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know your fm stations

via am fm tv reception guide and directory
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"the yellow pages are here. the yellow pages are here!"

dallas yellow pages artist karl hoefle. later norman baxter took over


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"There are no definitive histories," writes Elijah Wald, in this provocative reassessment of American popular music, "because the past keeps looking different as the present changes." Earlier musical styles sound different to us today because we hear them through the musical filter of other styles that came after them, all the way through funk and hiphop. As its blasphemous title suggests, How the Beatles Destroyed Rock 'n' Roll rejects the conventional pieties of mainstream jazz and rock history. Rather than concentrating on those traditionally favored styles, the book traces the evolution of popular music through developing tastes, trends and technologies--including the role of records, radio, jukeboxes and television --to give a fuller, more balanced account of the broad variety of music that captivated listeners over the course of the twentieth century. Wald revisits original sources--recordings, period articles, memoirs, and interviews--to highlight how music was actually heard and experienced over the years. And in a refreshing departure from more typical histories, he focuses on the world of working musicians and ordinary listeners rather than stars and specialists. He looks for example at the evolution of jazz as dance music, and rock 'n' roll through the eyes of the screaming, twisting teenage girls who made up the bulk of its early audience. Duke Ellington, Benny Goodman, Frank Sinatra, Elvis Presley, Chuck Berry, and the Beatles are all here, but Wald also discusses less familiar names like Paul Whiteman, Guy Lombardo, Mitch Miller, Jo Stafford, Frankie Avalon, and the Shirelles, who in some cases were far more popular than those bright stars we all know today, and who more accurately represent the mainstream of their times. Written with verve and style, How the Beatles Destroyed Rock 'n' Roll shakes up our staid notions of music history and helps us hear American popular music with new ears.

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I’ve not been to what was the Colonia Marina XXVIII Ottobre at Cattolica since it was an abandoned cluster of some of the most intriguing, and bizarre, of all the many “colonie”, or summer camps, buildings commissioned by Mussolini’s government. Here were expressionist concrete buildings in the guise of stylised ships and locomotives for Italian youth to spend fascist summers by the sea. The design, dating from 1932, was by Clemente Busiri-Vici [1887-1965], and today’s shark pool, I discover from Suarez and Roia, architects of “Le Navi” was indeed once the canteen.

This reminded me of a trip I made some years ago to Calambrone to see the empty shell of the Colonia Maria Rosa Maltoni Mussolini designed, from 1925, by Angiolo Mazzoni [1894-1979], an architect who had married the daughter of Galeazzo Ciano, Mussolini’s Minister of Communications. The buildings were special, and haunting. But, should they be condemned physically as well as morally because of their fascist past?

In truth, the reason surviving Italian fascist “colonie” are largely abandoned has less to do with their political provenance and more to do with the fact that they are often set in remote locations, and finding new uses for them has not been easy.

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My aunt and uncle lived in this Frank Lloyd Wright house. The ceilings went from 6' to 20'. My uncle was 6'7". The house had no shower so they had to put a shower in the entry to the carport. Frank Lloyd Wright said "...anyone over six feet tall is a weed." My uncle called Frank Lloyd Wright "...an unwashed midget." That said, it was a beautiful house with lots of built-in furniture, delightful views, and a leaky roof. The city of Madison, Wisconsin finally built the Frank Lloyd Wright inspired Monona Terrace in 1997, but it is by no means a pure FLW design.

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ADA LOUISE HUXTABLE for WSJ

New York

The Guggenheim Museum has chosen to honor the 50th anniversary of its (you should pardon the word) iconic building by Frank Lloyd Wright with a monumental exhibition that pays tribute to the architect’s life work and fills the spiral ramp from top to bottom, or bottom to top, depending on how you choose to see it. Curiously, the only meaningful gesture the installation makes to its dramatic setting is the view of the gorgeous curtain Wright designed for the Hillside Theater at Taliesin in 1952, glowing colorfully across the spiral, and the presentation of the Guggenheim Museum itself as the climax of the show. The display neither challenges nor exploits the building’s unique spatial possibilities. It would fit just as well into any set of conventional galleries.

This is not from any lack of thoughtful consideration of the material and its presentation. But what “Frank Lloyd Wright: From Within Outward,” a collaborative effort of the Solomon R. Guggenheim Foundation and the Frank Lloyd Wright Foundation, really pays tribute to is the completeness, depth and beauty of the Frank Lloyd Wright archives—assiduously collected, protected and now meticulously maintained at Taliesin West, Wright’s home and studio in the Arizona desert—and, not least, to the long-term, dedicated stewardship of Bruce Brooks Pfeiffer, director of the archives.

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Paradise does not exactly come to mind when strolling past the neat rows of unornamented concrete apartments that make up La Cité des États-Unis, or City of the United States — one of France’s first modernist social housing complexes, in Lyon’s unpretentious Eighth Arrondissement.

A few graffiti tags mark the six-story walls. Couscous and kebab restaurants are sleepy in the midafternoon lull. Groups of young men hang out on the sidewalk and flirt with women, as elderly French couples and young immigrant families go about their business.

But the 1,410-unit housing complex was considered a utopian model when it was built, largely in the 1920s and early ’30s, offering such enlightened amenities as private bathrooms, running water and garbage collection. Now, three-quarters of a century later, it is the first stop on a new tour — called Utopies Réalisées, or Achieved Utopias — of efforts by modern architecture to devise ideal places to live.

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The winning submission in a competition to re-develop the Point Square as a new civic and public space for Dublin city was announced today.

LiD Architecture’s concept for the public space was chosen by the Royal Institute of Architects in Ireland (RIAI) on behalf of the competition promoters, Point Village Limited. The central idea of LiD Architecture’s winning submission is to use shipping containers as cheap and basic building blocks that can be configured creatively to suit whatever event is being housed in the docklands space, which is known as ‘The Parlour’.

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archie campbell / hee haw

One of Campbell's 'signature' routines was to tell stories in "Spoonerism" form, with the first letters of words in some phrases intentionally switched for comic effect. The best-known of these stories was "RinderCella," his re-telling of the fairy tale "Cinderella," about the girl who "slopped her dripper" (dropped her slipper). Campbell once told the "RinderCella" story on an episode of the game show Juvenile Jury. At the conclusion of the story, host Jack Barry said "That's one of the funniest stories Carchie Ampbell tells." All of Campbell's spoonerism routines borrowed heavily from comedy routines performed by Colonel Stoopnagle on the radio show Stoopnagle and Budd in the 1930s.

Campbell also performed a routine with various partners generally known as "That's Bad/That's Good." Campbell would state a troublesome occurrence; when the partner would sympathize by saying, "Oh that's bad," Campbell would quickly counter, "No, that's good!", and then state a good result from the previous occurrence. When the partner would say, "Oh that's good!", Campbell would immediately counter with "No, that's bad!" and tell the new result . . . and so on.
pee little tiggs.


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z boys official unofficial website


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oak hills (portland or) double gable rummer built home

justin found this one.
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sonambient


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Pier 57: Chelsea's New Underwater Adventure Unveiled! (adaptive reuse of shipping containers employed)

via drat
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The "Seinfeld" co-creator and "Curb Your Enthusiasm" creator-star says the cast will appear together in the finale of the upcoming seventh season of the HBO comedy series.

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howard kalan interviewed on michael shelly show wfmu


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She's Dead..
Wrapped in Plastic.



via ree
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Wikipedia has been engulfed in a furious debate involving psychologists who are angry that the 10 original Rorschach plates are reproduced online, along with common responses for each.

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Nearly every summer, tensions flare among Maine's lobster fishermen over who has the right to place traps in specified areas. The origins of the industry's unofficial territorial system go back to about 1890, said University of Maine professor James Acheson, who has written two books on the subject.

Mostly, those territorial rights stay within local fishing families or among long-timers in the same harbors.

When fishermen feel their turf is being encroached upon, they send signals to the offending lobsterman by leaving a note in a bottle in the trap, by tying a knot in the buoy rope or by cutting out the door to the trap so lobsters can escape. Sometimes they resort to cutting trap lines - resulting in lost traps, which can cost $80 to $100 each.

Lobstermen have been known to ram their boats into each other and occasionally show a gun. Once in Portland Harbor, a boat crew jumped onto another boat and struggled with another crew before they were tossed overboard.

On occasion, lobstermen fire warning shots, and Acheson remembers a lobsterman once firing bullets through another boat's windshield in Penobscot Bay. On Matinicus a few years ago, two fishermen were charged after one of them fired a shotgun at the other.

For the most part, Maine fishermen respect their established territories, Acheson said.


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stream live euro internet radio by genre or country (classical)


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clamp leg tables


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Silbo Gomero (English: Gomeran Whistle), also known as "El Silbo", is a whistled language spoken by inhabitants of La Gomera in the Canary Islands to communicate across the deep ravines and narrow valleys (gullies) that radiate through the island [1]. A speaker of Silbo Gomero is sometimes referred to in Spanish as "un silbador".

[...]


Guanches (also: Guanchis or Guanchetos), now extinct as a distinct people,[1] were the first known inhabitants of the Canary Islands, having migrated to the archipelago sometime between 1000 BCE and 100 BCE or perhaps earlier. Their culture as such has since disappeared, although traces of it can still be found, an example being the "whistle" Silbo language of La Gomera Island.


via justin
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basilw

If you were a preteenager in the 1950s and had precocious friends or a with-it dad, it’s a good bet you knew the cartoons of Basil Wolverton, the Michelangelo of Mad magazine, even if you didn’t know his name.

Like rock ’n’ roll and beatniks, Mad was a freakish spawn of the A-bomb era. It was like an emanation from some dark, Dada side of Disney; a stink bomb planted in the suburban Eden; and a preview of the underground-comics era to come. Wolverton, who is the subject of a career survey at Barbara Gladstone Gallery in Chelsea this summer, was Mad’s early signature artist, the one who embodied its sick-and-proud humor.
via vz
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monica


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i dont understand the croc hating


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