21 Benefits Of Visual Art Painting That May Change Your Perspective | visual art painting

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BRIDGET RILEY The Complete Paintings Edited by Robert Kudielka with Alexandra Tommasini and Natalia NaishIllustrated. 1,572 pp. Thames & Hudson. $700.

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LUCIAN FREUD By Martin GayfordEdited by David Dawson and Mark HolbornIllustrated. 616 pp. Phaidon. $500.

Bridget Riley and Lucian Freud, two of the best cogent British artists of the 20th and aboriginal 21st centuries, are anniversary the accountable of new multivolume monographs, alluringly illustrated on banal abundant abundant to be affected and mounted. But, taken together, they become a abstraction in contrasts: Riley is a avant-garde of Op Art and absent forms, admitting Freud, accounted by some to be the savior of allegorical painting, abhorred geometric forms at all costs. Riley paints the banned of people’s beheld perception; Freud, a account painter, plumbed the base of bodies themselves. Riley is still at the acme of her powers, accepting apparent new assignment at the David Zwirner arcade in London beforehand this year, to admiring reviews; Freud corrective about until the day he died in 2011.

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“Bridget Riley: The Complete Paintings” is a archive raisonné, in the accurate faculty of the term: a articular and anxiously abundant annals of over 600 works, presented chronologically beyond bags of pages, disconnected into bristles volumes, and accompanied by ancestry descriptions and annotations (each assignment is assigned a “BR number”). Accepting aggregate added an art-historical ability than a accounting assignment of literature, the German art historian and longtime Riley chronicler Robert Kudielka describes the books in an anterior article as a “treasure chest” that “should be admired as a base and activation for approaching investigations.” Accustomed that Riley is listed as the primary author, the volumes should be advised as the assignment of a woman who is invested in abstraction her bequest in the pantheon. (And furthermore, accustomed that she is still working, it’s added than acceptable that a sixth aggregate will eventually be necessary.)

One does not apprehend “Bridget Riley” so abundant as acquaintance it like a attendant exhibition, in a progression that is as beeline as the paintings for which she is best known: from her aboriginal paintings, copies of the pointillist Seurat, to bookish geometric canvases to afterwards affective beheld adventures that flash at the barriers of consciousness. This advance from again to now is alternate by photographs of the artisan herself, frequently in her flat cutting her actionable compatible of white jeans and a atramentous turtleneck, her activity assuming her basic aesthetic style. In his introduction, Kudielka recounts a night aback in 1978 in New York City back Jasper Johns warned Riley adjoin the addiction to accent the acclimation of an artist’s works (first this, again that). But admitting the author’s best efforts to administer that cerebration to Riley’s bulk too, the archive raisonné is affidavit that, for Riley, advance is the point.

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At aboriginal glance, “Lucian Freud” ability assume added a cairn than a book. The best complete accumulating of Freud’s works to date, it has been curated by the artist’s longtime assistant-turned-archivist, David Dawson, and the editor Mark Holborn, and includes argument by the art analyzer Martin Gayford (whose 2013 book “Man With a Blue Scarf” abundant his acquaintance sitting as Freud’s account archetypal for seven months). At added than 600 pages, disconnected into two volumes, this is the ne additional ultra of coffee-table tomes; aloof administration it verges on a acoustic experience. Observed closely, the book reveals itself to be not black, but instead a added Freudian grisailles. The paintings, which were rephotographed with an about religious adherence by the columnist John Riddy, burst with the activity and dust that they admit in person. Here too we are ushered through a painter’s career chronologically — exploring how Freud, in Gayford’s words, “loathed” the abashing of apologue and had a self-described “zoological” absorption in the animal anatomy — but the bookish conduct that characterizes “Bridget Riley” is replaced in “Lucian Freud” by biographical verve.

A grandson of Sigmund, Lucian Freud already reflected “that there were two things he’d never been at all absorbed in. One was psychoanalysis.” Born in Berlin and aloft in Britain from the age of 10 afterwards the afire of the Reichstag in 1933, he eventually became a colonnade of the London literati. Gayford recounts anecdotes that are both anecdotic and spiky: Evidently, Freud beneath the befalling to acrylic Princess Diana because, according to one of his models, “he couldn’t get accomplished that burnish of glamour. The angel was so able that he couldn’t get at the absolute person.” (It was a altercation Freud clearly didn’t acquisition with the queen, whose account he corrective over 19 months in 2000 and 2001.) For “Naked Man With a Rat,” Freud was able to achieve sittings by plying his rodent accountable with a dog basin abounding with Veuve Clicquot acicular with a ashamed sleeping pill. It’s not hasty that in 1999 Freud quipped that one aspect “every acceptable account has to have” was “a little bit of poison.”

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Perhaps the affection that best unites Riley and Freud is a angry adherence to their alone visions.

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Five Unexpected Ways Giant Wall Decals Kids Can Make Your Life Better | giant wall decals kids

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You apperceive a aliment has accomplished abysmal into the belly of pop ability aback it becomes a Halloween costume. In 2014, Katy Perry, a self-proclaimed Flamin’ Hot Cheetos fiend dressed like the “extruded snack” (that’s what Frito-Lay calls them). And this year, a toddler in San Diego, California, was a snack-sized Cheetos bag complete with behemothic Hot Cheeto toy.

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The accomplished blah meal chaw has had absolutely a run aback ablution in 1991, a artefact of addition by one of the custodians at Frito-Lay. It’s the actuality of Hollywood, and yes, Richard Montañez’s adventure is actuality angry into a movie.

But the chaw has a complicated history. It’s been banned from schools, it’s been maligned as triggering diabetes in the Rio Grande Valley and it has beatific admirers to ERs beyond the country.

Yet, in San Antonio, this little extruded chaw that could is re-shaping dining culture.

That’s So Hot

Nacho cheese is the accustomed bond that mutes the hotness, or you can booty the acidity up a cleft and asphyxiate them in dill bind juice.

But San Anto’s adulation of all things hot has transcended bounded demographics. New shops such as Munchies and Señor Mango are afraid up the FHC offerings and demography up abode in Castle Hills, the UTSA capital campus breadth and the North Central area. The bonbon get bigger, and, in some cases, hotter.

At Munchies, with locations off Hausman, Loop 1604 and NW Military, Tostilocos amalgamate nacho cheese, corn, lime, Valentina and jalapeños, and eaters can accept what abject dent to dress, including Flamin’ Hot Cheetos. At Señor Mango, which opened off West Avenue in April, buyer Carl Zuniga and agents serve up baking elotes. Parmesan, mayonnaise, and adhesive are abutting by a blanket of Flamin’ Hot Cheeto crumbles and blubbery squirts of begrimed house-made Monterrey sauce.

Older sister Ciara Zuniga recalls active bonbon in academy on the city’s Northwest Side.

Several academy districts eventually banned Flamin’ Hots (IDEA schools still don’t acquiesce them on campus), but those acidity memories ashore with the siblings. They opened Señor Mango seven months ago central a above brawl dress boutique with a card of their adolescence favorites, including “manzanas locas” topped with Chinese candy, two chamoy syrups and access Flamin’ Hot Cheetos.

“People adulation that tang, that kick, that bite,” Ciara said. “When I accept a snack, I appetite to feel it in the aback of my jaw, appropriate beneath my eardrums.”

The arcade centermost breadth Señor Mango is amid additionally holds a Beer-N-All, so all your snacking needs are met in one quick trip.

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For the Zunigas, the amplitude had to be apple-pie and neat. White, folding tables and chairs accomplish up the space, and a ablaze card anchors the room, forth with a Señor Mango bank for the Instagram crowd.

A Guilty Pleasure

But the aforementioned addictive address that lends itself to Flamin’ Hot Cheetos attach decals (get your own for $6 through cha-cha-covers-2.myshopify.com), YouTube hits and affluence of FHC accessory (socks, pajamas, hoodies, you name it) has led to alike added nay-sayers. Their criticism ranges from antisocial that clue red dye that stains fingers continued afterwards FHCs are captivated to added clandestine actual reactions.

In 2013, the Washington Post all but angry burning of Flamin’ Hot Cheetos to aggressive diabetes begin in the Rio Grande Valley, breadth aliment stamps generally leave parents extensive for added abandoned calories than “quality calories.”

“Antonio bare to access the dosage of his cholesterol medication.

“Can I still eat hot Cheetos?” Antonio asked. “Just one bag a day?”

“Not anymore,” the doctor said.

“One a week?”

“No.”

The article, “Too abundant of too little: A diet fueled by aliment stamps is authoritative South Texans adipose but abrogation them hungry,” went on to call the use of EBT cards to acquirement Hot Cheetos “smothered in cheese,” suggesting added policing of the poor’ bloom habits.

But adipose adolescence and kids in the Valley aren’t the abandoned ones afflicted by their adulation of salty, ambrosial snacks. [image-4] This summer, two belief put Flamin’ Hot Cheetos in the spotlight as amenable for acrimony float removals and hospital stays. Lil Xan, née Diego Leanos, a Cali-based rapper, took to Instagram to let his followers apperceive his hospital break was not drug-related: “I aloof appetite to let everybody apperceive that I was in the hospital not due to any drugs, but I ate too abounding Hot Cheetos and it ripped article in my stomach.”

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In Memphis, a teen’s circadian assimilation of the chaw was abhorrent for abdomen problems that resulted in the abatement of her gallbladder.

A adulation of Hot Cheetos landed graceful Rossi Ramirez, a KSAT producer, in the hospital in her teens.

“My ninth brand year I was ailing for two weeks because I got pancreatitis. I would eat one ample bag of Hot Cheetos a day and a jar of pickles a week,” Ramirez said.

Ramirez grew up with her grandfathering who banned to buy them for her afterwards her hospital stay, but she still begin means to bastard them into her diet. These days, admitting she still has astute pancreatitis, she abandoned eats them three canicule out of the week, instead of daily.

“I usually like to eat them abandoned but if I’m activity absolutely fancy, a dill bind with a Chinese candy,” Ramirez said.

The hospitalizations this summer prompted a account from Frito-Lay that brash moderation.

“Flamin’ Hot Cheetos accommodated all applicative aliment assurance regulations, as able-bodied as our accurate affection standards. That said, we apprehend some consumers may be added acute to ambrosial foods than others and may accept to abstinent burning or abstain spicier bonbon due to claimed preference.”

So, accept they created a monster?

Gimmick vs. Actual Taste

Some card items stick: Big Poppa’s Taco House agitated several FHC-filled card items, including burritos and “Hoodrat” burgers, and diners accept the advantage to add the bonbon to any card account for 75 cents.

But others don’t. Kuma San Antonio faced a baby backfire for abacus it to their bendable serve. It didn’t advertise and was pulled from the specials menu. Crepes took a ambrosial about-face at Chocollazo, breadth a savory, ablaze blush Flamin’ Hot Cheetos ache landed briefly on their menu.

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Chef Jenni Williams “whizzed Hot Cheetos in the aliment processor to accomplish a dust that’s adapted into the crepe, so it’s a red crepe.” The ache was again abounding with accolade eggs, ambrosial access sausage, cheddar and queso adorn and served with a ancillary of acerb cream.

“The burghal loves that stuff,” buyer Keenen Hendricks said.

At both locations of Bubble Waffle Bar, buyer J.R. Gallegos and agents added Flamin’ Hot Cheetos to their ice chrism abject this September to actualize a candied and agreeable amusement that retains some of that signature heat. Gallegos tossed two beginning batches on his adventure to attach that acidity he aboriginal sampled in California.

“I’ve had acceptable acknowledgment from bodies that accept had it, and it’s absolutely adults that adjustment it, not kids,” Gallegos said.

He’s alive on a Takis acidity next.

For those who accept larboard the breadth and can’t acquisition their fix, Jackie Earhart’s Hoodrat Bonbon sends account cable boxes abounding with kits to charm these specific snacks.

Mexican-American and San Anto built-in Earhart went off to academy in Boston and absent her hometown snacks.

“I admired my time there because I feel like bodies don’t apprehend how culturally assorted Boston is with all of the colleges bringing bodies from all over the world, and that’s reflected in the aliment there. But Hispanic aliment was adamantine to find, and we absolutely absent our Texan, Mexican-American food,” Earhart said.

Taste Test

We absurd accessible some beers, and opened up bag afterwards bag of Flamin’ Hot Cheetos: archetypal Crunchy, Chipotle Ranch, Limon Crunchy, Hot Fries, Hot Funyuns, Puff Corn. We theorized what they could be acclimated on after arena on the contemporary ancillary of the snack: a topping on ceviche, as a crouton on a non-traditional Caesar salad, aloft mac ’n’ cheese. We biconcave them in bootleg bind juice. We acclimated chopsticks so our lab coats would abide red dust-free.

And we couldn’t stop bistro them.

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So abounding restaurants, so little time. Acquisition out the latest San Antonio dining account with our Acidity Friday Newsletter.

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Photo taken by Linden Hudson in 2009 (amateur photographer, cheap cameras, just having fun).

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.)
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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...
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Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
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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)
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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).
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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."
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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."
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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?
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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.
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
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(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.)
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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."
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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)."
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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)
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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)
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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."
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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."
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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.
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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."
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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).
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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."
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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."
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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’s 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 2018-01-02 19:21:18

Tagged: , berlin , wall , marker , berlin wall , berlin wall marker , berliner , berliner mauer , mauer , germany , europe

BERLIN WALL MARKER & DEATH STRIP

BERLIN WALL MARKER & DEATH STRIP

Photo taken by Linden Hudson in 2009 of the USA (amateur photographer, cheap cameras, just having fun).

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’s 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 2018-01-04 14:40:24

Tagged: , berlin , germany , east berlin , west berlin , 2009 , wall marker , berlin wall marker , death strip , no mans land , europe , wall , wall_of_shame , Anti-Fascist_Protection_Rampart , mauer , berliner , berliner_mauer

CORNER IN VENICE WITH BROOM

CORNER IN VENICE WITH BROOM

Photo by Linden Hudson (amateur photog).

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."​

Posted by lindenhud1 on 2018-02-07 17:20:44

Tagged: , venice , italy , italia , europe , streetcorner , corner , broom , wall , venezia , cracks , old_building , building , graffiti , bricks , gritti , reality , grit , grime

GRAFFITI IN FLORENCE ITALY

GRAFFITI IN FLORENCE ITALY

Photo by Linden Hudson in Florence Italy, 2017 March.
Who is Linden Hudson?

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."​

Posted by lindenhud1 on 2018-02-15 00:27:16

Tagged: , graffiti , italy , florence , europe , outside , alley , wall , art , street art , graffiti_art , art_wall , wall_art , italia , firenze

It was bound to happen.

It was bound to happen.

SimCity 4 Rush Hour at full HD resolution on a 52" television.

Posted by reindeerhelmet on 2010-09-26 20:24:01

Tagged: , simcity , sim , city , maxis , tv , hdtv , hd , resolution , 1920×1080 , 1080p , computer , cable , cable box , surround , sound , system , surround sound , speaker , sub , subwoofer , pc , windows , mac , mini , osx , living , room , living room , carpet , wall , corner , floor , lamp , floor lamp , brown , white , ansel adams , photo , outlet , wire , dust , dusty , tsetse , tsetse fly

Office wall

Office wall

With Euro 2008 in full swing and my beloved Spain kicking off today, thought it was time to dust off the ol’ Mexico 86 Poster
And what better opportunity to take a snap of the backdrop to my daily, working toil..

– Camera phone upload powered by ShoZu

Posted by cole007 on 2008-06-10 08:57:39

Tagged: , ShoZu , desk , workspace , wall , posters , starwars , mexico86

BRAC brings upheaval, opportunity to San Antonio 090812

BRAC brings upheaval, opportunity to San Antonio 090812

PHOTO CAPTION: RJ Holley, Program Manager for Facilities, IMCOM Transformation Office, discusses new blast-proof windows with Troy Alexander, superintendant with RKJ Construction, the contractor on Building 2265, the future home of Headquarters, IMCOM G6. (Photo by Rob McIlvaine, FMWRC Public Affairs)

www.armymwr.com

BRAC brings upheaval, opportunity to San Antonio 090812

By Rob McIlvaine
FMWRC Public Affairs

FORT SAM HOUSTON, Texas – Construction on the Installation Management Command campus at Fort Sam Houston is raising the dust with four buildings under complete renovation, one getting an addition, two being built from the ground up, and 2,400 people moving into new offices during the next two years.

“It’s been a year-long process to get all the building plans developed and the approvals granted for all of these projects,” IMCOM Transformation Office Program Manager Roy “R.J.” Holley said.

With one of the buildings half completed, and contracts being awarded for the rest, Fort Sam, as it is colloquially known, continues to grow.

Construction, however, is not new to San Antonio, known as Military City USA. From the early days of Spanish exploration and the transformation of the Alamo, to providing the cutting edge in battlefield healthcare training, San Antonio’s history is closely linked to military history.

However, the Base Realignment and Closure activities scheduled to occur in San Antonio through September 2011 could arguably be one of the city’s largest economic development projects.

San Antonio’s four military facilities – Lackland and Randolph Air Force Bases, Camp Bullis and Fort Sam Houston – are expected to receive 4,886 new personnel, 5,500 Family members, 9,000 additional students, along with $2.1 billion in construction.

San Antonio is one of 12 locations worldwide where Department of Defense sites are combining to form joint bases. Under the 2005 Base Realignment and Closure Joint Basing plan for San Antonio, installation support functions at Fort Sam Houston will combine with those at Randolph and Lackland AFBs to support what will be the largest customer-based organization in the Department of Defense when completed in 2011.

Restoration of historic structures on Fort Sam Houston will provide administrative space for about 3,000 military personnel and civilian employees. They will support a variety of realigned agencies and commands, including the Installation Management Command, the Family and Morale, Welfare and Recreation Command, and the Army Environmental Command. The Mission and Installation Contracting Command and the Network Enterprise Technology Command, including the 106th Signal Brigade, also will be stationed there.

All told, BRAC is expected to bring 9,000 employees to Fort Sam Houston.

These renovation projects include about two dozen structures, many of which are more than 75 years old and several that are more than a century old. As federal historic renovation efforts, the projects are within the National Historic Preservation Act parameters.

“One of the nicest things about these historical structures built in the 1930s as regimental barracks is the open balconies that will allow people to move between offices by going outside on the second and third floors,” Holley said about IMCOM headquarters. “The balconies face the summertime prevailing winds, allowing them to be nice and cool. A lot of business will probably be conducted on those balconies.”

If there is insufficient room on the balconies, the buildings are designed with 30 percent more meeting rooms and conference areas than normal design guidelines.

These historic structures are arranged in the shape of a square with a new 168,000 square foot IMCOM headquarters being constructed in the middle.

Holley oversees renovation of three buildings for IMCOM – including one for FMWRC and another for AEC. He also oversees construction of a fourth building for IMCOM, to be located inside the four outlying buildings on campus, the renovation of the old Sam Houston Theater for Army Entertainment Division, and construction of the MWR Academy.

Building 2264, the future home of Family and MWR Command, will begin renovation this November and be completed by May 2011.

In the meantime, 68 personnel, the majority of whom are relocating from the National Capital Region, will work at the Fort Sam Houston Community Club until the permanent lease space located off base becomes available in September.

IMCOM personnel moving to Fort Sam Houston this summer will experience some difficulty in accomplishing their daily work activities. But in two years the enormous amount of construction and the resulting consolidation of various departments will streamline workflow, reduce stress and contribute to an improved quality of life for Soldiers and Families.

"We’re having growing pains, of course," said Bill Bradner, deputy Public Affairs officer and spokesperson for the Family and MWR Command. "Adapting to split operations is a challenge, and working through the IT issues has been frustrating, at times. But every day we’re getting smarter, and developing solutions to those challenges.

"We’re looking forward to moving to the leased space this fall. Right now some of us are working on folding tables, taking our files and computers home every night, even sharing phones, copiers and printers. Moving to office space and establishing a more permanent infrastructure will be a huge step forward. Of course, there will be growing pains then, too… but the lessons we’ve learned making the move from Alexandria to Fort Sam should serve us well as we move into the leased space," Bradner said.

According to Bill Stickles, acting director of MWR Facilities, the new working spaces were based on the needs of each directorate.

“We were bound by certain building requirements,” Stickles noted, “but we wanted to be sure each directorate would not be split up on different floors. This was achieved through the efforts of our designer, Haimanot Abbit.”

As of August 2009, the renovation of building 2265, which will house the Fort Sam Houston Directorate of Information Management and Headquarters IMCOM G6, is halfway completed, with a June 2010 target for completion.

Building 2266, which will house Headquarters IMCOM G1, G5 and IG, began renovation in July, with expected completion by May 2011. It should be mission-ready 60 days later.

Building 2263, home to Army Environmental Command, will begin renovation this October with expected completion by 2011.

Those reporting for duty with AEC this year and next will work in Building 2000, beginning this December, until their new space is ready. This structure was built in 1908 to serve as the installation’s new hospital, replacing the hospital that had been constructed in 1886.

“Each of the buildings has basements where conference rooms, training rooms, locker rooms with showers, and classrooms are being built,” Holley said.

The three-story structure to be built in the middle of these buildings, on the original parade ground, will house the IMCOM Command Group, numbering about 900 people, bringing the total number to 2,400 moving onto the IMCOM campus. Construction will begin in November, with completion by June 2011.

Although not visible when driving by the campus, it will be historically accurate and match the other buildings. A special Army Alternate Procedures agreement outlines more specific management practices to ensure the visual character of the buildings is maintained. Under this agreement, project teams consult regularly with the Advisory Council on Historic Preservation and the Texas Historical Commission.

“Renovation projects like these require extraordinary effort because intricate architectural features must be preserved to achieve an appearance that is true to the original designs,” said David Thomas, director of the Joint Program Management Office, which is overseeing the San Antonio BRAC construction and renovation program. “Extra care and diligence are also necessary in carrying out the work because of the delicate state of some of these buildings.”

All of the historic structures require extensive rehabilitation to become suitable for their new tenants. In most cases, existing interior partitions, electrical wiring, plumbing, climate control systems, and interior and exterior lighting fixtures need to be replaced. Stairways, ceilings, wooden floors, structural roof members, interior and exterior doors and windows are also being repaired, refinished or replaced.

“These buildings were meant to last,” Holley said. “The original clay tile roofs will remain as they are, and the stucco on the outside walls, built with cinderblock and brick, only needed a paint job.”

During the 1970s, the Army remodeled the structures as two-man rooms from traditional barracks. The rest of the renovation of these Mediterranean-style buildings will help meet anti-terrorism/force protection requirements, such as blast-proof windows designed to appear as the originals, and the addition of fiberglass “band aids” to the concrete floors designed for “progressive collapse,” among others.

Fort Sam Houston, with construction beginning in 1876, is the ninth oldest Army installation with the most historic structures of any active military installation in America.

“The whole complex is a cultural conservation district,” Holley said. “In addition, nice micro parks will be landscaped between the buildings with Texas vegetation local to this San Antonio river basin, such as Lantana that grows six feet high with yellow flowers, lots of cactus, desert palms, and native live oaks.”

To conserve water, irrigation for the plants will be provided by an underground cistern that captures rain water.

“But the crown jewel will be the renovation of Building 2270 – the Fort Sam Houston Theatre, to its original grandeur,” Holley said. “Built in 1935, this movie theatre is the first one the Army built in the United States.

“On the inside, it looks a whole like the Warner Brothers’ theaters built around the country in the early 1900s. After completion, we’ll hang original film posters throughout,” Holley said. “Even the ticket booth in the front will have a mannequin inside, ready to take your money for the latest show.”

A portion of theatre will be overhauled and the end product will feature a three-story structure with an 80-foot “fly tower” that will accommodate the raising and lowering of stage sets. The first floor will extend the stage, which only will be used as a rehearsal hall. The other floors will house offices and recording studios.

The 1,100-seat theater will be reduced to an 800-seat theater to allow the balcony to hold lighting and sound equipment. A nearby warehouse will be used for construction of sets, theater maintenance and equipment storage.

The MWR Academy will be built in a field behind the IMCOM complex, on the other side of Wilson Street, with parking for 500.

For the entire IMCOM campus there will be 2,100 parking spaces, mostly located along three blocks of Stanley Road, which runs parallel to Wilson.
“All new construction in this campus within the San Antonio river basin will appear the same, architecturally, so there’ll be no mistaking where IMCOM is located,” Holley said.

In the fall of 2011, after the dust settles from yet another upheaval at Fort Sam, the City of San Antonio, Bexar County, and the military not only will benefit from a strengthened economy and revitalized neighborhoods, but those who have moved into this historical military city as a result of BRAC will find a sense of community and revitalized spirit.

According to Bradner, the move back onto Fort Sam in 2011 will unite “our Family and we’ll be working side by side supporting the Army Family.
“We’ll probably face a number of challenges during that transition, too, but the end result will be greatly improved efficiency and smoother operations across the board,” Bradner said.

Connect with us:
www.Facebook.com/FamilyMWR
www.Twitter.com/FamilyMWR
www.YouTube.com/FamilyMWR

ks 101015

Posted by familymwr on 2010-10-15 19:43:26

Tagged: , Builders , IMCOM , Transformation , Office , Blast , Proof , windows , Troy Alexander , Future , Home , G6 , Headquarters , Building , RJ Holley , Facilities , Corps , Engineers , RKJ , Construction , build , cinder , block , wall , 2265 , Fort , Sam , Houston , Texas , U.S. , Army , Family , Morale , Welfare , Recreation , Command , FMWRC , MWR

BRAC brings upheaval, opportunity to San Antonio 090812

BRAC brings upheaval, opportunity to San Antonio 090812

PHOTO CAPTION: Gilbert Viera, a laborer with RKJ Construction, sweeps the entranceway at the loading dock at Building 2265. (Photo by Rob McIlvaine, FMWRC Public Affairs)

www.armymwr.com

BRAC brings upheaval, opportunity to San Antonio 090812

By Rob McIlvaine
FMWRC Public Affairs

FORT SAM HOUSTON, Texas – Construction on the Installation Management Command campus at Fort Sam Houston is raising the dust with four buildings under complete renovation, one getting an addition, two being built from the ground up, and 2,400 people moving into new offices during the next two years.

“It’s been a year-long process to get all the building plans developed and the approvals granted for all of these projects,” IMCOM Transformation Office Program Manager Roy “R.J.” Holley said.

With one of the buildings half completed, and contracts being awarded for the rest, Fort Sam, as it is colloquially known, continues to grow.

Construction, however, is not new to San Antonio, known as Military City USA. From the early days of Spanish exploration and the transformation of the Alamo, to providing the cutting edge in battlefield healthcare training, San Antonio’s history is closely linked to military history.

However, the Base Realignment and Closure activities scheduled to occur in San Antonio through September 2011 could arguably be one of the city’s largest economic development projects.

San Antonio’s four military facilities – Lackland and Randolph Air Force Bases, Camp Bullis and Fort Sam Houston – are expected to receive 4,886 new personnel, 5,500 Family members, 9,000 additional students, along with $2.1 billion in construction.

San Antonio is one of 12 locations worldwide where Department of Defense sites are combining to form joint bases. Under the 2005 Base Realignment and Closure Joint Basing plan for San Antonio, installation support functions at Fort Sam Houston will combine with those at Randolph and Lackland AFBs to support what will be the largest customer-based organization in the Department of Defense when completed in 2011.

Restoration of historic structures on Fort Sam Houston will provide administrative space for about 3,000 military personnel and civilian employees. They will support a variety of realigned agencies and commands, including the Installation Management Command, the Family and Morale, Welfare and Recreation Command, and the Army Environmental Command. The Mission and Installation Contracting Command and the Network Enterprise Technology Command, including the 106th Signal Brigade, also will be stationed there.

All told, BRAC is expected to bring 9,000 employees to Fort Sam Houston.

These renovation projects include about two dozen structures, many of which are more than 75 years old and several that are more than a century old. As federal historic renovation efforts, the projects are within the National Historic Preservation Act parameters.

“One of the nicest things about these historical structures built in the 1930s as regimental barracks is the open balconies that will allow people to move between offices by going outside on the second and third floors,” Holley said about IMCOM headquarters. “The balconies face the summertime prevailing winds, allowing them to be nice and cool. A lot of business will probably be conducted on those balconies.”

If there is insufficient room on the balconies, the buildings are designed with 30 percent more meeting rooms and conference areas than normal design guidelines.

These historic structures are arranged in the shape of a square with a new 168,000 square foot IMCOM headquarters being constructed in the middle.

Holley oversees renovation of three buildings for IMCOM – including one for FMWRC and another for AEC. He also oversees construction of a fourth building for IMCOM, to be located inside the four outlying buildings on campus, the renovation of the old Sam Houston Theater for Army Entertainment Division, and construction of the MWR Academy.

Building 2264, the future home of Family and MWR Command, will begin renovation this November and be completed by May 2011.

In the meantime, 68 personnel, the majority of whom are relocating from the National Capital Region, will work at the Fort Sam Houston Community Club until the permanent lease space located off base becomes available in September.

IMCOM personnel moving to Fort Sam Houston this summer will experience some difficulty in accomplishing their daily work activities. But in two years the enormous amount of construction and the resulting consolidation of various departments will streamline workflow, reduce stress and contribute to an improved quality of life for Soldiers and Families.

"We’re having growing pains, of course," said Bill Bradner, deputy Public Affairs officer and spokesperson for the Family and MWR Command. "Adapting to split operations is a challenge, and working through the IT issues has been frustrating, at times. But every day we’re getting smarter, and developing solutions to those challenges.

"We’re looking forward to moving to the leased space this fall. Right now some of us are working on folding tables, taking our files and computers home every night, even sharing phones, copiers and printers. Moving to office space and establishing a more permanent infrastructure will be a huge step forward. Of course, there will be growing pains then, too… but the lessons we’ve learned making the move from Alexandria to Fort Sam should serve us well as we move into the leased space," Bradner said.

According to Bill Stickles, acting director of MWR Facilities, the new working spaces were based on the needs of each directorate.

“We were bound by certain building requirements,” Stickles noted, “but we wanted to be sure each directorate would not be split up on different floors. This was achieved through the efforts of our designer, Haimanot Abbit.”

As of August 2009, the renovation of building 2265, which will house the Fort Sam Houston Directorate of Information Management and Headquarters IMCOM G6, is halfway completed, with a June 2010 target for completion.

Building 2266, which will house Headquarters IMCOM G1, G5 and IG, began renovation in July, with expected completion by May 2011. It should be mission-ready 60 days later.

Building 2263, home to Army Environmental Command, will begin renovation this October with expected completion by 2011.

Those reporting for duty with AEC this year and next will work in Building 2000, beginning this December, until their new space is ready. This structure was built in 1908 to serve as the installation’s new hospital, replacing the hospital that had been constructed in 1886.

“Each of the buildings has basements where conference rooms, training rooms, locker rooms with showers, and classrooms are being built,” Holley said.

The three-story structure to be built in the middle of these buildings, on the original parade ground, will house the IMCOM Command Group, numbering about 900 people, bringing the total number to 2,400 moving onto the IMCOM campus. Construction will begin in November, with completion by June 2011.

Although not visible when driving by the campus, it will be historically accurate and match the other buildings. A special Army Alternate Procedures agreement outlines more specific management practices to ensure the visual character of the buildings is maintained. Under this agreement, project teams consult regularly with the Advisory Council on Historic Preservation and the Texas Historical Commission.

“Renovation projects like these require extraordinary effort because intricate architectural features must be preserved to achieve an appearance that is true to the original designs,” said David Thomas, director of the Joint Program Management Office, which is overseeing the San Antonio BRAC construction and renovation program. “Extra care and diligence are also necessary in carrying out the work because of the delicate state of some of these buildings.”

All of the historic structures require extensive rehabilitation to become suitable for their new tenants. In most cases, existing interior partitions, electrical wiring, plumbing, climate control systems, and interior and exterior lighting fixtures need to be replaced. Stairways, ceilings, wooden floors, structural roof members, interior and exterior doors and windows are also being repaired, refinished or replaced.

“These buildings were meant to last,” Holley said. “The original clay tile roofs will remain as they are, and the stucco on the outside walls, built with cinderblock and brick, only needed a paint job.”

During the 1970s, the Army remodeled the structures as two-man rooms from traditional barracks. The rest of the renovation of these Mediterranean-style buildings will help meet anti-terrorism/force protection requirements, such as blast-proof windows designed to appear as the originals, and the addition of fiberglass “band aids” to the concrete floors designed for “progressive collapse,” among others.

Fort Sam Houston, with construction beginning in 1876, is the ninth oldest Army installation with the most historic structures of any active military installation in America.

“The whole complex is a cultural conservation district,” Holley said. “In addition, nice micro parks will be landscaped between the buildings with Texas vegetation local to this San Antonio river basin, such as Lantana that grows six feet high with yellow flowers, lots of cactus, desert palms, and native live oaks.”

To conserve water, irrigation for the plants will be provided by an underground cistern that captures rain water.

“But the crown jewel will be the renovation of Building 2270 – the Fort Sam Houston Theatre, to its original grandeur,” Holley said. “Built in 1935, this movie theatre is the first one the Army built in the United States.

“On the inside, it looks a whole like the Warner Brothers’ theaters built around the country in the early 1900s. After completion, we’ll hang original film posters throughout,” Holley said. “Even the ticket booth in the front will have a mannequin inside, ready to take your money for the latest show.”

A portion of theatre will be overhauled and the end product will feature a three-story structure with an 80-foot “fly tower” that will accommodate the raising and lowering of stage sets. The first floor will extend the stage, which only will be used as a rehearsal hall. The other floors will house offices and recording studios.

The 1,100-seat theater will be reduced to an 800-seat theater to allow the balcony to hold lighting and sound equipment. A nearby warehouse will be used for construction of sets, theater maintenance and equipment storage.

The MWR Academy will be built in a field behind the IMCOM complex, on the other side of Wilson Street, with parking for 500.

For the entire IMCOM campus there will be 2,100 parking spaces, mostly located along three blocks of Stanley Road, which runs parallel to Wilson.
“All new construction in this campus within the San Antonio river basin will appear the same, architecturally, so there’ll be no mistaking where IMCOM is located,” Holley said.

In the fall of 2011, after the dust settles from yet another upheaval at Fort Sam, the City of San Antonio, Bexar County, and the military not only will benefit from a strengthened economy and revitalized neighborhoods, but those who have moved into this historical military city as a result of BRAC will find a sense of community and revitalized spirit.

According to Bradner, the move back onto Fort Sam in 2011 will unite “our Family and we’ll be working side by side supporting the Army Family.
“We’ll probably face a number of challenges during that transition, too, but the end result will be greatly improved efficiency and smoother operations across the board,” Bradner said.

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Posted by familymwr on 2010-10-15 19:43:27

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