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"The "Bass Suit" was invented by Dan(Hartman). The guitar was a Charvell Pressision neck copy w/half moon head stock and custom made star shaped tuning keys. The suit was made by Bill Whitten. He designed clothes for the whole band as well as Diana Ross, Cher, Bette Middler and many others."
-Edgar Winter
refugewear
Darrell Satzman
Issue: June 30, 2003
IT'S amazing what hanging around in the right crowd can do for you.
Until about six months ago, Tonny Sorensen was struggling with his three-year-old Von Dutch clothing line. Then all of a sudden Von Dutch caps, T-shirts and jeans began showing up on style mavens like Britney Spears, Lil' Kim, Fred Durst, Rachel Hunter and others. A streaker at the U.S. Open golf tournament in May had a Von Dutch sweatshirt tied around her waist.
There is now a franchised Von Dutch store in Beverly Hills, with others planned for New York, Las Vegas and in Europe. Meanwhile, boutiques from Paris to Providence, R.I. are now carrying the brand.
"From minus $3 million last year it's probably going to be a $20 million company this year," said Sorensen, a native of Copenhagen and a former Tae Kwon Do world champion. "I'm overwhelmed."
So why would a Dane name start a company called Von Dutch? The company is named after legendary Southern California artist and grease monkey Von Dutch (aka Kenny Howard), who attracted a devoted following between the 1950s and 1970s pinstriping and customizing vintage cars and motorcycles.
Sorensen, who was souping up his 1965 Cadillac DeVille in a Melrose garage, purchased the trademark for the Von Dutch name from the garage owner, who had licensed it from the artist's daughters.
Von Dutch now offers everything from trucker style caps ($35) to custom-made jeans (up to $1,500).
"It started in L.A. and now it's definitely moved to other cities," said Tommy Reid, manager of Montana Avenue boutique Patrick Reid, and brother of actress Tara Reid, an early Von Dutch devotee. "It's a very trendy line because of the celebrities."
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Manufactured Housing : A Double Wide Analysis
For those attempting to trace the evolution of the txt dialect:
In 1962, abbreviations such as "tx" (thanks), "txt" (text) "pls" (please) and other highly common abbreviations that we all know and love from our mobiles were being used by my mother, working as a Telex operator.
(For those who [dare I suppose it?] don't know, Telex operated via the telephone lines, and was similar to a telegram but business-to-business. Punchcard-era technology, although it had similarities to modern IRC and other chats.)
I think we can safely say that ten to fifteen years is a slightly conservative estimate for the evolution of this particular dialect.
(And as for the comments about grammarians espousing 'correct' or 'proper' usage - I don't want to start an involved debate here, because it's been done to death elsewhere, but most modern, practising grammarians will tell you that, for you, 'correct' or 'proper' English is the English you speak. "Yours Faithfully, Disgusted of Tunbridge Wells" is not a grammarian, he is merely a pedant, although the two are easily confused.)
-HW
Justin Space Obscene Interiors : hardcore amateur decore
shipping container architecture
Gordon Matta-Clark
documentations
at the gugg
GLAMANAFESTO
GLAM appropriates from the oppressor.
(1) GLAM is constructed of ideas, objects, and styles which come from pop culture. (2) Being GLAM is possible because individuals have the power to choose multiple styles and personae for themselves from the repertoire of stereotypes our culture has created. (3) We are all unable to divest ourselves completely of these preconstructed identities. (4) Instead of swallowing them whole, we can use the power of individual choice to construct as many selves as will be useful to us in our sojourn through the media saturated world. Rather than allowing the Pop Culture machine to define us by defining these possibilities, we can seize signifiers from the aformentioned Machine and use them as powerfully charged elements in the construction of the selves we show to the world."
Theory Trading Cards
The next ENTERprise Architecture 03 / 09 -12
Architecture and Theosophy Architronic the electronic journal of architecture
ARK - 4 - 2003
don west wax packs
Nasher's Piano big D
knocking off the knockoffs
jeash another Annie Leibovitz Vanity Fair cover/ see David Bowie's Top 100 picks from his vinyl collection / new Diane Arbus discoveries, the colapse of PHILLIPS auction house and a killer piece titled Judging Andy . "As the value of Andy Warhol's work skyrocketed, the Warhol authentication board got increasingly powerful. And its apparently arbitrary decisions are infurating dealers and collectors, whose documented Warhols - some certified by the estate, others signed by the artist - have received a fatal "Not by Andy" verdict. Michael Shnayerson reports on the controversy."
The Fusion Thing Landscape + Architecture
by GAVIN KEENEY for CounterPunch
"Outside of this cyclic, accidental, and discontinuous emergence of sublimated aspects of architecture's implicit ground, a third order of symbolization and abstraction is to be found that represents a preliminary and provisional synthesis of subject/object relations -- i.e., most often a figurative symbiosis built into form and described as gestural or sublime fusion of 'form' and 'content' in sculpture and the hybridized field of land art, most especially, where discursive orders are stripped away and an elemental, generative, and formal essence presses forward. In the case of art, and its near-automatic assumption of conceptual autonomy, the works of Noguchi and Smithson, plus the avalanche of land art-inspired landscape architecture after the 1960s, re-present the archaic and liminal nature of almost-first nature (perhaps 'fourth nature') through hyper-sensual manipulations of form and a presentiment, if not an acclamation, of pre-linguistic forms and seminal structural operations versus aspects of full-blown discourse (full-fledged signifiers). Here, timeliness is reduced to an iconic presence tipping inexorably toward absence (timelessness). These liminal measures most often take the form of excavations or insertions (interventions) that at the least pretend to re-write the codes of occupying or mapping presence. This type of deep-sea diving comes in many forms and is not limited to the delineation of art-in-the-landscape, or art-as-landscape. The concise, inward-driven nature of such expression is primarily poetic and is found in all of the arts. This archaistic jouissance deliberately invokes the ontological ground as a place 'before' -- pre-existent to -- the emergence of the Imaginary (the phantasmatic world of doubled and/or tripled un-realities). These figures play in the dust of the Self, seemingly before the emergence of the Ego (and Super Ego). Such fictive gestures also act as analogs for the extreme interiority of works of art and architecture prior to their deployment as cultural signs and tropes (figures of speech and thought). In the process of stripping away the detritus of signifying chains (modes of expression and discourse), such maneuvers circle the same ground repeatedly. The eventual collapse of the operative figures of near-speech simply occurs as the work vanishes into the annals of art or architectural history. The dissolution of many of Heizer's and Smithson's remote works matters hardly at all given that they were putative gestures at/within 'wilderness' but overt acts of defiance aimed at the production of art and the art world."
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