I think that Denver International Airport would have been better served by building a "granite mountain" with many seating areas built in the mountain for those awaiting passenger pickup. I think it could have looked very interesting and nice and have a needed function for DIA. The current waiting situation is a mess, and recognition is hard for both pickup and arriving passengers.
Denver International Airport
Stick a "You Are Here" arrow in the middle of it — $246,000 dollars? Seriously? I think it looks like Legos.
Paying $246,000 for a small tile job? Sounds like a lube job to me. From a poorly thought-out concept and design to a generous "artistic" giveaway, bungled inept construction, incredible damages cost and a final simple solution, millions have been paid by the taxpayers for a pitifully small amount of floor space. Has anybody else been held responsible for this total incompetence? An F-you from top to bottom, beginning to end! I would like to see Westword instigate another article to encourage public dialogue about the DIA artwork specifically and public artwork in general.
At DIA, the most commonly seen and subtly appreciated piece is "Kinetic Air Light Curtain," in the east train tunnel. It is poorly maintained, but was brilliant and worth the cost. "Fence Line Artifact" is the other extreme. Anybody who notices it thinks that it is junk the airport abandoned. The same couple got about a total of a quarter-million dollars for this and the other junk pile, "Pivot Emblem."
Good art is a difficult term to define. Art that is noticed, art appreciated by the multitudes that may not need to have it rammed at them, or even schmaltz that makes people stop and smile ("America, Why I Love Her," east terminal by the baggage claim) can have a value scale assigned based on several variables. This would make an interesting poll. Make it a scavenger hunt! Get feedback on what makes art valuable, or perhaps worth the cost distinction.
It could create a good war or agreement between the art-is-junk and art-is-divinely-inspired people. Hey! Divinity could involve even another group that normally claims it doesn't read Westword. Perhaps Dan and Craig could fight about it on KHOW.
Everyone thinks the Mustang is a Denver Bronco.
At the beginning of the story, Dave Herrera makes a distinction between "bootleggers" and people who make recordings of live shows. But farther into the article, he calls Kevin Shapiro, one of Phish's lawyers and the band's resident archivist, "a bootlegger of another sort." He might be/have been a taper and a collector of live recordings, but that doesn't make him a bootlegger. As far as I know, Phish has always allowed their fans to record audio of their shows.
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I understand that the stigma still exists in people's minds and they all remember the episode of Good Times where Rerun gets busted trying to record the Doobie Brothers. Those days are pretty much gone now, thanks to the Internet and the ability to freely share live music. I also remember back in the day going to Recycled Tapes and CDs and buying real bootleg CDs under the counter. You hardly ever see that anymore.
People such as myself who record live music as a hobby do it for the love of the music, not to make money. Hell, it's a money pit as a hobby. That said, I would rather be called a taper or a music lover then a bootlegger.