#harold odum

[v1rtualv4mp]

Us fr

[kevrocksicehouse]

The Many Saints of Newark.

D: Alan Taylor (2021). 

David Chase, who wrote and produced The Many Saints of Newark, has indulged in a minor bait and switch to bring the Sopranos prequel to the screen. Billed as “a Sopranos story” and marketed as Tony Sopranos coming of age (Michael Gandolfini ably steps into his father’s shoes as Young Tony), but Tony’s “origin” is an ordinary story – bored with school he starts running low-level scams – that doesn’t and shouldn’t go anywhere. He’s a minor character in the world Chase created where bad faith, tragic misunderstanding, and stupid rotten luck lead inexorably to disaster. 

 The film’s main focus is on Dickie Moltisanti (Alessandro Nivola) Tony’s idolized uncle and played by Nivola as an intelligent and, within the film’s context, almost ethical man until an Oedipal love triangle involving his father (Ray Liotta never better in a surprising dual role) and his much younger bride (Michela De Rossi, ravishing and funny) comes to a head during the 1967 Newark race riots, an event which also jump-starts the criminal career of Harold (Leslie Odum Jr.) a numbers runner looking to get out from under the white mob’s thumb. Chase packs a miniseries worth of plot into a two-hour movie and it sometimes gets out of Alan Taylor’s grasp (Dickie and Harold’s work-friend relationship is never suitably defined), but he never lets it distract from the tragedy of a man only half-aware that his own flaws and that of the world he inherited keep him from any kind of good life. In other words, a Sopranos story.

Now in theaters and streaming on HBO Max

[steponremix91]

paul burke/duffy odum of american music show fame is a cat person and a fan of harold and maude? based

[jeffreymelo-blog]

MARK YOUR CALENDARS!! Posted @withregram • @bws.gallery We’re excited to finally announce the full lineup for 21 Piece Salute, but first we’d like to share the great news that we’re moving to a new location in New York City, opening next Thursday. ********************* NEW LOCATION: 33 Howard Street (Former Opening Ceremony location in SoHo) ********************* FULL LINEUP: 01. Charica Daugherty • @ladyc416 02. Robert Peterson • @caleblee81 03. Amani Lewis • @amanilewis_ 04. Brandan “BMike” Odums • @bmike2c 05. Chiamonwu Joy Ifeyinwa • @chiamonwu_joy 06. Ike Slimster • @artbyslimster 07. Ronnie Rob • @ronnierrobstudio 08. Chris Clark • @cooli_ras_art 09. Kay Hickman • @khickmanphotography 10. Carl Bocicault • @cal_the_artist 11. Dana-Marie Bullock • @danamariebullock 12. Chris Wilson • @chriswilsonbaltimore 13. Troy Jones • @troyjonesartist 14. Cory Ford • @corswavey 15. Jeffrey Melo • @jaemelo 16. Zeph Farmby • @zephfarmby 17. Philip A. Robinson Jr. • @philiparobinsonjr 18. Watson Mere • @artofmere_ 19. Will Watson • @will_theartist 20. Harold D. Smith Jr. • @haroldsmithart 21. Joshua Griffin • @zim_arts Curated by Dr. Ricco Wright • @riccowright03 ********************* “21 Piece Salute,” curated by owner Dr. Wright, who is a fourth generation Tulsan, is our most ambitious exhibition to date and will feature 21 black artists from around the world. Each artist will have one piece on view and so there will be 21 pieces in total. This year is the centennial anniversary of the 1921 Tulsa Race Massacre. Specifically, May 31st and June 1st are the exact dates on which the massacre took place a century ago. Opening Thursday May 27th at 7pm, this exhibition is a salute to the ancestors who lost their lives in the massacre. It’s also a way for us to answer the question of what we plan to do for the next 100 years. We’re not focused on the massacre as much as we’re focused on building generational wealth through art, because back then the pioneers of Black Wall Street were preoccupied with group economics and black entrepreneurship, and today we are too. (at Opening Ceremony) https://www.instagram.com/p/CPHG_Fqng6U/?utm_medium=tumblr

[rachelcarsoncenter]

By David Munns

*Featured image: Mars Rover. Image: Idaho National Laboratory, [CC-BY 2.0], via Flicker.

We need a “hardy, soiled kind of wisdom,” Donna Haraway wrote in her recent book Staying With the Trouble, if we are to avert disaster from climate change even a little bit. Challenging and controversial, the wisdom Haraway seeks comes from string figures, nonhuman companions, and her own garden—and, she hopes, will produce a time when the Earth possesses at most 2 or 3 billion humans. Haraway’s call to “make kin, not babies” has garnered reviews disturbed by her radical positions. In confronting climate, there are difficult choices ahead, with voluntary childlessness one effective solution: If we are going to reduce our carbon emissions, why not also reduce our biological presence?

Haraway’s call for a steady, controlled, and peaceful population decline over a century or more, in fact, seems hardly confronting in contrast to the wisdom learned during the heyday of the Space Age. Haraway’s call to not make babies echoes the overriding metaphor for environmentalists in the 1960s, “Spaceship Earth.” In Spaceship Earth, all resources were finite and thus the idea broke with easy and complacent notions of unlimited bounty, resources, or growth. The Earth was likened to a closed ecological space ship, lunar base, or Mars station, wherein air, food, and water become supremely rare and precious commodities. Confrontingly, from the earliest days of the Space Race, NASA administrators knew as well as science fiction writers that no material could be discarded as waste just because it became urine and excrement, or indeed the deceased body of one’s crewmate. Time magazine’s science editor in the mid-1960s (quoted by famed science fiction author Arthur C. Clarke) even suggested that, in order to ensure complete closure of an artificial environment for long-duration space travel, “cannibalism would be compulsory among interstellar travelers.”

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The first astrobiological missions in the late-1950s launched dogs, mice, and monkeys into low-Earth orbit for just hours or a few days. By the early 1960s, large-scale experiments attempted unsuccessfully to replicate a working closed environment where material and energy moved continuously through the components and cycles of a complete ecosystem. NASA understood the gravity of the problem of creating and sustaining a closed environment in which life could be sustained. NASA’s earliest closed environments failed because toxins rapidly built up over just days and poisoned everyone in them; they were verily the forecast of Rachel Carson about the reality of living in an increasingly concentrating, rather than diffusing, toxic environment made real. Ecologists like Harold and Eugene Odum readily described new ecosystems, but it was the engineers and life scientists of Boeing, Lockheed, and General Dynamics, all contracted by NASA to build a closed environment, who actually built them. Visionary biologist Lynn Margulis said that “human voyages into deep space require ecosystems composed of many nonhuman organisms to recycle waste into food” in the 1970s,[1] but that was a decade after NASA and its contractors discovered an environment to be a complex, multilayered, cyclical, and interdependent thing (as my recent paper with Kärin Nickelsen explores). In one notable example, NASA and its contractors struggled with the realization that carbon dioxide, methane, and even water vapor could be, if sufficiently present in too large a quantity, toxins every bit as fatal as those that came from industry and flowed out to poison an environment, as Rachel Carson highlighted. Carbon dioxide (CO2) is a waste product produced by all animals from breathing, but equally CO2 is simultaneously a nutrient for respiration by plants. It is not its existence that is the problem, only its concentration and context: at six percent inside a greenhouse CO2 will help plants grow faster, but the same amount inside Apollo 13 nearly killed everyone.

In a recent RCC Perspectives volume, The Good Muck, pioneering environmental historian Donald Worster has come to the conclusion that historians have not paid enough attention to excremental histories, bowdlerizing environmental history by focusing on where food comes from and not where the waste goes. Environmental history, so impressive at illuminating how nature is understood and has been used, stops short when it confronts unsightly and odorous waste. David Soll’s Empire of Water, for example, is marvelously detailed on the evolving story of how New York City consumes nearly a billion gallons per day of water but says almost nothing about the outflow of those same billion gallons. Equally silent about waste have been histories of consumption: unrivaled consumption without thought to waste production is one of the most significant social shifts in human history since just the 1950s, with people in the United States (and elsewhere) embracing the idea that “waste” could just be thrown away.

Image: MPCA photos [CC BY-NC 2.0], via Flickr.

These days, courtesy of the work of Michelle Murphy and Naomi Klein, it seems obvious that the emergence of the “throw-away” society remains the era’s most pernicious legacy. Now horrifying to millennials, the baby boomers took pride in a time when everything was disposable: as illustrated in the iconic period drama Mad Men, when the protagonist Don Draper and his family go for a picnic to a park in Season 2, episode 7, “The Gold Violin.” At the end of the meal, his wife Betty first checks the cleanliness of her children’s hands before shaking off from the picnic blanket the unwanted containers, drink bottles and caps, paper plates, and napkins. Leaving the “trash” strewn across the grass, everybody walks unconcernedly back to the car. In the same episode, Draper’s advertising staff are trying to put together a campaign to sell Pampers diapers, which while expensive, have one key advantage: “You get to throw them away.” As Haraway has already said, environmental waste was intimately connected to human reproduction and childcare.

My coauthor, Kärin Nickelsen, and I are exploring how “waste” was reconsidered in the Space Age in the ongoing attempts to build an artificial environment to live in space. Our forthcoming book, To Live Among the Stars, offers the stories of the many inventions to let space travelers drink recycled toilet water or eat algae grown from feces. Unexpectedly, it is the Space Age—not ecologists or environmentalists—that first created equipment to regenerate useful materials from waste products. Just like NASA and its military-industrial contractors, Soviet space scientists and engineers concluded in 1971 that life support in a closed system “consists of the members of the system eating each other’s metabolites.” At NASA’s Langley Research Center, oxygen reclamation studies took place next to a million-dollar facility devoted to building a life support system capable of supporting four men for one year by recycling all water. Over at the Manned Spaceflight Center in Houston, people were working on food and waste management.

The International Space Station’s complex water recycling system reclaims wastewater from astronauts and the environment, turning it into potable water. NASA astronaut Scott Kelly tweeted this image of part of the device with the remark: “Recycle Good to the last drop! Making pee potable and turning it into coffee on @space station. #NoPlaceLikeHome.” Image credit: NASA

NASA has been obsessed by waste for decades now: in the 1990s, Wendell Mendell of NASA’s Mission Science and Technology office told an audience that “one might even consider establishing tourist facilities as long as they pay their way and leave their waste!” as a way to economically move material into space. Mendell could make such a claim because on Spaceship Earth, just as in a spaceship orbiting Earth, there is no waste. “Sewage” is not a pollutant to be eliminated or disposed of but rather a valuable and available source of unprocessed nutrients to be reused, recycled, and returned to a crew. Yet, decades after the world was made aware of the dangers of global climate change, the global glut of waste, and overpopulation, those same problems that the Space Age faced in the 1960s have barely been mentioned, let alone addressed. For all our efforts in recycling or limiting CO2 emissions, closing cyclings of waste from our bodies to make food for our bodies is invisible or unmentionable. As we all travel in Spaceship Earth, waste remains a diseased by-product to be eliminated, not a source of nutrients to be recycled back to ourselves. My claim, then, is that humans must go to Mars to demonstrate that they can correctly engineer the problem of living on Earth. The lack of substantial progress in this field has chronically delayed not only the further exploration of space but the potential for its habitation, and has lessened our hope of our own continued habitation on Earth.

[1] Our thanks to Luis Campos for this reference.

The Case to Go to Mars—And the Hope for the Earth By David Munns *Featured image: Mars Rover. Image: Idaho National Laboratory, [CC-BY 2.0], via Flicker.

[itsworn]

This One-Family 1952 Chevy Went from Work Truck to Trophy Winner

When Mackey Young’s sister and brother-in-law bought this 1952 Chevy Stepside it was in brand-new condition. They all were in 1952. It wasn’t winning trophies. None of them were. It was providing transportation and handling chores.

When Mackey’s dad, Harold, bought the truck from them two years later, it still wasn’t a classic. Harold owned it for the following 30 years, continuing to put it to work. When Harold died in 1984, the truck went to Mackey. It was banged up and the paint was peeling off—the outward signs of 32 years of hauling wood and hay. Mackey said it looked like it was bound for the junkyard, where most of the other 1952 Chevy pickups had already ended up. Mackey had other ideas. He wanted a show truck.

The first major change Mackey made to the pickup was replacing the factory 216 babbit rod engine with a 235 straight-six. He drove it that way for a while, partially for pleasure and partially as a work truck, until locating a shop to rebuild it according to his goals. The truck spent nine years in that shop, with only a 3-inch chop and a transplanted 1959 Chevy Impala dash to show for it, until Mackey transferred the project to builder Mike Weber in St. Charles, Missouri. Weber promised to get the build moving and carried to completion.

The stock frame serves as the platform for the renovated Chevy, but the rest of the chassis has been upgraded from front to rear with performance upgrades. Those factory ’rails have been stiffened with boxing plates, which made an immediate noticeable difference. Custom mounts were fabricated to support the battery as well as the air tank and compressor. A Mustang II–style independent frontend suspended by RideTech ShockWaves and dropped spindles from Heidts contribute to the perfect low stance. ShockWave suspension and a RideTech triangulated four-link setup help bring the rear down to the ground. Mechanical Motion in Warrenton, Missouri, helped with installing lines and other chassis assembly tasks.

Weber combined imagination and mechanical chops to bring out the almost art deco elegance of the Advance Design lines. Emblems, trim, and hardware pieces were shaved, side vents filled, and the factory steel hood was smoothed and reshaped to improve the profile. The previously chopped top was complemented with a custom split windshield. The front fenders were sliced 2 inches and the running boards now extend below them. The Briz Bumpers’ ribbed front bumper is reminiscent of a 1937 DeSoto bumper and was ordered from Chevs of the 40’s.

Weber used paint to create some proportional illusions; painting the top half of each grille bar to make them look thinner, and painting the outer portion of the frenched Hagan headlight rings makes them seem deeper. In the back, a Sir Michaels roll pan was customized with flush-mounted Lambert Enterprises LED taillights. The frenched license plate conceals a functional trailer hitch, and the tailgate is an aftermarket piece from LMC Truck. LMC also supplied the pine bedwood, which has been treated with cherry stain and clear. The boards are separated by stainless runners—with a fuel fill neck mounted in the center.

The classy exterior demanded a classy paint color. The choice was black cherry, spiked with the right percentage of pearl. Weber used Axalta paints for the job. To complete the truck’s outward impression, Mackey and Weber agreed on the rolling stock combination, opting for 17×8 Intro Twisted Vista five-spokes front and rear. Nitto NT450 Extreme Performance tires measure 225/50R17 and 275/50R17, providing the right amount of sidewall for a classic truck and the right fat footprint for a performance truck. Wilwood 13-inch disc brakes are used in the front, with drums slowing the rear.

A naturally aspirated 0.030-over Chevy 350 small-block, built by Jeff Odum, replaced the 235 that had been powering the truck. The 650-cfm carburetor, intake manifold, aluminum cylinder heads, and valve covers are all Edelbrock parts. The center of attention has to be the March Performance Revolver billet air cleaner topping it all. Stainless Hooker headers route gases to the custom exhaust system. MagnaFlow mufflers provide a mellow exhaust tone—until Mackey engages the Doug’s electric exhaust cutouts to wake things up. A 700-R4 from Bowler Transmission was assembled at Old Dog Street Rods in Maryland Heights, Missouri. A custom steel driveshaft delivers torque to a limited-slip differential with 3.73:1 gears.

The interior was given full contemporary custom treatment. Dakota Digital gauges were installed in the 1959 Impala grille that had been added way back when. The lower dash was filled with custom vents to blow cool air from the Vintage Air A/C system. The dash is matched by a 1959 Impala steering wheel atop a chrome Flaming River tilt column. Jerry “Stitch” Klich at Top Stitch Interiors in Cottleville, Missouri, took care of the beautiful upholstery, using tan vinyl with maroon accents to cover the Dodge Caravan bucket seats, interior panels, and headliner. The fabricated center console features Vintage Air, RideTech, and power window controls, as well at the floor shifter. A contoured custom panel behind the seats houses the Eclipse audio system, with JBL speakers in the back and console.

Since the truck has been completed, Mackey has driven it to as many shows as possible. It has only been trailered once—to the Street Machine Nationals in DuQuoin, Illinois—where it won the prize for Grand Champion Truck. In between road trips, the Chevy is cruised on the streets of Mackey’s home in Warrenton, Missouri.

Mackey said that driving the truck is one way to remember his father. He said that Harold would probably ask him, “Son, what did you do to my truck?!” He knows his father would also say, “Job well done!”

1952 Chevy Stepside Mackey Young

Facts & Figures:

CHASSIS Frame: Factory, boxed, custom mounts for battery and air suspension Rearend / Ratio: GM / 3.73:1, limited slip Rear Suspension: RideTech triangulated four-link, RideTech ShockWave air suspension Rear Brakes: Factory drums Front Suspension: Mustang II–style IFS, Heidts dropped spindles, RideTech ShockWave air suspension Front Brakes: Wilwood 13-inch disc brakes Steering: Flaming River steering rack Front and Rear Wheels: 17×8 Intro Twisted Vista Front Tires: Nitto NT450 Extreme Performance 225/50R17 Rear Tires: Nitto NT450 Extreme Performance 275/50R17 Gas Tank: Rock Valley

DRIVETRAIN Engine: Chevy 350 small-block, bored 0.030-over, built by Jeff Odum Pistons: Keith Black dome top with Sealed Power rings Heads: Edelbrock aluminum Carburetor: Edelbrock 650 cfm Intake Manifold: Edelbrock Air Cleaner: March Performance Revolver Valve Covers: Edelbrock Ignition: MSD Headers: Hooker Headers Exhaust: Custom pipes, Doug’s electric exhaust cutouts Mufflers: MagnaFlow Radiator: Be Cool, dual electric fans Transmission: Bowler Transmissions 700-R4, built by Old Dogs Street Rods Shifter: Aftermarket floor shifter Driveshaft: Custom steel Horsepower: 425 hp

BODY Style: 1952 Chevy Stepside Modifications: Shaved body panels, 3-inch chop, filled side vents, modified front fenders and running boards, frenched headlights, frenched license plate, smoothed firewall and inner fenders, hidden trailer hitch Hood: Factory steel, smoothed and reshaped Grille: Chevy Duty Classic Truck reproduction Mirrors: Peep Windshield: Custom split Painter: Mike Weber Paint / Color: Axalta / Black Cherry pearl Bed Floor: Stained pine, stainless runners Tailgate: LMC Truck Headlights / Taillights: Hagan / Lambert Enterprises LED Bumpers: Front Briz Bumpers, rear Sir Michaels roll pan

INTERIOR Dashboard: 1959 Chevy Impala Gauges: Dakota Digital Steering Wheel: 1959 Chevy Impala Steering Column: Flaming River tilt Seats: 2002 Dodge Caravan Upholstery: Jerry Klich, Top Stitch Interiors Material / Color: Vinyl / Tan and maroon Carpet / Color: Wilton wool / Tan Sound System: Eclipse, JBL speakers Air Conditioning: Vintage Air Wiring: Painless Performance Products

The post This One-Family 1952 Chevy Went from Work Truck to Trophy Winner appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/one-family-1952-chevy-went-work-truck-trophy-winner/ via IFTTT

[cybervillage-rom-blog-blog]

US Marshalls Arrest Utica Man for 2013 Homicide Utica Police say 26-year-old Harold Lanaux Jr. shot 21-year-old Odum Shealey near the intersection of Eagle Street and Conkling Avenue on November 10th in 2013. Source: News 10 Now

[normgasmphantasm]

Norman was amazing in this film. Brilliant performance! One for the books. 👍🏼👍🏼

[mywillbedone]

My completed Harry Odum plushy.

He's stuffed with denim so he's actually really dense for his size.

The jacket is pleather.

Everything hand sewn, and all clothes are removable, so I might make him other outfits too. FFF I'm such a creepy fangirl.  I also had to make the latches on the coat and they didn't stay where I wanted them >:/

Total work time somewhere around 9 hours, give or take 2. Not entirely sure.

[mywillbedone]

I think my felt turtleneck is a fair approximation.

The coat will have to wait til tomorrow.