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In 1972 Lenny Kaye compiled the Nuggets compilation for Elecktra Records, it was subtitled "Artifacts from the first psychedelic era", but the music was soon dubbed punk rock, probably by Greg Shaw, although Dave Marsh seems to think it's important for the world to know that he coined the term. Actually the first use of "punk" in music writing was by Nick Tosches who described Ed Sanders of the Fugs as having a "punk muse". No matter, the sound of these one-hit, teenage American bands was soon changed from punk rock to garage rock to distinguish it from the safety pin through the face variety of 70's punk. What I find so interesting is Lenny Kaye's vision in excavating the past. The music was only six years old (using 1966 as the banner year for American garage), yet Kaye understood it's importance at a time when most rock writers were busy analysing Bob Dylan's lyrics (or digging through his trash), or heralding the coming revolution, which was to be led by the Jefferson Airplane or Abbie Hoffman or whom ever. Only two of the above tracks made it onto Nuggets (Talk Talk was short listed but was unavailable due to legal problems, the Barbarians were represented by the song Moulty, not their best record, but surely a first class "artifact"). The Preachers track appeared on the first Pebbles album (Greg Shaw's bootleg continuation of the Nuggets concept). There was something in the air, for that same year, Mark Shipper released the first Sonics re-issue Explosive (Buckshot), sold through an ad in Who Put The Bomp fanzine. This was followed by the aforementioned Pebbles series which kicked off in 1976 and opened a floodgate. Soon every collector of garage 45's had their own compilation album on the market. My favorites: Hipsville 29 B.C., three volumes (Kramden), What A Way To Die (Satan), Open Up Yer Door (Frog Death) Off The Wall, two volumes, (Wreckord Wracked) The Chosen Few, two volumes (A-Go Go) and of course Back From The Grave nine volumes (Crypt), which was legally done unlike the others which were bootlegs. All of these can be downloaded from various blogs, try looking via Chewbone or Captain's Crawl (new URL). Soon their would be similar comps by every style, region, and/or label configuration possible, sometimes it seems like there were more comps than their were original 45's. The Droogs issued their first 45-- He's Waitin' b/w Light Bulb Blues (Plug'n'Socket), the first "new" group to revive the sound of '66. By the mid-70's more bands appeared like the Fleshtones, DMZ and the Chesterfield Kings to play much in the style of these (not very) old records. This caused much confusion as to what "punk" was or should be. I bring this up because the world seemed so much bigger and more mysterious back then, when everything hadn't been re-issued. The fans themselves were able to grasp control of the music for the first time ever. It really did change history.
meljac toggle light switch
via archiexpo
actually i found this product thumbing through an '88 copy of conrans house book although no mfgr name was offered.
Anthropologists were the first to recognize that taxonomy might be more than the science officially founded by Carl Linnaeus, the Swedish botanist, in the 1700s. Studying how nonscientists order and name life, creating what are called folk taxonomies, anthropologists began to realize that when people across the globe were creating ordered groups and giving names to what lived around them, they followed highly stereotyped patterns, appearing unconsciously to follow a set of unwritten rules. Not that conformity to rules was at first obvious to anthropologists who were instead understandably dazzled by the variety in folk taxonomies. The Ilongots, for example, a people of the Philippines, name gorgeous wild orchids after human body parts. There bloom the thighs, there fingernails, yonder elbows and thumbs. The Rofaifo people of New Guinea, excellent natural historians, classify the cassowary, a giant bird complete with requisite feathers and beak, as a mammal. In fact, there seemed, at first glance, to be little room even for agreement among people, let alone a set of universally followed rules. More recently, however, deep underlying similarities have begun to become apparent.
More than 40 years ago, a group of young Manhattan architects with a shared interest in the aesthetics of old-fashioned Modernism began getting together to talk about their work, their lives and the state of the field. And in the decades that followed, even as their styles grew apart — and as they became celebrities in and beyond the world of architecture — they continued talking.
But now the group, long known as the New York Five, is shrinking: After losing its first member, John Hejduk, in 2000, a second, Charles Gwathmey, died last week.
Following the news of Mr. Gwathmey’s death, at 71, friends and colleagues from within and outside the group spoke about his weekend houses on the East End of Long Island — especially one he designed for his parents, completed in 1966 — and his additions to public buildings, like the Guggenheim Museum by Frank Lloyd Wright and the Art & Architecture Building at Yale, by Paul Rudolph.
But they also remembered his beginnings as one of the New York Five, or the Whites, as the group was also known because of its proclivity for white buildings inspired by the purist forms of Le Corbusier. Along with Mr. Gwathmey and Mr. Hejduk, the group included Michael Graves, Peter Eisenman and Richard Meier.