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gee's bend rugs on sale at abc carpets
A storm is brewing in New Orleans, and it has nothing—and everything—to do with wind and water. Community organizations, homeowners, and at least one member of the City Council say the city is using federal funding to sweep away historic, flooded, but repairable housing as ruthlessly as did Katrina. Yet city representatives assert they're simply trying to facilitate the recovery and protect the health and safety of residents.
These old homes stood up to the wrath of the hurricane, and now the city is trying to take them down," says Karen Gadbois, founder of Squandered Heritage, a Web site that tracks the loss of historic properties to demolition. "Many of the properties on the list do appear extremely damaged, but others have people living in them, and many are in the process of being remediated or renovated. There are homeowners who are desperately trying to have their properties removed from the list."
City Councilperson Stacy Head, whose district includes the recently demolished Gallo Theater and some Katrina-flooded areas, says the entire demolition process is "incredibly broken." Says Head, "Houses that should be demolished and are unquestionably an imminent danger ?c are not being torn down. Yet other houses that certainly can be restored, that are part of this city's fabric and its economic value, are on the list for demolition."
Sly Stone vanished into rumor in the 1980s, remembered only by the great songs ("I Want to Take You Higher," "Dance to the Music") he left behind. What's become of the funky leader of the Family Stone since he forsook his Woodstock-era utopianism for darkness, drugs, and isolation? After a few sightings—most notoriously at the 2006 Grammys—the author tracked the last of the rock recluses to a Bay Area biker shop, to scope out where Stone's been, where he's headed, and what's behind those shades.
live performance videos from the north sea jazz festival july '07
The only Museum of it's kind in the world, "Electric Ladyland - the First Museum of Fluorescent Art" houses a large room-sized Fluorescent Environment that the visitor enters, becomes a part of the piece of Art, and then experiences "Participatory Art."
In The Accident of Art, Virilio and Lotringer argue that a direct relation exists between war trauma and art. Why has art failed to reinvent itself in the face of technology, unlike performing art? Why has art simply retreated into painting, or surrendered to digital technology? Accidents, Virilio claims, can free us from speed's inertia. As technological catastrophes, accidents are inventions in their own right.
An English duo active in the late seventies and most of the eighties, Renaldo and the Loaf consisted of a pathologist (David Janssen or "Ted The Loaf") and an architect (Brian Poole or "Renaldo Malpractice") who made music often considered strange.via vz
By their own assertion, they achieved their unique sound in part by striving to get unnatural synthesizer-like sounds using only what instruments they had available (acoustic ones.) To that end they routinely used muffled and de-tuned instruments, and often to striking effect, tape loops / manipulation. The two released four full length albums, one collection, various songs on compilation albums, and several self-produced demos. They were "discovered" by The Residents when Brian dropped off a tape at Ralph Records headquarters in San Francisco, during a visit to the US. After being signed to Ralph, they collaborated with The Residents on Title in Limbo.
dirty frank
And maybe he’s right. He did indeed live though an interesting time in Chicago’s history, evidenced by the recent surge of literature tracing the era. Not only "Loving Frank" and "Death in a Prairie House" open those doors—Erik Larson’s "The Devil in the White City," of course, is the definitive take on 1890s Chicago, and Karen Abbott’s "Sin in the Second City," about the Everleigh Club, the brothel of brothels, is causing quite a stir this year.