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Friday, July 25, 2014

Making a Mark: LJA architect designs 1,000th hotel





 
 His first hotel was a Super 8 built in Waterloo, Iowa, by local hotel developer Gary Tharaldson in 1988.
 
Goldade was working for a church builder at the time. He was licensed in several different states and Tharaldson needed an architect who could work in Iowa.
 
A longstanding business relationship developed. Goldade consulted on a number of additional hotels before moving to Fargo to accept a full-time position with Tharaldson Development in 1997.
 
In 2001, he joined LJA, where he continued to design for Tharaldson as well as a number of other hotel developers.
 
Goldade has designed hotels in 42 states, spanning from Alaska to Texas and California to New York. He has worked with franchises including Marriott International, Choice Hotels, Intercontinental Hotels Group, Wyndham Hotels & Resorts, Hilton Worldwide, LaQuinta and Best Western International.
 
One of his favorite projects was a four-hotel complex constructed on one site just a few blocks off the Las Vegas Strip.
 
He said what still gets him excited about the job is the challenge.
 
“It’s fun to get a project done at a location where it’s extremely difficult to get in there,” he said. Challenges include how much space there is to work with, getting the highest room count possible into a tight site and local jurisdictional covenants that restrict how and what can be built. All of these must be considered while still following the franchise’s guidelines for appearance.
 
While much of his focus today is on hotel design, Goldade has been involved in a number of other commercial projects over the years. His most recent was serving as the lead architect of the North Dakota Heritage Center’s multimillion-dollar expansion in Bismarck.
 
Honors: Under Goldade’s leadership, LJA has earned a number of honors including Top Architects & Designers, Top Hotel Design & Architecture Firms, Leading Commercial Architecture Firms and Top Commercial Architects.

Monday, July 21, 2014

James Garner dead at 86: Actor leaves big legacy as a ‘Maverick’ on the small screen

by David Hinckley NEW YORK DAILY NEWS

With starring roles in ‘Maverick’ and ‘The Rockford Files’ among the many standout turns on his resume, Garner shined as a non-traditional good guy.


Here's why we loved James Garner's TV characters: because they reassured us that even guys with no visible heroic traits could somehow beat the bad guys in the end.


Bret Maverick and Jim Rockford, who were basically the same character in different footwear, were the antithesis of almost every traditional good guy on television.

When Bret rode into town in 1957 with the drama "Maverick," justice in Western towns was almost always administered by men like Marshall Matt Dillon, played by James Arness on "Gunsmoke."

Matt Dillon was tall, handsome, rugged, fair-minded, moral and a straight shooter. Like his Silver Screen predecessors — John Wayne comes to mind — he was a righteous firewall whose very presence left no doubt justice would prevail.

Bret Maverick had no such ambitions. He was a gambler who aspired to become nothing higher than a hustler. He'd be happy, he insisted, to finesse a few bucks and leave town untroubled by any gunfire he heard behind him on his way out.

Unfortunately, that plan kept not working out. He kept getting drawn into disputes that kept forcing him to dispense justice.

He didn't use a gun much. He started with his wits and when necessary moved on to his fists.
If there were a hall of fame for TV Western fistfights, Bret's battle with Clint Eastwood's Red Hardigan in the 1959 episode "Duel at Sundown" would be a charter inductee.




The late, great Garner, pictured in 1959, broke big as the star of the television series, ‘Maverick.’ABC PHOTO ARCHIVES/ABC VIA GETTY IMAGESThe late, great Garner, pictured in 1959, broke big as the star of the television series, ‘Maverick.’
At the same time, that episode even better illustrated the real agenda of "Maverick," which was to find laughs where most shows found only the other stuff.

After the fight, Bret finds himself in a rare six-shooter showdown with the outlaw John Wesley Hardin. Except "Hardin" turns out to be his brother Bart, played by Jack Kelly. Yup, the Maverick brothers stage a fake shootout to fool Red.

As the brothers ride away unharmed, they pass the real John Wesley Hardin, who's blasting his way into town with steam coming out of his ears to find the varmint who "killed" him.

Sweet.

Bret Maverick wasn't the only non-traditional Western hero on TV in the 1950s. Richard Boone's Paladin on "Have Gun Will Travel" was dark and haunted. Steve McQueen's bounty hunter Josh Randall on "Wanted: Dead or Alive" was hardly a classic white hat.
But no one had the same qualities as Maverick. He wasn't the fastest or the toughest. He may not have been the smartest.

He just had the best sense of humor.


We also sensed he was on our side even as he denied he was serving any cause beyond his own. No matter how dire things looked, there was a wink in there somewhere saying things would work out okay.


Bret Maverick rode into the sunset too early, when Garner got into a real-life contract dispute with Warner Bros. during season 3.

He headed off to the movies, where he did mighty well, and in the long term that early exit probably enhanced Bret's legacy. We hadn't had enough.

Neither had Roy Huggins, who created "Maverick," and 14 years later had the idea of reviving Bret as a modern-day outlier.

So we were in a receptive mood in 1974 when Huggins created Jim Rockford, a low-budget private investigator who, like Bret, had neither the personality nor lifestyle of most of his TV colleagues.

He lived in a mobile home. He liked to eat Mexican food. He really liked to go fishing. He couldn't keep a relationship with a woman for more than one episode. He hung out with a bizarre posse whose help often got him beaten up. He constantly was taking cases so low-end you wondered how they ever got on television.

His one seeming indulgence was that every season except the last, 1979, he got a new Pontiac Firebird. That may have been a contract demand. In real life, Garner loved great cars, and what beat the muscle cars of that era?




Garner holds a dollar bills in one hand, and a handgun in the other in a 1977 publicity shot for 'The Rockford Files.’SILVER SCREEN COLLECTION/GETTY IMAGESGarner holds a dollar bills in one hand, and a handgun in the other in a 1977 publicity shot for 'The Rockford Files.’
However much fun he made the ride for himself, he made it just as much fun for us.

"The Rockford Files" developed characters like a good drama and put them in situations that sometimes seemed closer to a good sitcom.

As with Bret Maverick, it's probable that some other actor somewhere could have played Jim Rockford. It's just hard to think who, since Garner had a rare ability to look like he was telling the joke at the same time he was putting it on pause for just long enough to solve the problem.

He was one of those characters, all of whom we love, who would look down at their feet, go "aw shucks" and then when it mattered dash out and save the damsel from going over the falls.

As a matter of fact, that's how we see the founding fathers of the whole country, as a bunch of farmers and tradesmen who, when things just got too oppressive under King George, held a meeting and said, ‘Enough, it's time to run this thing by ourselves.’

Granted, we don't always immediately think of the founding fathers when we think of Bret Maverick or Jim Rockford.

But if you went to a ball game, who would you rather sit next to? Bret Maverick or James Monroe?

Sometimes you don't need to found a country. You just want to have some fun.

Riding the Juggernaut That Left Print Behind


by David Carr
Even if you aren’t one of those people worried about media consolidation — there are many in that number — the big bolt of lightning last week that pierced a summer of ennui in entertainment and publishing news was hard to resist.

The unrequited bid that Rupert Murdoch’s 21st Century Fox made for Time Warner Inc. had it all: defensive consolidations taking shape in both distribution and content production; two like-size media behemoths in an awkward, high-stakes dance; secret meetings; board intrigue; and a naked grab for size and power. Plus, there was the gift that keeps on giving: Mr. Murdoch on the prowl.

It was as if a big train with the word FUTURE emblazoned on its side was revving up. But it was difficult not to notice that one car had been uncoupled and would not be leaving the station.

Even though both companies involved in the merger discussions were built on print franchises — Mr. Murdoch’s newspaper empire, and the storied Time Inc. magazine brand — neither owns print assets anymore. In fact, 21st Century Fox is in a position to make a deal and Time Warner is an attractive target partly because they both got rid of slow-growth print divisions. To the extent that the proposal offered a crystal ball on the future of media, print doesn’t seem as if it will be much a part of it.

Mr. Murdoch moved onto his next quarry only after he had quarantined his own print assets under a separate public company. And Time Warner took on new allure when it shed those dowdy old magazine properties that now trade under their own ticker. Print has lost value in business realms because it has, in fundamental ways, lost traction with you and me.

Think about what happened when the Malaysian airliner was shot down in eastern Ukraine. No matter where you were, or what you were doing, an ambient feed of information pulsed and heaved all around you. Graphic images soon appeared in social media feeds and breathless news alerts arrived in the inboxes of anyone with even a casual interest.

I happened to be at CNN for a taping session when news of the downed jetliner broke, and you could see the entire apparatus come roaring to life, getting everything in place to cover the kind of story — big stakes, scary pictures and international consequences — that a 24-hour news channel was made for. Then again, given the ubiquity of information and delivery devices, we already sort of live in an always-on news network.

Between the flood of information online and the wall-to-wall television coverage, what is left for print? The Wall Street Journal devoted special reports and remarkable video to the events in Ukraine and Gaza. And The New York Times responded like the digital news organization it is becoming. Vivid on-scene reporting was accompanied by early video, with step-back analysis of what it all meant.

I am a faithful reader of The Journal’s and The Times’s print edition. Both are built on a wonderful technology for discovering and consuming news, and a large part of their profits still reside in that daily artifact. But when big things happen, I stayed glued to the web, at The Times and other great news sites.

Nothing can compete with the shimmering immediacy of now, and not just when seismic events take place, but in our everyday lives. We are sponges and we live in a world where the fire hose is always on.

But once a sponge is at capacity, new information can only replace old information. Last month, researchers at Victoria University of Wellington in New Zealand published a study that found that comprehension, concentration and retention all went off a cliff when information was taken in online. (Then again, there are those who say that we see everything and remember nothing because we don’t have to, that the web now serves as our memory.)

Online, we are always beckoned forward to the next great thing, often right in the middle of what we thought we wanted to read about. Consider how many times you have clicked a link early in an article and never returned to what brought you there in the first place.

As somebody who lives in the news cycle, is far too engaged on Twitter and has almost as many devices for consuming media as I do fingers, I’m not so much a digital native as a digital casualty.

For the last six months, my magazines, once a beloved and essential part of my media diet, have been piling up, patiently waiting for some mindshare, only to be replaced by yet another pile that will go unread. I used to think that people who could not keep up with The New Yorker were shallow individuals with suspect priorities. Now I think of them as just another desperate fellow traveler, bobbing in a sea of information none of us will see to the bottom of. We remain adrift.

As Alexis Madrigal wrote in The Atlantic, “it is easier to read ‘Ulysses’ than it is to read the Internet. Because at least ‘Ulysses’ has an end, an edge. Ulysses can be finished. The Internet is never finished.”

I don't miss the smudged ink on my fingers at all. Far too my ruined ties and dirty white shirts to mourn the loss of newsprint.

My husband and I are both writers and avid consumers of information. But that's where the similarity ends and our worlds diverge.

Most of the "breathless news alerts" in my Inbox arrive from The New York Times. Who still own a print division, from what I understand.

Some days, when I board the bus or train to the city, I’ll stash a print copy of The Journal in my bag with a magazine or two, in high hopes of reading them. And after I settle in, I will check my email on my phone. The relevant message usually comes in faster than I can get rid of it. Sometimes when people ask what I do for a living, I am tempted to say that I write emails.

On Thursday, I was scheduled to take a three-hour train ride up the Hudson Valley and I decided this was it — a clean block of time to rectify my print deficit. I picked a doozy of a day: The news cycle seemed to go on tilt, with the downed jetliner, the Israeli ground invasion in Gaza and the untangling of an immense proposed media merger. But I resisted, leaving my devices in the bag and pulling out a stack of magazines.

I read New York magazine’s delicious profile of the journalist Kara Swisher of Recode, took in a long interview that the Virginia Quarterly Review conducted with one of the world’s leading origami makers and stared at an exquisite photo essay in The Pitchfork Review. I grazed the sassy delights of The Hollywood Reporter, and in Fast Company, I learned how Mark Zuckerberg wants to own our (increasingly) mobile lives.

Continue reading the main storyContinue reading the main storyContinue reading the main story
Purposefully, but not in a hurry, I caught up on the remarkable television and film writing in The New Yorker and contemplated interesting, different versions of being a male in GQ and Esquire.

I was having a moment, one without informational angst or FOMO (fear of missing out). And when I finished something, I spent time staring out the window at the unspeakably pretty Hudson River. I came to rest.

Still, there was some trouble in paradise on the Ethan Allen Express. More than a few people around me were cursing the indifferent Wi-Fi as they desperately tried to remain tethered to the grid. Behind me, a passenger made serial phone calls in a mind-erasing loud voice. “I’m on the train!” he would always begin.

It struck me that part of the reason we always stay jacked in is that we want everyone — at the other end of the phone, on Facebook and Twitter, on the web, on email — to know that we are part of the now. If we look away, we worry we will disappear.

We are all on that train, the one that left print behind, the one where we are constantly in real time, where we know a little about everything and nothing about anything, really. And there is no quiet car.

Thursday, July 17, 2014

Blues guitar legend Johnny Winter dies

Associated Press

Texas blues legend Johnny Winter, known for his lightning-fast blues guitar riffs, his striking long white hair and his collaborations with the likes of Jimi Hendrix and childhood hero Muddy Waters, has died. He was 70.
Winter was a leading light among the white blues guitar players, including Eric Clapton and the late Stevie Ray Vaughan, who followed in the footsteps of the earlier Chicago blues masters. Winter idolized Waters — and got a chance to produce some of the blues legend's more popular albums. Rolling Stone magazine named Winter one of the top 100 guitarists of all time.
His representative, Carla Parisi, confirmed Thursday that Winter died in a hotel room in Zurich a day earlier. The statement said his wife, family and bandmates were all saddened by the loss of one of the world's finest guitarists.
There was no immediate word on the cause of death.
Winter had been on an extensive tour this year that recently brought him to Europe. His last performance came Saturday at the Lovely Days Festival in Wiesen, Austria.
The tour, a documentary that premiered at the SXSW Festival exploring his music, youth and substance abuse battles, and a newly released four-CD set of recordings were all part of Winter's celebration of turning 70 this year.
John Dawson Winter III was born on Feb. 23, 1944, in Mississippi, but was raised in Beaumont, Texas. He was the older brother of Edgar Winter, also an albino, who rose to musical fame with the Edgar Winter Group.
Winter was one of the most popular live acts of the early 1970s, when his signature fast blues guitar solos attracted a wide following. But his addiction problems with heroin during that decade and later battles with alcohol and prescription medication, including methadone, also drew attention.
His career received a big boost early on when Rolling Stone singled him out as one of the best blues guitarists on the Texas scene. This helped secure a substantial recording contract from Columbia Records in 1969 that led to an appearance at the Woodstock Festival and gave him a wide following among college students and young blues fans.
Crowds were dazzled by the speed — and volume — of his guitar playing, which had its roots in urban blues but incorporated elements of rock 'in roll.
Winters paid homage to Waters on "Tribute to Muddy," a song from his 1969 release "The Progressive Blues Experiment." He continued to pick up accolades, producing three Grammy Award-winning albums for Waters and recording with John Lee Hooker, which helped revive their careers.
Winter performed often with blues and rock singer Janis Joplin and the two became close during the 1960s.
Among the blues classics that Winter played during that era were "Rollin' and Tumblin'," ''Bad Luck and Trouble" and "Good Morning, Little Schoolgirl." He also teamed up with his brother Edgar for their 1976 live album "Together."
He was inducted into the Blues Foundation Hall of Fame in 1988.
There was no immediate word on funeral services.

Tuesday, July 15, 2014

Mel Gibson and Stallone We Still Rock!


 BY TMZ STAFF


Old guys can still rock out with the best of 'em ... something Mel Gibson and Sylvester Stallone proved Friday night in Los Angeles at a Kiss performance.

Mel and Sly attended a benefit event for a charity Gibson works with called Mending Kids International ... both actors were limited in movement -- but it's clear they're very into the performance.

If you look closely ... Dog the Bounty is also jamming out in the background.

Rock and roll all night.


Read more: http://www.tmz.com/2014/02/15/mel-gibson-sylvester-stallone-danzig-cover-rock-out-video/#ixzz37a4AD2Is

Lindsay Lohan vows 'not to miss any London shows'

Lindsay LohanBBC arts editor, Will Gompertz

Actress Lindsay Lohan says she will not miss any shows when she makes her West End debut in David Mamet's Speed-The-Plow later this year.
The 28-year-old developed a reputation for being unreliable after her early career as a child star descended into alcohol abuse and a series of arrests.
But asked if she would be penalised for missing shows or rehearsals in London, she told the BBC: "That's not going to happen.
"That's not on the cards. It's not."

Start Quote

"I'm at a place in my life where I like the commitment. I'm looking forward to that part of it."
'Willing to work'
Lohan started her career as a child model, aged three, and enjoyed huge success in the remakes of The Parent Trap and Freaky Friday before going on to star in cult comedy Mean Girls.
But her film career became overshadowed by lurid reports depicting her as a drug-taking, alcohol-abusing, hard-partying wild child.
assaults saw her appear in the law courts almost as often as the tabloids.
Her reputation for enjoying the high life grew in 2006 when she was rebuked for late arrivals on the set of the film Georgia Rules.
The film's producer suggested in a letter, leaked to the press, that the actress's "heat exhaustion" was simply the result of "ongoing all night heavy partying".
The critics, meanwhile, lined up to savage her performances in box-office disappointments such as I Know Who Killed Me and The Canyons.
But speaking to BBC arts editor Will Gompertz, the actress said she hoped her 10-week appearance at the Playhouse Theatre would help rehabilitate her image.
"I want to be known for my talents and my work that I create, rather than a tabloid sensation," she said.
"However long it does take, I'm willing to do it. I'm willing to work for it."
The actress added she was considering moving to London "for good".
Rehearsals for the play, which opens on 24 September, have yet to start but Lohan said she felt "very lucky and excited and nervous" to be making her stage debut in the UK.
"There's a different standard to it here. It seems more prestigious. It seems a bit more serious and that's something that I really want to experience."
"I've noticed here, watching the news, you guys have such a different outlook. In the US starting at 5pm it's TMZ, it's all these shows talking about people's personal lives and here I don't notice any of that - it's news and politics and music.
"So it's nice to be able to turn on the TV and not everything is about gossip. That's a really nice feeling."
Freaky Friday'Paranoid'
The star, who has been hounded by paparazzi since she was a teenager, has been photographed at celebrity haunts since arriving in the UK - but says she has largely dialled down her party lifestyle.
"I don't put myself in situations where I used to," she said. "In LA, when people go out at night, that's all you do. It's different now. I've matured and there's nothing really left in that life for me."
Her most successful film was body-swap comedy Freaky Friday, which co-starred Jamie Lee Curtis
Mean GirlsThe Tina Fey-scripted high school comedy Mean Girls has become a cult hit
Lindsay Lohan sent to prison in 2010The press were out in force when Lohan was sent to prison for violating probation in 2010
But her tabloid profile has left her feeling "paranoid" around cameras.
"My friends think I'm neurotic," she said, "but I will hear a flash of an iPhone camera, I will hear the shutter from a mile across the room. I will feel it."
The star added social media was allowing her to regain control of her image.
When a US tabloid published a picture of her with cuts and scratches on her leg last week, she posted a similar image on Instagram, explaining she had fallen off a bike.
"[They said] that I'd cut myself purposefully, which was dark," she said. "I have siblings. People see that. Producers see that and I don't need people having that perception of me.
"The benefit of something like Instagram is I can use that to my advantage and I can say 'look, this is what happened' and make light of the situation because it was actually kind of funny.
"If I give the shot first, then there's no shot to get."