Russian Sledges

D.C.’s Ex Hex has released yet another new song from its forthcoming record, Rips. Today, Pitchfork premiered “Beast,” a rock ‘n’ roll jam that echoes the back-to-basics guitar rock we heard on “Hot and Cold” and “Don’t Wanna Lose.”

Rips is due out on Merge Records Oct. 7. Ex Hex plays Black Cat with Speedy Ortiz on Oct. 5.

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russian-criminal-tattoos:

The acronym on the left [spelling the city name ‘Tomsk’] signifies 'You alone has touched my heart'.

The acronym in the centre [spelling the Russian word for wine] signifies 'Come back and stay forever'.

The acronym on the right [spelling the Russian word for ‘whirlpool’] signifies 'It is hard to leave me'.

Another version of the thieves’ family ‘husband and wife’ tattoo.

Love and dressed-up cats… How very tumblr!

russian-criminal-tattoos:

Leningrad

This is a variation on a tattoo with a tulip which signifies, 'I was convicted for theft and robbery when underage, and when I reached eighteen I was transferred to Corrective Labour Colony No.5 to serve out the rest of my sentence (three years)’.

Related to an earlier post, Chicago is the movable bridge capital of the world.

There are just two known historical uses of this phrase in the Latin form "HC SVNT DRACONES" (i.e. hic sunt dracones, 'here are dragons'); one is on the Hunt-Lenox Globe[1] (c. 1503–07). The term appeared on the Lenox Globe around the east coast of Asia, and might be related to the Komodo dragons in the Indonesian islands, tales of which were quite common throughout East Asia.[2] The other appearance of the term is on a globe engraved on two conjoined halves of ostrich eggs, dated to 1504.[1] Earlier maps contain a variety of references to mythical and real creatures, but the Lenox Globe and the egg globe are the only known surviving maps to bear this phrase. An investigation of the egg globe performed by collector Stefaan Missinne concluded that the Hunt-Lenox Globe is a cast of the egg globe. "‘Here be dragons,’ [is] a very interesting sentence,” said Thomas Sander, editor of the Portolan, the journal of the Washington Map Society. “In early maps, you would see images of sea monsters; it was a way to say there’s bad stuff out there."[1] The classical phrase used by ancient Roman and Medieval cartographers[who?] used to be HIC SVNT LEONES (literally, Here are lions) when denoting unknown territories on maps.[citation needed]

Join Tyler Wang (Bar manager at Audubon, formerly at No.9 and Drink), Josh Gerber and Hannah Epstein (owner and barista extraordinaire respectively at 1369 Coffee House) and SoonSpoon at WeWork Fort Point on August 12th for a demonstrative coffee cocktail popup.

one talented customer tested the limits of the signature pad #youdidgoodpicasso #cantstopwontstop #poswontgetyoudown #cafezing

I'm back, sort of.

The last few months have been crazy with moving and starting a new job in the southern United States but I hope I can start picking up where I left off.

First up, an interesting read that voxsartoria was kind enough to bring to my attention. I am happy and envious in equal parts that someone was able to express so well something that I have been struggling to convey for years. In short,

Craft means skill; and handcraft for its own sake is as much an enemy of good craftsmanship as bad mass-production. It would be a hard thing if human beings, having taught robots to speak like Shakespeare, could only prove their voices human by learning to stutter.

Discuss.

Spectator Archive


CORRECTION

Though it was voxsartoria who brought it to my attention, all credit for unearthing the article must go to RJMan. I stand corrected.

knights in rhyming armor 

Actually, that sounds super creepy. They've just released a new song called "Runaway Girls." Sorry if that was misleading.

The post Uncle Acid & The Deadbeats Chase “Runaway Girls” appeared first on MetalSucks.

ARTICLES LIKE THIS MAKE OUR INDUSTRY LOOK BAD. PLEASE STOP SPREADING THEM AROUND ON SOCIAL MEDIA AND AGREEING WITH THEM. HERE'S WHAT I THINK OF THESE 9 STUPID STATEMENTS:

Here's the thing: I'm tired of hearing about businesses fighting against reviews.

You may not know John Alvin's name, but you've admired his work. Along with Drew Struzan, he's one of a few great poster artists who've shaped your love of science fiction and fantasy movies with some indelible images. Check out an exclusive gallery from his new art book.

Read more...

noahberkley:

Moebius created over 1000 storyboards for the Alejandro Jodorowsky’s adaptation of Dune. 1000 boards all collected in that book Frank Pavich wields. Hmmmmmmm….

Mr. Selfie.

Cecil Beaton, 1937.

HARVARD SQUARE — Fans of "Biggie Brunch" at the recently shuttered Farmstead in Providence can relive the hip-hop-meets-food glory at Alden & Harlow on August 24, between 10:30 a.m. and 2:30 p.m. Alden & Harlow's Michael Scelfo will collaborate with Farmstead's Matt Jennings (soon to open Townsman here in Boston), Samuel Monsour (The Future of Junk Food), Brian Mercury (Harvest), and Jake Rojas (Tallulah on Thames in Rhode Island) to offer a one-day-only brunch celebrating rapper Biggie Smalls. Dishes, available a la carte along with a few items from Alden & Harlow's usual brunch menu, include a Bologna Pony pancake sandwich, spicy andouille munchkins with velvet pimento cheese, huevos rancheros, and more. [BM]

BRIGHTON — Catch the third installment of the 2014 Riverside BBQ Series at Harry Parker Boathouse on Sunday, August 17 at 4 p.m. Tickets are $35 ($40 on the day of the event) and include food by West Bridge, Hungry Mother, and State Park, as well as lots of beer, ice cream from Scoopsies, and live music. [HoldMyTicket]

HUB-WIDE — Dine Out Boston, formerly known as Restaurant Week, returns from August 17-22 and August 24-29 with prix fixe menus available at various price tiers for lunch and dinner at hundreds of restaurants around town. Here's a list of participants. [Official Site]
[Photo: Alden & Harlow/Meg Jones Wall]

jamesadomian:

discretepageantryrecords:

The video for “Try This Instead” with the incomparable James Adomian will be out this Tuesday!

Hallelujah the Hills did their whole video for their new song "Try This Instead" based on my idiotic advice! Cake trombone, Saturn fighting Jupiter and a shitload of Pitchforks!

Drink themes ran the gamut, like the USA’s entry, which was inspired from foraging, Belgium’s from heaven, Spain’s from Buddhism and much more. But it was the winning bartender, Remy Savage of Little Red Door in Paris, who was determined to have the biggest imagination through his inspiration from the gin’s new distillery, which used to be a paper factory.

Take a look inside your shoes and you’ll see some numbers and letters that seem to correspond to nothing at all. You probably know how to find your size, and likely your width, too, but what does all that other stuff mean? Let’s find out.

Edward Green

Inside an Edward Green shoe, you’ll find the size listed in both UK and US sizes (7/7.5), the width (E), the last (202), and the order number (95178). The specs will usually be in an oval near the heel, but in some shoes, particularly those that are unlined, you’ll find them on the tongue. Note: The slash between the UK and US sizes is often mistaken for a 1, but it’s really a slash (we promise).

Alden

In an Alden, you’ll see the size (7), of course, but you’ll also find two widths: one for the heel (B) and one for the ball (D). There’s also the model number (45164H) and some production information (4C27 018 2).

Gaziano & Girling

Gaziano & Girling keeps things straightforward with the model’s name (Astaire), last (DG70), size (7.5), width (E), and order number (607). You’ll generally find this information on the underside of the tongue.

Saint Crispin’s

Check the tongue of a pair of Saint Crispin’s and you’ll find, from left to right, the model number (553), skin (BCK), color (071), sole (GE8), and the size (6.5), width (E), and order number (11351).

Corthay

Look inside a pair of Corthays and you’ll find nothing but smooth, soft leather. If you’re looking for the size, flip over the shoe and look at the sole. This pair’s in size 8.

John Lobb

Most models from Lobb will have their size printed near the heel, though some will have it on the tongue. In this pair you can see the model name (Lopez), size (6.5), width (E), and last (4395).

Church’s

Church’s can be tricky. The size is listed without a decimal point, so here you’ll find that a size 7 is marked 70. A 7.5 would be marked 75. There’s also the width (F), last (173), some production information, and the model name (Grafton).

Quoddy

Quoddy keeps things simple. You’ll find the size (8) on the tongue.

Hoodie owl.

magictransistor:

NASA. Space Suit Tests. 1960s.

Statue Selfies (bonus nude statue selfie) [x]

“I will admit I had to be told by my law clerks, what’s this Notorious.”

Courtney shared this story from Super Opinionated.

---

“When Justice Ruth Bader Ginsburg reflects on the Supreme Court’s recent rulings, she sees an inconsistency.

In its gay rights rulings, she told a law school audience last week, the court uses the soaring language of “equal dignity” and has endorsed the fundamental values of “liberty and equality.” Indeed, a court that just three decades ago allowed criminal prosecutions for gay sex now speaks with sympathy for gay families and seems on the cusp of embracing a constitutional right to same-sex marriage.

But in cases involving gender, she said, the court has never fully embraced “the ability of women to decide for themselves what their destiny will be.” She said the court’s five-justice conservative majority, all men, did not understand the challenges women face in achieving authentic equality.”

- Adam Liptak, As Gays Prevail in Supreme Court, Women See Setbacks, The New York Times (Aug. 4, 2014).

theartofgooglebooks:

Pages turning.

From p. 530-533 of The Lady’s Primer (1804). Original from Oxford University. Digitized August 30, 2006.

These notes accompany screenings of Terence Malick’s Days of Heaven on August 6, 7, and 8 in Theater 3.

Terrence Malick, now 70, was still in his twenties when his first feature, Badlands, debuted at the 1973 New York Film Festival. Days of Heaven, released five years later, was not followed by another film for two decades. It is hard to think of another significant filmmaker with that kind of gap in his output. Although many (but not all) critics acclaimed Days of Heaven, and it won several awards, Malick apparently turned down many projects during his period of inactivity.

By 1978, Hollywood films had undergone a revolution. Studios and censors now exerted little control, and directors like Robert Altman and Arthur Penn had rejected conventional narrative in films like McCabe and Mrs. Miller and Bonnie and Clyde. Days of Heaven challenges the viewer to work a bit harder than “traditional” movies, but it is in some ways a throwback to the glory days a half-century earlier when silent films had attained a level of visual elegance (much of it due to the use of natural lighting) that was lost or understated in much of the sound era. Malick depends on imagery and imagination more than dialogue and actors. The film was photographed by the great Nestor Almendros (1930–1992), who was rewarded with an Oscar. Almendros, a Spaniard by way of Cuba, was the cinematographer of choice for the French New Wave giants Francois Truffaut and Eric Rohmer and the American Robert Benton. Although his films with other directors are very accomplished, it appears that Malick gave Almendros an especially high degree of freedom to experiment. Almendros commented on this: “Period movies should have less light…the light should come from the windows because that is how people lived.” (Although we did not include color films in our recent two-part exhibition The Aesthetics of Shadow—based on Jun’Ichiro Tanizaki’s famous essay on Japanese architecture and Daisuke Miyao’s book applying Tanizaki’s theories to film—Days of Heaven would have been a prime candidate if we had.) In pursuit of this ideal, Malick and Almendros managed to alienate much of their technical crew.

The production was also plagued by other problems, related to the script, the actors, and a lengthy and arduous editing process. Still, what emerged onscreen was a portrait of America quite unlike anything that had preceded it. My latter-day colleague Dave Kehr wrote at the time that the film “hovers just beyond our grasp—mysterious, beautiful, and, very possibly, a masterpiece.” This elusive/ethereal/poetic quality is also a welcome return to the silent days, when directors like D. W. Griffith, Carl Th. Dreyer, F. W. Murnau, or King Vidor could deliver an alternate vision of reality, unencumbered by dialogue and explicitness—a lost cinema.

The arch voice-over narration by young Linda Manz, which Malick uses to hold what there is of his narrative together, was commonplace by this time. Its use ranged from the great films of John Ford and Orson Welles in the 1940s to B pictures like the Whistler series, which we’ve been showing in the Lady in the Dark exhibition. More recently, it has been regularly used by directors like Woody Allen. Manz, with her disconcerting New York accent—in the midst of what is supposed to be the Oklahoma panhandle (but is really Canada)—was apparently working unscripted, commenting at will on what was happening to her and the other characters, with Malick later selecting choice bits. This strikes me as very effective, particularly in balancing the glories of nature with the thematic depiction of how America was built on greed, duplicity, and despoliation.

Curbside Creamery opened this weekend for business in Oakland’s Temescal Alley, just in time for First Friday. The highly anticipated ice cream parlor becomes the latest mobile food success story to make the transition to brick and mortar: Owner Tori Wentworth got her start last year selling her vegan ice cream sandwiches from a freezer-equipped tricycle.

At the store she’ll be offering ice cream and ice cream sandwiches in both vegan (which she makes from hand-ground cashews) and traditional (which she makes from Staus Family dairy) options. Curbside will not feature a lot of exotic choices; rather it’ll focus on classic, family friendly flavors.

“I wanted to create a more nostalgic feel, something a little more old fashioned,” says Wentworth, who makes her ice cream out of a commercial kitchen in Uptown Oakland.

Flavors on the opening day menu included cinnamon, salted caramel, vanilla malt ball, and mint chip for dairy and Dutch chocolate, Earl Gray, and peanut butter fudge for vegan. Ice cream sandwiches include vanilla on gingersnap, chocolate-chocolate chip on peanut butter, and strawberry on vanilla shortbread (the last two are vegan). Eventually, once she can afford it, Wentworth also hopes to introduce soft serve (vegan and dairy).

The Curbside trike, meanwhile, has not been put into storage: it can still found on weekends at the Grand Lake and Temescal farmers markets.

Hours: Noon to 8 p.m., Tuesday through Sunday.

Curbside Creamery: 482 49th Street (in Temescal Alley), Oakland, curbsideoakland.com.