#Burnham & Root

[coolthingsguyslike]

[t-rina]

when your crush makes a move and your sister can't help teasing you <3

[frenchcurious]

Le Rookery Building situé à Chicago, dans l'Illinois. Achevé par les architectes Daniel Burnham et John Wellborn Root de Burnham and Root en 1888. - source Myra Clergé.

[microwavepopcorn]

[archinform]

Rookery Building, Adams Street entrance, Chicago

Photo by Roger Jones, 2021

[rabbitcruiser]

Doors, Gates and Windows (No. 73)

Rookery Building, Chicago

Field Building, Chicago

Chicago Athletic Association

Warsaw, IN (two pics)

Van Wert, OH

PPG Place, Pittsburgh

The Duquesne Incline, Pittsburgh

Gettysburg, PA (two pics)

[sanitaryspace]

The Rookery Building, Chicago, IL. Burnham and Root, completed in 1888

[voxina]

The Brit Awards will be held in Manchester's Co-op Live in 2026 and 2027 after nearly five decades in London at the city's O2 Arena

Manchester has deep and rich roots in music; producing scores of iconic and contemporary artists and bands from Oasis, The Smiths, Harry Styles, The Stone Roses, Joy Division, New Order, Happy Mondays, Take That, The 1975, Aitch, Blossoms and Courteeners. The city has created cultural moments from Mad-chester to the Haçienda and Factory Records, and has a thriving independent music scene to support emerging and new talent. This makes The BRIT Awards a welcome addition to its music legacy and the event marks another milestone in the journey of Co-op Live, the UK’s newest live entertainment arena, drawing acclaim from fans and artists alike since opening in May 2024.

As the world gears up for the highly anticipated tour this summer from Manchester’s prodigal sons Oasis, this groundbreaking new bond between one of the UK’s most industrious and thriving metropolitan cities and the biggest night in UK music and entertainment will continue to showcase the very best in not only British, but global music, creativity and talent, and evolve what The BRIT Awards can be as it nears five decades of championing new music.

2026 will be the first of three years under the stewardship of Sony Music UK, who spearheaded the move to Manchester. The Chair of the BRITs Committee, who oversees all aspects of the show including performer bookings, hosts, show creative and categories, will be announced at a later date. 

Jason Iley MBE, Chairman and CEO, Sony Music UK & Ireland said: “This is a very exciting time for The BRIT Awards. Moving to Manchester, the home of some of the most iconic and defining artists of our lifetime, will invigorate the show and build on the BRITs legacy of celebrating and reinvesting in world-class music. Hosting the show in Manchester, with its vibrant cultural history, perfectly captures the spirit and energy of the BRIT Awards. I can’t wait to see the show at the amazing state-of-the art Co-op Live venue.” 

Andy Burnham, Mayor of Greater Manchester said: "For The BRIT Awards to move out of London is a massive coup for Greater Manchester. After 48 years, it is great that this prestigious global event is about to arrive in the UK capital of music and culture.

Greater Manchester has an unparalleled music heritage known around the world, and this summer will play host to some of the biggest gigs on the planet. That was only made possible by our strong commitment to new talent and giving emerging artists the opportunities to make their name.

We thank our friends at the BPI for choosing Manchester and we will pull out all the stops to show they made the right decision. Celebrating the BRIT Awards right here in the home of 24 hour party people is the next chapter in its story and you can be sure that we will help them do it in style.”

Tim Leiweke, Co-Founder and CEO of Oak View Group said: “The BRITs are the most important music event in the UK and were always the highlight of the year, not only because of its immense cultural contribution, but because of their commitment to improving the lives of youth through music.  It is our honour to partner with our friends at BPI and Sony Music, alongside the great city of Manchester, to host the BRITs at Co-op Live and join in their mission to create opportunities for youth through music.  With Co-op Live, Manchester is embarking on another chapter in its rich musical journey, and others will soon learn what we know to be true, that  Manchester is one of the greatest emerging markets in the UK  for business, music and culture”.

Bev Craig, Leader of Manchester City Council said: “This is a massive boost for Manchester and we are delighted that The BRITs will be coming here for the first time in its history. Manchester is at the forefront of the UK music scene, from our iconic grassroots scene through to major events and this news is a major vote of confidence in Manchester.  We have got here through a great partnership between the BPI, Co-op Live, Sony Music as well as our own businesses in the city and we hope this is the beginning of a long and successful partnership.”

Dr Jo Twist OBE, BPI CEO and BRITs Committee member, said: “The BRIT Awards have helped to tell the story of British music in all its brilliant diversity, capturing some of its most memorable moments, and this groundbreaking move to Manchester will only add to its rich legacy.  This exciting new chapter celebrates not only the city’s exceptional musical heritage and its status as a powerhouse of British creativity, but the great depth of artistic energy and potential that exists all across the UK. I feel sure it will fire the imagination of fans, artists and the wider music community alike, and we look forward to sharing the experience with them.”

Yolanda Brown OBE DL, BPI Chair, said: "I believe that music touches everyone wherever they are and it is important that this is reflected by our industry in its strategy around a regional talent pipeline, touring, access to music education and more. So you can appreciate my delight at The BRIT Awards moving out of London for the first time ever, making that special connection with music fans in Manchester and the North of England. A city and region that has given us so much iconic music over the years and remains the home of such wonderful, diverse talent.  As we approach the 50th anniversary of the first ever BRIT Awards in 1977, it is hard to imagine a more fitting and imaginative way to celebrate this special landmark and to keep the music alive.”

Katie Rawcliffe, Director of Entertainment & Daytime said: "ITV is for everyone, no matter where in the UK you live. As someone who grew up in the North, I'm so excited that The BRITs is coming live from Manchester this year for the very first time in its 48 year rich musical history. Those Mancunians know how to throw a party, so don't miss it!"

The BRITs in 2026 and 2027 will continue to raise funds to support education and well-being for young people through The BRIT Trust, which supports the BRIT School in south London and nationwide music therapy charity Nordoff & Robbins, among other organisations adjacent to the music industry.

Mastercard will continue their long-standing headline sponsorship - which is now in its 28th year, and ITV will continue to be The BRITs’ official broadcaster, now going into their 33rd year, with both partnerships continuing to support and boost The BRITs’ vision and values. 

[x]

[eastsideofthemoon]

It's odd to me when people state that Michael being connected to Spock in a familial way limits her character. I find it odd because we literally see in Discovery that her origin doesn't begin on Vulcan with the S'chn T'gai family.

It began with her biological parents, Mike Burnham Sr and Dr. Gabrielle Burnham - 2 scientists who cracked the code on time travel and formed a loving family. As a matter of fact, the earliest depiction of Michael is in the short trek, The Girl Who Made the Stars. A story where Mike Burnham Sr is telling Michael a story, a very Afrofutuistic story. (DSC did it before SNW).

She was with them until she was 10, which is plenty of time for their influence on her to take root and be remembered by her. As proof of that, Michael follows in her father's footsteps in becoming a xenoanthropologist and studied Quantum Physics, which was the science Dr. Burnham studied. This was stated by Burnham in season 1.

In season 2, Dr. Burnham plays a major role in the overarching story, as well as the development of Michael herself. In seasons 3 and 4, we get more of Michael and Dr. Burnham's relationship. IMO, this was the relationship that was missing in S5.

My point is that Michael Burnham's existence and story began before and goes far past Spock, Vulcan, and the S'chn T'gai family. Yes, they play a significant part in her story, but they aren't all there is to her story. The people who do the most belly-aching about it intentionally ignore all other aspects of her story, but will turn around and say Discovery didn't tell you anything about her. That's a lie.

Let me say it this way. They choose to hyperfocus on her relationship/retcon with Spock to avoid engaging with any other aspect of her story.

[justinspoliticalcorner]

Andrew Prokop at Vox:

President Donald Trump wants larger nonprofits and academic institutions investigated for the “egregious” use of DEI. Elon Musk is trying to purge the federal workforce, and accusing nonprofits and the media of corruption in conspiratorial and factually inaccurate ways. Marc Andreessen, a venture capitalist who deeply influenced the administration’s hiring, has cited grand theories of how Trump could smash the power of “managerial” elites. And 25-year-old administration official Marko Elez, who’d made racist online comments and initially resigned, will be rehired, Musk has said. All this and more from Trump’s first four weeks back in office show that his new administration is profoundly influenced by what might be called the online right: perpetually plugged-in posters who’ve become united by their desire to combat and defeat “woke” progressives. Complaints about the liberal leanings of various institutions — the media, nonprofits, the civil service, academia — are nothing new for Republicans, or for Trump.

But the new Trump administration — and, specifically, very online officials like Vice President JD Vance, Stephen Miller, and Musk — isn’t just complaining. Officials are now trying to use the tools of government against these institutions, in hopes of taking progressives’ power away and establishing cultural dominance for conservatives. This reflects the theories, beliefs, and obsessions that have become widespread among the online right, who’ve spent years seething over the Great Awokening, coming up with explanations for why it happened and how it can be reversed. Now these very online people’s fixations are becoming the policy of the United States government. For instance, Trump’s anti-DEI executive orders bear the stamp of online right opinion influencers Chris Rufo and Richard Hanania. So while Trump’s first administration was heavily influenced by traditional Republican figures, his second one is far more influenced by a burgeoning new establishment — a very online one.

What unites the online right: attacking the woke and smashing their power

The online right can be said to span different classes and subcultures; its members include no-names like Elez and billionaires like Musk. But they’re essentially a team forged in combat against progressives. They’ve spent years seething over the “Great Awokening” — the leftward move of the culture around race, gender, and sexuality in the mid-to-late 2010s, which many feel chilled their speech, endangered their careers, or advanced ideas and policies they believed to be wrong and harmful.

The online right’s roots go back years, to Gamergate and the alt-right, though in the 2010s such subcultures were viewed as somewhat disreputable even by Republicans. Few prominent figures openly associated themselves with them, and Trump relied on traditional Republicans for most of his appointees.

But the backlash to progressive governance and cultural power that occurred under Biden’s presidency swelled their ranks — spurring prominent people like Vance, Musk, and Andreessen to openly break with the mainstream consensus. (When Musk bought Twitter in 2022, he trashed its previous leaders as censorious wokes and reinvented the site as X, making it a more welcoming home for the right.) What drew people to the online right was resentment of progressive power, as well as a desire to figure out where that power comes from and how it could be broken. And many arrived at a roughly similar worldview: the idea that “woke” progressives gained their power by dominating many elite institutions in American life — academia, media, the culture industries, nonprofits, the civil service, and so on. Some cite more highbrow or middlebrow versions of this theory — for instance, James Burnham’s writings about the managerial class, or Curtis Yarvin’s “Cathedral” — while others rely on more instinctive and inchoate resentments.

The 2nd Trump term is more tied into the terminally online MAGA weirdo influencers than his 1st one.

[starcanwreckedpulppolls]

clicky propaganda.

we must remember our roots and who tumblr sexymen come from . its not the suit wearing twink characters its the weird little objects one can turn into suit wearing twink characters. your bill ciphers. your tony the talking clocks. your wheatleys. the *tumblr* in the tumblr sexyman comes from the homogeneous yet different ways characters are humanoid’ed.

A weird little evil cursor that shows a child The Horrors tm has the potential to be a suit wearing twink

Hes Tony the Talking Clock meets Bo Burnham. WWW is the DHMIS time song.

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[sexiest-objects-tournament]

hey guys, and welcome to watchmojo dot com. today we're counting down the top 5 sexiest objects. because as the great bo burnham once said, a really good book is better than pussy.

starting us off at number 5, we have decay and detritus. there are fewer things more erotic than becoming one with something. after i die, i hope to be one with the earth, to be churned by the fungus and fed to the flora and fauna. i hope my open carcass becomes a glorious feast, that my ashes find their root far and wide. i hope my bones are picked clean, my skull turned to diamond in the womb of the earth.

next up at number 4 is weaponry. erotic swordfights. cleaning and sharpening your blades. glistening daggers hidden in a bodice. perfect aim with a bow and arrows. ornately carved hilts and pommels of gemstone.

for number 3 we have the deep ocean. victorian diving suits, erotica in anonymity. coral reefs, countless organisms in structured colonies giving homes to countless fish. underwater volcanoes, churning up food and heat. whale falls, the corpse of a god feeding hundreds. the particulates of underwater snow, shimmering in the gaze of a submarine. a shipwreck, the gutted hull becoming home to creatures who'd never seen its purpose on the surface.

number 2 is the moon. the collective wife of every lesbian. she split off from the earth long ago, and has remained close ever since. she plays an important part in our lives, from our oceans' tides to shielding us from solar radiation and asteroids. the cultures of the world have been fascinated with her for millennia,. writing stories about her travel and her phases. we've been loving her for as long as time can show.

and our number one sexiest object is a tie between computers and gore. we'll highlight each of them.\

computers. the screens we spend perhaps hours of our day in front of. from the carefully crafted code to the thousands of pixels to the purr when she takes on a heavy file, a computer has it all. not to mention the expanded possibilities of a sapient computer. a machine that has learned to love.

and gore. cannibalism, loving someone so much you need to consume them. vivisections, needing to see the inner workings of their body, hold their heart in your hand and watch it beat for you. or something lighter. vampirism, the intimacy of drinking their blood. wound care, stopping the blood with a hand on their chest, feeling their pulse to make sure they're stable, wrapping the bandages around them in sweet silence.

and the two of them together? wires exposed, viscera woven alongside. blood and electricity becoming one in the same. a heart pulsing at the core of a machine, laid bare for your eyes only.

[collapsedsquid]

Did a post earlier on "why right-wingers always say the big banks and big corporations are communist" trying it to James Burnham's theory of "managerialism" but someone mentioned the Dreyfus affair which was a previous event in the "Why everything I don't like is communism" that's hard to link to "managerialism" and I sort of blew it off.

But there is something there, an idea only loosely connected to managerialism. One of the things you can also use to get this reaction is the fear of the instrumentalization of justice. For the Dreyfus affair, it was the idea that the jews and the liberals were scheming and manipulating the system to get Dreyfus off that really drove them nuts.

Justice can be perverted through straight bribery of course, you can see that accusation really attract attention whenever they can get something going. This accusation dates back to when just "liberalism" more a more radical dangerous idea and what it meant is that some jumped-up possibly jewish townspeople might use their money to subvert the natural just order.

it can also be subverted through "politics." Dreyfus of course i mentioned as an original example involving both but I should point out that this is why the Epstein case got so much interest, while Epstein is different in that it seems he was in fact guilty it's the same visceral rage that justice is being perverted. Race in general can really hit this, "affirmative action" and police being too lenient on minorities because of "political correctness." And of course the corrupt justice system is right now being instrumentalized against perfect innocent Donald Trump.

Some liberals and leftists will question whether this is such as thing as "justice," some do not, they will just argue that their ideas are "justice". But for your conservatives and reactionaries, it's more solid, there is a "justice" and some creeps are perverting it. They will not care much if the liberals and leftists are questioning justice or merely proposing a different form, it's evil and it must be stopped.

Now this does relates to redistribution, and to actual "communism." There is after all a just distribution of resources and social position and redistributing it is cheating. Foreigners are cheating so we have to put tariffs on their goods. But then maybe from the view of another conservative the tariff itself is cheating, just because people think there is a single standard of justice doesn't mean they agree on what it is or what it means. But they can say the issue is "communism" and this can link everything together in a single enemy.

Managerialism is related to this concept because it's rationalistic, it's about creating rules based on a rational basis to achieve a goal rather than pure "justice," this is anathema. Classic reactionary idea that the political order cannot be based on rational ideas, because then they can be questioned, ambiguity created.

Perversion of justice though is always a popular theme for the "populist" right, it's what really gets mass anger going so they try to hit it as often as they can. And here we can see a link to the roots of authoritarianism. If good people who follow the rules are being screwed, someone must be cheating. They aren't being caught, so they are manipulating the justice system. Gotta root out the traitors, purge the "Deep State".

[thesilly-goose]

Hey bestie, what are 3 songs you've been listening to this week? Any genre ☺️☺️☺️

hmmm let’s see

The Mind Electric - Miracle Musical

Willard! - Will Wood

Yellow - Coldplay

there were so many lmao so i just chose the three i’d listened to most. here are some honorable mentions bc i love these songs sm:

Amnesia Was Her Name - Lemon Demon

The Square Root of Two - The Two Man Gentleman Band

Eleanor Rigby - The Beatles

Goodbye - Bo Burnham

Russian Sailors Dance - Royal Philharmonic Orchestra London

rises the moon - Liana Flores

Fool, Home, Talk to Me, Meteor Shower, and Lemon Boy (five separate songs by the same artist) - Cavetown

Partner in Crime - Madilyn Mei

Talk Too Much - Coin

Vincent - Don McLean

[rabbitcruiser]

The Rookery Building was listed as a National Historic Landmark on May 15, 1975.

[archinform]

Pleasant Home, Oak Park IL

Pleasant Home (Farson-Mills House), 1897, 217 Home Avenue, Oak Park, IL 60302

Pleasant Home

George W. Maher designed this 30-room mansion for millionaire banker John W. Farson of Oak Park. Farson purchased the lot at the corner of Pleasant St. and Home Ave. in 1892 for $20,000, the largest price ever paid for a residential lot in Oak Park. Over the following years he acquired land to the south and west for a large garden.

Herbert S. Mills, the second owner of Pleasant Home, made his fortune in the amusement business. The Mills family sold the house in 1939 to the Park District of Oak Park, the grounds being designated as Mills Park in their honor.

The home today is operated as a historic house museum, an events venue, and serves as the headquarters for The Pleasant Home Foundation.

The house is listed on the National Register of Historic Places.

Illustration of Pleasant Home from The Inland Architect and News Record

Considered one of the earliest examples of prairie school architecture, Pleasant Home is often viewed as the finest surviving example of Maher's residential work. The house was completed three years after Frank Lloyd Wright's Winslow House in River Forest, an early expression of Wright's emerging design principles, later to be known as the prairie style.

The Prairie School developed in sympathy with the ideals and design aesthetics of the Arts and Crafts movement of 19th century England by John Ruskin, William Morris, and others. It is also seen as a successor to the Chicago School of architecture associated with architects William Le Baron Jenney, H.H. Richardson, Daniel H. Burnham, John Wellborn Root, Dankmar Adler, and Louis Sullivan.

The Prairie School attempted to develop an indigenous North American style of architecture, without the design elements and aesthetic vocabulary of earlier styles of European-influenced architecture such as the Queen Anne and Gothic Revival styles. 

The smooth surfaces of Roman brick, the low-pitched, hipped roof and the broad entrance porch of the Parson House are characteristic features of Maher's work that link him to the early modern designs of his Prairie School contemporaries. In the Parson House Maher also introduced his personal design philosophy, which he called motif rhythm theory, to unify the decorative details of the house and its furnishings. The house retains its historic integrity in terms of materials, design and setting. Virtually all of the original decoration specified by George Maher is preserved and the lavish decorative treatment is everywhere apparent on the interior.

Kathleen Cummings, National Historic Landmark Nomination, 1996

Detail of front porch support column

Stained glass entrance and flanking windows

Entrance hall fireplace beneath Pleasant Home panel

Detail of lion head carving, repeated throughout the house, on entrance hall built-in bench

Carved screen in entry hall in front of the music room on the mezzanine

Stained glass entrance window

Reception room

Living room or sitting room

Dining room ceiling fixture

Dining room

Dining room corner, leading to summer dining room

Domed light fixture in the library

Library

Original Maher-designed dining table and chairs, now displayed on the second floor

The stunning original wall colors are seen in the above two photos of second-floor bedrooms

Vintage views of Pleasant Home, from the Ryerson and Burnham Libraries, Art Institute of Chicago:

Left: George W. Maher and John W. Farson in the garden of Pleasant Home

Right: Entrance hall

Left: dining room Right: sitting room

The Ryerson and Burnham Libraries, Art Institute of Chicago, house a copy of the 1902 publication "Farson, John, Residence; Farson-Mills Pleasant Home." The publication contains many views of the house, exterior and interior.

Collection Call Number FF Special NA7239.M34 A65 1902.

Access the digitized copy at this link: