Schwarz
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andy pool
Warhol understood that fame is a social fig leaf on personal vacuousness. Peyton thinks it is the fullness of being, showing how shallow her understanding of celebrity is compared to Warhol’s. His awareness that fame dies -- thus the fame of his death imagery -- was his way of debunking it. Peyton blindly embraces it, not knowing it is the kiss of death. Thus she is the victim of fame rather than its master, like Warhol. He made the famous jump through his photographic hoop, like animals in a circus, while Peyton adores and pets them, never realizing, as Warhol did, that they are beasts one doesn’t dare get close to. Peyton cozies up to her human subject matter, while Warhol coolly stares it down, for he knows that it is just another matter of social fact, and he knows its secret vulnerability.
a change is gonna come
via lisa
20 abandoned cities world wide
via zoller
best grass roots container project to date by kathy tafel via justins materialicious
rip yma sumac ( apparently not amy camus from long island after all )
If you liked WFMU's RNC Remix in 2004, you're going to love what we've got in store for Election Day. While our normal Tuesday programming airs online and over the airwaves, we'll be running a separate webstream to appease our most politically-obsessed listeners. WFMU's Electile Dysfunction '08 features political music, comedy, commentary, and audio art. And when the first polls close at 6pm, we'll bring you live election returns coverage hosted by Chris T., Billy Jam, Clay Pigeon, and Evan "Funk" Davies. The full schedule is after the jump.
kapt kopter