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american tar and rope

via justin. thanks!
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teri towe bach thursday am on wprb


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red fuck-me pumps wont get you through the white house door


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locked and loaded fall fashion

filson since 1897


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lost nyc

via zoller
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hey joe wiki


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the brain a studio


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rip rudy ray moore dolemite


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rip bill melendez peanuts animation director


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seven reasons to prefer stone


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barn house modern


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jjn


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your reading all of this, right? the senders, nico...


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float cabin

you think they ever "shoot the rapids" with that thing?
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hey! its jersey city.


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harold bakers tool and machine catalogs and lists


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myron cohen live hbo '76


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overspray

via reference library


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oliver goldsmith sunglasses


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picking flowers one may night in starkville mississippi 1965


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jerry digs martha

afc on it
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'You couldn't build a city like New York in good taste,' Rudy Burckhardt—photographer, filmmaker, painter—observed in 1994 of the hometown he'd adopted some six decades earlier. That was, in large measure, what he liked about it. Of the countless bohemians who've fallen in love with New York, Burckhardt's feeling for the metropolis that inspired his greatest work is marked by lightness—passion masquerading as a passing fancy.

His constant, understated presence amid the New York School writers and painters made him something of a "subterranean monument," according to the poet John Ashbery. Along with his companion and later lifelong friend, the poet and dance critic Edwin Denby, he belonged to perhaps the last generation for whom it was still possible to live comfortably as artists-not-particularly-concerned-with-their-careers in Manhattan. The city has lost something with their passing. Just how much may be glimpsed in this show of a unique, handmade album that the two men put together in 1939, consisting of Burckhardt's photographs of New York accompanied by sonnets that Denby wrote in response to them.

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The architectural historian Charles Jencks coined the term eye-con in relation to this proliferation of architecture pumped up to bursting by hype – a sub-species of the hype that first inflated, and then destroyed or maimed several of the world's most iconic financial institutions. Icons are images or likenesses that represent something. Most of today's so-called architectural icons represent only the iconic intentions of their designers, or commissioners. These buildings are iconic, but not actually icons in any potent sense. It doesn't fully exist, or engage. This complexity is not merely an academic luxury; nor is it confined to the Richter-Hampstead-Shires scale of "good value" conversational grist among the chattering classes. Architecture, from Hawksmoor to FAT (Fashion Architecture Taste, an architecture practice), exists in an age where Googlism has replaced Fordism as the paradigm of infinite growth and consumption.

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sunday devotional

The Million Dollar Quartet Sessions / about the sessions


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