A profile on the guy who showed Richard D. James how to use Photoshop to make those freaky album covers.
He retired from music:
“For me, in terms of working in design, there’s almost nothing to do in the music industry. I mean, what would you really be doing? Design is of far less importance than ever. I think video still has a certain degree of importance, but what are covers now? They’re little thumbnails that pop up in Spotify. You can have a little visual language around that that matters, but not so much now. I mean, can you imagine Richard doing his portrait thing now, how striking that would be now? Where would you see it – as a thumbnail on iTunes or something?”
Check out Bret Easton Ellis podcast.
I listened to the latest episode of this with Michael Tolkin – near the end there’s a good conversation about cinema in modern day life.
BBE: That idea with the relationship you have with the content now, with the active control of the content, rather than being the person who lets it flow over you. Some people think something is lost with that. I know that my boyfriend who’s in his twenties and others at that age who tell me that they can’t go to a movie theatre to sit and watch a movie for two hours and ten minutes because they get itchy.
MT: Yeah, I think there’s something on the way that is gonna be like a melt of one of those glaciers in Antartica. Something is going to happen very quickly that’s going to swamp Hollywood. I have a twenty-two year old and a twenty-seven year old and I talk to them and their friends – they HATE the movies. They LOATHE the movies. They loathe what the movies are about. They don’t care about the movie stars.
Everybody talks about binging on Netflix. I don’t even have the patience for hour-long episodes unless something is REALLLLLLLLYYY GOOD.1
…the truth is people are overwhelmed with grazing, there’s so much information, that they can only go deep in a few areas, and those in the arts just cannot fathom this.
The governor came up to the area to promote the outdoors and how great it is up here.
But that last line puts it into perspective:
Outside Indian Lake Central School, the staging area for the day’s events, Bruce Mitchell, a local resident tasked with shuttling dignitaries to and from the rapids, remained skeptical on the effects of such a star-powered event in this small community, the second in as many years.
“We still don’t have a grocery store,” he shrugged.
The New Yorker has radically changed their website and will lift paywalls this summer before trying a metered paywall this fall.
That they thought this line was funny tells you everything you need to know about The New Yorker.
For months, our editorial and tech teams have been sardined into a boiler room, subsisting only on stale cheese sandwiches and a rationed supply of tap water, working without complaint on intricate questions of design, functionality, access, and what is so clinically called “the user experience.”
Food writers Jane Black and Brent Cunningham went to Huntington Alabama, the town where Jamie Oliver went to film his food-reality show and tried to change the lunch program and get people to eat better food. This feature, Servings of Small Change, discusses some of the things they faced while embedded in town and working on their book.
You’re sitting with people, and they’re really poor, and their lives, because they are poor, are very chaotic. Somebody’s brother is in jail, somebody is on drugs, somebody is working the night shift at the gas station, the kid has ADHD. And you’re sitting there going, “Have you thought about whole grains?” It sounds, to them, like somebody saying, “Oh, my private jet broke down.”
There’s always been an element of food snobbery mixed in with what should be about health. This discussion of food has been drifting from nutrition and towards supporting local farmers and artisinal crafts that charge a premium. Foodies have been unable to talk about this stuff without appearing self-righteous.
On trying to increase property values through fostering a rich, artistic community. “Rich” could mean at least two different things.
However, we need to be aware of a couple troubling trends underneath these celebrations of the transformative power of art. First, we have to ask who are they transforming an area for? And at whose direction? Because, as the excellent, if sobering, article “The Pernicious Realities of Artwashing” on CityLab.com details, too often the presence of artists is becoming a deliberately engineered move to increase the cache of a building or area, until prices rise and the artists themselves are priced out, along with the original lower income residents of an area.
Lawyers talk about representing some of the worst people ever.
John Henry Browne, who defended Ted Bundy.
My father once said: “To keep our society free and democratic, someone has to do your job, and do it well.” Then he paused and said: “I’m just really sorry it’s you.” I feel the same way.
Related to the post about the Upstate NY tourism economy: North Country Public Radio has recently reported on how prison closings will affect communities upstate.
It’s a messy conflict. State government wants nothing that could look like a for-profit prison industry and incarceration society, but people in rural communities have depended on those opportunities to support themselves and their families. For those that don’t depend on those jobs, the phrase Nimby comes to mind.
If you want to know how things are in rural areas like upstate New York, this report by Brian Mann sheds some light.
There has been a tug-of-war between tourism and industry here, but I think most industry has given up the fight because of changing economic realities. Young people don’t usually stick around the area because of job opportunities elsewhere, leaving an industry of tourism built upon remote areas. Now the traits that have made these areas desirable before can end up hurting them because of their lack of infrastructure.
This report states that in 2012 about 12% of the jobs available in the Adirondacks were tourism related. I thought it was higher.
This story focuses on Sonic 2, but there are other stories out there. People are still looking for secrets in Shadow of the Colossus.
In 2nd grade there was a boy in my class who told me there was a boxing level in DuckTales for the NES.
Other video game rumors I remember:
Making the case for preserving music on CDs.
I don’t know – I’m beginning to think that a lot of our attraction to media is because for years we got to have a THING that represented it, namely plastic discs and dead trees. Now that those are all going away it’s much easier to lose the attachment to those works – because then it’s just some kind of art form separated from a thing that held it.
When one does things like alphabetize a record collection, like I did for years, are we really celebrating an art form or are we just obsessive about our possessions?
For years I had told myself that I liked having a physical format for music, movies, and books. But today I look around at all this stuff and think of how much space they take up and how it will be a pain to move them if/when I move. “Music is timeless,” I told myself. “Art is timeless.” If so, then how come I rarely go back to most of them? If so, then how come there are such things as albums that work better on a CD or on Vinyl?
As I get older I see that these things from my youth that I told myself were very important, that spoke to me, were merely just what was available at the time I was growing up. Musicians like to talk about how music can speak to you, about how a song can hit at a time in your life when you need it. Weezer’s Blue Album is important to me because it came out when I was in junior high and I listened to it a lot. But if I came up during a different time wouldn’t it just have been some other album? Would the Beatles have gotten as big as they did if they weren’t marketed heavily to tons of up-and-coming baby boomers?
At its best, all this media can be something that speaks to you, but it can also be a reminder of who you once were or believed you could be. At its worse, they’re just things in a box taking up space in your new life.
Mani Cavalieri’s answer to “What should I watch out for when fighting a chimpanzee?“
As many other answers have noted, chimpanzees are far stronger and faster than us. Judging from the question details, though, you may be having a hard time translating the facts you are reading about their strength to the visual image of these smallish, furry things.
So let me try to illustrate.
Then a bunch of horrible stuff.