#OTD in 1969 patrons of the Stonewall Inn in #NYC rebelled against police who entered the bar to harass patrons. Stonewall is considered a galvanizing event in the #LGBTQ#CivilRights movement. The Stonewall is National Historic Landmark.
"Car-dependent suburbia is subsidized by productive urban places. That's why American cities are broke. But how bad is it, and who is subsidizing who?
Watch the rest of the Strong Towns series here: https://www.youtube.com/playlist?list...
Urban3 is a consulting company that helps cities better understand the economic impact of development. They have worked with many American cities to better understand and visualize the costs of development, and uncover which properties are productive, and which are not. Some municipalities have been willing to share that information, and it has provided a fascinating glimpse into the financial problems caused by sprawling car-centric suburban development.
https://www.urbanthree.com/
This video explores some of the cities analyzed by Urban3, and provides some lessons that cities should learn about how to build Strong Towns."
Watch this video ad-free on Nebula here: https://nebula.app/videos/notjustbike...
Whoa. Testimony from Cassidy Hutchinson feels like the smoking gun. Don’t let them say they didn’t know what Jan 6 was going to be. They knew. pic.twitter.com/5FdLQubC9C
Wow! Trump was told about the weapons at the 1/6 rally, Hutchinson testifies. He harangued the mob *after* this, including directing the mob right at his vice president!
Cassidy Hutchinson is Alexander Butterfield. She’s connecting Jan. 6 right back to Trump, who did not care that insurrectionists were armed. He knew and still told them to go to the Capitol.
"You know, I don't f'ing care that they have weapons. They're not here to hurt me. Take the F'ing mags away. Let my people in. They can march to the Capitol from here. Let the people in. Take the F'ing mags away.” — Donald Trump on Jan. 6, per Cassidy Hutchinson
This witness has directly implicated Donald Trump in the violence on January 6. "Take the magnometers away" "They aren't here to hurt me." This is devastating.
After insisting armed supporters be admitted to the 1/6 rally, Trump directed that mob to go to the Capitol and target his VP, to pressure him to disrupt the election's conclusion amid a premeditated plot to keep himself in power illegitimately.
I learned from @jenmercieca the 5 criteria the Greeks used to determine whether someone was a Truth Teller (parrhessiastes). Evaluate Hutchinson against them:
At Glastonbury Olivia Rodrigo brought Lily Allen onstage and spoke out against Friday's horrendous US Supreme Court ruling:
"I'm devastated and terrified that so many women and so many girls are going to die because of this. I wanted to dedicate this next song to the five members of the Supreme Court who have showed us that at the end of the day, they truly don't give a s*** about freedom."
Rodrigo then went on to name the five justices who ruled to overturn Roe v. Wade, with Chief Justice John Roberts filing a concurring opinion.
"This song goes out to the justices Samuel Alito, Clarence Thomas, Neil Gorsuch, Amy Coney Barrett and Brett Kavanaugh," Olivia Rodrigo said as the crowd roared. "We hate you."
Impossible to capture the magic of tonight’s show in one photo but this one captures how I feel. Thank you New York and New Jersey. PH pic.twitter.com/bxxPyvhcJR
44 years ago today, Bruce Springsteen's fourth album Darkness on the Edge of Town was released. The wide open romanticism of Born to Run was missing from this new album. Instead we were greeted with a powerful mix of Steinbeck, Hopper, Woody Guthrie, and Springsteen's unleashed guitar. Bruce's new guitar sound was both lyrical and powerful. I put that sound into my artistic toolbox and pull it out when I need to. In the opening track Badlands, Springsteen howls that "It ain't no sin to be glad your alive." I've held on to that line as a call to action ever since.
Gregg Chadwick Love In Vain (Castro - San Francisco) 16"x20"oil on linen 2016
I had just finished my freshman year at UCLA and this was my first summer on the Monterey Bay in central California. The pace of life was so much slower than Los Angeles or Washington DC and I found time for study and reflection in the hours after my temp job finished. I would go for a run through Point Lobos after work to clear my head and then would sit with East of Eden or The Grapes of Wrath until the sun went down. I would paint late into the night trying to get these new inspirations onto canvas. I had a lot to learn but I was dogged and I let my failures lead me onto new paths.
Gregg Chadwick This Machine Kills Fascists - Woody Guthrie 14"x11"oil on linen 2012 Peter Himmelman Collection, Los Angeles
The highways around Monterey were wide open in the late 1970's. Like a character in a Springsteen song I would drive to find out where I was going. Images that still need to be painted flooded in:
Early morning light on farm workers in the fields outside Salinas.
The crumbling docks of Cannery Row seemingly melting in the sea air.
Rows of US soldiers waiting their turn on the target line at Fort Ord.
The seaside chimera of Santa Cruz glowing in the morning fog.
Gregg Chadwick The Opal's Rim (Point Lobos) 72"x48"oil on linen 1997 Private Collection, Los Angeles
On July 1, 1978, I took Highway 101 up from the Monterey Bay to Berkeley. I met my brother and his future wife Cathy at the edge of the UC campus and we wandered until we found the Berkeley Community Theater. Throughout my high school years in the suburbs of DC, my older brother Kent was studying at UC Davis and I cherished the moments we had together. Each time we reunited seemed like an epiphany. We talked and argued about life, art, politics, poetry, spirituality and music. We had seen a few concerts together on the east coast starting with a J Geils gig in Asbury Park. But neither one of us had seen Bruce Springsteen and the E Street Band play live. Until that night in Berkeley.
The concert was a revelation, almost a rock n' roll revival. But there was also an undercurrent of pain and empathy like the Darkness album itself. Springsteen's 1978 guitar improvisation opening to Prove It All Night got us all out of our seats.
Two songs stood out for me that night. The first was Springsteen's haunting, solo piano version of The Promise which became a sound that I tried to get into my paintings from that day forward.
The second was Bruce and the E Street Band's electrifying version of Because the Night.
I knew that Springsteen had penned Because the Night and then given the not quite finished work to Patti Smith to complete and record. I took that song on as my romantic talisman. Somewhere down the line I knew I would find a partner who would feel the passion from those haunting lines and that searing music just as I did. My wife, MarySue, and I found each other in 2003 and our friend, the singer/songwriter Kelly Colbert performed a scorchingly hot version of Because the Night at our wedding on 7/7/07.
MarySue and Gregg at Their Wedding 7/7/07 photo by Sabine Pearlman
My artistic landscape was growing in the Summer of 1978 and Springsteen's Darkness on the Edge of Town provided a soundtrack for the film of my life. And most importantly Darkness inspired me to find the stories that I wanted to tell in my art and life.
