Schwarz
View current page
...more recent posts
downtown jc stinks
great places in america
golden era of country music photos. any bets on the high bid?
fall cider report
Today (october 5th), the apple cider season started. Penn Vermont Farm finished their first pressing of the year around 10:30 am. and by 11 they were hosing down the Cider House. It is before noon and I am having my first glass, not yet ice cold even though it was in the coldest part of the walk-in. It is incredible. I'm sure, the hogs will agree (see bottom photo)from adman
tent encampment
Herbert’s contribution to architectural criticism has not been fully measured. His opinions were often hyperbolic; his prose outrageous; the path of his thinking inimitably complex. Unforgettable samplers would have to include his comparing Frank Gehry’s Guggenheim Museum in Bilbao to the “reincarnation of Marilyn Monroe,” and calling Zaha Hadid’s Center for Contemporary Art in Cincinnati “the most important American building to be completed since the end of the cold war.” Famously, he wrote positively in September 2002 that Daniel Libeskind’s tower proposal for Ground Zero “attains a perfect balance between aggression and desire,” only to switch allegiances five months later. As a newly converted partisan of the proposal by the team THINK, he wrote, “Daniel Libeskind's project for the World Trade Center site is a startlingly aggressive tour de force, a war memorial to a looming conflict that has scarcely begun.” A close reading—and no one more deserves a closer re-reading than Herbert—reveals that he has not really contradicted himself here but refined his opinion. To many, his views were inflammatory, even dangerous to architecture. “Whoopee,” he might have said. Has anyone else stirred up so much heated passion about cold bricks?
$1.5M marfa tx missile base
The Missile Base Infrastructure The Missile Base consists of 57 acres of real estate. The center secured portion of the property is protected by the original barbed-wire-topped chainlink fence. There is a paved road leading into the property with dual entry gates. Above ground is the original 40 X 100 shop building, two concrete targeting structures, two manufactured homes, two 8 X 8 X 40 storage containers, and the silo tops of the three missile silos, two antenna silos, one entry portal and a few other misc structures. Below ground is a huge complex consisting of 16 buildings and thousands of feet of connecting tunnels.via vz
tuxedo park ballroom
Architects and artists use drawing in the design process as a tool to express ideas. Drawing Architecture, an exhibition of more than 50 drawings from the L.J. Cella collection, is currently on display at the Albright-Knox Art Gallery. The exhibition features the drawings of contemporary architects and artists, from Frank Gehry to Modernist master Richard Neutra. The drawings range from scattered thoughts across a page ripped from a sketchbook to highly detailed architectural renderings. Each drawing is a look at different techniques in expression. The exhibition explores the process of design, rather than the final building form.
checkered past
Jonathan Quinn
Jon was the first real artist i met after moving to nyc's east village in 1983. he was a graduate of sva and tight with some of the group material art crowd and the fleshtones music scene. (new fleshtones book just out!!!) he put me in my first nyc art show. a one nighter group show he was putting together at club 57. jon was a conceptual painter then. he used painted pictures of the sea/sky as a symbol of dialectics. he soon moved into photography and film. we just spoke over the phone after a long hiatus. hes currently working on a masters in film history (i think thats what he said). pls look through his current photographic artworks "water." they are a great continuation of his painted work from the 80's and his film writing is quite good too. i brought him up to date with some of our mutual friends he hasnt seen in a while. he says hi.
free jazz ~ punk rock / lester bangs
I'll be the first to admit that I know next to nothing about music technically, but the way I always looked at it, it made perfect sense that you could take one guy playing two moronic chords over and over again, let one other guy whoop and swoop all around him in Ornettish free flight, and if the two players were blessed with that magic extra element of conviction and the kind of inspiration that produces immense energy if nothing else, then hell, they could only complement each other. Because, to get just a little cosmic about it (any free jazz critic has a right to at least once in each article), the two principles of metronomic or even stumblethud repetition and its ostensible converse of endless flight through measureless nebulae should by the very laws of nature meet right in the middle like yin-yang, etc.
All of this, of course, relates intimately to the search for new forms and absolutely open-ended freedom of expression that all the arts were undergoing in the dear, dead Sixties. I can recall my own shivers of delight when, in early 1965, I first heard the Yardbirds and the Who unleash their celebrated deluges of searing feedback. It struck me immediately that this was one element which perhaps more than any other gave the rock renaissance of the day a full-fledged shot at matching the experimental forays that jazz had been experiencing since the turn of the decade
model No. 300 lionel hell gate bridge in box
richard lloyd q and a
michigan in pictures
via justin's materialicous
Comes in black steel and measures 41” high, 34” wide, and 21” deep. Available with a short table that has a small shelf under the door or with a long table that has a bench, so you can sit comfortably close to the fire. Choose either a left or right side loading door and top or back vent. The Shaker is made in Germany and designed by Antonio Citterio with Toan Nguyen. It is the winner of the prestigious reddot design award and the Chicago Museum of Architecture and Design Good Design award for 2006.
The New York Percussion Ensemble - Bach For Percussion (mp3s)
MP3:
1. Fugue in G Minor-The Great (4:13)
2. Toccata in F Major (5:57)
3. Fugue in C Major (3:43)
Discovering this album in a thrift-store was one of the most startling experiences of my record-hunting life. Hearing good ol' Johann Sebastian performed on the likes of snare drums, woodblocks and tom-toms had me completely bewildered. The New York Percussion Ensemble didn't cheat by using melodic percussion instruments like xylophones or marimbas - the list of instruments on the back include, apart from the ones I just mentioned, tambourines, cymbals, maracas, castanets, bongos, claves, triangle, cowbell, tympani, boobams, and sleigh bells.
The sound lies closer to traditional African music then to classical. To quote a Time magazine review: "The result has the effect of an X-ray photograph of a flower — barely recognizable, eerie and oddly fascinating." We make available three of the album's four cuts - the first track, a version of "Toccata and Fugue in D Minor," had a nasty gouge in it, but don't worry, it wasn't as good as the other three tracks.
This was no joke. Arranger John Klein's credits on the back cover are extensive - an early classical training, numerous classical and pop credits, and authorship of a "monumental two-volume work entitled 'The First Four Centuries of Music.'" I have no idea what this means, though: "Mr. Klein has composed music for no less then 137 dramas for the United States Treasury Department NBC Transcription Series..."
Passages from Finnegans Wake - Side One (27:13)
Passages from Finnegans Wake - Side Two (25:08)
You See Me Laughin' : Last of the Hill Country Bluesmen
In this day and age of media overload, it's astonishing that the wilds of America can still conceal vital, outstanding music that remains unrecorded and largely unheard. But Matthew Johnson, a skinny white boy from Mississippi, found a heap in his own backyard. In the early '90s, turned on to blues by a University of Mississippi class taught by rock critic and historian Robert Palmer, Johnson was inspired to seek out nearby elderly blues guitarists. Though he flunked the class, the young future label mogul went on to meet and record R.L. Burnside (a former cohort of Mississippi Fred McDowell), Junior Kimbrough (a local juke-joint owner, superb guitar player, and father of 28 children), Cedell Davis (a crippled but resolute guitarist), and T-Model Ford (an illiterate former convict who picked up his first guitar at age 58).
The airwaves in the United States are supposedly owned by the American people, and licensed out to broadcasters for use, but in practice, that's not the way it works at all. In practice, the airwaves are owned by Clear Channel, and they work hand-in-hand with the big four record labels to limit our choice of music. It's a great scam they've got going, and it's been a very profitable system for all of them for a very long time.
For the rest of us, though, this system sucks. For guys like me who can't stand top 40 music, who can't stand the utter crap they play on KROQ these days, and who want some fucking variety in their music, we're screwed . . .
. . .with the notable exception of Internet radio, where we have choices as diverse as Radio Paradise, WFMU, Groove Salad, and Indie Pop Rocks.
johns new table (after nakashima)
Boxer’s trip, her second in many years, was especially important, Nelson said, because the national park had been recently taken off a United Nations environmental “danger” list, something that concerned Florida’s senior senator.
Nelson plans to hold a congressional hearing today to find out why the Everglades was taken off the list when he says the health of the park has been deteriorating for years. The national park had been on the U.N.’s World Heritage Committee list since 1993, after Hurricane Andrew caused immense water pollution and other damage.
Simply, Nelson blames the Bush administration, which has been “unrelenting in its efforts to downplay the importance of the Everglades,” he said. Most recently, the White House has threatened to veto the Water Resources Development Act, a bill that is six years overdue and contains approximately $2 billion in Everglades funding.
clearview
On America’s earliest highways, road signs were hand-painted on wood. When interstate highways became standardized, so did the typeface. But in all sorts of conditions it still looks fuzzy. Graphic designer Don Meeker helped bring highway signage back into focus.
roadside architecture
via lisa