Ludovicotechnique

“Right now back to Jo Whiley”

“Weren’t the Arctic Monkeys brilliant? They told me backstage they were going to be brilliant. And they were brilliant.”

Mark Radcliffe: “Yes, they were brilliant. Now to the John Peel stage for another indie band, who were brilliant.”

Jo Whiley: “And now to a young person we’ve roped in. She’s looking at the other side of Glastonbury. The bit you don’t always see on the coverage. Apart from every year where we do a bit about the other side of Glastonbury.”

Posh bird whose parents could afford an unpaid internship: “This festival is brilliant. I’ve found some weird people. They’re weird. And brilliant. It’s what this festival is all about. Weird and brilliant things. Back to Jo.”

Whiley: “Right, later we’ve got the Stones, who I think will be brilliant. It’s brilliant they’ll be playing this brilliant festival. I’ve been loads of times and it’s their first time. Brilliant.”

Mark Radcliffe: “Now, for some urban sounds from the Black Stage. Here’s a black person.”

Posh kid whose parents could afford an unpaid internship but who’s talking a bit street: “Here’s my man Dizzee. He’s mad brilliant. Back to Jo.”

Whiley: “Brilliant. I just bumped into Grimmy in the VIP. He’s drunk! Brilliant. But no-one mention drugs.”

Mark Radcliffe: “Now over to a gay person who doesn’t normally work for the BBC talking to some trannies. Fabulously brilliant.”

Gay person: “I’m going to run around talking to the squares and making slightly acerbic comments. Then I’m going to talk to a trannie! I know! A bloke! In a dress! Dancing! It’s so free at Glastro, we can be ourselves. Brilliant.”

Mark Radcliffe: “I’ve got a joke here about Public Enemy, Flava Flav and the time they got on stage. I’ll tweet it in a minute. None of us have bothered with a Public Enemy record for 25 years, but we’ve all just remembered how brilliant they are.”

Jo Whiley: “And now. Chic. Disco. Brilliant. Nile Rodgers got people up on stage. It’s brilliant. That’s what this festival is all about. Now to a posh bird in a field.”

Posh bird: “Behind me is a giant spider in a field! I have literally never seen anything like it in my life. It literally is a giant spider. It’s literally brilliant. And as you can see behind me it’s sort of flashing lights with smoke coming out of it. [Looks behind her] Oh, wait. Nothing’s happening now. You should have seen it literally a few minutes ago. It was brilliant. Literally. Back to you Jo and Mark.”

Jo: “A giant spider in a field. It’s what this festival is all about. I was saying this to Florence of the Machine backstage earlier. Here she is doing an acoustic version of a popular song in her own unique style. Now Masterchef. At Glastonbury.”

Some other posh youth: “Burgers! At Glastonbury! It’s a long way from awful hot dog! Brilliant! I saw Kate Moss eating one! With Grimmy!”

Jo Whiley: “Brilliant! Everyone here is so brave, putting up with slightly inclement weather! Right, now off to Billy Bragg, who shows us that Glasto hasn’t lost it’s political edge. And later we’ve got the 10 O’Clock News with Huw Edwards. From Glastonbury. Brilliant. And highlights of Wimbledon. From Glastonbury. Brilliant”

Everyone: “Mumford And Sons are shit, aren’t they?”

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Bernhard Handick

Black Sabbath‘s latest album, 13, hasn’t just spawned the UK metal legends’ first number one in 43 years, but a seriously impressive poster campaign. 

In keeping with the idea of 13 as a return to the band’s glory days, the posters for the album appeared to burst out from years of posters, an effect created by glueing together layers of old posters and carving out holes for 13 to emerge from.

Speaking to Creative Review, Morten Ingermann of McCann Copenhagen, the agency responsible, claimed that “For some time we had been fascinated by the almost endless layers of posters that cover our city walls. What if we dug our way through them. Imagine what we could find?”

You can check out more pictures of the smart, simple campaign below, also via Creative Review.

Dale Irby, a retired physical education teacher from Dallas, Texas wore the same outfit in every yearbook photo for forty years. Check out the full slideshow over on news.com.au.

Stories like this one make me happy. So happy.

fred-wilson: David Shrigley, It’s All Going Very …, 2010

From the album Jeopardy – 1980

beyoncearthistory:

Marina Abramovic, “The Artist Is Present" / Beyonce, “Crazy In Love"

Credit: Libby Safford

wearenapoleon:

enclave ss 2013.

mystic-lady:

fernsandmoss

On October 8, 2013, a new $100 bill goes into circulation in the U.S., one that contains a host of high-tech features. But although the currency is new, is it improved? SVA Close Up caught up with MFA Design Department Co-chair Steven Heller and MPS Branding Department Chair Debbie Millman to get their thoughts on it.

Steven Heller: What have they done to my Benjamin?! It’s like it was pulled from a children’s activity book. Look at those awkward shifts of color and holographic changes in image. Nothing is balanced. It seems like two separate bills on one side, divided by the security band, which is so alien that Ben won’t even look at it. Then there is the now routine Helveticazation of the denomination on the “b” side that has no typographic relationship to anything else on the note. Where’s the elegance of the greenback? = Why all this copper? Well, it may be doing its job. If I were a counterfeiter, I’d be ashamed to copy this new $100 bill.

Debbie Millman: Counterfeit $100 bills have been notoriously easy to pass, as most people don’t go round with a billfold of Benjamins. Not for much longer. This fall, the Federal Reserve will begin circulating a brand new note that has been redesigned with the most advanced security measures ever embedded in our currency. And man, is it fancy! The cash is coming to market with bells on—literally. Created with color-shifting ink, first you see a green Liberty Bell; then suddenly, it turns copper. And that’s not all that’s confusing—at last calculation, I counted 41 ways in which ’100′ is rendered. Some of the iterations, such as the in your face version vertically snaking up the back of the note, pack a powerful punch. But the random ribbons, duplicate images and quirky illustration of Mr. Franklin leave this viewer with a one-word impression: botched.

Barring a miraculous, last-minute reprieve from its corporate parents, Google Reader will shut down in just a few days. I’ve been trying out a few alternatives: Feedly, Feedbin and Digg Reader (in beta for the Web but just out today for iOS), among others. They each have their strengths and weaknesses, but I’m struck by how much they all look like Google Reader — a list of feeds and folders occupying the left third of the screen and a stream of articles in the right two-thirds.

When Google Reader’s demise was announced, in my head I pictured a slew of new products vying to take its place by reinventing the very idea of an RSS reader. I was looking forward to seeing some radically new user interface approaches that would challenge my notions and habits around feeds. I haven’t seen that, at least not yet.

However, when I think more carefully about what I like and don’t like about these contenders, I realize that in truth I’m actually not looking for something different at all. What I want are the very same paradigms that Google Reader used, the same keyboard shortcuts, the same auxiliary features — basically the exact same interface. When one of these products omits something that Google Reader featured, or takes a slightly different approach, I think to myself, “Well that’s not right.”

Changing habits is hard, especially with something that’s as geared towards expert usage as RSS. It just goes to show how biased towards advanced users Google Reader was; acclimating yourself to its quirks took some time, but once you adopted Google Reader-specific habits, they become ingrained and you never wanted to give them up. Software for experts tends be like this, I find, and in many ways that is exactly the opposite of what a software company wants if they want to build a huge audience. I guess Google Reader never really had a chance.

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We recorded a mix for London based LN-CC Store. Hope you enjoy.

Playlist:

01) Erasmo Carlos
02) Borboletta
03) Bluebird
04) Noir Soundtrack
05) Matthew Brown “Borobo”
06) Clara
07) Lucifer
08) Paulinho da Costa
09) Prato do Banzo
10) Efkar Saati
11) Rao Kyao
12) Eastern Breeze
13) Man Because

This friday we’re having a good friend playing an instore session during the afternoon!

Singer-songwriter Carly Simon had a prolific career during the 1970s with thirteen Top 40 hits, including “Anticipation” and “You’re So Vain.”

In 1978, Simon teamed with producer Arif Mardin and created Boys in the Trees, spawning a few blue-eyed-soul gems like “Tranquillo,” cowritten by her then husband James Taylor.

The year before, Simon had cowritten “You Belong to Me” with Michael McDonald for the Doobie Brothers’ now classic Livin’ on the Fault Line. She recorded the song herself with great success, charting at number six on the pop charts.

In 1982, Simon got a Chic makeover with Nile Rodgers and Bernard Edwards producing the track “Why” for the soundtrack to the film Soup for One. The 12-inch vinyl is by far Simon’s most coveted jam by DJs in the know.

“I knew I never wanted to be just like my father,” says Femi Kuti, son of Afrobeat legend Fela. “I was being groomed to be like my father, even in the way I dressed. That wasn’t what I wanted. I needed something more challenging. I wanted to break away.”

But it’s obvious that Femi inherited from his father a natural talent, a knack for a groove, and an interest in political songs.

“Nothing to Show for It” is the lead track off his new album, No Place for My Dream, out now on Knitting Factory Records.

Thomas van der Zaag

(Photography by Kevin Baluff.)

In 2013, minimalism is making a lot of sense. Fire, too.

It’s hard to describe why brass can sometimes be such a great communicator, but certainly in the right hands and lungs a honking saxophone can be supremely lyrical. This horn’s thudding, pulsing bleats are industrial and rusty. It sounds like sunken submarines and rotting war weapons singing. Its overtones are caustic.

Weird how this voice can sound even more human when it’s forced through the factory-like valves and bends of a baritone sax, when it sounds like the very tones are corroding as they’re breathed through the machine. Maybe this description makes the music sound ugly, but that’s certainly not the case. It’s rough-around-the-edges soul music as much as anything.

For everyone who lost the faith in Constellation Records around the time every provincial support band you saw were dying to be Godspeed You! Black Emperor, Colin Stetson is a sacred enough reason to be renewing your vows.

Colin Stetson – High Above a Grey Green Sea

More beautifully unpolished diamonds can be found in 2013 in the form of Mats Gustafsson’s ferocious Fire! Orchestra. The cunningly titled Exit! is two side-long commitments to sax-as-transcendental weaponry.

You may have last heard Mats’ sax coiling itself around Neneh Cherry in our Best of 2012 rundown. Here, it’s just one of 28 separate elements swirling and stampeding in a totally live mix. Amazingly the musicians manage to avoid the common mistake in free or semi-improvisational music of fighting for every inch of space like their balls depend on it and actually listen to each other. And it just gets better and better. Where Stetson threads minimalism through his saxophone-led pieces, Gustafsson floods his with lava.

Buy Colin Stetson’s  New History Warfare Vol. 3: To See More Light

Buy Fire! Orchestra’s Exit!

HAUSERGALLERY is delighted to announce the first exhibition by Isabelle Wenzel in Switzerland.
Isabelle Wenzel asks herself: „Who am I? What is the object and what relationship do we have to each other?“
She confronts the visitor with partly surreal and partly dynamic studies of the human body. They show cropped sections of a performance created especially for the camera. Her main emphasis is on the photographs‘ performative and sculptural aspects. The result is images that depict an explicitly created and staged world in which Wenzel takes the stage as photographer, model, sculpture and, in the final instance, as viewer, too. All three levels meld here into one new medium.
As a voyeur, one immerses oneself in a world replete in emotions and questions. Wenzel coquettishly presents the sexualized sexuality of her objects to the public eye and thus tempts us into an extravagant tête-à-tête. In the process, the contorted bodies give rise to a sculptural world in which there is no reference at all to the issue of person or personality. Some images reveal a cynical touch of the sit-com, such that you can readily encounter yourself in them. Spontaneity, movement and color are in this way interwoven, round each other out or engender new elements of tension. Wenzel‘s worlds offer us new perspectives and angles thanks to which you soon forget the natural and physical world order. Within the space of 10 seconds she grants us a fleeting glance at memories of something that went before, thus giving the image the scope to represent its or your own imagined reality. By doing so she succeeds in offering the viewer the greatest possible freedom of association.
Text: Graziella Kuhn

Isabelle Wenzel @ Hauser Gallery 20th June – 27th July

Buy Isabelle Wenzels SPBN Monograph HERE

The UnBeige summer cottage lacks a proximal beach, pool, swimming hole, pond, or water feature of any sort, and yet we’ve long craved this inner tube in the form of a donut (complete with sprinkles and a notched “bite”) for its resemblance to a work by Kenny Scharf. And so imagine our delight upon learning that the Whitney Museum was cooking up some summer treats with the artist himself. With this pair of exclusive-to-the-Whitney-Shop products, art lovers can float their cares away on a whimsical yet possibly demonic inflatable pool toy–inspired by a Scharfian scheme for an unrealized public art project–and then dry off with the beach towel, nearly six feet of colorful cotton printed with Scharf’s 2008 painting “Introducing…. The Hot Dog.”

New Career Opportunities Daily: The best jobs in media.