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Mattress-to-mattress living turns private live into public theatre, and Jasmine, after settlin in, began hovering in corners and doorways to observe her neighbors. She was particularl interested in a middle-aged couple, Caroly Tompkins and Gus Davis, who, despite long residency in New Orleans East, had what others in the shelter called “country-ass ways. After a lifetime with a volatile mother, Jasmin is skittish; Carolyn and Gus mesmerized her with their placidity. He is illiterate, with failing eyesight, and had worked as an oysterman before Katrina and its accompanying oil spills Carolyn has a mellow laugh and, in Jasmine’ estimation, a woeful fashion sense: she wore faded house dress, pink flip-flops, and a blac polyester do-rag every day. The couple’s great interest was their sons, aged one and almost three, whom Carolyn rocked for hours in donated chair to which someone had affixed stickers that said “Wassup?
trailer group
Q: Can anyone tell me the name of the 60s or 70s post-rock group that recorded "Japanese Sandman?" This track of their recording contained the spoken message, "Sherman, set the Wayback Machine for l957 and..."
A: 'Im afraid I've found several music groups that have a song of that title. The main one being a Swing Jazz guy named Freddy Gardner and an individual named Djargo Rhinehardt. However these musicians are all in Jazz of some kind.
Although I wonder if you mean the group The Masked Marauders who did a song called I am the Japanese Sandman.
"Sherman set the Wayback Machine" is of course a reference to Mr. Peabody and his pet human Sherman from The Rocky and Bullwinkle show. (You never know, some people may miss the reference)
nola photo link farm
thanks mark
wtc in the noose
something of a shanty town quality to the port authority's plan for a shopping area at the foot of the freedom tower. no architect credited. is it me or is this cruddy looking and not appearing to belong to any master plan.
The Delta Blues’ deepest roots lay in the music of Africa. The music made its way to North America through the culture of the 15 to 20 million slaves brought during the 300 years of the slave trade. The majority of the slaves entering the Mississippi Delta were from West African tribes: Bantu, Yoruba, Ewe, and Akan. The music of these people is different, but do have recurring themes in all of them. The music is participative in call and response, drenched in oral history and tradition, and rhythmic pitch-tone fluctuations. While the vocal theme and methodology is primarily West African, the majority of the instrumentation has its beginnings in the savanna and Sahel zones of the Western Sudan. The main instrument of the West African coastal tribes was the drum, but the use of drums was outlawed during the early days of North American slavery, so the adaptation of savanna-derived string instruments came into prominence. The instruments were easily adaptable to English and Scot folk music, since all three relied on stringed instruments. These instruments were mainly two-string bowed and plucked lutes, griots, bania/halam, beta, and earth bow. Melodic lines are plucked by finger with these, in varying speeds and tone, to simulate the accompanying story being sung or chanted. The instruments crafted from local wood, and the string made from the gut of animals. This allowed for the relatively easy translation of instrumentation into early slave life. String instruments, at least of a certain type, were easy to make from local materials.
The tone and timbre of African music also reflects a great influence on the early blues. These aspects of the music centered on the playing style and accompaniment articles. Flattened notes and fluctuated tone, played to an upward drive in accordance with the drum rhythms, sound strikingly similar to pentatonic and heptatonic scales.
wildwood nj - appearing in a preservation magazines story. recently saw a good documentary on 13 titled "wildwood days." wildwood benefited from proximity to philly doo wop and then dick clarks bandstand rock and roll scene. in the summers it all moved to the shore with little beach-side rock palaces where major acts of the day performed a couple of hits in big review fashion. now they are knocking down the googie motels that remain.
heres a golden nugget / from this wildwood thread at lotta livin'
Few people in Congress are openly threatening to block money for reconstruction. More typical are sotto voce mumblings about whether federal money will be squandered through incompetence or graft by Louisiana officials. And some lawmakers have openly wondered whether each neighborhood in New Orleans needs to be rebuilt and protected with expensive floodwalls.
He is not romantic about human nature, however. When he talks about progress, he is careful to separate technological advance from, say, "ethics", which he says, smiling wryly, show no signs of improving. He was not surprised by the riots in the suburbs of Paris and he relates them to a misconception politicians have about the function of cities and their peripheries, which he believes have been vilely neglected by the planning authorities.renzo piano
After Paris, what can be done to improve the suburbs? This, he says, is the key question. "The big topic of today, and of the next 20 years, will be peripheries. How you can transform peripheries into a town. What is happening today in Paris is happening everywhere. It is mad, mad, and the insensitivity of people and politicians . . . They create ghettos. In Paris it is particularly bad. Now people are starting to understand that the real challenge of the next 30 years is to turn peripheries into cities. The peripheries are the cities that will be. Or not. Or will never be."
nyc gets its architectural act together
latest batch of emailed digital photos from jim louis in new orleans's 4th ward
(pics)this rumor was floating around the last couple of days but i waited for confirmation. i remember him from the 73-74 era band tuff darts which co-starred bobby (pre robert) gordon. a maxes KC band (which is to say pre cbgbs) that ushered in the neo-rockabilly phenom / any way he played guitar the way i liked to hear it. more proof that R and R isnt over when you turn 30 as some have put forward. he rocked till he died at age 76. rip.
Rock legend Link Wray dead to 76
COPENHAGEN, Denmark (AP) – Guitar player Link Wray, who invented the power chord, the major modus operandi of modern rock guitarists, has died. He was 76.
A native of Dunn, North Carolina, Wray’s style is considered the blueprint for heavy metal and punk music. Wray’s is best known for his 1958 instrumental Rumble, 1959s “Rawhide” and 1963’s “Jack the Ripper.” His music has appeared in movies like “Pulp Fiction,” “Independence Day” and “Desperado.” His style is said to have inspired many other rock musicians, including Pete Townsend of the Who, but also David Bowie, Bob Dylan, Steve Van Zandt and Bruce Springsteen have been quoted as saying that Wray and Rumble inspired them to become musicians. “He is the king; if it hadn’t been for Link Wray and ‘Rumble,’ I would have never picked up a guitar,” Townsend wrote on one of Wray’s albums. Neil Young once said: “If I could go back in time and see any band, it would be Link Wray and the Raymen.” The date of Wray’s death was not known. He lived in Copenhagen. Wray is survived by his wife and son.
from here
and you know record brother is on this with mp3s (including an oh so sweet "begin the beguine" sounding very much like a funeral march)
These came from an estate in Virginia where the man was a former police accident and crime scene photographer in the 1950s. He did not use a large fancy press camera; this was a rural area which did not have the benefit of the best equipment. The smaller pictures (3 1/2 x 3 1/2) appear to have been taken by a Brownie-type camera, The larger ones were taken by an early Polaroid. There are 32 in all, which show a variety of wrecks. There is body in a road and another of a person under a tree being covered up next to damaged cars. Several photos show policemen. There is nothing written on the backs. Photo quality is still sharp and clear. Interstesting, historical look at auto hazards in the pre-seat belt days.
nyc gridlock allert days:
-Friday, Nov. 18
-Wednesday, Nov. 23
-Thursday, Nov. 30
-Friday, Dec. 9
-Thursday, Dec. 15
-Friday, Dec. 16
-Wednesday, Dec. 21
-Thursday, Dec. 22
-Friday, Dec. 23
dylanisms
What we want is to put the rest of the world on the same level of masquerade and parody that we are on, to put the rest of the world into simulation, so all the world becomes total artifice and then we are all-powerful. It's a game. --jb
terry southern
first houses ave a and third street
This field has been the subject of intensive research and discussion over the last few years. Developmental psychologists now investigate the various ways in which children acquire their skills by copying their parents and peers, and the same issue arises in connection with the widely disputed subject of culture amongst primates and other animals. For instance, how, if at all, do chimps acquire their manual skills? But then, for that matter, how do human fashions spread? Is there really such a thing as a meme? What's involved in copying someone? What do we mean by impersonation? What is mimicry exactly? How do children acquire the accent of their region? How do parrots do so? How does culture determine what we decide to copy? How does social influence work and why is it that certain behaviors such as the high five spreads through one part of the community while leaving others unaffected? How does fashion work and what determines its influence and spread? What's the difference between imitation and emulation? How do living organisms acquire their protective invisibility by reproducing the visible appearance of their environment? What's the difference between concealment and disguise? And then of course there's the question of computers and robots. Can robots copy human behavior and to what extent are computers copies of ourselves?from here
this is me not going there / from here
Maybe it’s time to buy Larry Silverstein out of his lease, Bloomberg mused to the editorial board of the New York Daily News. Ten million square feet of high-end office space may ultimately provide the highest rent for World Trade Center developer Silverstein, but it will require government subsidies and a potentially long wait because there’s neither enough insurance money nor a strong enough commercial office market to build it all now. Instead, why not get going faster and with fewer subsidies and a different mix of office, residential, retail and public space. “I think it’s time to see what the marketplace really wants and perhaps we can better accommodate that,” Bloomberg innocently remarked.
But Duchamp, if not a chess grandmaster, was certainly far beyond average in his passion for the game and its theories. He was obsessed with chess problems and, in 1932, actually co-wrote a book on the game about obscure and unlikely endgame situations called "Opposition and Sister Squares Are Reconciled." And Duchamp got together with another chess-loving refugee from Europe, Max Ernst. Ernst, it seems, did not have the same kind of fascination with chess theory as Duchamp. He saw the game in more mythic terms: the clash of armies, the authority of royal figures, the weird metamorphosis of symbolic beings - part bird, part human, part fish - in other words, as a field in which the hybrid forms of his own painting and sculpture could also be displayed.
A head of its time" can be more than a figure of speech. The phrase is literally true of a house designed by the architect, painter and sculptor Tony Smith in 1951. The house - which is located in a former granite quarry overlooking Long Island Sound in Guilford, Conn., and which was designed for Fred Olsen, an art collector, and his wife, Florence - is not futuristic. It displays none of the sci-fi fixations that 20th-century designers used to thrust into public consciousness when called upon to visualize 21st-century life. But the Olsen House waited nearly 50 years to acquire two owners perceptive enough to appreciate Smith's original concept and an architect sensitive enough to resurrect it from decades of aesthetic disregard. Spared at the last minute from the wrecking ball, the house has re-emerged as a model dwelling for life in the year 2005.from nyt fall design magazine