Dream Lives
this is what they're afraid of, more than the anarchy of 'unplanned' public art. this is why they can't even have the 'people' making 'public' art.
Dream Lives
22.2.03
{the irreplaceable dublog linked to an article quoting this company's wet spokes-blanket, Mr. G. Lerg. they've invented a Gatesian snitch vortex, to snare the unwary graffitist. they do other things. it would appear the COB, Mr. A. Devine, invented the HDD as we know it. or something.
he doesn't like graffiti, but then most anal sociopaths don't.
that particular form of mental incompleteness is highly productive in an atomized social context like ours, so it goes unchallenged for the most part. their basic complaint, somewhat simplified, is: they(writers, taggers) deface property, often publicly visible space, that isn't theirs. which is unassailably logical and morally correct, in its own little ahistorical universe.
but the larger questions, such as: how did the present owners obtain that space, how much access or potential for access to other publicly visible space is available for these 'taggers', or 'writers' as they seem to want to call themselves, and who should have charge of that access, these questions are ignored because their truest answers speak directly to the shallowness and inhuman nature of the claims of the property owners. I don't mean shallowness in an artistic sense, or a cultural sense, this isn't about aesthetics, this is about theft and damage and ownership. though aesthetically these champions of the unmarked wall also tip their hand. look at the landscapes they favor, the trees and bushes the lawns and flowers. it's botanical sado-masochism. these are living organisms subjected to the rigid principles of control and domination practiced by bondage fetishists.
but more fundamentally, and in their own court, erstwhile moral actors like Mr. Lerg and Mr. Devine assume a righteous posture they can't maintain without violence and hypocrisy. there isn't one public space in America outside the reservations that doesn't stand on stolen property.
the 'public' inhabits space that is not 'theirs', increasingly, and it harms us all.}
21.2.03
Start at string number 6 or your lowest pitch (and the thickest)
Standard Egyptian/Arab: D G A D G C
Old Turkish Classical: A D E A D G (most instruments will need a heavier gauge
string set for this specific tuning). New Turkish Classical: F# B E A D G Turkish/Armenian: E A B E A D Turkish/Armenian Variant: C# F# B E A D Standard Cumbus: D E A D G C Cumbus can also use any Oud tuning
Standard Egyptian/Arab: D G A D G C
Old Turkish Classical: A D E A D G (most instruments will need a heavier gauge
string set for this specific tuning). New Turkish Classical: F# B E A D G Turkish/Armenian: E A B E A D Turkish/Armenian Variant: C# F# B E A D Standard Cumbus: D E A D G C Cumbus can also use any Oud tuning
20.2.03
MURIEL LATOW was a medium of artistic expression, living to inspire others with ideas. Amused to be known as the person who started Andy Warhol on the road to fame, she is credited as giving him the idea of painting soup cans and dollar bills.
__________
A lifelong iconoclast, Latow rebelled against conventional taste when she opened her modern-art gallery in New York, where she mixed with some of the most prominent Abstract artists and Impressionist painters of the time, including Mark Rothko and Franz Kline.
Another of her friends was Warhol, New York’s most sought-after and highly paid commercial artist of the 1950s. In that decade he earned a six-figure sum each year, but when he decided to pursue his own artistic interests, taking on fewer commercial assignments, his income plummeted. It was during an evening meal in 1961 that he asked Latow, as a friend and as an expert on the art market, for advice.
Before giving him the idea, she asked him to pay her $50. She was not intending to make a profit from him, but asked for it simply as a token. She did not believe in giving her ideas away.
__________
A lifelong iconoclast, Latow rebelled against conventional taste when she opened her modern-art gallery in New York, where she mixed with some of the most prominent Abstract artists and Impressionist painters of the time, including Mark Rothko and Franz Kline.
Another of her friends was Warhol, New York’s most sought-after and highly paid commercial artist of the 1950s. In that decade he earned a six-figure sum each year, but when he decided to pursue his own artistic interests, taking on fewer commercial assignments, his income plummeted. It was during an evening meal in 1961 that he asked Latow, as a friend and as an expert on the art market, for advice.
Before giving him the idea, she asked him to pay her $50. She was not intending to make a profit from him, but asked for it simply as a token. She did not believe in giving her ideas away.
Obituary in The Times
19.2.03
Shel Silverstein homage website includes his book of ABZ's as recommended by the arch and desirous Mimi Smartypants
Norman Rockwell's abstract Study For The Connoisseur 1962
at Jo-An Fine Art NYC, home also to the work of Tina Louise
at Jo-An Fine Art NYC, home also to the work of Tina Louise
Probably due to the bagpipes with their drones, or the harp , which was often tuned to "G" most Celtic melodies are played in the Keys of G or D. Thus tunings that favor these tones are very popular with fingerstyle guitarists.
17.2.03
In the 1950s, Brown covered as wide a stylistic range as Presley with more authority; his Wynonie Harris and Roy Brown derivations gave jump the best vocals it ever got. Then in the 1960s, when Presley was just screwing around, Brown invented a whole new style. Then in the 1970s, when Presley was just screwing around, Brown invented a whole new style again. Brown was producer and writer, singer and performer, America's Beethoven and Nijinski combined. And, unlike any of those guys, he shared a movie credit with the Queen, Lesley Gore: Ski Party, whose dialog supplied what I hope to be my own last words before succumbing to hypothermia: "Why, you're not the ski patrol! You're James Brown and the Famous Flames!"
and that's why I read Bellona Times
