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a m geller's grandson jake gorst's email to curbed regarding pearlroth house:
We've managed to raise enough money to move the house, but the Town of Southampton now requires that we put $25,000 in a passbook savings account so they can access it in the unlikely event that we abandon the restoration project before February 2007. Essentially they want us to pay to have it torn down if we "give up" - which is not in our vocabulary.
too clever by half
From 28 June 1965 to 31 March 1967 many American teenagers rushed home from school to watch Where the Action Is, a weekday ABC-TV program produced by Dick Clark Productions. The show aired at 3:30 p.m. central time and began with Freddy Cannon's song "Action": "Oh, baby, come on, let me take you where the action is/ . . . It's so neat to meet your baby where the action is."I was 11 when it started and 13 when it ended. i saw sonny and cher often. paul revere + raiders were regulars. it was a great summer and run home after school show though for sure. it laid the ground work in garage band appreciation. psych was still just around the time corner but that would only come from the radio. that was the end of reality youth culture on tv for a while (not counting the monkeys.) next would come don kirshner's rock concert. but that was what seamed to be much later. i was loosing interest in american band stand as soul train took on more relevance late 60's early 70's.
psychotic reaction the count five
New York Review of Books reviewed
Santiago Calatrava: Clay and Paint, Ceramics and Watercolors
an exhibition at the Queen Sofía Spanish Institute, New York,October 19–November 26, 2005
Santiago Calatrava: The Complete Works
by Alexander Tzonis
Rizzoli, 432 pp., $75.00
Santiago Calatrava: The Bridges
by Alexander Tzonis and Rebeca Caso Donadei
Universe, 272 pp., $29.95
Santiago Calatrava: Milwaukee Art Museum, Quadracci Pavilion
by Cheryl Kent
Rizzoli, 128 pp., $35.00
Santiago Calatrava: The Athens Olympics
by Alexander Tzonis and Rebeca Caso Donadei
Rizzoli, 176 pp., $50.00
"Draw a picture of a house," the big sister instructed the younger one, and the little girl's sketch was remarkably accurate. Her drawing was not the predictable A-frame with requisite chimney and smoke, but a squat, domed structure with striped siding. It was Alaska in the 1960s, and the girl was drawing her idea of the typical family home: a Quonset hut. This story, along with oral histories, essays, artifacts, and photographs, has been collected in Quonset: Metal Living for a Modern Age. In addition to the book, the NEH-supported project includes a Web site and an exhibition now on display at the Anchorage Museum of History and Art.
During the housing crunch of the late 1940s, thousands of people across the nation converted these surplus military huts into unconventional homes, churches, and restaurants. Today, the Quonset has largely vanished from most of the American landscape--and most people's memory.
photo murals
i really dont care for this container guy kalkin
wwl the big 870
"between 3 and 7 in the afternoon (PST) and click on Listen Live. (They'll make you fill out a form, but it's nothing and worth it.) It's a call in-show hosted by a pair of chicory-steeped who-dats named Deke Bellavia and "Pal" Al Nassar. For four hours a day, they buck up a devastated city, giving practical advice -- "Sha, you best make sure all your circuit breakers is thrown when they come round to turn on your power" -- listen to people going bugshit about bureaucracy -- "I told that FEMA lady, 'Hon, I got a contractor fixin' to take OFF my new roof if you don't get the check over here soon'" -- and give the latest news about the city and state governments tripping all over each other."via v zars
They're passionate and local in a really fucked-up locale.
---for example: a call from a honeysuckle-toned woman the hosts called Miss Margaret. She'd obviously lost everything, but was full of sweet southern optimism. Seems her earlier calls to the show had caught the attention of Life (or, as she called it, Life's) Magazine and they've done a story on her that's coming out soon. She was thrilled and convinced that "help is on the way" for the people who live on her street. "I know it's true because you keep getting calls from people who say, 'I'm coming to New Orleans next month and I'm going to go to Constance Street to see Miss Margaret. And now it's going to get bigger." (I guess word's gotten out on the internet stream.)
Deke: Miss Margaret, I'm going to be in the city all day tomorrow and I want to find you and have a rich coffee with you.
Margaret: Love to, Brother Deke, but you know I don't have my kitchen
back. I'm going to have to make it for you instantly.
Deke: I'll take it however you got it, dawlin'.
CVI painting stretchers
Philip Johnson is gone, but not forgotten. A slick sales campaign by real estate marketing firm The Sunshine Group tells us that the Urban Glass House, a vestige of the final projects designed by the late, renowned architect, is rising as we speak in a fast-changing urban industrial outpost at the western edge of SoHo and just north of Tribeca.
The neat marketing package belies a convoluted backstory: First, this isn’t the building Johnson intended as his last legacy (in fact, it is more of a tribute design than one of his own.) Second, the man who dreamed up the project and hired Johnson’s firm-restaurateur-turned-developer Nino Vendome, who after 9/11 turned his nearby restaurant into a home-away-from-home for thousands of rescue and recovery workers at Ground Zero-has all but vanished from the project as well.
endless boogie
Get down and greeezy with NYC's kings of choogle, together since 1997 but just getting around to releasing studio stuff this year. Their live shows have been sporadic for the fact that they only play gigs when specifically asked to, though recently they've frequently whipped local audiences into a frenzy with their heavy jams supporting assorted Dungen shows. Live, the guitarists trade off invocations of Tony McPhee, Peter Green, Zoot Horn Rollo, Lobby Lloyd, and Ron Asheton, and if you don't know who some of those guys are, don't worry too much about it. Endless Boogie are here to deliver rock salvation. Lineup: Grease Control (Drums), Memories From Reno (Bass), Top Dollar (Vocal, Guitar), the Governor (Guitar). Upcoming live gigs: December 17th at Kyber Pass in Philly (with Boogie Witch), December 18th in Baltimore at Talking Head Club (with Mighty Flashlight and Arboretum). Current LPs Volume 1 and Volume 2 on the Mound Duel label, try www.fusetronsound.com. Today's live selections: Executive Focus/Aztec Boogie/Way Uptown/Boogie #23/Rattleshake/New Green Bo/Rollin' and Tumblin'. Thanks to the band and OCDJ, watch out for future stuff on No Quarter label. 1:03:14 - 2:45:28 (Real | MP3)described by brian as one part can and one part canned heat - thats a 1:42:14 long (rockin good) show!
warh-blog
eyebeam re-blog by emma
bottle-cap inn
via zoller
Building Category 5 protection, however, is proving to be an astronomically expensive and technically complex proposition. It would involve far more than just higher levees: there would have to be extensive changes to the city's system of drainage canals and pumps, environmental restoration on a vast scale to replenish buffering wetlands and barrier islands, and even sea gates far out of town near the Gulf of Mexico.
The cost estimates are still fuzzy, but the work would easily cost more than $32 billion, state officials say, and could take decades to complete.
waveland mississippi digital phgotographs from jim louis in new orleans
ahrem!
The Internet Archive has worked with tapers, tape traders, funders, admins, and over 1000 bands to build a great non-commercial music library that is freely accessible. Technically and policy-wise, it has been invigorating as you can probably appreciate. We have made changes in the past and we will make changes again.
Following the policies of the Grateful Dead and the Dead communities we have provided non-commercial access to thousands of great concerts. Based on discussions with many involved, the Internet Archive has been asked to change how the Grateful Dead concert recordings are being distributed on the Archive site for the time being. The full collection will remain safe in the Archive for preservation purposes.
Here is the plan:
Audience recordings are available in streaming format (m3u).
Soundboard recordings are not available.
Additionally, the Grateful Dead recordings will be separated from the Live Music Archive into its own collection. The metadata and reviews for all shows and recordings will remain available.
We appreciate that this change will be a surprise and upset many of you, but please channel reactions in ways that you genuinely think will be productive. If we keep the bigger picture in mind that there are many experiments going on right now, and experiments working well, we can build on the momentum that tape trading started decades ago.
Working together we can keep non-commercial sharing part of our world.
Thank you for helping find balances that work for all involved.
-brewster
Digital Librarian and Founder
-Matt Vernon
Volunteer GD Archivist
happy palace
Here's an MP3 of the sounds made by Iceberg B-09A in Antarctica. It was recorded by scientists from Germany's Alfred Wegener institute for polar and marine research, as they recorded seismic signals to measure earthquakes and tectonic movements on the Ekstroem ice shelf on Antarctica's South Atlantic coast.
From the Wegener Institute press release:
Tracking the signal, the scientists found a 50 by 20 kilometer iceberg that had collided with an underwater peninsula and was slowly scraping around it.
"Once the iceberg stuck fast on the seabed it was like a rock in a river," said scientist Vera Schlindwein. "The water pushes through its crevasses and tunnels at high pressure and the iceberg starts singing.
The iceberg sounds were originally recorded at 0.5 hertz, far below the range of human hearing. The MP3 here is speeded up many times to bring the sounds into the audible range.
bruce babbit "Cities in the Wilderness"
Restoring the Florida Everglades. Dismantling obsolete dams. Returning the wolf to Yellowstone and the condor to the wild. Creating the Grand Staircase-Escalante National Monument. Each was a landmark of environmental progress in the 1990s and each was realized under the guidance of then Secretary of the Interior Bruce Babbitt.
Now he draws on these experiences to develop a surprising message: such episodic conservation victories, however important, will not be sufficient either to protect our disappearing open spaces or to contain the blight of urban sprawl.
In his new book, CITIES IN THE WILDERNESS, Bruce Babbitt makes the case for a new national land use policy. Throughout our history, from George Washington’s day to the present, federal policies have encouraged and subsidized destructive resource exploitation and out-of-control development that threaten the American landscape. The time has come for an enlightened role that the federal government can play, to ensure that the places and creatures we care about will endure for generations to come.
Babbitt will discuss:
• What Las Vegas and New Jersey can teach the rest of America about conservation;
• How to consolidate Federal land to preserve ecosystems and wildlife;
• The tactics necessary to bring competing interests to the bargaining table;
• How we can fix the Missouri River;
• New roles and goals for the U.S. Army Corps of Engineers; and
• How smart land use planning makes for better cities and more open space.
The message is clear: America can be a land of growth and opportunity, but not at the expense of the landscapes we cherish.
From Bruce Babbitt’s incisive analysis comes a vision and a program for how it should be done: a federal leadership role in land use planning, a new way of thinking about open space that retains local control while acknowledging national interests. Cities in the Wilderness celebrates key ac-complishments in the environmental field while planning for greater ones – and Bruce Babbitt is an inspirational guide along that path.
Since 2003, the board has been under fire from owners of rejected works and members of the artist’s circle who claim their knowledge of Warhol’s practice is ignored. The board has routinely denied the authenticity of silkscreens made without Warhol’s direct supervision, but his former associates argue that to reject such works contradicts Warhol’s practice of having works of art printed without his direct oversight. Scholars point out that it was precisely Warhol’s blurring of authorship and his adoption of modes of mass production that mark his significance in the history of art. There is growing consensus in the field that, rather than exclude such works from the catalogue raisonné being compiled by the foundation, they should be included, allowing the market to decide their value.
“It is just bad art history and folly not to draw on the contemporaries who actually knew the artist,” says art critic Richard Dorment of the Daily Telegraph in London, a commentator in a BBC documentary on the controversy, scheduled to air in late January. “They are saying he worked like an Old Master and that his touch was very important,” says Mr Dorment, “but he is a conceptual artist, the main descendant of Duchamp”.
Architects may see a dreamy parallel to Le Corbusier's concrete 1950's apartment-block housing in Marseille, raised up on rows of streamlined columns. Yet Ms. Hadid's design draws as much on the serpentine freeways of Los Angeles and postwar Europe's industrial landscape as it does on such High Modernist precedents. Its imposing, muscular forms celebrate the heroic large-scale urban infrastructure of an earlier era, allowing us to see it with fresh eyes.
while we are at it with the tubes. if you act fast you can still cherry pick Leland Stanford Junior Marching Band covering the tubes's White Punks On Dope off brian turner's playlist for a listen. what puts it over the top and a seriously good listen is the extended fans in the bleechers sing along chant at the end. go ahead and listen, i bet you cant do it just once. 1st times free, cummon just say yes. white punks on dope white punks on dope white punks on dope...