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celery stalks at midnight


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“If you don’t read music and you can’t identify the music in the strips, then you lose out on some of the meaning,” said William Meredith, the director of the Ira F. Brilliant Center for Beethoven Studies at San Jose State University, who has studied hundreds of Beethoven-themed “Peanuts” strips.

When Schroeder pounded on his piano, his eyes clenched in a trance, the notes floating above his head were no random ink spots dropped into the key of G. Schulz carefully chose each snatch of music he drew and transcribed the notes from the score. More than an illustration, the music was a soundtrack to the strip, introducing the characters’ state of emotion, prompting one of them to ask a question or punctuating an interaction.

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my dad was on the uss bunker hill when it was hit

thx adman
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i paid $1.49 a gallon for regular 97 oct gas today in jc nj


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grey water guerrillas

thx vz
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cadillac one

thx jz
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Ranch homes” - their history and distinguishing characteristics

thx justin!
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DLRoth bites

thx vz
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The Belle Isle Park Aquarium in Detroit circa 1905.


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"Last month, Front Studio architects gave a talk at the University of Pennsylvania Department of City & Regional Planning. There they outlined "Farmadelphia," their now widely known proposal for the transformation of Philadelphia, in which that city's vacant and abandoned lots are turned into a thriving agricultural zone - complete with crops grown for local consumption and soil remediation, and with an eye toward future tourism, including surreal petting zoos, hay rides, and even corn mazes."

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toolmonger


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internet pinball database


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tile stoves


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What lies beyond the failed utopias of the modernist welfare state and the free market? Gail Pickering's recent film/performance, despite its strictly internal focus on life inside a Brutalist housing estate, opens up scope for speculation.

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strange maps


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atomic toys


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sheet musings


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cartype car cut-aways


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There's a 1936 play by W.H. Auden and Christopher Isherwood called The Ascent of F6: A Tragedy In Two Acts. It relates the sorry tale of one Michael Ransom, a mountaineer attempting to beat a team of rival climbers to the summit of a mountain in the Himalayas, a formidable hunk of rock. After various ill-advised shortcuts motivated by competitiveness, Ransom reaches the peak only to discover his mother sitting there waiting for him.

Auden and Isherwood's play has become a metaphor for the two-act tragedy of popular music in our time. Pitting themselves obsessively and competitively against the musicians of the past, today's rock mountaineers attempt to scale the same peaks, only to find Father Iggy or Mother Janis sitting there at the top in a rocking chair, rocking out. Regular readers of Click Opera know that I call this phenomenon "epigone pop" or "retro necro", and it's the subject of my latest column for Spanish music magazine Playground. Since it appears there in Spanish, I'm publishing it here in English, as usual.

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harris armstrongs stuebner residence in memoriam


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agence eureka

warning: extremely graphic material
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2thewalls

loud paper

junk jet net


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trucknutz the goat

via brian turner
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Though still little-known in the U.S., Solal is one of the greatest European musicians alive today. His life at the piano ranges from lessons with his opera-singer mother in Algiers to post-war collaborations with Django Reinhardt and Sidney Bechet in Paris, to a wide variety of film work.

Solal's music is as complex as his life. Born to Algerian Jewish parents, he moved to France in 1950 when he was 23. He began playing in the underground jazz dives around St.-Germain-des-Pres, and before long, he was recording with the great jazz guitarist Django Reinhardt and ex-pat American saxophonist Don Byas. Fame came to Solal for the music he composed for Jean-Luc Godard's 1960 breakthrough film, Breathless (A Bout de Souffle).

In a new memoir, Solal describes his experiences in the American black jazz world, in the film industry and as a classical composer. His manner betrays an almost childlike sense of curiosity and playfulness. That comes from his lifelong fascination with freedom and structure, says Claude Carriere, a jazz historian and longtime programmer at Radio France.

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