Coast has horrified many architects and left-leaning cultural critics — revealing, in the process, quite a bit about the ambitions and anxieties that mark contemporary architectural practice in this country.
"Among the New Urbanists, Calthorpe is on the progressive and thoughtful side," says Reed Kroloff, the dean of the architecture school at Tulane University and former editor of Architecture magazine. But he termed Calthorpe's Louisiana appointment "very, very disappointing" and "a sign that the whole region has been handed over to the CNU."
The response from other architects and critics was, to put it mildly, less measured. Eric Owen Moss, director of the Southern California Institute of Architecture, told the Washington Post in October that New Urbanists were finding a foothold in the Gulf Coast because their agenda appeals "to a kind of anachronistic Mississippi that yearns for the good old days of the Old South as slow and balanced and breezy, and each person knew his or her own role."
Next came comments from Mike Davis, a writer who can throw gasoline on a fire with the best of them. Calling the New Urbanists an "architectural cult," he reported to readers of Mother Jones that during the Mississippi Renewal Forum, "Duany whipped up a revivalistic fervor that must have been pleasing to Barbour and other descendants of the slave masters."
The New Urbanists weren't shy about firing back. In a letter to Moss, Stefanos Polyzoides, a Pasadena architect and another CNU founder (there seem to be dozens of them), called Moss' statements "outrageous in their prejudice…. Your understanding of the CNU is superficial at best. And your comments sound remarkably hollow for a director of a school of architecture."