Kent McMillan, post: 430975, member: 3 wrote: That is an exceptionally dim criticism by a poet who himself was a modernist. While I find Ezra Pound to be tiresome and ultimately unreadable, dismissing modern jazz as devoid of a profound grace and beauty can only be the opinion of a deaf person.
The best part is, he was the jazz critic for the Telegraph for ten years
http://www.mileskington.com/MilesMusic/reviews/Philip%20Larkin.html
Poetically I think Larkin was the most formal and traditional of The Movement writers, much more Hardy than Pound. He exemplified the famous C.S. Lewis quote: "We all want progress. But progress means getting nearer to the place where you want to be. And if you have taken a wrong turning, then to go forward does not get you any nearer. If you are on the wrong road, progress means doing an about-turn and walking back to the right road; in that case the man who turns back soonest is the most progressive man."
Robert Hill, post: 430977, member: 378 wrote: Anybody of the FLW naysayers ilk would like to offer any other architect (excluding Saarinen) that would be placed in the American pantheon of architecture. anyone? Anyone from experience?
Wright's work emerged from a couple of different sources. The Arts & Crafts movement being one important one.
The work of Greene & Green and Bernard Maybeck was mostly in California where the timber resources were abundant in the early 20th century and where there was a bit more knowledge of and interest in Japanese timber building traditions. The California bungalow style spread across the US as knockoffs of their work.
James Fleming, post: 430980, member: 136 wrote: The best part is, he was the jazz critic for the Telegraph for ten years
http://www.mileskington.com/MilesMusic/reviews/Philip Larkin.html
I think that proves my point if Larkin found nothing to like about modern jazz during the period from 1961 to 1971. It would be mildly interesting to known what he thought to be the high water mark of jazz if it wasn't then.
Robert Hill, post: 430977, member: 378 wrote: Anybody of the FLW naysayers ilk would like to offer any other architect (excluding Saarinen) that would be placed in the American pantheon of architecture. anyone? Anyone from experience?
I'm not in the FLW naysayer column, but IMVHO Christopher Alexander and Robert Venturi are the two great architectural theorist of the time - especially Alexander.
https://en.m.wikipedia.org/wiki/Christopher_Alexander
https://en.m.wikipedia.org/wiki/Robert_Venturi
Kent McMillan, post: 430984, member: 3 wrote: I think that proves my point if Larkin found nothing to like about modern jazz during the period from 1961 to 1971. It would be mildly interesting to known what he thought to be the high water mark of jazz if it wasn't then.
Kind of Blue is a masterpiece, completely unrehearsed although there were takes I think.
An affluent member of Oklahoma industry, Fred Jones, commissioned Wright to design the Trinity Chapel here in Norman, OK.
http://www.hookedonthepast.com/trinity-chapel-in-norman-by-frank-lloyd-wright/
I think it's a stunning design. But sadly was never built.
It almost appears as though Wright was attempting to imbibe the form a teepee into his design. Or possibly just give the roof enough pitch so it wouldn't leak. 😉
Dave Karoly, post: 430989, member: 94 wrote: Kind of Blue is a masterpiece, completely unrehearsed although there were takes I think.
There was a time in my life when insulting "Kind of Blue" or "A Love Supreme" would have been fighting words; now I can't listen to anything after Ralph Vaughan Williams. But then again I have also taken to smoking a pipe, wearing a tweed cap, and yelling at the neighborhood kids to get of my lawn.
James Fleming, post: 430995, member: 136 wrote: There was a time in my life when insulting "Kind of Blue" or "A Love Supreme" would have been fighting words; now I can't listen to anything after Ralph Vaughan Williams. But then again I have also taken to smoking a pipe, wearing a tweed cap, and yelling at the neighborhood kids to get of my lawn.
I'm most familiar with his church music.
paden cash, post: 430976, member: 20 wrote: I was listening to the Wilburys....still do
Me too, "Last night" etc. I love all music (well almost) except rap and opera.
http://www.travelingwilburys.com/history
😎
Sign it, call it "Train", and become famous
https://en.m.wikipedia.org/wiki/Fountain_(Duchamp)
Dave Karoly, post: 431002, member: 94 wrote: I'm most familiar with his church music.
https://www.theguardian.com/music/musicblog/2007/mar/09/buildingaclassicalmusiclib2
Plus one that's not on the list "A Cotswold Romance", parts of his opera Hugh the Drover" rearranged as a cantata.
https://www.gramophone.co.uk/review/vaughan-williams-cotswold-romance-death-of-tintagiles
James Fleming, post: 431010, member: 136 wrote: https://www.theguardian.com/music/musicblog/2007/mar/09/buildingaclassicalmusiclib2
Plus one that's not on the list "A Cotswold Romance", parts of his opera Hugh the Drover" rearranged as a cantata.
https://www.gramophone.co.uk/review/vaughan-williams-cotswold-romance-death-of-tintagiles
Had a good friend and house mate way back ago who was a Brit.
On the occasions that he was homesick and had a few too many brews, the Vaughn Williams would be played on the stereo.
[MEDIA=youtube]Ak85S5KZoKE[/MEDIA]
Robert Hill, post: 431011, member: 378 wrote: Louisiana Neo-Modern Revival
paden cash, post: 430976, member: 20 wrote: My oldest son was stuck on Axl's stuff. Me not so much.
There's not a lot of GNR that appeals to me, but I find Dancing With Mister Brownstone both powerful and darkly witty.
FYI: Ralph is pronounced Raeph.
James Fleming, post: 430986, member: 136 wrote: I'm not in the FLW naysayer column, but IMVHO Christopher Alexander and Robert Venturi are the two great architectural theorist of the time - especially Alexander.
https://en.m.wikipedia.org/wiki/Christopher_Alexander
https://en.m.wikipedia.org/wiki/Robert_Venturi
Christopher Alexander's "Pattern Language" books (with co-authors) have almost certainly been influential in expanding the scope of functions that the built environment serves. In the case of Robert Venturi, much as I like his work, I think it is mainly important as a response to the prevailing formalism of the 1970s (e.g. Michael Graves and Richard Meier).
Since then, I think the case can be made for the reemergence of regionalism in American architecture. The climate, materials, and building traditions vary so much across the US that a single "American style" is doomed to failure. That's not to say that the spec builders of mass market tract homes aren't trying to cover North America with their fevered ideas of housing solutions.
Probably the most significant change has been the New Urbanism (for want of a better tag) that has emerged in the US since the late 1970s, resulting in the rediscovery of what was lost when the affluent residents of cities fled to suburbia in the 20th century. That would be Jane Jacobs' "The Death and Life of Great American Cities" to credit.
