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Chip Taylor attended Archbishop Stepinac High School in White Plains, New York. After an unsuccessful attempt to become a professional golfer, Taylor entered the music business. He wrote and composed pop and rock songs, both alone and with other songwriters including Al Gorgoni (as the duo Just Us), Billy Vera, Ted Daryll, and Jerry Ragovoy.

Taylor's best known songs are "Wild Thing", which was originally recorded in 1965 by Jordan Christopher & The Wild Ones but became best known as a 1966 hit single for The Troggs (and a 1967 live performance by Jimi Hendrix), and "Angel of the Morning", a hit first for Merrilee Rush in 1968, and then becoming an even bigger hit in 1981 for country-pop singer Juice Newton (whose single sold more than a million copies in the United States). Other Taylor compositions that made entries onto the pop and country charts include "He Sits at Your Table" (Willie Nelson), "I Can't Let Go", "The Baby" (The Hollies), "Worry" (Johnny Tillotson), "Make Me Belong to You", "I Can Make It With You" (The Pozo Seco Singers, Jackie DeShannon), "Any Way That You Want Me" (The Troggs, Evie Sands, Juice Newton), "Step Out of Your Mind", "Country Girl City Man", "I'll Hold Out My Hand", "Try (Just a Little Bit Harder)" (Janis Joplin) and "Lonely Is As Lonely Does" (The Fleetwoods). Country hits written and composed by Taylor include "Sweet Dream Woman" (Waylon Jennings), "A Little Bit Later On Down the Line" (Bobby Bare) and "Son of a Rotten Gambler" (Emmylou Harris, the Hollies, Anne Murray).
interviewed and featured on michael shelly wfmu


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hunt and tony sales on rundgren radio


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Four years after Katrina, the rebuilding of New Orleans is not proceeding the way anyone envisioned, nor with the expected cast of characters. (If I may emphasize: Brad Pitt is the city’s most innovative and ambitious housing developer.) But it’s hard to say what people were expecting, given the magnitude of the disaster and the hopes raised in the weeks immediately following. Seventeen days after the storm, President George W. Bush stood in Jackson Square and promised: “We will stay as long as it takes to help citizens rebuild their communities and their lives.” The terms we, as long as it takes, and help turned out to be fairly elastic. The Federal Emergency Management Agency shuttered its long-term recovery office about six months later, after a squabble with the city over who would pay for the planning process. Since then, depending on whom you talk to, government at all levels has been passive and slow-moving at best, or belligerent and actively harmful at worst. Mayor Ray Nagin occasionally surfaces to advertise a big new scheme (a jazz park, a theater district), about which no one ever hears again. A new 20-year master plan and comprehensive zoning ordinance was being ironed out early this summer, but it remains subject to city-council approval. A post-Katrina master plan has been under discussion since before the floodwaters were pumped out.

In the absence of strong central leadership, the rebuilding has atomized into a series of independent neighborhood projects. And this has turned New Orleans—moist, hot, with a fecund substrate that seems to allow almost anything to propagate—into something of a petri dish for ideas about housing and urban life. An assortment of foundations, church groups, academics, corporate titans, Hollywood celebrities, young people with big ideas, and architects on a mission have been working independently to rebuild the city’s neighborhoods, all wholly unconcerned about the missing master plan. It’s at once exhilarating and frightening to behold.
via jim louis
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indigo


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burenawning

The paintings exhibited here in the gallery represent the first works in which Buren started using a pre-printed fabric to express his vision. Up until this point, the artist had been painting colored shapes, specifically stripes, on various fabrics and colored bed sheets. In September of 1965, while in a Parisian market, Buren found different kinds of commonly used pre-printed striped fabrics, including one with alternating white and colored stripes. Buren realized this was the perfect medium in which to create his work, reducing his paintings to their simplest visual and physical elements and ridding them of allusion or subjectivity. Each stripe has a standard width of 8.7cm and was limited to the colors green, yellow, blue, red, orange, brown, and black interspersed with equidistant white bands. Given these standardized limitations, Buren varied the size and proportion of the canvases. He would then apply white painted lines or scalloped patterning at the edges of these canvases to differentiate his work from a readymade. The artist was able to break down the paintings to the very basic components of the work – a partly painted surface, a support and its surroundings.

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