The Red Hot Archive is a place to study and enjoy the music of these early "Jazzmen". Due to recent advances in technology it is now possible to broadcast text, music and pictures around the world via the Internet. This site is an experiment in using this new multimedia technology. We hope it will combine the best of books and audio recordings, into valuable and enjoyable tools for appreciating this music and the men and women who produced it. This site is a work in progress and will continue to grow as more recordings and writings are added to the archive. Submissions, suggestions and corrections are welcome."West End Blues" Louis Armstrong
"This song is Copyrighted in U.S., under Seal of Copyright # 154085, for a period of 28 years, and anybody caught singin it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do."
The Deconstructionist Institute for Surreal Topology specializes in Revolutionary Studies, and the advancement of Applied Autonomy. We fund the work of a number of academics who study topics ranging from the effect of Disneyfication on inner city neighborhoods, to Coca-Colonization in post-industrial civilizations. We currently fund a number of projects, including the The Edible Ballot Society, Bad Press, and the Ministry of the Environment (MOE).And given the current political environment I am particularly interested in the work of The Edible Ballot Society.
Being guilt-tripped into voting for the least offensive politician isn't synonymous with genuine democracy.
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Voting is not only useless, it actually undermines genuine democracy by legitimizing an inherently undemocratic process. During this election we are encouraging people to eat their ballots by having our chefs develop delicious recipes.
With Bilbao, "celebrity architecture", in all its low-cut and high-rise disguises, came of age. It was certain to be followed by a torrent of imitators - and indeed, the launch of the Guggenheim coincided with a new public appetite for bling-bling architecture.
Everyone in the commercial media, and that includes Hitchens, knows what his real job is: feeding the monkey. We are professional space-fillers, frivolously tossing content-pebbles in an ever-widening canyon of demand, cranking out one silly pack-mule after another for toothpaste and sneaker ads to ride on straight into the brains of the stupefied public.
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