#exhibition stand contractors in Los Angeles

[boothbuildersusa]

How to Design Exhibit Stand for Maximum Impact in Los Angeles? -Exhibition Stand Suppliers.

Professional exhibition stand Manufacturers Los Angeles can help you kick of your stand in the right way and make it a grand success. Booth Builders USA is a full-service exhibit house offering complete services from start to finish, offering a seamless, hassle-free experience. The professionals have the expertise and experience to know what has to be done in the execution, through which it secures every detail of the stand. They will handle logistics, set up and tear down and let you focus on engaging with your audience.

[standzone]

Standszone: Your Trusted Exhibition Stand Builders and Contractors Across the United States

When it comes to making a significant impact at trade shows and exhibitions across the United States, Standszone stands as your trusted partner. With a reputation for exceptional craftsmanship and expertise as both exhibition stand builders and contractors, Standszone has become a name synonymous with excellence in the industry. In this comprehensive article, we'll take you on a journey through key cities in the United States, including Anaheim, Atlanta, Boston, Chicago, Detroit, Houston, Las Vegas, Los Angeles, Miami, Orlando, San Francisco, and Washington. Explore how Standszone, your trusted Exhibition Stand Builders and Contractors, can elevate your brand's presence in each of these locations.

Table of Contents

Introduction

The Excellence of Exhibition Stand Builders and Contractors

Anaheim: Where Creativity Meets Exhibition Stand Excellence

Atlanta: Leading the Way in Exhibition Stand Services

Boston: Pioneering Exhibition Stand Solutions

Chicago: Urban Innovation in Exhibition Stand Building and Contracting

Detroit: Mastering Exhibition Stand Craftsmanship and Contracting

Houston: Innovating Exhibition Stand Design and Building

Las Vegas: Captivating Exhibition Stands in the Entertainment Capital

Los Angeles: Coastal Charm Meets Stand Expertise

Miami: Contemporary Elegance in Exhibition Stand Services

Orlando: Creating Magical Exhibition Stand Experiences

San Francisco: Tech-Forward Stands by Expert Contractors

Washington: Political Capital, Exhibition Stand Innovation

Why Choose Standszone

Conclusion

Frequently Asked Questions (FAQs)

1. Introduction

In the dynamic world of trade shows and exhibitions, your booth or stand is your brand's stage. Standszone understands this, and as your trusted Exhibition Stand Builders and Contractors, they ensure your brand takes center stage. This article not only introduces you to their exceptional work but also delves into their projects in key cities across the United States.

2. The Excellence of Exhibition Stand Builders and Contractors

Building an exhibition stand is a blend of creativity, precision, and innovation. Standszone excels in understanding your brand, its narrative, and its goals. As both exhibition stand builders and contractors, they guarantee that every facet of your stand aligns perfectly with your brand's identity and message.

3. Anaheim: Where Creativity Meets Exhibition Stand Excellence

Anaheim, with its vibrant atmosphere, provides an ideal canvas for exhibition stand excellence. Standszone in Anaheim combines creativity and precision to deliver stands that captivate your audience, reinforcing your brand's message.

4. Atlanta: Leading the Way in Exhibition Stand Services

Atlanta, a city known for its innovation, demands nothing but the best in exhibition stand services. Standszone Atlanta leads the way with expertise in both exhibition stand building and contracting, ensuring your brand shines in this dynamic metropolis.

5. Boston: Pioneering Exhibition Stand Solutions

Boston, steeped in history and progress, calls for pioneering exhibition stand solutions. Standszone Boston excels in both exhibition stand building and contracting, seamlessly blending technology and design to make your brand stand out.

6. Chicago: Urban Innovation in Exhibition Stand Building and Contracting

Chicago, the epitome of urban innovation, demands excellence in exhibition stand building and contracting. Standszone Chicago specializes in creating stands that reflect the city's forward-thinking spirit.

7. Detroit: Mastering Exhibition Stand Craftsmanship and Contracting

Detroit, a city known for its craftsmanship and industry, inspires Standszone Detroit to master exhibition stand craftsmanship and contracting. Here, tradition meets innovation, resulting in stands that are both culturally rooted and visually striking.

8. Houston: Innovating Exhibition Stand Design and Building

Houston, a city of innovation and energy, deserves nothing less than innovation in exhibition stand design and building. Standszone Houston excels in both, reflecting the city's dynamic spirit and setting new standards for the industry.

9. Las Vegas: Captivating Exhibition Stands in the Entertainment Capital

Las Vegas, the entertainment capital of the world, calls for captivating exhibition stands that steal the show. Standszone Las Vegas specializes in creating stands that are as exciting and memorable as the city itself.

10. Los Angeles: Coastal Charm Meets Stand Expertise

Los Angeles, with its coastal charm, provides a unique backdrop for exhibition stand expertise. Standszone Los Angeles excels in both exhibition stand building and contracting, delivering stands that resonate with the city's seaside spirit.

11. Miami: Contemporary Elegance in Exhibition Stand Services

Miami, known for its contemporary elegance, demands nothing less than excellence in exhibition stand services. Standszone Miami specializes in creating stands that seamlessly blend luxury and functionality, making your brand shine in this glamorous city.

12. Orlando: Creating Magical Exhibition Stand Experiences

Orlando, a city known for its magic, inspires Standszone Orlando to create exhibition stands that offer magical experiences. Their stands are designed to captivate and engage, leaving a lasting impression on attendees.

13. San Francisco: Tech-Forward Stands by Expert Contractors

San Francisco, a tech-forward city, calls for stands that reflect innovation. Standszone San Francisco excels in both exhibition stand building and contracting, infusing every stand with cutting-edge technology and design.

14. Washington: Political Capital, Exhibition Stand Innovation

Washington, the political capital, demands innovation in exhibition stand services. Standszone Washington specializes in creating stands that reflect the city's significance while ensuring your brand's message stands out.

15. Why Choose Standszone

After exploring Standszone's exceptional work in key cities across the United States, you might be wondering why you should choose them for your next exhibition stand project. Here are some compelling reasons:

Expertise: With years of experience, Standszone has become a leader in both exhibition stand building and contracting.

Customization: They understand the uniqueness of each client and tailor stands to their specific needs and branding.

Quality Craftsmanship: Standszone is committed to delivering stands of the highest quality.

Innovation: They stay at the forefront of exhibition technology and design trends.

Customer-Centric Approach: Above all, they prioritize customer satisfaction and work closely with clients to bring their vision to life.

16. Conclusion

In the ever-evolving world of exhibition stand builders and contractors in the United States, Standszone stands as your trusted partner. From the creativity of Anaheim to the innovation of Chicago, they have made their mark across the nation. Choosing Standszone for your next exhibition stand project means choosing quality, creativity, and precision. Contact Standszone today and elevate your brand's exhibition experience.

17. Frequently Asked Questions (FAQs)

Q1. What sets Standszone apart from other exhibition stand builders and contractors in the United States? A1. Standszone's unique blend of creativity, precision, and innovation distinguishes them as industry leaders. They excel in both exhibition stand building and contracting, creating captivating experiences.

Q2. Does Standszone offer services only in the mentioned cities? A2. While they have a strong presence in these cities, Standszone can handle projects across the United States, ensuring their exceptional services are accessible wherever needed.

Q3. Can Standszone manage large-scale exhibitions? A3. Absolutely. They have the capacity and expertise to handle exhibitions of all sizes, from intimate trade shows to massive expos.

Q4. How does Standszone ensure their stands effectively represent the client's brand identity? A4. Standszone takes a customer-centric approach, working closely with clients to understand their brand identity and objectives. Every stand they create is a true reflection of the client's unique identity.

Q5. What is the typical turnaround time for a project with Standszone? A5. Turnaround times may vary based on project complexity, but Standszone is known for its efficiency and commitment to meeting deadlines, ensuring projects are completed in a timely manner.

[xpostandsstandbuiders]

Best exhibition stand contractor 

Xpostands is one of the leading organizations in the field that helps you connect with some of the best Exhibition Stand Supplier in Los Angeles across the world. If you are searching a good exhibition booth designer supplier, that is, with us you can find the best Exhibition Stand Builder in Mannheim. The best Exhibition Stand Contractor  and the best effective Exhibition Stand Fabricator to build your stand in the show. Doing this, will make sure of your benefits in favor. For the best exhibition stand contractor you can truly trust and rely upon Xpostands. 

[1962dude420-blog]

Today we remember the passing of Daniel Johnston who Died: September 11, 2019 in Waller, Texas

Daniel Dale Johnston (January 22, 1961 – c. September 11, 2019) was an American singer-songwriter and visual artist regarded as a significant figure in outsider, lo-fi, and alternative music scenes. Most of his work consisted of cassettes recorded alone in his home, and his music was frequently cited for its "pure" and "childlike" qualities.

Johnston spent extended periods in psychiatric institutions and was diagnosed with bipolar disorder. He gathered a local following in the 1980s by passing out tapes of his music while working at a McDonald's in Dobie Center in Austin, Texas. His cult status was propelled when Nirvana's Kurt Cobain was seen wearing a T-shirt that featured artwork from Johnston's 1983 cassette album Hi, How Are You.

Beyond music, Johnston was accomplished as a visual artist, with his illustrations exhibited at various galleries around the world. His struggles with mental illness were the subject of the 2005 documentary The Devil and Daniel Johnston. He died in 2019 of what is suspected to have been a heart attack.

Johnston was born in Sacramento, California, and grew up in New Cumberland, West Virginia. He was the youngest of five children of William Dale "Bill" Johnston (1922–2017) and Mabel Ruth Voyles Johnston (1923–2010). He began recording music in the late 1970s on a $59 Sanyo monaural boombox, singing and playing piano as well as the chord organ. Following graduation from Oak Glen High School, Johnston spent a few weeks at Abilene Christian University in West Texas before dropping out. He later attended the art program at Kent State University, East Liverpool, during which he recorded Songs of Pain and More Songs of Pain.

When Johnston moved to Austin, Texas, he began to attract the attention of the local press and gained a following augmented in numbers by his habit of handing out tapes to people he met. Live performances were well-attended and hotly anticipated. His local standing led to him being featured in a 1985 episode of the MTV program The Cutting Edge featuring performers from Austin's "New Sincerity" music scene.

In 1988, Johnston visited New York City and recorded 1990 with producer Mark Kramer at his Noise New York studio. This was Johnston's first experience in a professional recording environment after a decade of releasing home-made cassette recordings. His mental health further deteriorated during the making of 1990. In 1989, Johnston released the album It's Spooky in collaboration with singer Jad Fair of the band Half Japanese.

In 1990, Johnston played at a music festival in Austin, Texas. On the way back to West Virginia on a private two-seater plane piloted by his father Bill, Johnston had a manic psychotic episode; believing he was Casper the Friendly Ghost, Johnston removed the key from the plane's ignition and threw it outside. His father, a former U.S. Air Force pilot, managed to successfully crash-land the plane, even though "there was nothing down there but trees". Although the plane was destroyed, Johnston and his father emerged with only minor injuries. As a result of this episode, Johnston was involuntarily committed to a mental hospital.

Interest in Johnston increased when Kurt Cobain was frequently photographed wearing a T-shirt featuring the cover image of Johnston's album Hi, How Are You that music journalist Everett True gave him. Cobain listed Yip/Jump Music as one of his favorite albums in his journal in 1993. In spite of Johnston being resident in a mental hospital at the time, there was a bidding war to sign him. He refused to sign a multi-album deal with Elektra Records because Metallica was on the label's roster and he was convinced that they were Satanic and would hurt him, also dropping his longtime manager, Jeff Tartakov, in the process. Ultimately he signed with Atlantic Records in February 1994 and that September released Fun, produced by Paul Leary of Butthole Surfers. It was a commercial failure. In June 1996, Atlantic dropped Johnston from the label.

In 1993, the Sound Exchange record store in Austin, Texas, commissioned Johnston to paint a mural of the Hi, How Are You? frog (also known as "Jeremiah the Innocent") from the album's cover. After the record store closed in 2003, the building remained unoccupied until 2004 when the Mexican grill franchise Baja Fresh took ownership and decided that they would remove the wall that held the mural. A group of people who lived in the neighborhood convinced the managers and contractors to keep the mural intact. In 2018, the building housed a Thai restaurant called "Thai, How Are You". Thai How Are You permanently closed in January 2020. The building remains empty

In 2004, he released The Late Great Daniel Johnston: Discovered Covered, a two-disc compilation. The first disc featured covers of his songs by artists including Tom Waits, Beck, TV on the Radio, Jad Fair, Eels, Bright Eyes, Calvin Johnson, Death Cab for Cutie, Sparklehorse, Mercury Rev, The Flaming Lips and Starlight Mints, with the second disc featuring Johnston's original recordings of the songs. In 2005, Texas-based theater company Infernal Bridegroom Productions received a Multi-Arts Production/MAP Fund grant to work with Johnston to create a rock opera based on his music, titled Speeding Motorcycle.

In 2006, Jeff Feuerzeig released a documentary about Johnston, The Devil and Daniel Johnston; the film, four years in the making, collated some of the vast amount of recorded material Johnston (and in some case, others) had produced over the years to portray his life and music. The film won high praise, receiving the Director's Award at the 2005 Sundance Film Festival. The film also inspired more interest in Johnston's work, and increased his prestige as a touring artist. In 2006, Johnston's label, Eternal Yip Eye Music, released his first greatest-hits compilation, Welcome to My World.

Through the next few years Johnston toured extensively across the world, and continued to attract press attention. His artwork was shown in galleries such as in London's Aquarium Gallery, New York's Clementine Gallery and at the Liverpool Biennial in 2006 and 2008, and in 2009, his work was exhibited at "The Museum of Love" at Verge Gallery in Sacramento, California. In 2008, Dick Johnston, Johnston's brother and manager, revealed that "a movie deal based on the artist's life and music had been finalized with a tentative 2011 release." He also said that a deal had been struck with the Converse company for a "signature series" Daniel Johnston shoe. Later, it was revealed by Dick Johnston that Converse had dropped the plan. In early 2008, a Jeremiah the Innocent collectible figurine was released in limited runs of four different colors. Later in the year, Adjustable Productions released Johnston's first concert DVD, The Angel and Daniel Johnston – Live at the Union Chapel, featuring a 2007 appearance in Islington, London.

Is and Always Was was released on October 6, 2009, on Eternal Yip Eye Music. In 2009, it was announced that Matt Groening had chosen Johnston to perform at the edition of the All Tomorrow's Parties festival that he curated in May 2010, in Minehead, England. Also that year, Dr. Fun Fun and Smashing Studios developed an iPhone platform game called Hi, How Are You. The game is similar to Frogger, but features Johnston's art and music. Johnston played it during its development and liked it, although he was not familiar with the iPhone.

On March 13, 2012, Johnston released his first comic book, Space Ducks – An Infinite Comic Book of Musical Greatness at SXSW, published by BOOM! Studios. The comic book ties-in with the Space Ducks album and an iOS app. Johnston collaborated with skateboarding and clothing company Supreme on numerous collections (consisting of clothing and various accessories) showcasing his artwork.

On March 1, 2012, Brooklyn-based photographer Jung Kim announced her photo book and traveling exhibition project with Johnston titled DANIEL JOHNSTON: here, a collaboration that began in 2008 when Kim first met Johnston and began photographing him on the road and at his home in Waller, Texas. On March 13, 2013, this photography book was published, featuring five years of documentation on Johnston. The opening exhibition at SXSW festival featured a special performance by Johnston along with tribute performances led by Jason Sebastian Russo formerly of Mercury Rev. The second exhibition ran in May and June 2013 in London, England, and featured a special performance by Johnston along with tribute performances by the UK band Charlie Boyer and the Voyeurs with Steffan Halperin of the Klaxons. On October 10, 2013, Jason Pierce of Spiritualized hosted the New York City opening of the exhibition, which included special tribute performances led by Pierce and Glen Hansard of The Swell Season and The Frames.

In November 2015, Hi, How Are You Daniel Johnston?, a short documentary about Johnston's life, was released featuring Johnston as his 2015 self and Gabriel Sunday of Archie's Final Project as Johnston's 1983 self. The executive producers for the film included Lana Del Rey and Mac Miller.

In July 2017, Johnston announced that he would be retiring from live performance and would embark on a final five-date tour that fall. Each stop on the tour featured Johnston backed by a group that had been influenced by his music: The Preservation All-Stars in New Orleans, The Districts and Modern Baseball in Philadelphia, Jeff Tweedy in Chicago, and Built to Spill for the final two dates in Portland and Vancouver.

On September 11, 2019, Johnston was found dead from a suspected heart attack at his home in Waller, Texas, a day after he was released from the hospital for unspecified kidney problems. It is believed that he died overnight.

[boredout305]

Kat Talley Jones (Urinals/100 Flowers)

John Talley-Jones and Kat Talley-Jones, Santa Barbara, California, circa late 1978/1979.

Kat Talley-Jones was an early photographer of The Urinals and 100 Flowers. She is the lyricist of “Ack Ack Ack Ack” and has compiled an impressive 1978 to 1983 gigography of The Urinals and 100 Flowers. Talley-Jones is the wife of the bands’ bassist and vocalist John Talley-Jones.

Professionally, Talley-Jones is an independent exhibit developer and writer. She’s worked on teams that created the Dinosaur Hall and Nature Lab at the Natural History Museum of Los Angeles County and visitor center exhibits at Mammoth Cave National Park, Devils Tower National Monument, Badlands, National Park, Stones River National Battlefield, and Santa Monica Mountains National Recreation Area among many others.  

Talley-Jones is still involved with The Urinals and 100 Flowers, taking photos and contributing in countless other ways, something she’s done since the late 1970s.

Interview by Ryan Leach

This interview originally ran on Razorcake’s website. 

Ryan: Where did you meet John (Talley-Jones)?

Kat: Like John, I come from a military background. I was born in Italy. I later lived in Japan, the (Washington) D.C. area and Iran. I met John at the University of Texas at Austin. We gravitated towards the same circle. There were Texans and then there were army brats. We had a different frame of reference than other people did.

           John was walking down the hall of the dorm I lived in. I had pulled a picture out of the NME of Kevin Ayers and put it on my door. Kevin Ayers was wearing some blue silk jacket. It was a great photo. I loved Kevin Ayers, The Soft Machine and the Ayers, Cale, Nico, Eno album.

Ryan: That’s a great live record.

Kat: Yeah. My roommate was a lesbian, so we had a nude pinup of a woman on the door too which was very scandalous—we hoped.

Ryan: At that time in Texas it was. Even in Austin.

Kat: Right. John and a friend of his were walking down the hall. They stopped, saw the photos on the door, and wondered, “Who lives here?” I opened the door and there was John, wearing blue eye shadow, black nail polish and a toothbrush around his neck (laughs). We got to know each other after that, running in the same circles. I went out with a guy and John went out with his sister—you know how it is being college aged. Everyone is switching partners.

           John left UT. His parents thought—and maybe he did too—that film school would be better at UCLA than at UT. That probably wasn’t the case, but John left for California. My parents had moved from Iran to Redondo Beach. So we got back together again. It’s complicated.

Ryan: John had mentioned that he had moved to San Francisco before attending UCLA.

Kat: He was in San Rafael in Marin County. He lived with his aunt and uncle and worked at a bookstore in San Rafael. That was before he went to UCLA.

           My parents went back to Iran. I moved in with my brother in Santa Barbara. I was living in Santa Barbara, John went to UCLA, and then we started going out. I did not see the first Urinals iteration when they played the talent show at UCLA. However, I did see the first three-piece show at UCLA with Kevin (Barrett), Kjehl (Johansen) and John. That was on the fourth floor of Dykstra Hall.  

Ryan: Had your parents not moved back to California, would you have likely stayed in Austin?

Kat: Probably not. At that time, there wasn’t really a scene yet. It was sleepy. It was a place where you could get by getting stoned, paying $100 a month for an apartment. I was ambitious, but I didn’t happen to paint or anything. I didn’t love Austin. Just as I was leaving, friends of mine were forming The Huns. We would go to Raul’s and bands like the Skunks were playing. The Ramones and Patti Smith came through there. So there was stuff, but LA felt much more exciting.

Ryan: You mentioned The Huns. So you knew Phil Tolstead and the rest of the band?

Kat: Yes. Phil was an Air Force brat. We had a mutual friend named Victoria (Jones) who Phil went to see the Sex Pistols with in San Antonio. She had lived in London. We were people with a broader background. I can’t say that above everyone in The Huns. I’m still friends with Dan Puckett who played keyboards in the band. I knew their drummer, Tom Huckabee. My boyfriend at the time had a crush on him which was awkward (laughs). I was getting away from that situation too. My parents moving back played a part. But my brother was at UCSB and needed a roommate. I thought, “Well, I’ve got nothing going on in Austin, so I’ll live with him.”

Ryan: You took a lot of early Urinals photos—obviously, for most of their record sleeves. Was photography something you had been pursuing previously?

Kat: Well, I had a camera (laughs). It was just because I was there and I had one. I wasn’t really trying to be expressive. I didn’t take that many photos of shows; the cost of film and developing was expensive. Also, with the low light, the photos often came out horrible.

Ryan: You need an SLR and a lens with a low f-stop. Even then, results aren’t guaranteed.

Kat: I had a Canon FTb camera. I was the beneficiary of trickle down: my dad would get something new, and I’d get the old version of whatever he replaced it with. It was a nice camera that was unfortunately stolen. I didn’t take photographs as a means of self-expression. I just had a camera and I was standing there.

Ryan: If you don’t mind me digressing back a bit, did your parents have to flee Iran when the Shah fell or had they already moved back to the States? I can’t help but think that all of this—you having lived in Iran—played some part in the naming of “Surfin’ with the Shah.”

Kat: Yes, they did. They went on Christmas vacation and never went back.

Ryan: Amazing. I’m glad to hear they got out safely.

Kat: Yeah. My dad was an army officer. He liked that kind of excitement (laughs). I was in Iran and John would write me and send me punk mixtapes. Iran was very much on his mind. I would say that had a lot to do with naming of the song, “Surfin’ with the Shah.” But not the modality or anything.

Ryan: What years were you in Iran?

Kat: I was there when I was in high school, so 1970-1973. I then went to the University of Texas. I was an insane overachiever and graduated UT in three years. My parents moved back to Iran. I went to visit; I thought, “Why go back to the States? I can get a job here.” So I got a job typing repair logs for Bell Helicopter. I came back to the States with something on my resume: “I’ve had a job!” When I moved back to Austin, I was employed by a contractor that worked for the Air Force at what was then Bergstrom Air Force Base.

Urinals practicing at Dykstra Hall (UCLA). Photo by Kat Talley-Jones

Ryan: Going back to the early days of The Urinals, do you recall the first 7” EP (self-titled) coming out?

Kat: Oh, sure.  

Ryan: You took the photo for the back cover. I can only imagine being part of a self-released 7” was pretty exciting back in 1978.

Kat: It was very exciting. I had been a prog fan. I loved Yes and Emerson, Lake & Palmer. It seemed so out of reach; what ordinary mortal could release a record? To think that you could control the means of production that way was amazing. I can’t remember if that’s the one with the taped piece of Super 8 film on it, but I certainly sat down with Kevin and Kjehl and taped pieces of film on one of the labels. I stuffed the singles too into the plastic bags. I would go around with John and we’d drop the records off to stores on consignment. I was still living in Santa Barbara. I recall going to record stores there. People were often extremely uninterested, because the records were so handmade looking. Not all of the record stores—even the independent ones—were interested in the DIY thing yet.

Ryan: I grew up in Newbury Park, between Los Angeles and Santa Barbara. I found it surprising that The Urinals played an early show in Santa Barbara (at George’s on November 4, 1979). The recording was recently released as a live LP, Pin the Needles. You must have been the conduit for that show.

Kat: Yeah. There was a band that was playing up there, The Neighbors, and someone in the group worked at a record store in Goleta. I would go and hang out there and that’s how that connection was made. Santa Barbara doesn’t seem that likely, does it? There wasn’t much going on up there.

Ryan: Nearly zero. You don’t think of Santa Barbara and punk.

Kat: There was a little bit. There was The Rotters.

Ryan: That’s true. Lance Loud was from Santa Barbara.

Kat: But he had moved on.

Ryan: Right. To New York.

Kat: I lived in Isla Vista. The Rotters played a park there and I saw them. I would walk down the street and people would yell, “Hey, punk rock!” Nobody looked like that in Santa Barbara then. There was this club called The Fubar in Goleta. I saw Magazine play there. There were probably 15 people there. It was not a crowd. People didn’t know about them.

John might not frame it this way, but I was also pretty instrumental in setting up the Raul’s shows in Austin (March 27, 1978, and March 28, 1978).

Ryan: That’s interesting.

Kat: Phil Tolstead had been John’s roommate (at UT), so I can’t say that they weren’t close. But I had a connection with the Huns. The Urinals played with the Re-Cords (at Raul’s) which was Tom Huckabee from the Huns’ band. They also played with the Norvells which was Sally Norvell’s band. I don’t have a specific remembrance of setting the Raul’s shows up, but I was always writing letters to (Huns keyboardist) Dan (Puckett), Victoria (Jones) and less to Phil (Tolstead). Phil could hardly manage to write you back. We were in touch a lot. When the Huns had their bust (September 19, 1978), they sent me a T-shirt with the image of Phil being arrested by the police officer. I still have a photo of me wearing it. I think I have the original cover art for their 7”. Victoria painted the cover and sent it to me. I’ll have to look for it. I’ve got boxes filled with stuff.

Ryan: It’s pretty amazing that the first Urinals show outside of UCLA was in Austin at Raul’s. Do you recall trekking out there?

Kat: I think we drove out to Austin in Kjehl’s Chevy Caprice. It was a small Chevy; it wasn’t big. We crammed everyone in there. My particular gift is that I wake up very early. When everyone else can’t drive another moment, I’m starting to wake up. With the four of us we were able to make it to Austin in one shot. I think it was 27 hours. We just brought guitars. Kevin borrowed Tom Huckabee’s drums. We stayed with friends and drank a lot of frozen margaritas. I think those two shows at Raul’s happened over spring break (1978). That was the only time everyone could get together to leave town.

Ryan: That makes sense.

Kat: Yeah. We weren’t in school or working.

Urinals performing at a house party. Photo by Kat Talley-Jones

Ryan: Can you talk about writing “Ack Ack Ack Ack.” As far as I know, it’s your only songwriting credit, but it’s a great one.

Kat: Right. Why not stay on a highpoint? I had heard the news reports about Brenda Spencer, the girl who shot some kids in school. It was the same event that inspired the song “I Don’t Like Mondays” (by the Boomtown Rats). I was thinking about that. When I was a kid, as everyone does, I’d play war with friends. We’d chase each other around and pretend to shoot each other. The boys—I don’t know if it was genetic or what—but they could always make that machine gun sound better than I could. I was always jealous. They could vocalize “Ack Ack Ack Ack” and I couldn’t. It was a word you’d see in comic books. I always liked it as a sound. Why did I name the subject of the song Johnny? Possibly because of John.

Ryan: How did the music come together? You wrote the lyrics and John composed the music?

Kat: I wrote the lyrics. I typed them up. I was still in Isla Vista. I probably mailed them to John. But we saw each other virtually every weekend. I would drive down (to West Los Angeles) and occasionally he’d drive up. But John had an old Volkswagen that couldn’t get over the Conejo Grade.

Ryan: I lived right at the top of the Conejo Grade for years. I know exactly what you’re talking about.

Kat: Yeah. So John would take the Greyhound Bus to Santa Barbara and he’d smell like the bus for a day or two. It’d take a while to get that smell out.

Ryan: Los Angeles to Santa Barbara isn’t too far. Nevertheless, it’s still about a two-hour drive.

Kat: There would be a Urinals or 100 Flowers show. Afterwards, I’d sleep until about 4 AM. And then I’d scoot out when there was no traffic to work. I had a Buick Skyhawk with a V6 engine. It was a terrible car; the clutch cable would always break. I’d drive it straight to work. It’s no wonder why I didn’t get the best performance reviews.

Ryan: Do you recall taking the photo for the Presence of Mind 7” EP? It has a real dada feel to it.

Kat: John came up with the idea. I think it was taken at Kevin’s apartment. I don’t know why it was just John and Kjehl (on the front cover). It feels like Kevin was developing in another direction. He had gotten extremely political. I wrapped them up in newspaper and took the photo. That one turned out nice because the black and white was more saturated. It seemed like the photos for the other albums were washed out. We may have had a rudimentary darkroom; it’s possible we made the prints ourselves. That sounds like something we would’ve done. It’s insane to me that we have so few photos. We just couldn’t afford it at the time.

Ryan: You’ve compiled an amazing Urinals and 100 Flowers gigography. How did you put it together?

Kat: I had these tiny datebooks my dad would get from the USAA. I would get one and he’d keep one. When we lived in Iran, I’d make daily notes. What I was doing in Tehran, the dates I’d been on and other things. I had a habit of making daily notes. Later on, I went back to those little pocket calendars and made that gig list. It’s moderately accurate.

Ryan: It’s an incredible resource. I didn’t realize 100 Flowers played Phoenix with the Meat Puppets (on October 17, 1981). I thought those early shows at Raul’s in Austin was the only time the early incarnation of the band left California.

Kat: We drove in Seabiscuit—the name I gave my horrible Buick Skyhawk. Again, it was Kevin, John, Kjehl and I and we drove straight to Phoenix. We left early. I remember Savage Republic drove out too and played; they might have been called Africa Corps then. I did take some decent photos of that show. It was at a boxing ring (Phoenix Madison Square Gardens). There’s a nice one of John and David Wiley that I took. David was in Human Hands.

Ryan: The Consumers too.

Kat: Right. We stayed at David’s house. Bruce Licher and the other Savage Republic guys stayed with the Meat Puppets at their place. The Savage Republic guys were pretty clean cut, but the Meat Puppets took acid and were playing cowboys and Indians over them all night. 

Ryan: That makes sense.

Kat: Yeah (laughs). It was always kind of a blitzkrieg thing. We actually spent one night in Arizona. 100 Flowers played in San Francisco. We drove up for the gig and then drove back home (to Los Angeles) afterwards. It was pretty horrendous.

Ryan: I’ve done Los Angeles to Phoenix and back to see a show. It’s pretty rough.

Kat: It’s doable.

Ryan: I did it in my early twenties. I’d just spring for a motel now.

Kat: Yeah. I mean, if they were playing in San Diego now, we’d stay the night at a hotel. We drove back from a show in San Diego one time. A truck tire bounced over the center divider and hopped over us, hitting the car behind us. That was scary.

Ryan: With the benefit of hindsight, it’s interesting seeing The Urinals evolve. You can hear their musicianship develop on each EP. Eventually, they’d release compilations like Keats Rides a Harley on their own imprint, Happy Squid. I picture The Shaggs evolving like that had they actually wanted to be in a band. There aren’t many similar examples. Maybe The Raincoats? I can’t think of any at the moment from Los Angeles.

Kat: They learned more and more as they went along. I don’t think they initially had aspirations to release, say, Keats Rides a Harley or The Happy Squid Sampler. An LP was unthinkable when they started. I’m sure John and Kjehl have mentioned this, but getting a mentor like Vitus (Mataré) was key. Vitus knew how to do things. Obviously, being in The Last he had a much broader reach. They knew Gary Stewart (The Last’s manager) and people who were more record business savvy. But there was never any aspiration to get picked up by a record label. That was also unthinkable. It wasn’t a political thing: “We’re pure of heart. We’re not going to sign.” But who would’ve signed The Urinals in that era? There was some interaction with Greg Shaw at Bomp! It seemed like it was all a natural progression. It wasn’t aspirational—if that makes sense.

Ryan: It does. The Urinals and 100 Flowers weren’t trying to get on Enigma Records.

Kat: Right. I think it was really satisfying to put out friends’ work. I think about the little Happy Squid Sampler (1980). Getting stuff out by Neef and Phil Bedel (“Bells in Ice” 45, 1980). I’m not going to say it was done out of generosity of spirit; they’d just figured out how to do it. John is extremely thrifty and a monetarily conscious person. Doing things as cheaply as possible resonated with him. They were playing with all of these great bands—Leaving Trains, Meat Puppets, and Gun Club—and they had simply figured out how to get records made. So they did it without being careerist. It was coming from an artistic standpoint.    

Ryan: Do you recall the last two 100 Flowers shows at the Anti-Club (January 28 and 29, 1983)? I think that was the only time the band headlined a bill.

Kat: Oh yeah. It was so crazy—it was celebratory, but it was also the end of the band. There was that psychological development: celebrating and mourning at the same time. I don’t know why, but it always seemed like 100 Flowers played when it was raining. That’s true up until the present. I think the Anti-Club shows happened during an El Nino year. It was really wet outside; everyone at the club was wet. It was humid; the walls were dripping. The Minutemen played. It was a lot of fun. I remember thinking, “Why couldn’t it have been like this all the time?” But people didn’t appreciate them until they were ending the band.

           The second night was with the Leaving Trains and The Last. I don’t remember that show being as wild as the one where The Minutemen played. But how could it ever be?

Ryan: With the release of the Negative Capability compilation and reunion in 1996, it seemed like folks caught up with the Urinals. It was the same thing with Mission of Burma when they reunited.

Kat: Yes. Honestly, I think some of it had to do with the singles being collectors’ items. They were being bootlegged back in the 1990s. “Oh, that band I paid $100 for their 7” is reforming.” Perhaps I’m wrong on that

Ryan: I think you’re right. I was in New York City two years ago and I went to Almost Ready Records. They had just gotten the first Urinals 7” EP in. I remember saying, “Oh, wow! That’s the first one I’ve seen in the wild.” It has an effect.

Kat: Oh really?

Ryan: Yeah. I’d never seen an original copy of the first 7” before. Those records suck you in. We were talking about Vitus and The Last earlier: I recall seeing a test press of Look Again (1980)—obviously, the record was never released—on the wall at Amoeba for hundreds of dollars in the mid-2000s. It sticks with you. Especially with self-released records like The Urinals 7”s. They had an initial small pressing, limited distribution, and often record labels—with or without a band’s approval—will repress titles once used copies hit a certain price. If you released it and you’re not repressing them, prices go up and they sometimes get pirated.

Kat: It always irritated me. The band never saw any of that money. Like I said, John was very thrifty. I’m sure he wasn’t in the red. But they weren’t sold for much originally. I don’t know how many copies of the first EP we have. I’d be surprised if it was five. You wanted them out in the world.

Ryan: You’re still involved with the Urinals and 100 Flowers. I see you’re still taking photographs. It’s amazing seeing them play places like Belgium and China.

Kat: Yeah. I always thought they were doing interesting things. It wasn’t random. I had mentioned that their records being scarce had some allure, but they were doing something different. They continue to. All of John’s iterations of the band have been good. There are things I’ve liked more than other things. There have been times where I’ve liked the band less than at other times. But they’ve persisted because they have merit. All of the band members have a vision. I believe in it. There have been times where I’ve been busy with my own work and haven’t gone to shows. As I mentioned earlier, I wake up early, so having a set start at midnight isn’t always my favorite thing. But I enjoy watching them play. I think John appreciates that if I think something sucks that I’ll tell him. But not with an axe to grind.

Kat and John today, photo by Pat Aldarete. 

#urinals #100flowers #kattalleyjones #johntalleyjones #ackackackack #happysquid 

[dailynewswebsite]

California voters decide Uber and Lyft drivers are ‘contractors’ as gig workers continue search for a livable wage

Proposition 22 reverses a 2019 state regulation. AP Picture/Richard Vogel

Uber, TaskRabbit and different ride-hailing and supply service firms in California can maintain classifying their employees as unbiased contractors slightly than workers after California voters accredited a measure often called Proposition 22, in response to the state’s still-unofficial tally.

The elemental query of whether or not Uber drivers and comparable employees needs to be thought-about workers or contractors has been debated and litigated for years now. The problem is usually framed, nonetheless inaccurately, as a tradeoff between the flexibleness that comes with being unbiased in opposition to the upper incomes and advantages that workers are inclined to get.

Uber and different supporters of Proposition 22 have argued the measure would supply each flexibility and a few employeelike advantages, reminiscent of a assured minimal wage.

I’ve been finding out gig labor for almost a decade. Since 2013, I’ve led groups which have interviewed greater than 200 employees on platforms reminiscent of TaskRabbit, Postmates, Uber and different apps to find out about their experiences, incomes patterns, wishes and constraints. Analysis, by my group in addition to others, exhibits that full-time gig employees are hardly ever in a position to make a residing with these apps – and Prop 22 gained’t change that.

However I imagine there’s a higher manner to assist gig employees maintain the flexibleness they like with an revenue they’ll really stay on.

What employees need

It’s true that gig employees need flexibility, autonomy and life and not using a boss. However my group and I additionally discovered that the dearth of advantages and out there work imply it’s virtually unattainable to earn a dependable main revenue on these platforms.

Those that tried to earn a full-time residing on the platforms sometimes introduced dwelling wages beneath the official poverty line, even when their hourly pay was respectable. A separate 2020 San Francisco research discovered that ride-hail drivers have been incomes US$360 per week, after bills. That’s $9 an hour for a 40-hour work week – and even much less for almost all who work greater than that. Nearly half of the ride-hail and supply employees in that research couldn’t cowl a $400 expense with out borrowing.

These poor circumstances help our conclusion that succeeding on these platforms usually requires having no less than one different job, usually a traditional one that features some advantages. In different phrases, the platforms appear to be free-riding on the backs of standard employers.

However we additionally noticed how good this sort of work may very well be – below the correct circumstances.

Reluctant workers

To guard gig employees, California enacted a regulation final yr that correctly reclassified them from unbiased contractors to workers. It went into impact in January 2020.

Employment standing makes the job extra remunerative and fewer precarious by guaranteeing a minimal wage and quite a few advantages. However the gig firms warn that it’ll get rid of the flexibleness that employees like about gig work. Authorized scholar Veena Dubal discovered that many employees got here to help this reclassification as workers reluctantly, and solely as a result of circumstances had turn out to be so dire.

In response, Uber and Lyft threatened to depart the state except voters enacted Proposition 22. The measure exempts ride-hailing and supply employees from the California gig financial system regulation, but additionally gives some particular advantages, reminiscent of a assured wage equal to 120% of the California minimal, which is presently $13 an hour.

Nevertheless. unbiased researchers on the College of California at Berkeley have calculated that Proposition 22 would doubtless assure a wage of solely $5.64 an hour, and lots of employees could be excluded from the assorted insurance coverage advantages the proposition would supply.

Lyft and Uber had threatened to depart California if compelled to make their drivers workers. Al Seib/Los Angeles Occasions by way of Getty Pictures

Employee cooperatives

My very own analysis factors to a special method that retains employee flexibility but additionally provides employees a say in how the enterprise operates – to not point out an actual monetary stake in its success: the platform cooperative.

Like all cooperative, a platform co-op is an enterprise collectively owned and managed by its employees. Platform means the employees use an app or web site to attach with each other and manage companies for customers.

Sociology doctoral pupil Samantha Eddy and I performed a research of a platform cooperative in Canada known as Stocksy United. It’s a inventory images firm by which the contributing photographers are thought-about unbiased contractors but additionally personal shares within the cooperative. There’s a small administration group, however main selections are voted on by the artists.

Members advised us they’re far happier than after they labored for the “Uber” of their business, Getty Pictures, and earn way more for every photograph bought. One motive for his or her satisfaction is that, like many platforms, Stocksy hosts a variety of collaboration kinds, from hobbyists who contribute the occasional {photograph} to professionals who make investments massive sums in shoots. This offers members the liberty that many search from platform work.

All members get a say within the firm’s governance, although in follow just a few hundred of its roughly 1,000 members are lively within the firm’s boards, the place points are mentioned and voted on.

A key element of Stocksy’s success is that its founders already had in depth business expertise and knew the platform mannequin and its know-how. One other component was that it started with a $1.three million mortgage from the founders. Lack of financing is a persistent obstacle to the institution of cooperatives, regardless of the business.

[The Conversation’s science, health and technology editors pick their favorite stories. Weekly on Wednesdays.]

One other persistent downside within the gig financial system is that too many employees chase too little work, a phenomenon that has been significantly acute amongst ride-hailing companies. It arises partially as a result of most platforms permit virtually anybody to affix. Our ongoing however unpublished interviews with gig customers and supply employees discover that this imbalance has intensified throughout the pandemic.

To keep away from this downside, many co-ops, particularly in driving, supply and cleansing, restrict membership and increase solely with the market. That’s a serious boon for employees who rely upon their app-based incomes for lease, meals and different primary bills.

Platform cooperatives are a bit youthful than the gig financial system, which started round 2009. So there aren’t many but. However there are examples in bicycle supply, ride-hail companies, cleansing and well being care.

Given Uber, DoorDash and different firms spent greater than $200 million to get Proposition 22 handed, there’s no motive to anticipate these or comparable firms to ever convert to a employee cooperative.

But when they have been to go that route, our interviews counsel employees could be higher off.

That is an up to date model of an article initially revealed on Oct. 29, 2020.

Juliet B. Schor receives funding from the Nationwide Science Basis. This work was initially funded by the MacArthur Basis.

from Growth News https://growthnews.in/california-voters-decide-uber-and-lyft-drivers-are-contractors-as-gig-workers-continue-search-for-a-livable-wage/ via https://growthnews.in

[yessadirichards]

Health U.S. airport screeners, health workers plagued by fear and anger as coronavirus spreads WASHINGTON As coronavirus cases exploded across the world, federal medical workers tasked with screening incoming passengers at U.S. airports grew alarmed: Many were working without the most effective masks to protect them from getting sick themselves. Screeners with the U.S. Centers for Disease Control and Prevention asked their supervisors this week to change official protocols and require stronger masks, according to an internal document reviewed by Reuters. On Friday evening, they learned their worst fears were realized: Two screeners, both working at Los Angeles International Airport (LAX), had tested positive for the virus. “Sad news,” a senior quarantine official at the CDC wrote in an email Friday evening to colleagues about the two workers. The email, reviewed by Reuters and not previously reported, said the two screeners will be quarantined until March 17. “Let us keep our colleagues at LAX in our thoughts.” The news was not surprising to some CDC screeners. “It was bound to happen,” said a veteran CDC medical official involved with screening who spoke on condition of anonymity. “They are assuring us we are safe. If we were safe, screeners would not be getting sick.” The struggles within the CDC, an agency that advises the country’s health systems about how to protect people against the virus, underscore the difficulties confronting health workers across the nation and illustrate a challenge for the Trump administration, which has faced criticism over its response to the outbreak. Trump on Feb. 26 described the risk from coronavirus as"very low." Cases, however, have now been reported in more than half of the 50 U.S. states and 19 people have died. U.S. doctors, nurses, emergency responders and government health workers say they are increasingly concerned at what they see as inadequate protections and preparation for workers in the trenches. Many complain of poor training and communication in the workplace as well as insufficient equipment and staffing. At the CDC, spokesperson Kristen Nordlund said the airport medical screeners receive the protective gear they need, depending on their roles. The CDC recommends that so-called “secondary" screeners, who meet with passengers who have traveled to certain countries, such as China, wear a surgical mask, gloves and eye protection, Nordlund said. Secondary screeners are advised to stand six feet away from passengers they observe and do not wear the sturdier N95 masks, also known as respirators, because they aren’t exposed to symptomatic travelers, she said. N95 masks are designed to protect screeners from the smaller pathogens such as coronavirus which can penetrate deeper into the lungs. According to the U.S. Food and Drug Administration, surgical masks are not designed to block very small particles, such as those transmitted by coughs and sneezes, and do not provide complete protection because of the loose fit. Nordlund said that CDC’s guidance calls for screeners who meet with people exhibiting obvious signs of illness to wear N95 respirators and other protective gear. But people infected with the coronavirus do not necessarily exhibit obvious signs of illness. “Surgical masks won’t protect us from getting the virus – they just protect us from infecting someone else,” the CDC medical official involved in screening said. “We want to know why we can’t wear N-95 masks. It’s crazy.” “You might as well have a tissue over your face for all the good it will do,” the official added. The CDC spokeswoman, Nordlund, referred specific questions about the LAX screeners, including about what kind of facial protection they were wearing on the job, to the Department of Homeland Security, which she said employed the two workers as contractors on behalf of CDC. DHS could not be immediately reached for comment on the workers’ masks. In the meantime, dozens of health care screeners and other employees at LAX believed to have come into contact with the stricken screeners have been ordered to self-quarantine until March 17, the CDC medical official told Reuters. ‘A LITTLE BIT OF AN OVERSIGHT��� The U.S. Department of Health and Human Services did not respond to the specific safety concerns raised by the nation’s health care workers. But a department spokeswoman said the administration is working with companies that manufacture the equipment, including N95 masks, “so we can rapidly arrange contracts to buy supplies to protect the American people.” Dr. Robert Kadlec, the assistant secretary of Health and Human Services for Preparedness & Response, said at a Senate hearing on Thursday that historically the plan for protecting front-line health care workers has been to focus on routine influenza, which can be prevented by vaccines or treated with antivirals. Coronavirus is not influenza. Not preparing more respirators for an outbreak like coronavirus was a “little bit of an oversight and has significant implications for today,” Kadlec testified. He said the government just authorized the purchase of 500 million respirators, which it expects to receive in the next six to 12 months. “So that will ramp up,” he said. Earlier, officials had said they had 13 million on hand. The shortage of medical gear, including N95 masks, is endangering healthcare workers across the world, the WHO said on March 3, calling on governments to move quickly to boost supplies and stop speculation and hoarding. The CDC’s airport screeners are part of the healthcare workforce at risk. But a health expert involved in the U.S. government response said the problem was more widespread. State and local first responders - firefighters, emergency medical services personnel and police - are expressing the same alarm. “We know the level of expertise and training the people we put on the front line need, but we're not even close to having it," said the expert, who was not authorized to speak on the record. PREPARED ON PAPER On Thursday, the union National Nurses United (NNU) released a nationwide survey of registered nurses finding that fewer than half of respondents said their employer has informed them of how to recognize and respond to possible coronavirus cases. Less than a fifth said their bosses have a policy to address employees with suspected or known exposure, and less than a third reported having enough protective gear on hand at work should cases surge, according to NNU. “They have all of this stuff written down but then we go and talk to our nurses in these facilities and absolutely none of it is being implemented,” said Jane Thomason, the lead industrial hygienist with the Health and Safety Division of the National Nurses United. “We’re seeing a majority of employers are not prepared.” NNU has petitioned the U.S. Occupational Safety and Health Administration (OSHA) to adopt an emergency temporary standard to require protections for health care workers in an infectious disease epidemic. ‘NOT SUSTAINABLE’ Around the globe, there are now nearly 102,000 confirmed coronavirus cases in 94 countries, with close to 3,500 deaths, most of them still in China, the WHO reports. But already the relatively small number of cases in the United States is testing the limits of the country’s preparations. In Washington state, with about 70 cases thus far, the rapid surge in suspected cases swamped the protections put in place at hospitals and health centers. One doctor at a major hospital system wrote in email to professional peers around the country that his staff is quickly burning through supplies of protective gear and struggling to properly fit workers with masks. “Not sustainable,” he said. The March 3 email, shared with Reuters by a recipient on condition that the doctor’s name and affiliation be withheld, said the heavy volume of cases scotched plans to furlough workers who had been potentially exposed to the virus. In one example, the doctor wrote that treating just two patients led to the potential exposure of 350 people. Instead of keeping the staffers at home, the physician said, they were allowing them to work and monitoring them for symptoms. “This has been a long four days,” he wrote.

[handeaux]

Terrorists Strike Cincinnati With Five Bombs In One Year

The Cincinnati Police were looking for a terrorist, and Albert Rey looked guilty as sin. The new Harrison Avenue viaduct wasn’t even finished on 6 August 1908 when someone tried to blow it up. When the police arrived, they found Albert Rey standing amid a crowd of curious people. The cops had seen Rey before.

Just three months earlier, someone had planted a bomb at the Phoenix Club on Race Street at Ninth. The pipe bomb attached to the main entrance detonated when bartender Fred Buegel was closing up for the night. Luckily for Buegel, the “infernal machine” was crudely fashioned and blew out at the ends rather than exploding in the middle as intended. Buegel lost most of his left hand in the blast, but the shrapnel scattered sideways instead of into his body, and he survived.

Albert Rey, a chef at Shillito’s, was among the first on the scene and may have saved Buegel’s life by grabbing a heavy rubber band to fashion a tourniquet. Three months later, the police arrived at the Harrison Avenue bombing and first on the scene once again is Albert Rey. Hustled to Police Headquarters at City Hall, Rey endured a night of interrogation before his answers and alibis satisfied Lieutenant Samuel T. Corbin, and he was released.

The police were wrong about Rey, but they were thoroughly baffled while Cincinnati endured a year of terrifying explosions. From 1 May 1908 through 12 August 1909, Cincinnati was rocked by five bomb blasts. The Phoenix Club attack was never solved. The other four explosions proved to be part of a nationwide wave of terror that originated in the Queen City.

The attempt to blow-up the Harrison Avenue Viaduct – later replaced by today’s Western Hills Viaduct – was shoddy work. Damage to the steel pillars was minimal and the shattered concrete base was easily replaced. Contractor for the job was the Charles F. Grainger Company, a non-union shop. The foreman told police he thought a union agitator had planted the bomb. He was correct.

The International Association of Bridge and Iron Workers was struggling to find a toehold in the construction industry. Their efforts to unionize any of the big firms had failed and they decided on drastic measures to get the attention of the owners. Between 1905 and 1911, the union executed nearly 100 explosions in 17 states from Massachusetts to California.

Ringleaders of this campaign of terror were the McNamara brothers John and James, who grew up in Cincinnati’s Northside neighborhood. John was the national Secretary-Treasurer of the union. James worked off and on as a printer before getting into labor activism. Among their minions was Edward Clark, a Cincinnati ironworker and president of the Cincinnati local, who helped plan some of the bombings, including the viaduct attack.

As a demolition man, Clark was a loser. He took 25 sticks of dynamite to Dayton to demolish a bridge being built by the American Bridge Company, a subsidiary of U.S. Steel and a non-union shop. It was raining when Clark set his charges, so he left his umbrella – monogrammed with his initials – behind to keep the burning wick dry. The bridge survived the explosion with minimal damage. So did the umbrella, providing a material clue to the perpetrator. Clark’s failure brought down the wrath of John McNamara’s lieutenant Herbert Hockin, who henceforth used Clark to transport explosives, but not to detonate them. As reported in The Review, an anti-union magazine, some of this transportation ran right through Cincinnati:

“Some months later Hockin asked Clark by letter or telegram to meet him at the Post-office in Cincinnati. The meeting took place and there was another man there called Johnson who kept in the background, and then Hockin told Clark that he (Hockin) had arranged with the man from whom he got the dynamite for the Dayton job, to furnish him with more dynamite, and Clark went with this mysterious man and secured about 30 sticks of dynamite and delivered it to Johnson at the corner of Pike and Fifth Streets, Cincinnati.”

The union, having failed to obliterate the viaduct, direct their attentions to the Pittsburgh Construction Company, engaged in building a bridge out of Cincinnati’s West End over the Ohio River into Ludlow, Kentucky for the Cincinnati-Southern Railroad. Union bombers detonated three explosions in an attempt to derail the bridge, on 9 May 1909, 24 May 1909, and 12 August 1909. Damage to the West End was extensive, with hundreds of windows blown out and a couple of tenements sustaining structural damage. Damage to the railroad bridge was negligible. There was only one serious injury in these attempts, according to the Cincinnati Post [12 August 1909]:

“Sid Isley, a young man, was sitting near the girders at the moment. He was hurled many feet and has only a recollection of being rolled over and over, He was badly bruised. Isley was the only victim, although all around the scene of the explosion there are numerous crowded tenement houses. They were shaken by the explosion and window lights were torn out of sashes and smashed, but the tenants, although badly frightened, were not hurt.”

That was not the case with the McNamara brothers’ big job. Los Angeles was virulently anti-union, and anti-union sentiment was inflamed by the Los Angeles Times and its publisher Harrison Gray Otis. Heavily unionized San Francisco mobilized the national organized labor movement to unionize Los Angeles. The McNamara brothers enlisted and it was James “J.B.” McNamara himself who planted the dynamite outside the L.A. Times building. The explosion on 1 October 1910 did little damage itself, but ignited a fire that destroyed the building, killed at least 21 employees and injured another 100.

Both McNamara brothers were convicted on charges related to this attack. James was sentenced to life in San Quentin prison, where he remained until his death. John served ten years. Edward Clark turned state’s evidence and was released under a suspended sentence.

While the McNamara’s were on trial, the union kept planting explosives to encourage the idea that the wrong men had been arrested. The last attempted explosion was on 13 October 1911, when a pile of dynamite was found beneath a bridge in Santa Barbara hours before President William Howard Taft was due to roll over it in the railroad version of “Air Force One.”

There is an excellent online display about the McNamara brothers posted by the Archives and Rare Books Library of the University of Cincinnati, where a collection of related documents is stored. You can see the online exhibit here:

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[micaramel]

Artist: Gili Tal

Venue: ETH Zurich, Hönggerberg

Exhibition Title: Mastering the Nikon D750

Date: October 16 – December 11, 2019

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Images courtesy of gta exhibitions, ETH Zurich. Photos by Nelly Rodriguez.

Press Release:

This fall, gta exhibitions is presenting the first institutional solo show of the artist Gili Tal.

For a few years now Tal has been taking photographs in and around urban areas that to an extent, imitate what she perceived to be a certain style of ‘architectural’ photography and its various tricks and tropes. Conceived in response to an invitation to exhibit her photographs with gta, the show will comprise a series of them scaled up to become free-standing billboards that will be spread throughout the Department of Architecture’s hallways and foyers.

The photographs depict the kind of ‘moments’ of what should otherwise be everyday life, that a Time Out contractor, or equally an estate agent, might pick up on: flower markets, bustling squares, monuments to see, activities to do. In the blink of an eye, or indeed by virtue of an asymmetrical camera angle here and there and not much else, perfectly banal instances might become, it is hoped, cosmic bearers of that ever-illusive yet apparently much sought-after moment of frisson. Going by any other name this moment might be called ‘surplus value’, and, squaring up to the task of ‘leaving no stone unturned’ in the search for it, the photographs in some ways become a means for seeing how far this kind of wanton transmutation from use to exchange value can be taken in its application. Or at least this seems to be the way that park benches, hand-rails etc, somehow become embroiled in the exhausting process that is the work of soliciting endless awe. Placing blame with the bearer of such a gaze rather than its subjects, the photographs reflect the kind of ongoing processes whereby public goods or spaces are slowly denaturalised and how, once eulogised and set in this glistening dream world, the path towards their later dispossession might be furtively set on its way, and, in terms of plunder anyway, where this might end up.

Gili Tal (b.1983) lives in London. Recent solo exhibitions include Civic Virtues, Cabinet, London (2018); Roaming, Jenny’s, Los Angeles (2016), Paris Gardens London, Goton, Paris (2016); 6A Minerva St, Vilma Gold, London (2015); Agonisers, Temnikova & Kasela, Tallinn (2015); and Panoramic Views of the City, Sandy Brown, Berlin (2014). She has participated in numerous group exhibitions including Swiss Institute, New York; LUMA Foundation, Zurich; 500 Capp Street Foundation, San Francisco; Utah Museum of Contemporary Art, Salt Lake City; Glasgow International, Scotland; and Kunstverein Munich, Germany. She is the current recipient of the 2019 Laurenz-Haus Stiftung Residency in Basel.

Link: Gili Tal at ETH Zurich

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from Contemporary Art Daily http://bit.ly/2psTjxo

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[caveartfair]

This Artist Builds High-Tech Robots—Then Has Them Attack Each Other

Running Machine and Spine Robot. Courtesy of Survival Research Laboratories.

“I love wasting technology,” Mark Pauline tells me. “I love it when you take something that’s really practical and do something ridiculous with it.” We’re standing in the middle of Marlborough Contemporary, a white cube gallery in New York’s Chelsea district that has suddenly been converted into what appears to be a near-future auto repair shop. The heady tang of gasoline and grease fills the air. A crew of assistants is performing last-minute surgery on a variety of large-scale machines—inspecting welds, checking voltages—and Pauline roves around the space, the crew-cutted foreman overseeing this high-tech madness.

Nothing here resembles a contemporary art exhibition, but Pauline isn’t really in the contemporary art business. He’s the founder of something called Survival Research Laboratories (SRL), an outfit he launched in 1978 with the intent of creating chaotic live performances featuring remote-controlled robotic creatures. Or, as he bills them, “dangerous and disturbing mechanical presentations.”  

This is SRL’s first proper New York outing in over two decades. (The group is now based in Petaluma, California, a bit less than 40 miles from San Francisco.) Back in 1985 they participated in a show at the now-defunct nightclub Area, pitting various machines against each other in a sort of industrial boxing ring. One of the kinetic assemblages was “driven” by a guinea pig named Stu, Pauline’s pet, who controlled the device from a small command center embedded within it. (“I spent a long time training it so it didn’t panic around the machine,” the artist affirms.)

Mr. Satan Head and the Dual Muel. Courtesy of Survival Research Laboratories.  

SRL’s exhibition at Marlborough Contemporary won’t involve any live animals, but there’ll be plenty of the machine-on-machine violence that the group has become known for. There’s nothing subtle or understated about what Pauline has been up to over the past 40 years, as he’s put technical know-how to absurdly entertaining purposes. A typical SRL creation stomps and shudders on metal legs, perhaps while belching thick tongues of flame; others have been programmed to wield bats and stab things. Their public appearances are orgiastic celebrations of fire and noise in which things are broken, intentionally or otherwise.

Pauline admits that SRL’s aesthetic might not be as immediately shocking as it was in the 1970s and ’80s. “Nowadays, robots are considered to be a harmless part of popular culture—after Robot Wars and everything,” he says, referring to the British reality TV show in which participants build machines that fight each other. But shoehorned into the normally polite context of a gallery, SRL promises something different, and perhaps uncomfortable.

Given the bombast of what he makes, Pauline comes across as an understated guy. He seems fairly unfazed by the last-minute tinkering required before the opening of the exhibition (which bears the unwieldy title “Inconsiderate fantasies of negative acceleration characterized by sacrifices of a non-consensual nature”). The preparatory scene has a science-club vibe, if everyone in that science club oversaw an engineering research department and built race cars designed to speed across the Black Rock Desert on the weekends.

Part of SRL’s spirit, Pauline says, is simply a West Coast thing, a symptom of California’s unique social fabric. “When I came out to San Francisco, you’d go to a punk-rock party and there’d be all these weirdos—but also full-on scientists,” he tells me. “The spark that started the tech revolution out there was that people didn’t differentiate between creative artists and creative scientists.”

Installation view of “Inconsiderate fantasies of negative acceleration characterized by sacrifices of a non-consensual nature” at Marlborough Contemporary. Photo by Walter Wlodarczyk.

SRL’s performances attracted fans and hangers-on, people who wanted to take part and contribute knowledge. (They also attracted a steady stream of dumbfounded cops, whose presence is basically a given in any video documentation of the group’s shows.)

The total team of collaborators now numbers around 40, with some of the members having been on board for decades; the eclectic crew can start to seem like the cast of a very niche, oddball sitcom. There’s Kimric Smythe, for instance, who collaborates with Pauline on props, among many other things. “All the shit he builds looks like the Unabomber made it,” Pauline says. At Marlborough Contemporary Smythe is busy assembling kinetic robots that will flap their arms and legs on the floor. “I do the jet engine work on occasion, too,” he tells me, mildly. Smythe used to be part of the pyrotechnics crew at Burning Man—“before it became, in my opinion, a clusterfuck of techno”–and he also helms what’s billed as “Northern California’s only full-service accordion store” out of Oakland.

Knee-deep in a machine on the other side of the gallery I meet SRL collaborator and computer master Christopher Brooks. He’s on the faculty at UC Berkeley, and is also the executive director of something called the TerraSwarm Research Center, charged with “addressing the huge potential (and associated risks) of pervasive integration of smart, networked sensors and actuators into our connected world,” which sounds both incomprehensible and deeply frightening. At the moment he’s troubleshooting an enormous robot with a flailing claw-hand that, on Saturday, will engage in a remote-controlled brawl in the middle of West 25th Street.

Pauline himself is an autodidact without any academic training in how all this stuff works. He’s previously described how, growing up in Sarasota, Florida, he taught himself to repair the expensive cars and boats of his wealthier peers (who generally lacked any technical skills themselves). In his late teens, Pauline worked for an Air Force contractor in Florida, and later studied the visual arts at Eckerd College in St. Petersburg, Florida. He now supports SRL’s operations by, in his words, “buying and selling tech companies”—often acquiring complex equipment on the cheap, refurbishing it, and reselling it. (He’s previously bragged about how SRL’s early days were facilitated by more extra-legal acquisitions of goods.)

Installation view of “Inconsiderate fantasies of negative acceleration characterized by sacrifices of a non-consensual nature” at Marlborough Contemporary, with Mark Pauline at left. Photo by Walter Wlodarczyk.

Pauline’s proud of his talent for spotting underpriced, semi-broken stuff that can be rebooted to work strange magic. He shows me a bulky robot that was evidently used in the planning stages of the 2013 film Gravity, outfitted “with a camera that they were using to prototype the moves to make people look weightless.” SRL bought the broken equipment for $1,400 and fixed it; Pauline says that it’d now be worth about $15,000 on the open market. At Marlborough Contemporary, it’ll be used to mount (and move around) a 55-inch monitor running a documentary loop of previous SRL shows.

SRL doesn’t have many connections with the mainstream art world, though Pauline’s wife is the executive producer for artist Leo Villareal, represented by Pace Gallery. As for contemporary art in general, Pauline seems fairly lukewarm. “I’m always interested in weird stuff,” he says, “but it’s hard to take it seriously—especially tech art.” He mentions Jordan Wolfson, creator of (Female Figure), a 2014 animatronic sculpture of a grotesque pole-dancer. “My friend in Los Angeles, his company built it,” Pauline says. “It’s a cool thing, but [Wolfson] didn’t do anything—he just ordered it. I’m not into that kind of art. People at least have to put in sweat equity of some kind. That’s my problem with the art stuff: It’s either not that interesting, or the so-called artist doesn’t do anything, or doesn’t know how to do anything.”

Pauline, on the other hand, is clearly a doer. And right now he has to figure out if there’s a working carbon monoxide detector in the house, and where they can buy extra gasoline to run the Pitching Machine, a contraption that’s designed to decimate 2x4s by shooting them into a reinforced cube at around 200 miles per hour.

Installation view of “Inconsiderate fantasies of negative acceleration characterized by sacrifices of a non-consensual nature” at Marlborough Contemporary. Photo by Walter Wlodarczyk.

The Saturday after my first visit to Marlborough Contemporary, Pauline’s Spine Robot (2012–14), with its flailing, articulated claw, squares off against the Running Machine (1992) and other machines in the wintery slush of West 25th Street. A large crowd circles the action as if cheering on some permitless mechanical cockfight. After the herky-jerky battle, the audience pushes its way back inside the gallery. A team member warns passerby not to get to close to Mr. Satan Head  (2007), the machine still hot from earlier previous fire-belching. The gallery is a squall of industrial aroma and noise, much of it unpleasant, most of it courtesy of Squirrel Eyes With Rotating Jaws (1987), a whirring maelstrom of grating metal teeth, ornamented with taxidermied rodents.

Pauline is wearing an olive green, military-style jumper, yelling about entropy into a megaphone. The crew is revving up the Pitching Machine (1997–2017), his D.I.Y. sculpture-weapon that uses a rapidly spinning truck tire to turn wooden planks into projectiles. Prop-master Smythe’s series of handmade “Boogie Bots” are spasming on the floor nearby: pop-eyed skeletons and humanoids, time-consumingly rendered despite their inevitable demise.

Which would be sacrificed first? The audience settles on a hapless skeleton, which is hauled up, awkwardly, via a hitch, and lowered into a rectangular cube that’s roughly the size of a Manhattan bedroom. Pitching Machine is switched into high gear, the tire squealing, and a quiver of planks is loaded into its chamber—soon to be fired at enormous speed into the skeleton sculpture, which does a heroic job of taking all that impact.

Pauline and SRL will continue the process, slowly destroying the bots, and turning Pitching Machine’s receptacle into a graveyard of wood chips and mechanical parts. (The cube itself, and its exploded contents, is for sale.)

The overall vibe is something in between a rock concert and a public execution. It’s unlikely that any other art gallery in Chelsea has ever smelled this strongly of burning rubber.    

“We do a lot of work,” Pauline had told me, shrugging, “then go destroy it.”

from Artsy News

[juliandmouton30]

Richard Meier models all-white Oxfordshire residence on English manor houses

American architect Richard Meier has completed his first project in the UK, a characteristically bright white house perched on a hill overlooking the Oxfordshire countryside.

Initiated in 2007, the project known simply as the Oxford Residence has taken a decade to complete and has just been shortlisted for a RIBA Regional Award.

Meier, 82, designed the home and its accompanying guesthouse for an anonymous client whom he met at an exhibition of his artworks in London.

"I met the clients when I had an exhibition of my work in London. They came to the exhibition, and we met and talked, and they suggested meeting at a later date to talk about a new house that they were planning to build," Meier told Dezeen.

"They had very specific requirements in terms of the various spaces of the house, as well as the guest house adjacent to the main house," added the architect, who is one of the last practising 20th-century modernists.

Meier drew inspiration from the traditional English manor house, placing the residence on the most elevated part of the site, where it can survey its bucolic grounds.

The 837-square-metre house and its 141-square-metre guest lodgings sprawl across the crest of the hill. Their concrete structures stand on a paved base and are uniformly coated in a layer of bright white render that contrasts the vividness of the pastoral landscape.

While the rear of the house is largely opaque where it backs onto a wood, expanses of glazing form the front facade that faces the open countryside.

Sections of columnar glazing and clerestory windows lift the flat roof and side walls away from the rear facade, giving the house an appearance of being open or impenetrable from different approaches.

"The site is open landscape and the way the house is organised and situated would be like many English manor houses," said Meier. "So the siting and the context is related to the English manor houses of the past."

"Our primary site goal is always to create a strong sense of place, by enhancing or transforming the existing site in a unique and provocative way," he continued.

"Whether urban, or the open landscape, we search the context of each project individually for clues that inspire an idea about issues of organisation, scale, and location that provoke a strong dialog with its setting."

Inside, sections of opaque wall and glazing block or permit views, which gradually unfold towards the front of the house where rooms become increasingly more exposed.

White-painted aluminium louvres run across portions of the gridded glazing, a detail replicated inside through the balustrades of the staircase and an elevated walkway overlooking the lounge.

Hickory flooring adds a hint of warmth to the white spaces, which are dressed with white furniture and a handful of sculptures.

Utility spaces and a gym are arranged through the basement of the main house, with living areas placed at ground level and five bedrooms with en-suite bathrooms distributed across the top floor.

Here, a footbridge links the rear of the house with an outdoor swimming pool elevated on a higher part of the hillside.

The self-contained guesthouse is detached from the main residence and has a bedroom, bathroom and an open-plan kitchen and lounge.

"Specific to the site of the house and the related buildings, the design seeks to integrate the landscape and views as part of its identity, bringing a natural balance between building and landscape," said project architect Kevin B Baker.

"Similarly, the layering of programme, walls and columns that dictate the interior layout are designed to complement the light and views specific to every vantage point, creating breathtaking common spaces."

In an exclusive interview with Dezeen last year, Meier discussed New York's changing skyline. The architect said a new breed of skyscrapers – including BIG's "courtscraper" – show no respect for the scale of the city.

The Pritzker Prize-winning architect runs his New York and Los Angeles-based practice with six partners. Collectively they have completed over 130 projects across America, Europe and Asia.

One of Meier's earliest projects, the 1978 Douglas House in Lake Michigan was added to the USA's National Register of Historic Places last summer.

The firm, which came in at number 96 on the Dezeen Hot list, has recently completed a trio of residential buildings and two charter schools in downtown Newark and released a minimal lighting collection.

Related story

New York's latest skyscrapers are "disrespectful to the whole city" says Richard Meier

Photography is by Hufton + Crow.

Project credits:

Design architect: Richard Meier & Partners Principal-in-charge: Richard Meier Project architect: Kevin B Baker Project team: David Bench, Maria E Cumella, Kevin Hamlett, Bori Kang, Hans Put, Heejoo Shi, Sangmin You, Executive architect: Berman Guedes Stretton Executive principle-in-charge: Roger Stretton Executive project architects: Jon Du Croz and Trevor Taw Landscape architect: Tom Stuart-Smith MEP engineer: CBG Consultants Structural engineer: Price & Myers General contractor: Sizebreed Construction

The post Richard Meier models all-white Oxfordshire residence on English manor houses appeared first on Dezeen.

from ifttt-furniture https://www.dezeen.com/2017/04/05/richard-meier-white-oxfordshire-residence-english-manor-house-england/

[jeniferdlanceau]

Richard Meier models all-white Oxfordshire residence on English manor houses

American architect Richard Meier has completed his first project in the UK, a characteristically bright white house perched on a hill overlooking the Oxfordshire countryside.

Initiated in 2007, the project known simply as the Oxford Residence has taken a decade to complete and has just been shortlisted for a RIBA Regional Award.

Meier, 82, designed the home and its accompanying guesthouse for an anonymous client whom he met at an exhibition of his artworks in London.

"I met the clients when I had an exhibition of my work in London. They came to the exhibition, and we met and talked, and they suggested meeting at a later date to talk about a new house that they were planning to build," Meier told Dezeen.

"They had very specific requirements in terms of the various spaces of the house, as well as the guest house adjacent to the main house," added the architect, who is one of the last practising 20th-century modernists.

Meier drew inspiration from the traditional English manor house, placing the residence on the most elevated part of the site, where it can survey its bucolic grounds.

The 837-square-metre house and its 141-square-metre guest lodgings sprawl across the crest of the hill. Their concrete structures stand on a paved base and are uniformly coated in a layer of bright white render that contrasts the vividness of the pastoral landscape.

While the rear of the house is largely opaque where it backs onto a wood, expanses of glazing form the front facade that faces the open countryside.

Sections of columnar glazing and clerestory windows lift the flat roof and side walls away from the rear facade, giving the house an appearance of being open or impenetrable from different approaches.

"The site is open landscape and the way the house is organised and situated would be like many English manor houses," said Meier. "So the siting and the context is related to the English manor houses of the past."

"Our primary site goal is always to create a strong sense of place, by enhancing or transforming the existing site in a unique and provocative way," he continued.

"Whether urban, or the open landscape, we search the context of each project individually for clues that inspire an idea about issues of organisation, scale, and location that provoke a strong dialog with its setting."

Inside, sections of opaque wall and glazing block or permit views, which gradually unfold towards the front of the house where rooms become increasingly more exposed.

White-painted aluminium louvres run across portions of the gridded glazing, a detail replicated inside through the balustrades of the staircase and an elevated walkway overlooking the lounge.

Hickory flooring adds a hint of warmth to the white spaces, which are dressed with white furniture and a handful of sculptures.

Utility spaces and a gym are arranged through the basement of the main house, with living areas placed at ground level and five bedrooms with en-suite bathrooms distributed across the top floor.

Here, a footbridge links the rear of the house with an outdoor swimming pool elevated on a higher part of the hillside.

The self-contained guesthouse is detached from the main residence and has a bedroom, bathroom and an open-plan kitchen and lounge.

"Specific to the site of the house and the related buildings, the design seeks to integrate the landscape and views as part of its identity, bringing a natural balance between building and landscape," said project architect Kevin B Baker.

"Similarly, the layering of programme, walls and columns that dictate the interior layout are designed to complement the light and views specific to every vantage point, creating breathtaking common spaces."

In an exclusive interview with Dezeen last year, Meier discussed New York's changing skyline. The architect said a new breed of skyscrapers – including BIG's "courtscraper" – show no respect for the scale of the city.

The Pritzker Prize-winning architect runs his New York and Los Angeles-based practice with six partners. Collectively they have completed over 130 projects across America, Europe and Asia.

One of Meier's earliest projects, the 1978 Douglas House in Lake Michigan was added to the USA's National Register of Historic Places last summer.

The firm, which came in at number 96 on the Dezeen Hot list, has recently completed a trio of residential buildings and two charter schools in downtown Newark and released a minimal lighting collection.

Related story

New York's latest skyscrapers are "disrespectful to the whole city" says Richard Meier

Photography is by Hufton + Crow.

Project credits:

Design architect: Richard Meier & Partners Principal-in-charge: Richard Meier Project architect: Kevin B Baker Project team: David Bench, Maria E Cumella, Kevin Hamlett, Bori Kang, Hans Put, Heejoo Shi, Sangmin You, Executive architect: Berman Guedes Stretton Executive principle-in-charge: Roger Stretton Executive project architects: Jon Du Croz and Trevor Taw Landscape architect: Tom Stuart-Smith MEP engineer: CBG Consultants Structural engineer: Price & Myers General contractor: Sizebreed Construction

The post Richard Meier models all-white Oxfordshire residence on English manor houses appeared first on Dezeen.

from RSSMix.com Mix ID 8217598 https://www.dezeen.com/2017/04/05/richard-meier-white-oxfordshire-residence-english-manor-house-england/

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