Schwarz
View current page
...more recent posts
Music and Language in Working-Class Culture
LOS ANGELES (Oct. 15) - Burt Reynolds and Willie Nelson are in final negotiations to join Johnny Knoxville, Seann William Scott and Jessica Simpson in the big-screen version of "The Dukes of Hazzard."
Reynolds, most recently in theaters with the hit comedy "Without a Paddle," would play the evil Boss Hogg, a role played in the original 1979-1985 CBS show by the late Sorrell Booke.
Nelson would play Uncle Jesse, stepping in the shoes of the late Denver Pyle. Knoxville and Scott will play his good ol' boy nephews, Luke and Bo Duke, respectively, with Simpson on board as their sexy cousin, Daisy Duke.
Jay Chandrasekhar is directing the Warner Bros. project.
Reynolds' upcoming film include "The Longest Yard," "Cloud Nine" and "Instant Karma." Nelson, better known as a country music legend, has appeared in such films as "Wag the Dog" and "Red-Headed Stranger."
Reuters/Hollywood Reporter
gone to schwarz/segui family reunion in st augustine
"Mr. Kahn, 69, has been a steadfast chronicler of offbeat owner-built shelter: straw and mud houses, solar-powered houses, geodesic domes beloved by hippies (of whom Mr. Kahn was one) and made from chopped-up cars pounded into submission and bent into triangles."
this is the reverse image of an imperfect celluloid negative with 4 hours to go and no bids yet. it looks like an american gothic redux to me. is that splotch too distracting ? i guess it colud be photo shopped out.
The Japanese architect Shigeru Ban and the New York-based architect Dean Maltz have designed the Nomadic Museum, a movable exhibition space with steel cargo containers for walls and columns made of recycled paper tubes. The traveling museum will be transported in its own containers and will arrive at Pier 54 in Manhattan early next year, with a show of 200 large black-and-white photographs by the Canadian-born artist Gregory Colbert called "Ashes and Snow'' (March 5 through June 6; information: ashesandsnow.org) >scarey flash warning!!!<. RAUL A. BARRENECHE for the NYT - see home section currents slide show.
via guest star selma
Nowottney Report
Hi friends of Marianne,
In celebration of her return to the performing stage this year AND
her upcoming 22nd birthday, we have put together a cdr/ep project of
one of her best and most unique performances.
This 19 minute, 3 song set was recorded at the Knitting Factory, NYC
when Marianne opened for Genesis P-Orridge on October 22, 1999. A
still green sixteen-year old, Marianne is performing with Steven
Parrino (Electrophilia) on bass guitar, Scott Jarvis, (Workdogs, John
Spencer Blues Explosion) on percussion and Mark Dagley (The Girls,
Pothole Skinny) on guitar and violin. This is a BLUESJAZZROCKNOISE
set. It seems Marianne had channeled both Sun Ra and Iron Butterfly
that evening. So clearly it's 100% RECOMMENDED by us folks at Abaton
Book Company. It is available now!
The release is only $5.00 and it includes shipping anywhere!
We have set up a paypal link below. Just scroll down to the last item
on that page and click on the paypal button:
http://www.abatonbookcompany.us/AbatonMusic.html
We'll have photographs available soon of last night's Tonic
performance.
We are also working on transferring Marianne's concert footage from
1998-2003 from DV onto DVD-R's. We'll keep you posted!
Regards,
abaton book company jersey city
"The story of the original Smile is a fascinating catastrophe. It's best detailed in Domenic Priore's book Look! Listen! Vibrate! Smile!, a collection of magazine articles, interviews, sheet music and other primary documents from the period when Smile originally almost came to fruition. The essence of it is that in mid-1966, Wilson was at the top of the American pop world. His group the Beach Boys (who were, at that point, under his creative control) had been making increasingly beautiful, complicated records, built around exquisite harmonies and Wilson's inventive way with tone color; the Beach Boys' album Pet Sounds had set them up as the band to beat, and they'd followed it with the song "Good Vibrations," which had raised expectations for Wilson's work even higher. (Contemporary readers may need to work a bit to imagine "Good Vibrations" as a revolutionary piece of music rather than as an orange soda commercial, but that's what it was.)"
the yiddish book center
woman with trailer
If the reigning monarch of Iraq hadn't been assassinated in July 1958, the Frank Lloyd Wright-designed Grady Gammage Memorial Auditorium wouldn't exist in its current form.
The auditorium is the site of tonight's presidential debate between President George W. Bush and Sen. John Kerry.
photos 1, 2
Lamp House
For over 100 years, Frank Lloyd Wright has cast his shadow across Madison. With the passage of time, the Wisconsin-grown architectural genius can finally be considered for the lasting aesthetic legacy he left the city, uncomplicated by the sometimes uneasy personal relations he had with a city he could have called home.
Buffalo knocks down their fukin' FLW Larkin Bldg
LMDC announces
"In the early '50s Britain remained in a state of economic austerity that made the consumerist world appear exotic to British Pop artists. For the Americans, on the other hand, the commercial landscape was almost second nature, to be treated with a show of cool. Common to both groups, however, was the sense that consumerism had changed not only the look of things but the nature of appearance as such, and all Pop found its principal subject there: in the heightened visuality of semblance, in the charged iconicity of people and products (of people as products and vice versa) that a mass media of corporate images had produced. (1) The consumerist superficiality of signs and seriality of objects also had to affect architecture and urbanism as well as painting and sculpture. Accordingly, in Theory and Design in the First Machine Age (1960), Banham imagined a "Pop architecture as a radical updating of modern design under the changed conditions of a "Second Machine Age" in which "imageability" became the primary criterion. (2) Twelve years later, in Learning from Las Vegas (1972), Venturi and Scott Brown advocated a Pop architecture that would return this imageability to the built environment from which it arose. However, for the Venturis this imageability was more commercial than technological, and it was advanced not to update modern design but to displace it; here, then, Pop began to be recouped in terms of the postmodern. (3) The classic age of Pop can thus be framed by these two moments: between the retooling of modern architecture urged by Banham on the one hand and the founding of postmodern architecture prepared by the Venturis on the other."
-- hal foster / oct '04 artforum
warped space
"Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality."
world police
toh carlisle project
how you say, Loews ?
ericofon telephones collected repaired and sold
bob dylan chronicles vol. 1