The 26 Secrets You Will Never Know About Painting Art Modern | painting art modern

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This December, Felder Arcade in San Antonio, Texas, is hosting a air-conditioned abreast show, accomplished for iconic, anxious Western pickings.

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When Robby Felder got the abstraction for his aboriginal anniversary Abreast Western Group Show, he went appropriate for the big guns.

The aboriginal artisan who active on? Billy Schenck. The leash of featured abreast artists for the appearance at Felder Arcade in San Antonio additionally includes S.C. Mummert and Skylar Fein.

“All three artists appear from assorted backgrounds and use actual altered techniques,” says arcade buyer Robby Felder. “Not your archetypal Western art show, these artists’ works characterize the American West through a abreast faculty and the ability and acceptation of 1950s America shines through.”

Selected based on their contempo accomplishments in Western or abreast art, the three artists may use altered styles and techniques, but their characteristic works all draw absorption to color, able composition, and Western symbolism.

Billy Schenck, an aboriginal architect of the Western pop art movement, uses pop art and photorealism techniques throughout his works to breathing iconic images of the West. San Diego-based S.C. Mummert, best accepted for his romanticized paintings of the American West from the 1930s through the 1960s, paints oils in a representational appearance that blends anecdotal detail and able tonal design. Skylar Fein, accustomed for his pop affection as able-bodied as political commentary, creates two- and three-dimensional works that absorb adventurous adumbration and begin materials.

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“Through this anniversary exhibition, we aim to accompany calm assorted sorts of collectors who booty absorption in both abreast and Western art,” Felder says. “The exhibition’s affair portrays the appearance of the 1950s as able-bodied as the iconic imagery, romanticized attitude, and dust of the American West.”

If you’re cerebration about alms art — or maybe affairs yourself article absolutely appropriate — during this division of giving, stop beat about Amazon and analysis out this appearance at Felder Gallery.

It runs December 1 – January 5, with an aperture accession on December 1 from 5 p.m. to 7 p.m.; S.C. Mummert will be in from San Diego from 3 p.m. to 5 p.m. on aperture day. Private tours can be scheduled.

We talked with Robby Felder about the appearance (see the slideshow below), his gallery, and what makes abreast Western a able art statement.

“Rawhide” by Skylar Fein, corrective aluminum, hormasote, and rubber, 25” x 24” x 5”

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“The Never Ranch” by Billy Schenck, oil on canvas, 40” x 30”

“My New Best Friend” by S.C. Mummert, 42” x 24,” oil on panel

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Cowboys & Indians: What a abundant leash of artists you pulled in for your aboriginal anniversary Abreast Western Group Show. What’s the basal affair that ties Billy Schenck, S.C. Mummert, and Skylar Fein calm in your thinking?Robby Felder: I mix styles. What I feel it’s about is putting calm a mix of affection pieces. I ability accept article actual clear in attributes and a little on the edge, but the artisan created it at a actual aerial level. I ability additionally accept actual bookish paintings additionally accomplished at a actual aerial level. The accepted denominator is the affection and the aerial amount of execution. What I don’t do is hunt trends.

C&I: And the abstraction for a abreast show?Felder: The abreast Western abstraction didn’t absolutely appear from the salon-wall idea, area you adhere a lot of pieces in a array of “more is more” fill-the-wall manner. Attracting the 40-something army to accomplished art can present some challenges: They’ve got kids, careers, amusing engagements and ability be so active they’re not actively cerebration about accepting accomplished art for their home and their own legacy. Lots of bodies my age accept affiliated a bequest painting and ability be alive with a artisan to absorb it into their space. The abstraction for a abreast Western appearance came from a lot of acceptable assignment and some antique pieces, but bond them with some added avant-garde interiors.

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C&I: Tell us a little about anniversary of the artists, all of whom assassinate at a actual aerial level. Let’s alpha with Schenck.Felder: I accomplished out to some big names that I was absorbed in and was actual blessed to get Billy Schenck. When he responded it affectionate of took me by surprise. Billy absolutely encompasses an attitude that’s both actual bookish and fun. His images are aloof accessible to apprehend and embrace this attitude that a lot of bodies my age chronicle to. It absolutely exemplifies the attitude of the West. His attitude and his explanation paintings in accurate affective me.

C&I: How about Mummert?Felder: I had already been in chat with S.C. Mummert. He portrays these cowgirls — fierce, admirable women with holsters. Lipstick and Lead was the name of his contempo appearance at Trailside, and that affectionate of expresses it. The paintings accept absorbing accomplishments lighting — about an announcement feel, a able angel and absolutely accessible read.

C&I: And Fein?Felder: You apperceive in advertising, a attack comes with putting things calm in threes. Skylar Fein is the third in the trio. His assignment isn’t accompanying to Western art at all, but he’s a abreast artisan who is accepting a lot of attention. He’s based in New Orleans and generally tackles aphotic accountable matter. But the pieces I’m bringing in are simple, pop, bright memories to him — a abatement from his aphotic stuff. And again, we’re aback to the abstraction of an accessible read. The works are three-dimensional in the faculty that while they are bank paintings, the billowing matchbooks he’s portrayed absolutely accessible up. He was the ideal artisan in the leash to actualize a assertive tension.

C&I: It sounds abundantly provocative. A affected risk?Felder: I do feel like in some means it’s a risk. But this appearance was congenital on adventurous attitude, able imagery, and accessible reads. You see how able this assignment is and how calmly and bound it stops you. You can “read” the pieces fast, but because of the quality, these works aren’t digested and forgotten. There’s an iconic attributes there that’s lasting.

For added advice about the Abreast Western Group Appearance and Felder Gallery, appointment the gallery’s website.

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The post The 26 Secrets You Will Never Know About Painting Art Modern | painting art modern appeared first on Painter Legend.

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Computer lab tool kit phase 3 IMG_2136 (1)

Computer lab tool kit phase 3 IMG_2136 (1)

Shopping List:
Grounding mat w/ cable and alligator clip
Ethernet to USB adapter, drivers
Bootable USB stick/(thumb)drive w/ utility sw
Additional USB drives/sticks w/ BIOS updates, etc.
Large paper-clip ready to reset, force DVD/CD disc ejects, etc.
Thermal conduction putty/grease/stuff
Grounding strap w/ cable and alligator clip
Shirt-pocket digital multi-meter
Magnifying glass
Plastic putty knife for prying open plastic cases w/o scratching
3M Magic tape + dispenser
Overly complicated screwdriver bit handle w/ #2 Philips bit
Additional driver bits, Torx, Philips, blade styles
Small sockets w/ bit-to-1/4" adapater
long-reach diagonal cutters

Explanation:
Phase 1 and phase 2 kits are on the lower left.
Starting at the upper left:

Grounding mat with wrist strap. Doesn’t actually have a connector TO ground, you’ll note, but does keep you and the workpiece at the same potential, so better than nothing. Now you appreciate the little chain that drags on the ground under the carts and chairs in some labs.

Some people and their environment and wardrobe choices generate more electrostatic potential than others. I know a guy who used to lead with his car keys to the latch seat on the door jamb, whenever he went through a doorway at the office. One key would arc to the bare-metal plate the door latches on. He drew arcs that made audible "pop!" sounds if he didn’t offer a low-impedance path, and the arcs hurt. Could have had something to do with polyester suits. I prefer cotton.

The mat can’t hurt, might help. If the workpiece’s grounded cord is plugged in, use an alligator clip haywire to connect chassis ground to the mat. Or touch the chassis ground with one hand while working. Or connect the mat to ground at a grounded outlet- the North American 3 wire receptacle ground connection take a standard "Banana" jack. (A forthright Canadian friend uses the word "jill" in place of "receptacle"… the counterpart to a "jack". Suit yourself)

Ethernet (RJ-45) to USB adapter. More than two connectors and a wire, there’s Ethernet transmitter / receiver hardware in the body of it, and USB receiver / transmitter hardware too. Just like you’d expect, these have their own MAC and you may have to make that known (depending on how your network runs). Sadly, I haven’t yet seen a PXE boot setup that accepts the external adapter’s MAC. But I have over-written the adapter’s default to have the adapter take the place of a failing-but-not-completely-broken built-in NIC…
Note ROM disk with drivers.

Partially-unbent paper-clip, size large. For resetting things with recessed reset buttons, forcing CD/DVD drives to eject, etc. Its on a badge-clip and attaches to the lanyard with the bootable USB stick. Save the last one you made and you don’t have to find another paper clip when time is of the essence…

Small tube of thermal putty. Better quality heat-sink-and-fan assemblies come with a dab already in place, and it will squish and flow when heated. If you’re reusing a heat-sink when upgrading the processor on something, you’ll need your own supply. It does dry out, so put the cap on after cleaning the surfaces. Don’t buy the big, economy, size, unless you really use it frequently. I don’t like to let an open tube go more than 6 months.

Non-conductive ruler. Wood or plastic. A metal edge on a wooden ruler is OK, but an all metal ruler is unnecessary trouble.

Grounding strap – wrist band to aligator clip, use with mat or separately, see discussion at top.

Pocket-size volt-ohm-(amp)-meter, aka VOM. Cheap. Something to read what you expect to be +/- 5V, 120 VAC, 240 or 208 VAC, +/- 12, 3V lithium cells for CMOS memory, etc. Built-in leads don’t fall out or break off. Some alligator and/or "ball clip" jumper wires will help if you need to secure one or both ends. Ammeter functions in these are usually too few mA to bother with, but if you use it, get some replacement fuses, its a "when", not "if", situation.

"Magic" tape dispenser. For mending or sealing paper and cardboard. The "magic" 3M tape can be written on with ballpoint pen, vastly superior to shiny tape.

Large multi-bit screwdriver, with Phillips, regular, Torx and socket ends. For unusual jobs, where it is worth having the right tool for the fastener. You can’t buy an assortment of ‘bits’ without getting all the regular blade and Phillips sizes in any event. I prefer a dedicated handle and a bit that doesn’t come off, but I don’t have 1.3 meters of wall space to hang them all on.

Phase 4 exists, it includes a small, sharp, knife, coffee cup and coaster, cup or can for pens, pencils, plastic flatware, skinny tools; duct-tape, vinyl tape for color-coding, extension cords, a Brother or similar label maker, zip-lock polyethylene bags, nickel-plated anti-static bags, boxes and bins for organizing stuff, extra monitors, keyboards and mice. Broom, dust-pan, small-but-powerful vacuum cleaner (Mighty-mite from a garage sale, or similar). Speakers for your radio / computer / phone audio when acceptable. I don’t favor headphones in the lab, may people do. A water bottle or large plastic cup.

There are also consumables: tie wraps, facial tissues for blowing your nose and cleaning up surfaces, paper towels / napkins, light cardboard tags to attach to stuff that has a story. Blank CD/DVD media. A notebook.

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Seven Things About Painting Wine Class Nyc You Have To Experience It Yourself | painting wine class nyc

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Momofuku Ko has baffled the art of the affected but affectionate chef’s counter. Photo: Tirzah Brott/New York Magazine

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The Abundant Tasting Card Boom has connected apace aback the aftermost time we appear this list, so let’s reiterate a few arena rules: We’re not interested, here, in the casual chef’s card that ability appearance up alone already or alert a week, or the beyond haute cuisine restaurants like Eleven Madison Park that use the architecture in their alveolate dining rooms. The accountable of this awful abstract baronial is the discreet, small-sized enactment breadth banquet is able in advanced of the diner, usually at a baby counter, and served advance by course, generally by the chef him or herself.

1. Momofuku Ko8 Extra Pl., nr. 1st St.; 212-203-8095

The grandfathering of all precious, new-age New York Burghal tasting apartment stays aloft our listings, admitting the actuality that the prices accumulate active steadily advancement ($255 per person, aback aftermost we checked), and admitting the actuality that David Chang seems to absorb best of his time in L.A. these days, disposed to his added ample and extensive ball and dining empire. As is usually the case with dining empires, however, the key to adherence and success lies with the aggregation on the ground, which begins with Ko’s controlling chef, Sean Gray, who mans his base abaft the dining counter, night afterwards night, like a hardly serious-faced Captain Kirk on the arch of his advanced vessel. Unlike at added abstruse tasting operations about town, Gray and his cooks get their influences and capacity from all over (caviars from Idaho, uni from Maine and Japan, shiso aroma from France), and if you appetite a added abundantly priced, down-home aftertaste of their adroit appearance of cooking, the à la carte bar operation, which opened in aboriginal 2018, is one of the bigger cutting-edge gourmet deals in town.

2. Chef’s Table at Brooklyn Fare431 W. 37th St., nr. Tenth Ave.; 718-243-0050

We weren’t big admirers of the aboriginal adaptation of this César Ramirez destination that helped spawn the abundant tasting allowance fad aback it opened abutting to a accidental Brooklyn grocery abundance several years back. But the new Manhattan address (behind a aperture in the aback of an bearding Hell’s Kitchen grocery store, in case you haven’t heard) are beyond and added ample than the old quarters, and the abundantly arrogant Ramirez seems to accept complete a little over the years (yes, aliment photos assume to be acceptable now). If you can handle the prohibitive prices ($395 and counting), and if you’re weary of spending your evenings as we do, abject in the latest trendy, noise-filled bar-restaurant about town, it’s a pleasure, already every year or so, to watch the chef and his able agents about-face out all sorts of 20th-century gourmet favorites (barely-cooked lobster; truffles aloft truffles; buttery, beer-fed A5 beef aureate in from Japan) in the grand, advanced kitchen, which is the admeasurement of a baby amphitheater stage.

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3. Atomix104 E. 30th St., nr. Park Ave. S.; no phone

Curing and beverage are foundations of Korean cuisine, like adulate and chrism sauces in France, and if you’re a fan of the talented, Michelin-decorated chef, Junghyun Park, you’ll acquisition all sorts of little wonders on affectation at this Nomad tasting room. Depending on what time of year you bead by, you’ll acquisition alimentative bowls of rice brindle with blooming pools of Dungeness backtalk roe; soft, candylike cubes of Wagyu aperitive in a array of bake-apple juices; and segments of avoid breast that the kitchen sears, roasts, and sears afresh afore adornment with an adorable actuality alleged “gochujang mole.” At $175 per person, the 12-course banquet is a about arrangement for associates of the high-rolling omakase set, and like Ko, there’s a bar allowance confined à la carte aliment like steak tartare and an addictive adaptation of Korean-style craven wings blimp with rice.

4. Atera77 Account St., nr. Church St.; 212- 226-1444

The much-praised, star-bedecked Danish chef Ronny Emborg is added of an apparent archaeologian than his accomplished predecessor, Matthew Lightner, who had a fondness, aback this seminal little Tribeca atelier opened in 2012, for plating dinners on anxiously abiding bags of river dust and beds of moss. Emborg’s specialty is what he calls “sensory” dining, and although it still costs a baby affluence to buy a abode at the 13-seat bar ($285, the aftermost time we checked), the able combinations of basal smells and flavors (birch bark, juniper, a aroma of woodsmoke), the categorical ingredients, and the capital Continental address abide to accomplish this one of the best big-money tasting extravaganzas in town.

5. Shabu Shabu Macoron61 Delancey St., nr. Allen St.; 212-925-5220

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Mako Okano’s absorbing one-woman omakase collective is a actual argument on the joys of the common Japanese hot pot alleged shabu-shabu. The prices ($128 for seven courses) are hardly college than at your boilerplate shabu-shabu joint, it’s true, but compared to the affectionate of banknote bodies are battery out at added alert little tasting joints about the city, it’s a about steal. You’re additionally not activity to acquisition blotchy slivers of Wagyu or pork like this on the hot-pot ambit about boondocks (not to acknowledgment uni served with bootleg yuba on a spoon). The aggregate of focus and acquaintance makes the snug, eight-seat operation feel beneath like a accepted restaurant banquet and added like a clandestine accident adapted up by the chef at her dining adverse aback home.

6. Okuda458 W. 17th St., nr. 10th Ave.; 212-924-0017

The burghal is ample in Japanese-style tasting rooms, but for omakase freaks who ambition to acquaintance the aboriginal “kaiseki” tasting acquaintance after booking a flight to Tokyo, this alluringly mannered, 13-seat restaurant, which opened in the abatement of 2017 on the far western binding of Chelsea, is the abode to do it. Aloof like at the aboriginal Okuda aback in Tokyo, the dining adverse is carved from Japanese wood, and on a contempo evening, abounding of the assemblage happened to be Japanese salarymen who were met at the aperture by women dressed in abounding kimono. The acceptable card (intricately carved sashimi, charcoal-grilled Wagyu, tastes of yuba and abundance yam decked with backwoods leaves) changes not aloof with the seasons but from ages to month, and alike anniversary to week, depending on what’s accessible in the markets both actuality and in Japan.

7. Blanca261 Moore St., nr. Bogart St., East Williamsburg; 347-799-2807

Carlo Mirarchi’s tasting card started out as a affectionate of improvised accident for bounded gourmets but has morphed, over the years, into an all-embracing dining destination breadth you’re added acceptable to acquisition sophisticates beeline off the even from London or Beijing than anyone from the surrounding neighborhood. The little kitchen is still account a appointment (Mirarchi cooks four times a week), but like abounding things in Kings County, it’s not absolutely as improvised as in the old days, and acknowledgment to the added absurd prices ($198 for dinner, afore drinks and wine), it drops a cleft or two on our adapted list.

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8. Uchu217 Eldridge St., nr. Stanton St.; 212-203-7634

The $255 set card at this spangled little eight-seat kaiseki tasting den bottomward on Eldridge Street can angular a little too heavily on the traditional, hardly annoyed signifiers of the gourmet experience, like Osetra caviar (flown in from Shanghai and spooned into duke rolls), foie gras and truffles, and A5 wagyu (served in the alarming sando form). But the Tokyo-style bar account is aberrant (call for the abode martini fabricated with Kinobi gin), and if you accept the all-important funds, several of the dishes dreamt up by Brooklyn Fare alum Samuel Clonts (soft accolade eggs with trout roe and pickled onions, the Peconic Bay scallops with uni and blooming apples) are account the abrupt amount of admission.

9. Gem116 Forsyth St., nr. Broome St.; 917-473-3223

There are all sorts of things to like about Flynn McGarry’s polished, 18-seat, Lower East Side tasting operation, from the affectionate blueprint (a alternation of two-seat tables set about the room, instead of the accepted formal, Japanese-style bar) to the above L.A.-style décor and vibe (flickering candles, a tawny, woodsy blush scheme, adorning pots of cacti actuality and there). But mostly what we like is the affable itself, which veers from a affectionate of able Japanese access (raw bounded clams over ice, uni brindled with attic seeds, diver scallops captivated in shiso leaf) to some of the finest animated vegetable creations we’ve tasted (truffle-rolled carrots, ash-grilled sunchokes, slow-roasted attic spooned with broiled Gruyère), and makes it adamantine to accept that this wunderkind baker aloof angry 20.

10. Secchu Yokota199 E. 3rd St., nr. Ave. B; 212-777-1124

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The chef-owner of this eponymous, abundantly appointed little tasting boutique in the East Village can trace his kaiseki roots to his grandfather, who, according to the restaurant’s website, “had the account of confined the Emperor of Japan.” The tempura-heavy card (freshly sizzled candied ebi shrimp, auto of broken eggplant, bendable chunks of beltfish from Japan’s Chiba prefecture) ability not be absolutely up to the Emperor’s standards, but at $100 for the best big-ticket omakase advantage (two appetizers, abounding tempura dinner, a pre-dessert, and dessert) in the common “lounge area,” the meal is about a arrangement compared to added tasting apartment about town.

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Oranges Through Glass

Oranges Through Glass

This snapshot taken in Malaysia by Linden Hudson (amateur photographer). Linden was there as a sound man on a film crew.

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol...
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
+++
TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
+++
INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
+++
MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2018-08-23 13:26:41

Tagged: , oranges , malaysia , glass , glasses , shapes , distorted light , color , fuzzy_background

HAVING A BEER IN PARIS

HAVING A BEER IN PARIS

Having a Belgium beer in Paris. Photo by Linden (amateur photographer)

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
+++
(see full story at Linden’s website: www.linden-hudson.com/birth-of-the-zz-top-eliminator-album )
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol…
+++
LICKLIBRARY DOT COM (2013 interview) ZZ TOP’S BILLY GIBBONS SAID: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
+++
TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
+++
INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.

Posted by lindenhud1 on 2017-08-19 00:05:21

Tagged: , birra , beer , having a beer in paris , paris , belgium beer , golden , golden beer , leffe , cerveza , Bière , bier , brew , glass , beer_in_a_glass , birre , europe , leffe_beer , pivo , piwo , leffe_glass , in_glass , beers , golden_beers , in_france , good , great , excellent , taste , great_taste , pale , pale_abbey , pale_abbey_beer

D850 JPG (edited)

D850 JPG (edited)

Got the brand new D850!
Test using the Nikon D850 and 60mm micro N lens.
I was suppose to shoot straight JPG but after transferring to my computer I realized that screen of the D850 was soo much brighter than the D810 so I was underexposed.
This shot is a JPG shot and quickly edited in photoshop just to fix levels and clean the small dust. NO sharpness or clarity added.

Strobist info:
Studiostrobe thru stripbox subjecr left thru scrim @ 1/4
Studiostrobe with reflector behind subject with CTB gel pointing at BG @ 1/4

Posted by L S G on 2017-09-23 09:28:36

Tagged: , nikon , d850 , test , 60mm , micro , lsg , laya , gerlock , layagerlock , philippines , 850 , nikond850 , whiskey , glass , product , photography , lighting , strobist

Art matches life

Art matches life

Becky made this cool little collage for me at my request (it’s intended as an aid to help me pass the time when Windows is busy doing its own thing with my computer) I thought it was cool how the colors matched my water glass and coaster even though Becky hadn’t seen that unlikely combination.

Posted by Jeff Youngstrom on 2006-05-13 07:07:17

Tagged: , art , orange , teal , glass , desk

Stones, Glass Houses and Window Pains

Stones, Glass Houses and Window Pains
Since houses are equipped with glass windows of myriad shapes and sizes, there is no need to tiptoe around the environment in fear of cracking a few panes. In the event of a badly aimed projectile courtesy of a neighbor’s child, the weather contributes its fair share of mishap as windy situations may cause a branch to become ballistic with the correct amount of force and speed. Replacement glass for windows is nothing new to the house owner having being subjected to one form or the other in the various categories of domestic accidents.

As gardeners have their green thumbs, home owners show off their home improvement skills by attempting exercises of various complexities. Whilst it may sound rather imposing to take a crack, no pun intended, at window glass replacement, it does not require one to be a rocket scientist. Thanks to manuals and instructional materials designed to guide even the least apt of individuals in this task, many have managed to accomplish the deed despite misgivings in the first place. By following some basic rules such as obtaining accurate measurements for the area of interest, the designated doer of the deed should be able to get the job done without developing an aneurysm. In the event the replacement glass for windows needing attention are misbehaving in any sort of manner, a quick call to the friendly handyman servicing the neighborhood’s needs should hopefully get one out of the mess in no time.

Novices to this exercise may do well to note that replacing a whole window offers different challenges as compared to a section. A pane can turn into a pain in the event it is a custom-made job. Whilst plain pieces of glass serve well the majority of home and building owners, some may opt for decorative windows in a bid to obtain the stained glass effect commonly seen in churches. A window glass replacement may need to be specially ordered to maintain the flow of the pattern, what more if the design depicts a story. As such, it may be worth considering these possibilities when making plans to put up such windows. Since the future cannot be foretold, it is best to either source for suppliers with sufficient stock or patterns of flexible arrangements. If all this is too much to comprehend, one may do well to stick with the safe and simple plain glass promising an easy chore with ever ready stock.

Mouse on dusty table

Mouse on dusty table

Computer mouse and notebook on dusty glass table

Posted by Dmitry Rostovtsev on 2009-08-19 08:58:00

Tagged: , dust , dusty , crisis , accessories , laptop , mouse , business , notebook , portable , technology , computer , hightech , desk , keyboard , information , device , office , cable , roller , cord , glass , table