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2 new songs posted by quintron from his new album too thirsty 4 love


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flip-flops

Thongs were inspired by the traditional woven soled zōri or "Japanese Sandals", (hence "jandals"). Woven Japanese zōri had been used as beach wear in New Zealand in the 1930s [2]. In the post war period in both New Zealand and America, versions were briefly popularized by servicemen returning from occupied Japan. The idea of making sandals from plastics did not occur for another decade. The modern design was purportedly invented in Auckland, New Zealand by Morris Yock in the 50's and patented in 1957. However, this claim has recently been contested by the children of John Cowie. John Cowie was an England-raised businessman who started a plastics manufacturing business in Hong Kong after the war. His children claim that it was Cowie that started manufacturing a plastic version of the sandals in the late 1940s and that Morris Yock was just a New Zealand importer.[4] His children say that their father claimed to have invented the name Jandal from a shortened form of 'Japanese Sandal'. John Cowie and family emigrated to New Zealand in 1959. Despite 'jandal' being commonly used in New Zealand to describe any manufacturer's brand, the word Jandal is actually a trademark since 1957, for a long time owned by the Skellerup company. In countries other than New Zealand, jandals are known by other names. For example, thongs, in Australia, where the first pair were manufactured by Skellerup rival Dunlop in 1960 and became popular there after being worn by the Australian Olympic swimming team at the Melbourne Olympic Games in 1956. In the UK and US they are most commonly known as flip-flops.

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Don Helms, whose piercing, forceful steel guitar helped define the sound of nearly all of Hank Williams’s hits, and who performed and recorded with a long list of other country greats, died Monday in Nashville. He was 81 and lived in Hendersonville, Tenn. The cause was complications of heart surgery and diabetes, said Marty Stuart, a friend and fellow performer. Mr. Helms played on more than 100 Hank Williams songs and on 10 of his 11 No. 1 country hits. He provided the dirgelike, weeping notes in songs like “I Can’t Help It (If I’m Still in Love With You)” and “I’m So Lonesome I Could Cry” and added a catchy, propulsive twang to up-tempo numbers like “Jambalaya (On the Bayou)” and “Hey, Good Lookin.’ ” “After the great tunes and Hank’s mournful voice, the next thing you think about in those songs is the steel guitar,” said Bill Lloyd, the curator of stringed instruments at the Country Music Hall of Fame and Museum. “It is the quintessential honky-tonk steel sound — tuneful, aggressive, full of attitude.”
cold cold heart blues stay away from me bye bye blues
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the slab


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gould


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jaco and toots ~ encore

Pastorius was most identified by his use of two well-worn Fender Jazz Basses from the early 1960s: A 1960 fretted, and a 1962 fretless. The fretless, known by Jaco as the "bass of doom", was originally a fretted bass (at the time Fender did not manufacture fretless Jazz Basses) from which he removed the frets and used wood filler to fill in the grooves where the frets had been, along with the holes created where chunks of the fretboard had been taken out. Jaco then sanded down the fingerboard, and applied several coats of marine epoxy (Petit's Poly-poxy) to prevent the rough Rotosound RS-66 roundwound bass strings he used from eating into the bare wood. Even though he played both the fretted and the fretless basses frequently, he preferred the fretless, because he felt frets were a hindrance, once calling them "speed bumps". However, he said in the instructional video that he never practiced with the fretless because the strings "chew the neck up." Both of his Fender basses were stolen shortly before he entered Bellevue hospital in 1986. In 1993, one of the basses resurfaced in a New York City music shop, with the distinctive letter P written between the two pickups. The store told Bass Player magazine it was brought in by a "student" of Jaco's, and the asking price was $35,000. In early 2008, the bass of doom, last seen with Jaco in Central Park shortly before his death, surfaced in New York City. It is unknown where the bass of doom has been for the last twenty years, but it was examined by several experts as well as bassists Will Lee, Victor Wooten and Victor Bailey, and is almost certainly Jaco's. The bass of doom's appearance has also drastically changed, since he smashed it shortly before his death, and it now has flame maple veneers to hold the shattered pieces together. Jaco also had two Jaydee Basses made for him shortly before he died; a fretted and a fretless.
wiki entry
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defendneworleans blog

via justin (stair porn) anthony
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FLW gas station

via lisa
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Stanley Marcus' Lakewood house, for decades the most glamorous residence in Dallas, may be torn down by the couple that once spurred efforts to preserve it.

The Lovvorn family has made some changes to the Marcus house, including painting the red-brick exterior and altering the entry, since buying it in 1994. From left are Janie, Tricia, Justin, Ben, Parris, Patty and Mark Lovvorn. The announcement by Dallas banker Mark Lovvorn, who bought the house from Mr. Marcus in 1994, brought a mixture of shock, surprise and anger from preservationists statewide.

But Mr. Lovvorn, chairman of Providence Bank of Texas, said restoring the house is economically impractical. He said he and his wife, Patty, intend to build a new house for their family on the 3-acre site. The Dallas Central Appraisal District has appraised the house and land at $1.8 million.

"Our family has always loved this house and appreciated the history of this house," he said. "That said, there are things we would like to do that you can't do with a house this size and this age."

Mr. Lovvorn sent a letter late last month to the Texas Historical Commission, notifying the agency that he intended to demolish the house, triggering a 60-day waiting period. The commission has since exercised its option to extend that period an extra 30 days and has asked to meet with the Lovvorns. Mr. Lovvorn said he would welcome the opportunity to discuss alternatives.

Beyond imposing a waiting period, the commission has no power to stop the demolition.

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Jack A. Weil, a garter salesman, breezed into Denver in 1928 in a new Chrysler Roadster to start a new life. He exceeded his hopes and became a king of cowboy couture — almost certainly the first to put snaps on Western shirts (17 on a shirt), and most likely the first to produce bolo ties commercially. His Rockmount Ranch Wear Mfg. Company has sold millions of shirts, including at least one shipment to Antarctica, since it started in 1946. Clark Gable wore one in “The Misfits” with Marilyn Monroe, and Heath Ledger’s shirt in “Brokeback Mountain” — plaid fabric, diamond snaps and saw-tooth pockets — was Style No. 69-39.

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A major figure in the modernist international style design movement, Eileen Gray (1878–1976) has only recently been given proper historical recognition for her revolutionary furniture and architecture. In this fascinating documentary profile, filmmaker Jörg Bundschuh tells how Gray abandoned the privilege of an aristocratic Irish-Scottish family to live a bohemian life in France, where she took lovers of both sexes, enjoyed fast cars, designed sleek tables and chairs and helped create one of the most famous houses of the 20th century.

Thursday August 14 at 9PM

Friday August 15 at 12:30PM

Friday August 22 at 6AM

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edgar oliver in an irish commercial as genie

via vz
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A giant inflatable dog turd by American artist Paul McCarthy blew away from an exhibition in the garden of a Swiss museum, bringing down a power line and breaking a greenhouse window before it landed again, the museum said Monday.
via vz
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house on the rocks


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When Color Was New,” a smart, compact show at the Julie Saul gallery, puts things in perspective. Its focus is work from the nineteen-seventies, when Jan Groover, Joel Sternfeld, Mitch Epstein, Joel Meyerowitz, and others were challenging the notion that color was vulgar and commercial. Pictures by Paul Outerbridge and Harry Callahan set historic precedents, while others, from the eighties, by Nan Goldin and Boyd Webb, suggest color’s subsequent and unstoppable surge to dominance. But the seventies were the turning point. If one photograph sums up the breakthrough, it’s William Eggleston’s worm’s-eye view of a rusty tricycle on a Memphis street—the icon of his 1976 MOMA show, which cracked the black-and-white photography establishment. But Eggleston’s trike has a context, and between Stephen Shore’s frozen dinner, Martin Parr’s fast-food counter, and Helen Levitt’s vivid gaggle of runway-ready street urchins, this show provides it.

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wire mesh fence panels
raked stair panel
infill panels
welded wire mesh / woven wire mesh framed and unframed
wire infill panel


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rent


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hang m high vintage western wear


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WFMU Radio Greats Weekend starts tonight and runs all weekend, August 8-10! Tune in as legendary WFMU DJs from years past drop by to help celebrate 50 years on the air. Special guests include Danny Fields, Wildgirl, Meredith, David Newgarden, Nicholas Hill, William Berger, Neal Adams, Mark Allen, Douglas Wolk, Stork, Vin Scelsa, Steinski, Hova & Belinda, R. Stevie Moore, Mark Allen, John Schnall, Bart Plantenga plus surprise guests and rare airchecks. More info below.

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This year, the prestigious car show on the Monterey Peninsula of California ventures beyond the usual collection of Duesenbergs and Rolls-Royces to celebrate the futuristic concepts and design studies of the General Motors traveling showcase known as Motorama.

In its heyday during the 1950s, Motorama delivered the automaker’s message of postwar optimism to millions of curious spectators. On display will be the 1938 Buick Y-Job that begat the dream-car era; 17 Motorama showpieces from the 1950s; a 1959 Corvette racecar that forecast the ’63 Sting Ray; and one of the custom-crafted trucks that hauled Motorama exhibits around the country.

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IQ light

no american distributer but avbl on ebay starting at 14.99 / via lisa
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oxblood and other homemade paints


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foam dome

thx dave
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NEO-CONCRETE MANIFESTO, FERREIRA GULLAR 1959


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Lygia Clark and Hélio Oiticica:
A Legacy of Interactivity and Participation
for a Telematic Future



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Hélio Oiticica (193-1980) was one of the most innovative Brazilian artists of the twentieth century and is now recognised as a highly significant figure in the development of contemporary art. His influence has continued to spread since his premature death in 1980 at the age of forty-two.



Oiticica produced an outstanding body of work, which had its origins in the legacy of European Modernism as it developed in Brazil in the 1950s. His unique and radical investigations led him to develop his artistic production in ever more inventive directions. He challenged the traditional boundaries of art, and its relationship with life, and undermined the separation of the art-object from the viewer, whom he turned into an active participant.



This is the first major museum exhibition to focus exclusively on Oiticica's lifelong preoccupation with colour. It explores colour as a vital focus of his work from the outset of his career, tracing the conceptual and technical processes that led to his liberation of colour from the two-dimensional realm of painting out into space: to be walked around and through, looked into, manipulated, inhabited and experienced.

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