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corten bbq

justin found this one
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Donald V "Duck" Dunn (born November 24, 1941) is an American bass guitarist, record producer, and songwriter. Dunn is notable for the "feel" and groove of his 1960s recordings with Booker T. & the M.G.'s and as a session bassist for Stax Records, which specialized in Blues and Gospel-infused southern soul and Memphis soul music styles. Dunn also performed on recordings with Muddy Waters, Freddie King, Jerry Lee Lewis, Eric Clapton, Tom Petty, Wilson Pickett, Guy Sebastian, Rod Stewart, & Roy Buchanan and many, many, many more.
michael shellly at wfmu devoted a whole show to the music of and interview w/ DD. archived here. next saturday he will interview howard kaylan of the turtles (and flo and eddie).


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barns foundation mystery plans for new home


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431px

i was wondering if there had been any comparison of philip johnsons glass house to snow whites glass coffin. there were none that i could find, but that led me to a miesian reference from an exchange of letters between hugo harring and heinrich lauterbach discussing the farnsworth house.


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cold war modern designer dieter rams


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ferris bueller house


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fresh air - Chris Anderson, editor in chief of Wired magazine, talks about his new book Free: The Future of a Radical Price. Anderson theorizes that businesses can profit by giving it all away on the internet.

nyt book review
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So Honda attacked with niceness. Honda’s larger Dream and Benly bikes couldn’t compete against the British alternatives, but the Super Cub (called the Honda 50 in America in deference to Piper Aircraft’s trademarks), faced little competition.

With its step-through design and molded plastic body panels, the Honda 50 looked too toylike to attract the socially maladjusted. Its quiet 49 cc (that’s three cubic inches) four-stroke engine claimed a modest output of 4.5-horsepower.

It was a product for which Honda could recruit dealers; by 1961 there were 500 across the country selling the $249 bike. And Honda backed them with a clever ad campaign built around the slogan “You meet the nicest people on a Honda.” Suddenly motorcycling was a hip and happy thing to do instead of a menacing ride along society’s margins.

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iwakeupsampling



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JB Lenoir (the JB doesn't stand for anything, the last name pronounced len-Or), was born in Monticello, Mississippi, March 5, 1929.


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last night on the waterfront was on tcm (again). it reminded me of this brilliant village voice report from 2006 which included the true story of tommy hanley.

"That's how it always was," said Tommy Hanley, 66, who started working on the docks when he was 17, three years after he portrayed Marlon Brando's young pal in the memorable rooftop pigeon-coop scenes of On the Waterfront.

"You say something," said Hanley, "and someone in the back of the room says, 'Sit down. You're doing all right. You're working, ain'tcha?' "

Last spring, Hanley, who for years lost out on hours and promotions because he refused to pay off the mob's henchmen, was elected a shop steward at Global Terminal, the local's largest employer, replacing a long line of mob-selected enforcers.

"It was the first legit elections I seen in my 49 years on the piers," said Hanley.

The unlikely revolution at Local 1588 began three years ago when U.S. District Court Judge John Martin was presented with evidence of massive corruption at the union and agreed to appoint a federal administrator to run the 450-member local's affairs. The judge's orders were to do whatever was necessary to rid the local of mob influence and set it on a path to self-rule.

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The Oxford English Dictionary tells us that the word "ghost" appeared as early as 900 AD as gast. A gast is a spirit, or as the OED tells us, a "principle of life." "Agast" or "Aghast" thus signals a reaction upon seeing a "gast" -- white knuckles, quickened heartbeats, uncontrollable sweating become evidence that someone has taken fright at an apparition ... that someone has seen a ghost.

For his book Spectral Evidence (2005), critic Ulrich Baer explains how photography facilitates such a reaction. He notes how "In the photograph, time itself seems to have been carved up and ferried, unscathed, into the viewer's present". A photograph therefore does much more than provide evidence of something that happened a long time ago. A photograph is a record, yet it is also a form of transport, a conveyance that interrupts and forces the spectral traces of a forgotten past into a familiar present.

Architectural discourse has made similar use of photography. A photograph of a building in a book or magazine guarantees architecture's afterlife. A picture ensures that a tabled project, bombed-out residence, or failed city plan will live past its own death. A photograph also becomes the primary means for transmission of an idea for a building. A case in point would be the various photographs of Mies van der Rohe's Farnsworth House appearing in various publications in the 1950s -- these images would be an important point of reference for the Smithson's Hunstanton School (1949-1954). But consider a more controversial example -- Philip Johnson's Glass House in New Canaan, Connecticut (1949) . Though Johnson was no doubt familiar with the photographs of the Farnsworth House in publications, he famously quipped that his house, with its abstracted frame and dominating central hearth was inspired by the ruins he saw in 1939, as a correspondent following Wehrmacht troops as they crossed into Poland. The Glass House then operates in a similar fashion as a photograph -- the building's imageability not only records a Miesian precedent, but also suggests the idea of something that happened before. But this is only to reaffirm that photography's promises are twofold: in addition to a guarantee of an eternal life of sorts for architecture, by preserving its forms and volumes for future consumption, photographs also help disseminate a rich visual record to be adopted by generations of future designers.

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contenedor cultural - platoon kunsthalle, container art center


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post katrina construction in lakeview la


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open letter to dwell mag

(ha ha) via things mag
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With a recent traveling exhibition and catalog by the Vitra Design Museum, George Nelson (1908–1986) and his talented team are finally getting their historic due. Trained as an architect at Yale, Nelson was not only an important industrial designer but an incisive writer, editor, and lecturer. He wrote about all aspects of design: architecture, interiors, products. Nelson even came up with the idea for the modern pedestrian mall, and in 1960, at the height of the Cold War, he created a segment for the CBS program Camera Three called “A Prob­lem of Design: How to Kill People,” a satire on war.

After World War II, the focus of contemporary design shifted to New York, and the Nelson office was at the center of it, producing a series of classics: the Coconut chair, the Marshmallow sofa, the Ball clock, the Bubble lamps, and the Action Office systems. The firm spearheaded the American National Exhi­bition in Moscow, where several hundred American-made products were shown on a vast, three-dimensional jungle-gym display; it became the backdrop for the famous “kitchen debate” between then Vice President Richard Nixon and Nikita Khrushchev.

The office was straight out of Mad Men, with men in crisp white shirts and ties, and the few women in black dresses—cigarette smoke everywhere, classical music in the background, and Nelson, ever the impresario, standing in the middle of the tumult with a camera dangling from his shoulders. The graphic designer Don Ervin, who worked at the firm for eight years, describes the atmosphere as open and free. “Everybody worked hard and late,” Ervin says. “We were all underpaid, but it was like going to a special camp.” Michael Graves, Peter Marino, and Ettore Sottsass all spent time in the office. Other designers—George Tscherny, Tomoko Miho, Lucia DeRespinis, Irving Harper, Ron Beckman, and John Svezia—are less well known but equally talented, and they worked on practically everything: exhibitions, interiors, graphics, architecture, and industrial design. We asked them to share their recollections of their time with Nelson and the process that created some of design’s most iconic pieces.

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lamont mansion 107 e 70th st best house best block


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nyc bottle digger


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capuchino the killer bull


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rip stonemaster john bachar


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the maine float rope co


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For the Stahl children -- Bruce, Sharon and Mark -- who grew up roller skating on the concrete floors of [Pierre Koenig's] Case Study House No. 22, the glass-and-steel pavilion perched in the Hollywood Hills has always been more than a landmark. It has been more than the house in Julius Shulman's famed 1960 photo of two pretty girls suspended in time, floating above the twinkling lights of the city -- arguably the most iconic image of midcentury L.A.

For the children of C.H. "Buck" Stahl and his wife, Carlotta, the house was and always will be "just home."

As the Stahl house celebrates its 50th birthday and opens for public tours this weekend, perhaps what's most remarkable is how little people know about the property, despite its fame. The house has appeared in more than 1,200 newspaper and magazine articles, journals and books, not to mention a slew of films, TV shows and commercials.

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Albert Ayler - Nuits De La Fondation Maeght 1970


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lake/flato agua casa (texas vernacular lake house)


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