“I am worn out. I cannot go on,” he lamented a little histrionically as early as March 1923, but he still had a long way to go on. February 1925 found him “at the blackest moment of my life”, but in reality there were blacker moments still to come. “So life is simply from minute to minute of horror,” he wrote to Virginia Woolf the following month, perhaps hearing a draft line of poetry forming itself somewhere in his mind. But, as far as we can tell from these letters, during these years not many lines of poetry were forming in the mind of the figure who was arguably the most important English-language poet of the 20th century.
Stefan Collini on The Letters of T. S. Eliot, Vol 2 | Books | The Guardian
[Le Carabattole Di Solitaire]
R.E.M. - Furry Happy Monsters
[To celebrate Sesame Street anniversary]
Well, maybe like Casy says, a fella ain’t got a soul of his own, buy on’y a piece of a big one - an’ then -
Then what, Tom?
Then it don’ matter. Then I’ll be all aroun’ in the dark. I’ll be ever’where - wherever you look. Wherever they’s a fight so hungry people can eat, I’ll be there. Wherever they’s a cop beatin’ up a guy, I’ll be there. If Casy knowed, why, I’ll be in the way guys yell when they’re mad an’ - I’ll be in the way kids laugh when they’re hungry an’ they know supper’s ready. An’when our folks eat the stuff they raise an’live in the houses they build - why, I’ll be there.
[John Steinbeck - The Grapes of Wrath]
Vales began painting the sides of subway trains in the mid to late 80s. It was the peak of the graffiti years in NYC and he was able to get into the gallery scene quickly from there. He started, Lower East Side Clothing with graffiti partner Gil Aviles but after painting murals in clubs like Tunnel, Limelight and the World he changed from clothing designer to large scale mural maker. For a while he may have had murals in about 500 clubs from NYC to Miami before a Hollywood producer brought him out west to paint murals on shows sets in the early 90’s.
Interview with legendary graffitti artist Erni Vales
Coyote Butte’s infamous Wave has been photographed countless times… and, quite frankly, it’s difficult to come up with a unique perspective at this point. And so I thought I’d include a relaxing hiker into the mix in order to provide some scale for those of you who have never visited this unique spot (she actually was sitting there - I didn’t add her in Photoshop).
The wonderfully colored, swirling sandstone is a photographer’s dream come true and provides numerous spots to sit and relax after the long and strenuous trek thru some truly amazing scenery.
Located literally on the Arizona / Utah border in Vermillion Cliffs National Monument.
Bob Simari
[Flash 9 is required to listen to audio.]
Otis Taylor - Ten Million Slaves
[from “Public Enemies” soundtrack]
Lucio Fontana fotografato da Ugo Mulas, 1964
Inside Air's Atlas studio in Paris
French duo recently built their own studio and stuffed it full of vintage synthesisers. They give the Guardian a private tour and talk about their new album, Love 2.
When “Psycho” came out, it was required that you see it from the beginning. Here is a promotional ad for the film.
“”
Il faut beaucoup de naïveté ou de mauvaise foi pour penser que les hommes choisissent leurs croyances indépendamment de leur condition.
[Claude Lévi-Strauss]
[Claude Lévi-Strauss]
Killing Joke - Love Like Blood
The Ax
On November 30th, 1954, a character by the name of Charlotte Braun made her debut in much-loved comic strip, Peanuts. Loud, brash and opinionated, “Good Ol’ Charlotte Braun” quickly annoyed the strip’s readers and on February 1st, 1955 - after just 10 sightings - she appeared in a storyline for the last time. 45 years later, following the death of Charles Schulz, Elizabeth Swaim donated to the United States Library of Congress the following letter, written to her by Schulz in response to a complaint she had made about Braun just a month before the character’s demise. In the letter, Schulz agrees to kill her off, reminds Swaim that she will be responsible for the character’s death, and then signs off with a picture of Braun, complete with an axe to the head.
Jan. 5, 1955
Dear Miss Swaim,
I am taking your suggestion regarding Charlotte Braun and will eventually discard her. If she appears anymore it will be in strips that were already completed before I got your letter or because someone writes in saying that they like her. Remember, however, that you and your friends will have the death of an innocent child on your conscience. Are you prepared to accept such responsibility?
Thanks for writing, and I hope that future releases will please you.
Sincerely,
Charles M. Schulz
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