CRAIG AALDERS

A Dot on the Histomap
James Earl Fraser’s End of the Trail.

James Earl Fraser’s End of the Trail.

Sunday evening at the park. 

Sunday evening at the park. 

newyorker:

The volcano Bárðarbunga, Iceland’s second-highest mountain, began to erupt on August 31st, reportedly flinging lava as high as a hundred and ninety feet in the air. Take a look at additional photos on Elements.

Top and bottom: Eggert Johannesson/AP, Middle: Stefano Di Nicolo/AP

Looking forward to playing a rare solo set at the Backstage Lounge this Saturday Aug 23 with Zoo Owl and MNGWA. I’ve been working on new material this summer which I’ll be debuting at the show. If you’re in the Vancouver area come say hello. Here’s the Event Page. 

Looking forward to playing a rare solo set at the Backstage Lounge this Saturday Aug 23 with Zoo Owl and MNGWA. I’ve been working on new material this summer which I’ll be debuting at the show. If you’re in the Vancouver area come say hello. Here’s the Event Page. 

The Shadows of Lauren Bacall

newyorker:

image

Richard Brody remembers the legendary actress:

“She was meant to play Presidents and C.E.O.s, editors-in-chief and visionary directors. How many such roles existed for actresses—for women in real life—in her heyday? Bacall was bigger than her career. She started young and stayed ahead of her time, and her greatness—her mighty personal presence and her diverse body of work—carries a shadow of unfulfillment, and even tragedy.”

Photograph by Ralph Crane/The Life Images Collection/Getty

(Source: newyorker.com)

newyorker:

Hilton Als on Paul Zone’s book of rock photography: http://nyr.kr/1oeCAjo

“His subjects are all so young and trying not to show it; the poses they strike speak of their relative innocence and glory, and their fearlessness, too.”

Above: Debbie Harry (Blondie), Arturo Vega’s loft, 1975.

newyorker:

Hilton Als on Paul Zone’s book of rock photography: http://nyr.kr/1oeCAjo

“His subjects are all so young and trying not to show it; the poses they strike speak of their relative innocence and glory, and their fearlessness, too.”

Above: Debbie Harry (Blondie), Arturo Vega’s loft, 1975.

(Source: newyorker.com)