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New York City's public health department last week released draft guidelines encouraging restaurants and makers of processed and packaged foods to gradually reduce the amount of salt in the foods they sell.

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He is the last great exponent of European modernism from the generation that emerged after the war. Born in Montbrison, in the Loire, the charmed and charming son of a wealthy factory engineer, a mathematics student turned musician, he attended the Paris Conservatory, where Olivier Messiaen helped introduce him to serialism. An agent provocateur for serial music before graduating and a master of hardball polemics, he caused even anxious luminaries like the aging Stravinsky to feel the need to earn his approval.

“I like virtuosity, although not for the sake of virtuosity but because it’s dangerous,” was Mr. Boulez’s description of “Répons” when we sat down to talk for a few hours after the rehearsal. By danger he meant that music, to be worth anything — which is to say to be new — can’t stick to safe ground but must entail some risk and effort.

“If you want to have a more interesting life, you will make some effort,” is how he put it. “It’s about the organization of one’s life. I am still shocked that so many people are not more creative, by which I mean more demanding of themselves.

“The main question we need to ask ourselves is: Do I try to be necessary to the evolution of language? Do I try to be original? And being original means using the tools necessary to be original, not just having the desire to be original.”

He was thinking then of John Cage, with whom he had been friendly until they fell out, painfully for Cage. Mr. Boulez, having an entirely more rarefied (some might say angrier or more mandarin or richer or more academic) notion of avant-gardism, decided that the bohemian Cage didn’t have the necessary tools.

“Tools are important,” Mr. Boulez repeated. “Mallarmé chastised Degas for writing poems. He said, ‘You can’t just have an idea that you want to write poems. Poems are made out of words.’ ”

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new tech led

via the shedboy
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In 1969, Jimi Hendrix slugged Richard Lloyd. Forty years after, Lloyd punches back with a hard-hitting tribute album to Mr. Purple Haze himself. Writer Charles M. Young traces the television cofounder's connection—and devotion—to the world's most legendary guitarist.

via o ball's fb page
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As the sun rose over the site of the Sept. 11 attack, a crane hoisted the Subway restaurant up the signature skyscraper that marks the rebirth of the trade center's 16 acres. The shipping containers-turned-eatery will open in January and keep moving up as the tower is built to 105 floors.

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bread and puppet


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the merry pranksters


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GHP

via vz
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Willie Mitchell, 81, a celebrated trumpeter, arranger and producer for Hi Records who launched the careers of Al Green and other leading soul performers of the 1970s, died of cardiac arrest Jan. 5 at a hospital in Memphis.

In a career spanning six decades, Mr. Mitchell proved a hitmaker as a producer for singers such as Ann Peebles, Otis Clay, Syl Johnson and Denise LaSalle. He also worked with a wide range of rock performers including Rod Stewart and John Mayer

Mr. Mitchell first made an impression as an instrumentalist. His 10-piece rhythm and blues group signed with Hi Records in 1959 and recorded a string of successful soul instrumentals, including the funk groove "20-75" (1964) and a remake of King Curtis's ballad "Soul Serenade" (1968).
thx chuck
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Roberta Smith did this with Steven Parrino’s death notice as well–managed to convey her boredom and a faint whiff of disapproval in a forum where it’s not appropriate. I mean, the guy’s dead, he is now beyond the iron grip of the Times’ judgment. Grimes’ term “high modernist” is a better way to describe Noland–to me “formalist” carries the implication of pedantry. What’s more annoying about Smith using that word to describe him, though, is the “perhaps to his detriment” without any explanation. Detriment in Smith’s mind certainly. The ultimate detriment will be if later artists see nothing inspiring in his work, and that has proven not to be the case again and again during Smith’s tenure (everything from Neo Geo to Monique Prieto to Marc Handelman shows the influence of Noland’s school, even if it is ironic.)

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It is well known that Mary Anning is associated with the old tongue-twister, "She sells sea shells on the sea shore." [40] It was composed in 1908, more than a half century after her death, by Terry Sullivan who was inspired by her life story.[41] The original text was:

She sells seashells on the seashore
The shells she sells are seashells, I'm sure
So if she sells seashells on the seashore
Then I'm sure she sells seashore shells.


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murus SIPs


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wrap house

via justin
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growler of beer


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(ASO) anvil shaped objects


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making a pipe tomahawk from a rifle barrel

PCN gun makers fair


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good beer in cans


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gabion baskets


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half broke horses


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blue moon

Rising in the east at sunset, the New Year's Eve full moon will reach its highest point at midnight, noted Jack Horkheimer, director of the Miami Space-Transit Planetarium and host of PBS television's long-running show Star Gazer.

"Full moons around winter solstice rise their highest for the entire year," Horkheimer added.

"Even if you are downtown in a large city, if it is clear at the stroke of midnight the moon will be very visible if you look up."

In any location, the high, silvery orb will seem like a floodlight cast on the landscape, added Horkheimer, who is organizing a national moon-howling contest around this year's blue moon.

"This is especially true where the ground is covered with a blanket of snow. There is nothing quite so spectacular as a snow-covered scene under a December full moon at midnight."

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tavern on the green (nyc since 1934) closing 12/31/09 - to auction fixtures off


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In Memory of Maryanne Amacher

via BT
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roky erickson maxwells hoboken nj


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