About as seriously as bobs invitation to Lock 2 Park.
@Jim Collins: Nixon knew nothing about Watergate until after the fact. He lied under oath trying to keep his subordinates out of trouble. He resigned when it became clear he would be removed from office because of the lie. The rest of your comment is so much crap, too. You need to remember better.
Compare Watergate - a cheap trick to get info on the Democrats - to the now officially sanctioned invasion of privacy by NSA, the scandal from the IRS, flat out lies about Benghazi, and the consistent FUs of Eric Holder. Obama's White House doesn't have to be transparent to see he's appointed the biggest bunch of screw-ups ever to walk the halls. And that includes her liarness, Hillary Clinton. (and now it turns out her State Department was a mass of sexual harassment and impropriety) Hooboy!
Nice piece, Jim.
I've been reading Chet forever, since Rolling Stone magazine days. His writing stands out for its concision and its common-sense approach. Sad news--he was one of the finest music writers ever.
zumba is like a bad gonorreah contracted from gast, it keeps coming, and coming, and itching and being purulent and stinky
I totally disagree with this writers assessment of El Pollo. I find the food is very flavorful. The charro beans remind me of authentic Mexican food I had in Mexico. The spicy pork burrito I had was filling and tasty I wasnt too concerned with the way the burrito was rolled. Guys give it a try!!!
is anyone in here taking gast and bobs guns seriously?
We should invite Goad back to town and show him the real Nashville - have a Gay Day parade for him. (Can fifty people sustain a parade?)
just picking nits here, but RE: "Socialism is when the "state" controls the means of production and commerce" -- that's not always true.
"Let's give him a third term, because he's doing so well!"
It's Hillary's turn to rub salt in the open sore that is the modern GOP.
>>little bobbsy<<
Baby talk must be required when you're attempting to grope young boys, eh?
I'm sorry, but as long as a millionaire Republican congressman "farmer" can collect millions in farm subsidies, I don't want to hear jack about poor people paying taxes or using meager resources to assist with food.
Yes, the Fidelity National CEO is George Scanlon. Our error. It is now fixed. Thanks!
"All revenues of the state or federal government belong in theory to the voting age public in total, the taxpayer, not so much. "
Who is and isn't getting subsizied is a matter of economic fact - not political theories of who gets how much say in the spending of tax revenues collected.
And the details of of which individuals are paying the bulk of those taxes and which one's are not is absolutely relevant to the determination of that economic fact.
"Actually ALL coins and bills belong to the federal government"
Fiat currency is merely a medium of exchange for wealth. That wealth belonged to the individauls who possesed that currency. It in no way represents a "gift" from the government.
"Many of those who receive refunds in excess of their tax payments are simply receiving rebates on their sales and usage taxes they have paid, and property taxes of landlords they have subsidized. "
Hardly, federal income taxes relate to federal government services, state sales taxes related to state government services and property taxes relate to local government services . None of them have anything to do with each other.
That's very sad to hear... I really feel like Chet was one of the rare music writers who had a strong influence on some of the scenes he wrote about in both substantial and positive ways. His frequent writing about the 70's scene in Austin, and the related "outlaw" scene here did as much as anybody to bring some sense of coherence to it all as it was evolving, and I suspect his writing about "real" country music in Rolling Stone early on introduced the music to a lot of people who went on to have careers as writers, singers and players in later decades...
RIP Chet Flippo
No Mark, history has shown that with the possible exception of Faux News and other extremist media outlets the MSM will perform their job of public information admirably. What it means is that the wealthy, whom you seem to feel need the constant vigilance of your never-ending defense, can no longer purchase elections so damn obviously. It will in theory render the available wealth of the Koch brothers impotent. Your screeching about failed delivery of political messages rings quite hollow IMHO!
Curators and critics are imagined to have innate insightfulness, cultivated sensibilities, and special training that allows them to make judgments on everyone’s behalf. But what special credentials entitle curators and critics of contemporary art to ply their decisions? Contemporary art, by definition, has not withstood the test of time. Yet curators and critics possess an institutional authority that is constructed to seem impregnable. These art professionals do recognize the moral, ethical, and practical necessities of presenting what they believe to be authentic objects and factual information. But the tenor of their presumptions raises serious questions about the perceived role of curators and critics in our society.
Because of this, I thought it would be appropriate, and even necessary, to present a brief art historical examination of Munro’s work. I often find the art of contemporaneity more easily understandable in the context of the history of art. Generally speaking, there is, I think, confusion over the status of contemporaneity as theoretical determinant and contemporaneity as social effect. If we remember to heed this confusion when evaluating contemporary art, it would be greatly beneficial to us.
As I have previously noted, only time determines what remains important –canonical– and what will quietly fade. Therefore, comprehending the history of art is an essential prerequisite to coping with its present, and productively imagining its futures.
Although Munro’s work responds to many art historical movements and theories, I find him most closely affiliated with the Light and Space art movement of the 1960s. Related to op art, minimalism and geometric abstraction, Munro’s work focuses on perceptual phenomena, such as light, volume and scale. Munro employs materials such as glass, neon, fluorescent lights, resin and cast acrylic to form installations conditioned by the work’s surroundings. Essentially, the spectator’s experience of light and other sensory phenomena is the main focus of these kinds of works.
This method of art-making dematerializes the art object. Because this art is often less centered around the ideological and more on the perceptual, it is easy to write off as “kitsch” or “bad art”, but this is naïve. Just as immaterial as mind-boggling conceptual art, Munro’s environments intensify sensory awareness and heighten the experience of nature itself in the form of light. This heightened experience of nature is precisely why I believe art exists and why LIGHT at Cheekwood is good art.
Re: “Tennessee's Stiff-Arm Is an Outstretched Hand”
Where pusspuss styed in his car & whined like a little baby because he was too scared to get out.......................