A Quote by Virginia Postrel
Lofts were never supposed to be homes. They were vacant old factories and warehouses, taken over by artists looking for cheap space and good light.
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Then, you were supposed to discover the city, where they were. But because somebody like skeletons. And that they discovered that they were at a cheap price, we used too many skeletons all over the place, and the public got the wrong message.
There are people who take on different objectives and missions in life. When you grow older, there's a a void - and right now, I'm filling a space where a lot of old rock, grime, hip-hop, punk artists left a vacant space.
Comforts that were rare among our forefathers are now multiplied in factories and handed out wholesale; and indeed, nobody nowadays, so long as he is content to go without air, space, quiet, decency and good manners, need be without anything whatever that he wants; or at least a reasonably cheap imitation of it.
My parents were immigrants. And the place for all immigrants was the factories. They were the source of cheap labor.
Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.
When Welwyn Garden City was planned, the workers homes were placed in the east, downwind from the factories in the middle, whilst the bosses got the larger westside homes in Handside. This sort of social engineering, including the absence of a pub, would not be acceptable today.
It was a very strange time in the late 1950s/early 1960s, when people were putting things in space, but that language of spacecraft hadn't really congealed yet. A lot of artists at that time were looking at them as aesthetic objects.
I flew a full string of 35 combat missions over some of the most heavily defended targets in Europe. We were hitting Hitler's oil refineries, his tank factories, his aircraft factories, his railway yards. Those were our prime targets.
In the 19th Century people were looking for the Northwest Passage. Ships were lost and brave people were killed, but that doesn't mean we never went back to that part of the world again, and I consider it the same in space exploration.
And the two planes that were taking the band and crew that we had taken out to San Diego were flying out after the show. And so I was never supposed to be on that plane.
What we went to World War II for, at least in my mind, was not getting taken care of. It was supposed to be a brave new world, but we were getting back into the old ruts, and we were in a cold war with Russia.
I'm very stodgy. I'm always looking at old photos of California and Los Angeles, knowing that what I'm looking at is now full of houses. There used to be vacant lots in Los Angeles, now all taken up by three-storey boxes - it's all getting infilled.
One knew in advance that life in New York would not be easy‚ but there were cheap rents in cold-water lofts without heat‚ and the excitement of being here made up for those hardships. I didn't move to New York to make a fortune.
One knew in advance that life in New York would not be easy, but there were cheap rents in cold-water lofts without heat, and the excitement of being here made up for those hardships. I didn't move to New York to make a fortune.
I grew up in the Great Depression, and the jazz artists and Dixieland musicians were at the core of our communications and enjoyment. They were not passing fancies. They are something that is, and will be, listened to again and again. I have a space of reverence for some of those old jazz stars such as Sydney Bechet and Louis Armstrong.
I have some advantages of viewing from the two lenses, the two perspectives. I think that a lot of visual artists who come back here from the United States and are Cambodian also write from their American references - looking inside the old culture, and looking at themselves as an American looking into the country where they were born.
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