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the 5th annual ponderosa stomp schedule
About The Mystic Knights of the Mau Mau and The Ponderosa Stomp
THE MYSTIC KNIGHTS OF THE MAU MAU
The Mystic Knights of the Mau Mau is a 501(c) 3 cultural organization dedicated to preserving and presenting the rich history of American roots music. Through festivals, special events, concerts and outreach activities featuring musical living legends, we honor influential artists and educate audiences about their massive contributions to American culture.
OUR MISSION
Our primary annual event, the internationally revered Ponderosa Stomp, exists to celebrate, pay tribute to, and teach the cultural significance of the unsung heroes and heroines of rock-n-roll, rhythm & blues and other forms of American roots music while they are still alive. The Stomp festival and its year-round activities provide both a voice and career revival to overlooked sidemen, session musicians and other influential pioneers whose contributions have shaped American culture for over 50 years.
PONDEROSA STOMP
The Ponderosa Stomp is an American roots music festival dedicated to recognizing the architects of rock-n-roll, blues, jazz, country, swamp pop, reggae and soul. Founded in New Orleans and produced by the non-profit Mystic Knights of the Mau Mau, a diverse group of music fanatics who have presented over 40 concerts with over 150 musical legends, the Stomp always succeeds in exposing rare musical icons to their adoring fans and to new audiences. The Stomp itself has now become legendary in reviving careers and giving a new lease on musical life to so many performers.
sailor initiation pictures
Billy, a yellow-naped Amazon, delivered the extended monologue that staff members call a "one-sided phone conversation."
"Hello," he said as a visitor approached and then continued with considered pauses between phrases: "Uh huh" ... "Yeah" ... "O.K." ... "Then what happened?"
latest moynahan penn station design unvailed / more, more, more
google sketchup
Debra Burlingame, a board member of the World Trade Center Memorial Foundation whose brother was captain of the plane that crashed into the Pentagon, said the museum seemed to be going in the right direction.
"I'm optimistic," she said. "I don't think they're going to get into politics and ideology. At the Holocaust Museum they don't engage in debates about whether the Jews were somehow responsible for their situation."read that quote again if it didnt stick in your craw the first time.
People drift through a large, ornate French hotel. Sometimes time freezes. X thinks he met A last year in the garden at Fredericksburg, although she is unable to remember him. He himself isn't even certain whether it was at Fredericksburg, Marienbad, Baden-Salsa where they met or here. He describes how when they met she nearly gave herself to him but held herself back at the last minute. They agreed they would meet again in one year's time to see if his love for her was strong enough to wait or if she would have forgetten him. He presses her not to hold back this time and to remember what happened.
catching up on the fab-prefab containerbay page and found this :
The Landmarks Preservation Commission today approved a certificate of appropriateness for a new residential co-operative building with 8 units at 372 Lafayette Street in NoHo. The 6-story building is distinguished by its red-metal structural frame that houses shipping container boxes.
...
“The use of the shipping containers has aesthetic and historical analogies to the district’s cast-iron architecture. Both are mass-produced and pre-fabricated and the repetitive bays of the shipping containers are similar to the repeating arches and panel of Italianate building. In overreaching terms, this is an appropriate material and building construction to introduce into this manufacturing district,” she continued.
The civic organization at that time objecting to the blue cladding then planned for the building, recommending the use of “brick red containers could help mediate between this new and very modern material and the historic buildings.” “It is heartening to see a building that adaptively uses what is normally an industrial cast-off,” Ms. Kersavage concluded.
WFMU BWTB has been pretty good lately
as has be-dazz
so this is being played like silverstein finally caved. but who is the winner here? we inherit an ill conceived (that is, plug ugly, too big too hybrid designed - dont forget those bird chomping turbines) building (still being referred to as "the freedom tower") that has no tenets. thats a win?!
But some construction and real estate industry executives, and some urban planners, hear echoes of the hoopla surrounding the original World Trade Center project more than 30 years ago. They are questioning whether the rapid building of so much speculative office space would have the same destabilizing consequences for the downtown market as the twin towers had in the 1970's.
Some experts are even wondering whether there will be enough steel, concrete and curtain wall to build the four towers by 2012 at the same time that two baseball stadiums, the $2 billion Goldman Sachs headquarters, the $1.7 billion expansion of the Jacob K. Javits Convention Center, Moynihan Station, 10,000 apartments and various subway projects are under construction.
In a cut-and-paste society, the way information travels is rapidly changing, but copyright laws are staying the same. Novelist Jonathan Lethem and cartoonist Art Spiegelman debate the evolving role of intellectual property laws.listen live now
ny dolls / then and now
via zars
interpret willy wont
it was the best of times (shs class '74) it was the worst of times.
shipping containers turn 50
edit : ok make that "53" per commenter justin
The Old Town School of Folk Music
contemplator
you tube music video snob-off from kenny more kenny more snob
Jane Jacobs dies
jazzfest field guide
Oh Stewball was a racehorse, and I wish he were mine.
He never drank water, he always drank wine.
His bridle was silver, his mane it was gold.
And the worth of his saddle has never been told.
Oh the fairgrounds were crowded, and Stewball was there
But the betting was heavy on the bay and the mare.
And a-way up yonder, ahead of them all,
Came a-prancin' and a-dancin' my noble Stewball.
I bet on the grey mare, I bet on the bay
If I'd have bet on ol' Stewball, I'd be a free man today.
Oh the hoot owl, she hollers, and the turtle dove moans.
I'm a poor boy in trouble, I'm a long way from home.
Oh Stewball was a racehorse, and I wish he were mine.
He never drank water, he always drank wine.
dj bobbie bob
Louise Smith, first lady of racing, dies at 89
paint it black! paint it black you devil!
FLW field guide reviewed
"The two-dimensional photograph can't begin to suggest what he put into the house for the observer," says Heinz, now an architect, author and photographer based in Mettawa. "The typical Wright house is meant to be walked by, driven by, lived in, not just seen from a single perspective-and that's where I think Wright's buildings are so different from everyone else's, and why photographs are often so deceptive. The photographer will take full advantage to bring you the best of the building, using wide-angle lenses, narrow cropping and so on, which alters your perception of it. Seeing it in person, you get so much more of the colors, textures and context of the building."
For example, photographs of Heinz's favorite Wright building -- the Robie House on the University of Chicago campus -- tend to make it look as if it were situated on a two- or three-acre lot, when in fact it's what Heinz calls "plunked down" on a corner and almost crowded by other structures. On the other hand, the same photographs don't convey the sheer majesty of the house's textured copper gutters, its massive brick piers and heavy limestone planters.
In his new book, Alain de Botton argues that human characteristics can be found everywhere in the inanimate world of objects
If we can judge the personality of objects from apparently minuscule features (a change of a few degrees in the angle of the rim can shift a wine glass from modesty to arrogance), it is because we first acquire this skill in relation to humans, whose characters we can impute from microscopic aspects of their skin tissue and muscle. An eye will move from implying apology to suggesting self-righteousness by way of a movement that is in a mechanical sense implausibly small. The width of a coin separates a brow that we take to be concerned from one that appears concentrated, or a mouth that implies sulkiness from one that suggests grief.
Codifying such infinitesimal variations was the life's work of the Swiss pseudoscientist Johann Kaspar Lavater, whose four-volume Essays on Physiognomy (1783) analysed almost every conceivable connotation of facial features and supplied line drawings of an exhaustive array of chins, eye sockets, foreheads, mouths and noses, with interpretative adjectives appended to each illustration.
Programs and Manifestoes on 20th-Century Architecture
hotel blue wave
nice accompanying film w/ "help! my condo is a big chuck of packing material and the hallways and apartments arnt marked" dream sequence.
alsa pinstriping products
via zars
The unpronounceable masterpiece of the Industrial Revolution: Telford's Pontcysyllte Aqueduct
We expect that probably a million, and perhaps as many as a million and a half, additional residents will come to New York City in the next 25 years.
By then, the whole tri-state region, the already-crowded 31 counties in and around New York City, is expected to grow to 26 million people.
But amid all these larger questions, as the board of the complex mulls designs for a new wall, residents there — and some outsiders — have been asking another question: What happened to the stones?
"We would like the stones back that the city took from us," said Gerald Fingerhut, the treasurer of the 550-unit co-op. "But I'm saying it semi-facetiously, because the chance of our getting them is zero."
Mr. Fingerhut was referring to the pieces of rough-cut Manhattan schist that make up the surface of Castle Village's wall. They are stones from Manhattan's bedrock, of a type known as subway mica because it is often found during subway excavations.
If the stones were still available, some residents speculate, Castle Village might be able to embed them in the surface of any repaired areas, helping it blend in with the intact portions of the wall. Because there are almost no new sources of Manhattan schist, the stones might also have resale value, which could have helped Castle Village climb out of its financial hole.
"To stockpile them would definitely have been the intelligent thing to do," said Kate Ottavino, a partner and conservator at the A. Ottavino Corporation, an Ozone Park stoneworks.
Instead, the stones seem mostly to have been dumped or pulverized along with the 41,000 cubic yards of rubble removed by contractors.
"They were all disposed of," said Anthony Santoro, a vice president at Trocom, one of the cleanup's two principal contractors. "A lot of it was loaded up on sanitation barges that went to landfills." He said that separating the stones from the soil, trees, and other debris that crashed down along with the wall would have been both expensive and time-consuming.
City officials said that some stones are probably still buried under the remaining pile of rubble. And the Parks Department took 1,000 cubic yards of material (about 2 percent of the total haul) to Randalls Island, where Castle Village's stones now dot the shoreline.
In recent meetings with city agencies, "We've said: 'Oh, by the way, you've carted away all our stuff. When are you going to bring it back?' " recalled Donna Rounds, the co-op president. But amid negotiations with the city over carting fees, and under the threat of fines if a new wall isn't built by year's end, Castle Village is reluctant to offend the city over missing rocks.
the eyes of saint joseph, jersey city
Once we hit Louisiana, baby, I don't care
Got a brand new airplane waiting for us there
Give this piece of shit back to Aerosmith.
Wake me up when we get there.
Patterson Hood, Greenville To Baton Rouge-Southern Rock Opera
The right engine was running way too rich and the charter company would no doubt save money and time and rock star grief by flying on to Baton Rouge and then home nursing the engine, exhaust flaming, so long as the pilots kept track of how much more fuel that engine was burning. But they didn't, and so came the failed attempt of an emergency landing at McComb, and the mythical Betamax Guillotine to one of the very greatest rock front men ever, leader of a group that gave The Who a run for their money for craziness and debauchery at the heighth of their fame.
NEW ORLEANS — In the rush to rebuild, this hurricane-smashed city is dumping its debris into the swamps by the truckload -- and throwing away an opportunity to turn America's costliest natural disaster into the nation's greatest recycling effort, environmentalists say.
Every day, trucks rumble down the streets on their way to the Old Gentilly Landfill, a municipal dump in the swampiest part of the city, to unload the debris that homeowners and contractors have piled up on the curbs throughout New Orleans.
With large-scale home demolitions now beginning, there are no comprehensive, citywide plans to salvage and recycle building materials -- things such as cypress and cedar boards, bricks, cinderblocks and roof tiles.
In 1964, Doug Sahm's Markays found themselves sharing the stage with Augie Meyers' Goldens, both opening for British headliners the Dave Clark Five. For several years, Sahm had been pestering producer Huey P. Meaux, nicknamed the "Crazy Cajun," to record him. Meaux, feeling successful with acts like Barbara Lynn and Dale And Grace, was not interested. However, the producer soon found himself without a market when Beatlemania hit America. The story goes that Meaux, not to be outdone by a bunch of British upstarts, headed for San Antonio where he shut himself away in a hotel room with a bountiful supply of Thunderbird wine and every Beatles' record he could find, determined to discover what made them sell. His conclusion: "The beat was on the beat, just like a Cajun two-step." He then called Sahm, told him to grow his hair long, form a group, and write a song with a Cajun two-step beat. Doug assembled a band composed of members of his own Markays and Augie's Goldens. Meaux gave them an English sounding name, the Sir Douglas Quintet and, in 1965, scored an international hit with "She's About A Mover," an infectious blend of Texas pop and the Beatles' "She's A Woman." The song was recorded on January, 14, 1965, and proved to be their all-time biggest hit.
World renowned as the city of the Terra Cotta Warriors, Xi’an is one of the Four Great Ancient capital of China having hosted 13 dynasties in China’s history. Formerly named Chang’an, the current Shaanxi Province capital was the origin of the ancient Silk Road.(PDF link)
The Silk Road came into being in Han dynasty, prospered during Tang dynasty. Crossing through Middle-East and anchoring Europe to Asia, it played an important role in redefining political relations, economic trades, as well as cultural exchanges between the East and the West.
The New Silk road Cultural Park is located in New Qu jiang District, near the Big Wild Goose Pagoda in the South East of part of Xi’an. Established around the Nanhu (South Lake) , it covers over 100 hectares and its construction will start in mid 2006. Echoing the Silk Road historical impact on cultural exchange between Asia and Europe, the New Silk Road cultural park will host innovative cultural venues that will celebrate each culture of the Silk road and explore the impact of the intensifying global communication and traveling upon the merging of cultures.
The New Silkroad cultural park will be the central public space of the New Qu Jiang district, providing a high quality of urban living to its residents. As a unique cultural and research ensemble, it will consolidate Xi’an as the historical cultural capital of China and invite visitors of the world to explore the redefining of the cultures of Asia, Middle East and Europe in our communication era.
sharpeworld via record brother
(word of the day: eephing)
self released cd (with almost no distribution and not alot of information) featuring [walter] de marias tribal drumming mixed with field recordings (as the title implies). the two pieces, 'cricket music' and 'ocean music', were originally recorded in 1964 and 1968.
Samuel Beckett, whose centenary is celebrated April 13, pictured his project before he understood it: that exhausted journey toward an impossible goal replicated in miniature by so many of his characters. It happens in Murphy (1938), his first published novel, which can be found, along with the rest of his official oeuvre, in the four-volume Grove Centenary Edition. Murphy, a youngish layabout with a yen for oblivion, finally finds a job that suits him, as much as anything could be said to suit him. (That immediate downward qualification is the Beckett tic afflicting everyone who ingests his work at an impressionable age.) He signs on as a nurse in a mental institution.
The story of Paik's life follows a global trajectory. Born into a prominent family in Seoul, Korea, in 1932, he studied musical composition and art at the University of Tokyo. At age twenty-four, after completing a thesis on Arnold Schönberg and graduating with a degree in aesthetics, Paik traveled to Germany to pursue his interest in twentieth-century music—first attending the International Summer Courses for New Music in Darmstadt, where he met composer Karlheinz Stockhausen, and then returning two years later to settle in Cologne, where he worked at the Westdeutsche Rundfunk's Studio for Electronic Music. (Stockhausen was based in the city, and it was there that Paik would meet John Cage.) Paik's studies led him to focus on musical composition as sequences of events unfolding over time: His notations mapped actions in addition to tones. One consequence of this technique was that Paik's individual pieces could not be duplicated—leading Stockhausen and György Ligeti to suggest that films be made of Paik's concerts as a means to establish scores. That never happened, but their suggestion is an indication of Paik's improvisational approach and commitment to the idea of musical composition as performance.
ALLAN KAPROW, 1927-2006
Allan Kaprow, 78, painter and assemblage artist who invented the Happening, died peacefully at his home in Encinitas, Ca., on Apr. 5. A student of Hans Hofmann, Kaprow co-founded the co-op Hansa Gallery on East 10th Street in Manhattan in 1952, where he showed his early "action-collage" paintings including all kinds of raw materials as well as flashing lights. By 1957-58 he had begun making total environments that "pointed the way to a new form of art in which action would predominate over painting." The first Happening, titled 18 Happenings in 6 Parts, took place in October 1959 at the Reuben Gallery on Fourth Avenue. He filled the courtyard of the Martha Jackson Gallery with used tires for Yard in 1961, and for the 1963 exhibition "Hans Hofmann and His Students" at the Museum of Modern Art, he installed two furnished rooms that could be rearranged by visitors. He had major survey exhibitions at the Pasadena Art Museum (1967), the Bremen Kunst Museum (1976), Fondazione Mudima in Milan (1991), Galerie Donguy in Paris (1992) and the John Gibson Gallery in New York (1995). He was professor emeritus at the University of California San Diego.
its this music listener's opinion that sonic youth always got more than they gave. again.
Source: Library of Congress
dtour boxwine
vinalhaven planning map
my life in the bush of ghosts
This is the first time complete and total access to original tracks with remix and sampling possibilities have been officially offered on line. In keeping with the spirit of the original album, Brian and David are offering for download all the multitracks on two of the songs. Through signing up to the user license, and in line with Creative Commons licenses, you are free to edit, remix, sample and mutilate these tracks however you like. Add them to your own song or create a new one. Visitors are welcome to post their mixes or songs that incorporate these audio files on the site for others to hear and rate. Stay tuned, the remix site is coming soon!
a one a two a sister ray
from here (some one sell those commenters a sense of humor)
apple cube
five examples of contemporary architecture that have been influenced by science.
i just recd a 32 page j and r music/computer world catalog in the mail thats devoted completely to ipod accessories
whassup
(best milhouse voice)
back in the day me and Rerun used to wear colored (red, orange, blue, green) "chuck's" converse all stars. then i discovered powder blue pro-keds. the nyc kids we saw on the subway in the bronx wore pro-keds. some times i would wear different colored sneeks. one red, one orange, like that. we also ran two different colored laces through the eyelets (four laces per pair) with only the horizontal lacing visible. check out these links sent in from zars : fieggen shoe lace site and lukes shoe lace site.
cargo culture
podcast an hour of slack / must be sub-genius
from this discussion
clinton st newspaper thief: wanted die or alive
Can you Imagine a two-ton "Square Dancer"? Dancing farm tractors are the answer? The men and "gals" who manuever these tractors are to be admired as they do-si-doe and promenade following the cues of the caller. As the name suggests, the eight men can make their tractors "dance" the intricate patterns of the the traditional square dances we all know.via zars
nyt format change
crack in my winshield
me worry?
The voice of the man, who was calling from the offices of Keefe Bruyette on the 88th floor of that building, was removed from the recording by the city. From the operator's responses, it appears that he wanted to go.
"You cannot — you have to wait until somebody comes there," she tells the man.
The police operator urged him to put wet towels or rags under the door, and said she would connect him to the Fire Department.
As she tried to transfer his call, the phone rang and rang — 15 times, before the police operator gave up and tried a fire department dispatch office in another borough. Eventually, a dispatcher picked up, and he asked the man to repeat the same information that he had provided moments earlier to the police operator. (The police and fire departments had separate computer dispatching systems that were unable to share basic information like the location of an emergency.)
After that, the fire dispatcher hung up, and the man on the 88th floor apparently persisted in asking the police operator — who had stayed on the line — about leaving.
"But I can't tell you to do that, sir," the operator said, who then decided to transfer his call back to the Fire Department. "Let me connect you again. O.K.? Because I really do not want to tell you to do that. I can't tell you to move."
A fire dispatcher picked up and asked — for the third time in the call — for the location of the man on the 88th floor. The dispatcher's instructions were relayed by the police operator.
"O.K.," she said. "I need you to stay in the office. Don't go into the hallway. They're coming upstairs. They are coming. They're trying to get upstairs to you."
Like many other operators that morning, she was invoking advice from a policy known as "defend in place" — meaning that only people just at or above a fire should move, an approach that had long been enshrined in skyscrapers in New York and elsewhere.
At Keefe Bruyette, 67 people died, many of whom had gathered in conference rooms and offices on the 88th and 89th floors.