February 21, 2024

The word “lofet” is a misnomer. It is short for landloafer and can also be spelled “loafer” or “lofeper”. It is also the abbreviation for “remnant,” from American Spanish lobo.

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Henri Bendel

One of the most famous flagship stores of Henri Bendel is the one on 5th Avenue. In addition to clothing and accessories, the store also features art and design. The store’s sumptuous windows and brown canopy are the hallmarks of the store. Visitors can purchase art at the store or commission a portrait. The store’s doors are always open and the artists will work in full view of the public.

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The company was founded by Henri Bendel, an upscale woman’s clothing designer and milliner. Born in Vermillionville, Bendel and his wife, Blanche Lehman, married in 1894 and opened a millinery shop in Morgan City, La. They later moved to New York City where Bendel would create his empire.

G.H. Bass

The partnership between G.H. Bass and Maharishi is a perfect example of Eastern and Western influences. In Sanskrit, the word Maharishi means ‘great seer’. This particular collaboration was a hit in 2013, and is now available in new styles at MATCHESFASHION.

Founded in 1876, G.H. Bass & Co. is an American footwear brand that was one of the first companies to create a penny loafer. Today, their footwear is worn by many of the world’s most famous personalities. Their high quality materials make them a great choice for any occasion.

In August, G.H. Bass teamed up with Maharishi for a collaboration on the Maharishi Penny Loafer. The collaboration combines the traditional design of the Maharishi Penny Loafer with high-end leather. The shoe’s house camo is also a key feature, becoming a standout design element. The shoe is available in two different colors: black and wine.

Henri Bass

The Lofts at Bass is a wonderful property that features a combination of convenience and modern luxury. The property’s amenities include a resort-style saltwater pool, shade porches, grills, cyber cafe, fully-equipped fitness center, and private garages. It’s conveniently located near Hartsfield-Jackson International Airport and Macon Groome.The Loft offers both hire purchase and Rent-To-Own bass programs. It also accepts all products, including secondhand bass. 

You can also purchase JonPaul composite and hybrid bows, which are made in the U.S.A. and are made from a carbon composite material.

Located just off Macon’s northernmost exit for easy access to Atlanta’s Hartfield-Jackson International airport, the Lofts at Bass is a premier multifamily product offering market-rate one and two-bedroom apartments within walking distance of Publix supermarket and many other national chains. The project includes a resort-style saltwater pool, expansive sundeck, shade porch, and private garages for residents.About Lofts at Bass

Cable and Internet included.

 When you want to weave the vibrancy of living, working, leisure into everyday life, the Lofts at Bass is the place to call home. The Lofts at Bass is a premiere Live at Lofts property whose signature is blending modern luxury with comfort and convenience. It’s like living in a boutique hotel but with all the amenities of home. Located just off Macon’s northernmost exit, for fast access to Hartsfield-Jackson International Airport, as well as Macon’s Groome shuttle, the spacious, modern, no maintenance apartments also offer the ease of retail, restaurants and a Publix supermarket just outside the Lofts at Bass front door. The Lofts at Bass offer one and two-bedroom, well-appointed apartments. Other property signatures include a resort-style saltwater pool with expansive sundeck, shade porch, grills, and poolside Wi-Fi, as well as a cyber café, fully-equipped fitness center, and private garages. The Lofts at Bass offer a lifestyle that caters to a peace of mind – be as active or as laid back as you’d like – and make the most out of your residence in Macon.

Lofts at Bass is an apartment community located in Bibb County and the 31210 ZIP Code. This area is served by the Bibb County attendance zone.


Formed in 1980 as The Living Room by Peter Astor (vocals, guitar), Bill Prince (bass), Andy Strickland (guitar) and Dave Morgan (drums),[1] the band changed its name when they discovered a local music venue also called The Living Room.[2] The venue was being run by Alan McGee, with whom The Loft struck up a friendship and played several gigs for.[1] After signing to McGee’s fledgling Creation Records label, the debut single “Why Does the Rain?” was issued in 1984.[1] “Up the Hill and Down the Slope” was issued the following year, earning both band and label some critical success.[1]

A national tour as the opening act for The Colourfield was intended to give the band further exposure, but tensions within the band led to a sensational split live onstage of the Hammersmith Palais, on the final date of the tour.

After the split

Almost immediately, Peter Astor and Dave Morgan formed a new band, The Weather Prophets,[1] who were also signed to Creation. In 1989, Creation finally issued a compilation of their work entitled Once Around the Fair: The Loft 1982-1985, with Magpie Eyes 1982-1985 appearing on Rev-Ola in 2005. Guitarist Strickland became a music journalist and formed The Caretaker Race, and Prince formed The Wishing Stones.[1]

In 2006, the band unexpectedly reformed, playing a handful of gigs and releasing a single of new material on Static Caravan Recordings.

The band continues to perform occasionally. In 2015, to celebrate 30 years since their “Up The Hill and Down the Slope” single topped the indie chart, the band played shows in New York in May (headlining the NY Popfest in Brooklyn) and in London in June, before recording their third BBC radio session – this time for fan and supporter, Gideon Coe, on BBC 6 Music.

The Loft is featured heavily on the Creation Artefact CD compilation released by Cherry Red Records in September 2015.

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The band remains open to further shows and recordings.

Loft jazz (or the loft scene or loft era) was a cultural phenomenon that occurred in New York City during the mid-1970s. Gary Giddins described it as follows: “[A] new coterie of avant-garde musicians took much of the jazz world by surprise… [T]hey interpreted the idea of freedom as the capacity to choose between all the realms of jazz, mixing and matching them not only with each other, but with old and new pop, R&B and rock, classical music and world music… [S]eemingly overnight new venues – in many instances, apartments or lofts (hence the phrase ‘loft jazz’) – opened shop to present their wares.”

According to Michael Heller, “lofts were not an organization, nor a movement, nor an ideology, nor a genre, nor a neighborhood, nor a lineage of individuals. 

They were, instead, a meeting point, a locus for interaction.”[2] Heller stated that “loft practices came to be defined by a number of key characteristics, including (1) low admission charges or suggested donations, (2) casual atmospheres that blurred the distinction between performer and audience, (3) ownership / administration by musicians, and (4) mixed-use spaces that combined both private living areas and public presentation space.

Regarding the music played in these venues, Michael J. Agovino wrote: “This was community music.

 Part of the point was that, free of the strictures of clubs, the music could be anything, go anywhere, go on for as long as it wanted.”[4] David Such stated that “the cutting contests, personality cults, and vices that characterized the jazz scene of the 1940s and 1950s were mostly missing.”[5] The scene was reviewed and documented by Giddins, Peter Occhiogrosso[6] of the SoHo Weekly News, Leroi Jones,[7] Robert Palmer,[8] and Stanley Crouch.[9]Coinciding with this activity was an influx of musicians from outside New York. Newcomers from Chicago included a group associated with the AACM; these included Muhal Richard Abrams, Anthony Braxton, Kalaparusha Maurice McIntyre, Lester Bowie, Amina Claudine Myers, Henry Threadgill, Steve McCall, Fred Hopkins, Chico Freeman, Malachi Thompson, and George E. Lewis.

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 Various members of the Black Artists Group came from St. Louis, including Charles “Bobo” Shaw, Baikida Carroll, Oliver Lake, Julius Hemphill, Hamiet Bluiett, J. D. Parran, and Joseph Bowie. Members of Horace Tapscott’s UGMAA, such as Arthur Blythe, David Murray, and Butch Morris, arrived from California. All of these, plus many local musicians, participated in the loft scene to some degree.

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Immediate predecessors to the loft scene were the establishment in the late 1960s of Ornette Coleman’s Artist House, where he hosted musicians and dancers, and James DuBoise’s Studio We.

 However, the scene did not begin to flourish until 1972, when, in reaction to the relocation of the Newport Jazz Festival to New York, locally-based musicians established a counter-festival called the New York Musicians’ Jazz Festival (NYMJF), with music presented in parks, community centers, and lofts.[12] One of the most influential lofts during this time was Studio Rivbea, run by Sam Rivers and his wife Bea.[13] Other lofts included Rashied Ali’s Studio 77, which became Ali’s Alley, Studio Infinity, run by Stanley Crouch and David Murray, Environ, run by John Fischer, the Ladies’ Fort, Studio WIS, Firehouse Theater, and Sunrise Studios.[14]

Musically, loft jazz was in many ways a continuation of the free jazz and avant-garde jazz traditions inaugurated by John Coltrane, Ornette Coleman, Albert Ayler, Pharoah Sanders, Archie Shepp, and Sun Ra.

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However, it didn’t follow any one particular style or idiom. According to Scott Deveaux and Gary Giddins, “A critical byword of the Loft Era was ‘eclecticism,’ used to signal an enlightened approach to all styles of music.”[15] Few loft jazz musicians played continuously atonal or arrhythmic music in the style of Coltrane’s legendary albums Ascension and Om. They often combined conventional melodic elements with free jazz; used instruments less familiar to jazz, such as the bass saxophone, oboe and cello; and combined instruments in nontraditional formats, like the World Saxophone Quartet, whose changing members used a variety of saxophones and flutes, usually without any rhythm section.[16][17] Not surprisingly, most of the musicians rejected the term “loft jazz” as too confining and not representative of their diversity.

The loft scene began to decline in the late 1970s and early 1980s, mainly due to a steady rise in rents.

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