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kind of a drag


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After 24 years at the same Hudson River pier, the legendary aircraft carrier USS Intrepid was inched out of its berth by powerful tugboats on Monday - but it never got under sail because it got stuck in the mud as the tide went down.

The mission was scrubbed for the day at around 10:30 a.m., according to Dan Bender, a Coast Guard spokesman.

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In the fall of 1971, two years after th Stonewall Rebellion, sixteen months after Ken State, and a couple of weeks after the priso riots at Attica, a few hundred bicyclists rod down Fifth Avenue and on to City Hall demonstrating for the institution of dedicate bike lanes and bike racks. They calle themselves Bike for a Better City. One ride held a sign that read, “The internal combustio engine is antiquated, obscene, and responsibl for more deaths thru pollution and mayhe than even that great curse war.” A few taxi-drivers razzed the protesters, and at one poin an infiltrator, concerned that there were greate causes in need of pursuing, joined the cyclists ranks, shouting, “People are being murdere and you protest bicycle lanes!
Since 2000, according to a certain moral calculus, more than a hundred and twenty New York City bicyclists have been murdered—struck dead by automobiles—and another twenty thousand have been injured, by enemy car doors and steel-fortified taxicab fenders. Three were killed in the course of three weeks in June of this year, including one, Dr. Carl Nacht, who was felled by a police tow truck while riding with his wife along the Hudson River Greenway—an officially sanctioned bike path. Since 2004, about six hundred cyclists have been arrested while participating in monthly political-protest rides known as Critical Mass, most notably during the Republican National Convention, when scores were ensnared in nets, and later imprisoned, and their bikes were confiscated as “evidence.”

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chesspiece (excerpt)


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the heartbreakers


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over and over


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tv eye (draw iggy)


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big bamboo


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off grid internal combustion blenders


via zars
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pardon me if i dont


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youtube - a visit to canada:

bj snowden

bob and doug

glen gould

trailer park boys


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This tapestry depicts a woodpecker against an ornate backdrop and was designed by Morris & Co in 1877. With most of the company's output being a collaborative effort involving several artists, the above tapestry is unusual in that it was one of the very few designed by William Morris in its entirety. It shows a woodpecker sitting in the branch of a fruit tree and features Morris's distinctive ornate background of leaves, reminiscent of Mille Fleurs, and his legendary attention to detail.

The idea for the piece was inspired by the legend of Picus, an ancient Italian king turned into a woodpecker by the sorceress Circe because of her jealousy of the king's love for his wife, as recounted by Ovid in Metamorphoses. This version of the tapestry is inscribed with the following verse:

I once a King and chief • Now am the tree-bark’s thief • Ever ‘twixt trunk and leaf • Chasing the prey

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paint bespeckled four by eight foot vertical piece of fiberboard sold for 140 million dollars


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army surplus


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“ ‘Why are your children at home, and you’re in Texas?’ ” she asked. “Well, I’m trying to get home. It’s just crazy. But my kids know my situation. When school started, I had to work a couple of more weeks, because I had that light bill.

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The largest skateboard ramp in the world can be found on a 12-acre farm north of San Diego among the green foothills of the San Marcos Mountains.

Pilots routinely adjust their flight paths for a closer look, which is as good a way as any to sum up the scale of the Mega Ramp. The wooden structure is longer than a football field, as tall as an eight-story building, with a creek bed running through a 70-foot breach.

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never mind the bollards


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happy hell-o-ween (munsters 1st season)

...unless your like me, more of an adams guy


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calendar clock

via zars
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59a

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quintron

baby gramps


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famous fonts

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This song and others by long-dead Tin Pan Alley songwriters are featured on a new compact disc, “Jewface,” which is aimed not at the History Channel crowd, but at a hipper audience. The album, to be released Nov. 14, contains 16 songs salvaged from wax cylinder recordings and scratchy 78s, from a century-old genre that is essentially Jewish minstrelsy. Often known as Jewish dialect music, it was performed in vaudeville houses by singers in hooked putty noses, oversize derbies and tattered overcoats. Highly popular, if controversial, in its day, it has been largely lost to history — perhaps justifiably.

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The trap awaiting anybody attempting to review Ivo Pogorelich's Sunday night piano recital at the George Mason University Center for the Arts is the risk of making the playing sound more interesting than it was.

Nobody can deny that it was, shall we say, an unusual occasion. Pogorelich, his head neatly shaven, performed in a pitch-black hall, illumined only by a spotlight aimed directly at the piano, which made him look like a bleached, hulking silhouette. There was minimal contact with the audience: His bows were perfunctory and it was hard to make out his face amid the glare and shadow. Pogorelich could hardly have drawn more attention to his exaggerated strangeness had he scrawled "I am a cult figure!" across his face in lipstick.

And then there was the playing -- a rendition of Chopin's Sonata in B Minor, Op. 58, that lasted at least twice as long as any I've heard, or even thought I could imagine. Indeed, the second movement was so elongated and pulled out of shape that all sense of melody and propulsion was lost. It was as though we had entered a time warp.

my friend joe went to see pogorelich last night* in nyc with his 8yo kid darcy they had an interesting time and he sent the link.
*IVO POGORELICH (Thursday) This iconoclastic Croatian pianist has struck some listeners as brilliantly original, and others as purely perverse, but in any case, his interpretations of the great 19th-century keyboard works are unlike anyone else’s. He appears here this week with a hefty program that includes sonatas by Chopin (No. 3), Rachmaninoff (No. 2) and Scriabin (No. 4). At 8 p.m., Metropolitan Museum of Art, (212) 570-3949, metmuseum.org; $60. (Kozinn)

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