David Meir Grossman

coverjunkie:

'How I’d Sink American Vogue' is a project (2007) that Scott King first developed for a show at New York gallery, PS1, last year. With a background at i-D and Sleazenation, King knows a bit about the workings of the style press. Wouldn't it be fun to have him at the steering wheel at Vogue?
Hell yeah!
:D

Thanks for shout out @bojkowski
Info via Creative Review

coverjunkie:

'How I’d Sink American Vogue' is a project (2007) that Scott King first developed for a show at New York gallery, PS1, last year. With a background at i-D and Sleazenation, King knows a bit about the workings of the style press. Wouldn't it be fun to have him at the steering wheel at Vogue?
Hell yeah!
:D

Thanks for shout out @bojkowski
Info via Creative Review

"In despair there are the most intense enjoyments, especially when one is very acutely conscious of the hopelessness of one’s position."



- Fyodor Dostoevsky, Notes from the Underground (via fyodors)

*smokes weed*



The Learning Company - BINTRO.MID

katherinestasaph:

bestofmidi:

BINTRO.MID

:

From Reader Rabbit 3.

MIDI

I often wonder why the hell I got myself into the career I did, and then I look back at what my favorite games and books were as a kid. Specifically, when I was a kid I’d print out the pretend newspapers Reader Rabbit 3 gives you at the end and show them to my mother: “look! I’m a real reporter!” So this was an unexpected burst of nostalgia.

would pay money for learning company reissues

go on

go on

(Source: donnahinkleystaceytroy)

Not that you need my memories

But I remember my brain essentially shutting down after watching it on TV. I remember being able to look at the reflection of a puddle and to only think of the prettiest sound in the whole world, The Temptations “My Girl”. I remember how quiet everything was, and how some kids went to the beach. I try to go back to these memories not just for myself but because they’re the closest I’ve ever been to fear without a safety net, the type of fear that people feel all over the world/Americs on a daily basis, from Indian reservations to a hilltop running from ISIS (trying to come up with even a partial list of these situations feels Sisyphysian). I guess if I can recommend one thing today it’d be to find an element of simple beauty, something like the perfect circle that is “My Girl”, and cherish it.

humanrightswatch:


Israel: Thousands Coerced Into Leaving the Country
Israeli authorities have unlawfully coerced almost 7,000 Eritrean and Sudanese nationals into returning to their home countries where they risk serious abuse. Some returning Sudanese have faced torture, arbitrary detention, and treason charges in Sudan for setting foot in Israel, while returning Eritreans also face a serious risk of abuse.HRW has documented how Israel’s convoluted legal rules thwart Eritrean and Sudanese asylum seekers’ attempts to secure protection under Israeli and international law. Israeli authorities have labelled Eritreans and Sudanese a “threat”, branded them “infiltrators,” denied them access to fair and efficient asylum procedures, and used the resulting insecure legal status as a pretext to unlawfully detain or threaten to detain them indefinitely, coercing thousands into leaving.
Photo: Eritreans and Sudanese stand at the perimeter of the Holot “Residency Center” in Israel’s Negev Desert, January 9, 2014. Since mid-December 2013, the Israeli authorities have unlawfully detained thousands there indefinitely in an attempt to coerce them into leaving the country.  © 2014 Associated Press

humanrightswatch:

Israel: Thousands Coerced Into Leaving the Country

Israeli authorities have unlawfully coerced almost 7,000 Eritrean and Sudanese nationals into returning to their home countries where they risk serious abuse. Some returning Sudanese have faced torture, arbitrary detention, and treason charges in Sudan for setting foot in Israel, while returning Eritreans also face a serious risk of abuse.

HRW has documented how Israel’s convoluted legal rules thwart Eritrean and Sudanese asylum seekers’ attempts to secure protection under Israeli and international law. Israeli authorities have labelled Eritreans and Sudanese a “threat”, branded them “infiltrators,” denied them access to fair and efficient asylum procedures, and used the resulting insecure legal status as a pretext to unlawfully detain or threaten to detain them indefinitely, coercing thousands into leaving.

Photo: Eritreans and Sudanese stand at the perimeter of the Holot “Residency Center” in Israel’s Negev Desert, January 9, 2014. Since mid-December 2013, the Israeli authorities have unlawfully detained thousands there indefinitely in an attempt to coerce them into leaving the country.  © 2014 Associated Press

wutangxkitty:

PREMIER

wutangxkitty:

PREMIER

beatonna:

Wee Josephine Baker 

beatonna:

Wee Josephine Baker 

fuckinrecordreviews:

"This music deserves more than half-ass wharf front packaging, and it deserves real liner notes, or a boxed set…The label, in its prime, offered rock that is somehow responsible for your taste at this moment." 
We are pleased to offer a long overdue first time appearance here at Fuckin’ Record Reviews for…
THE CIMARRON WEEKEND #00006  1998 (page 17)
MINUTEMEN comp review and SST slag by ANDREW EARLES, Co-Editor (with David Dunlap Jr.)
Didja know? Andrew Earles (regular contributor to still-single) has a book coming out this week called Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981-1996 on Voyageur/Quayside (2104)!
We wonder every time we read the title, is this Earles guy fucking crazy? Does he not realize how such a tome has the potential to rend the subculture into pieces? There will be blood in the streets! Now Playing brothers and sisters will turn against one another in heinous acts of one one-upmanship and posting bloodlust. Oh Andrew, what have ye wrought?
(Best be some Homestead era VOLCANO SUNS records on that list.)

From the Voyageur/Quayside site: The ultimate guide to one of the most revered periods and movements in American rock history. In Gimme Indie Rock, music journalist Andrew Earles describes 500 essential indie-rock albums released by 308 bands and artists from coast to coast in markets large and small. From giants of the movement (Black Flag, the Minutemen, Mission of Burma, Fugazi, Superchunk, Melvins, Dead Kennedys, Minor Threat, Hüsker Dü, the Replacements, Sonic Youth, Mudhoney, Dinosaur Jr., Big Black, the Pixies), to more obscure bands which nonetheless made their own impacts (Jesus Lizard, Cows, Low, Mercury Rev, Polvo, Squirrel Bait, Karp, Bongwater, Naked Raygun, Sun City Girls, and many others) and scores of artists who still await their proper due (Fly Ashtray, Dumptruck, Truly, Man-Sized Action, Steel Pole Bathtub, godheadSilo, Sorry, Team Dresch, Further, Grifters, World of Pooh, Trumans Water, Malignus Youth, Eggs, and many more), Earles provides an exhaustive album guide to the era. Earles also features those bands that cut their teeth on the indie circuit but graduated to a greater degree of mainstream recognition in the late 1980s and early 1990s (acts like R.E.M., Soul Asylum, Urge Overkill, Hole, Smashing Pumpkins, and Nirvana), making Gimme Indie Rock the definitive manual for the best of American indie music made between 1981 and 1996.

Compliment & Complaints Department: Andrew Earles, Memphis, Tennessee 
Unfortunately for all of us, SST has not gotten it together during the intervening years to give these records a proper reissue and everyone seems to think Ginn is a paranoid, obstructionist bad guy (at best).  Don’t take our word for it though, have a look at this Brooklyn Vegan article. Seriously. Comments too. Seriously.
Brother Ray Pettibon shares his own version of what’s going on in a 12/13/13 interview with The Guardian.   
Despite whatever issues outsiders and insiders believe Greg to have, he has issued forth music from his post-Gone bands Bias, Confront James, El Bad, Elevator, Get Me High, Good For You, The Taylor Texas Corrugators, Hor Jambang,  Mojack and The Perfect Rat. More are listed at Wikipedia, but the could be fakes. If anyone has heard records from these groups and would like to write an honest overview, please get in touch with Andrew.
Minutemen
Zoom Info
fuckinrecordreviews:

"This music deserves more than half-ass wharf front packaging, and it deserves real liner notes, or a boxed set…The label, in its prime, offered rock that is somehow responsible for your taste at this moment." 
We are pleased to offer a long overdue first time appearance here at Fuckin’ Record Reviews for…
THE CIMARRON WEEKEND #00006  1998 (page 17)
MINUTEMEN comp review and SST slag by ANDREW EARLES, Co-Editor (with David Dunlap Jr.)
Didja know? Andrew Earles (regular contributor to still-single) has a book coming out this week called Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981-1996 on Voyageur/Quayside (2104)!
We wonder every time we read the title, is this Earles guy fucking crazy? Does he not realize how such a tome has the potential to rend the subculture into pieces? There will be blood in the streets! Now Playing brothers and sisters will turn against one another in heinous acts of one one-upmanship and posting bloodlust. Oh Andrew, what have ye wrought?
(Best be some Homestead era VOLCANO SUNS records on that list.)

From the Voyageur/Quayside site: The ultimate guide to one of the most revered periods and movements in American rock history. In Gimme Indie Rock, music journalist Andrew Earles describes 500 essential indie-rock albums released by 308 bands and artists from coast to coast in markets large and small. From giants of the movement (Black Flag, the Minutemen, Mission of Burma, Fugazi, Superchunk, Melvins, Dead Kennedys, Minor Threat, Hüsker Dü, the Replacements, Sonic Youth, Mudhoney, Dinosaur Jr., Big Black, the Pixies), to more obscure bands which nonetheless made their own impacts (Jesus Lizard, Cows, Low, Mercury Rev, Polvo, Squirrel Bait, Karp, Bongwater, Naked Raygun, Sun City Girls, and many others) and scores of artists who still await their proper due (Fly Ashtray, Dumptruck, Truly, Man-Sized Action, Steel Pole Bathtub, godheadSilo, Sorry, Team Dresch, Further, Grifters, World of Pooh, Trumans Water, Malignus Youth, Eggs, and many more), Earles provides an exhaustive album guide to the era. Earles also features those bands that cut their teeth on the indie circuit but graduated to a greater degree of mainstream recognition in the late 1980s and early 1990s (acts like R.E.M., Soul Asylum, Urge Overkill, Hole, Smashing Pumpkins, and Nirvana), making Gimme Indie Rock the definitive manual for the best of American indie music made between 1981 and 1996.

Compliment & Complaints Department: Andrew Earles, Memphis, Tennessee 
Unfortunately for all of us, SST has not gotten it together during the intervening years to give these records a proper reissue and everyone seems to think Ginn is a paranoid, obstructionist bad guy (at best).  Don’t take our word for it though, have a look at this Brooklyn Vegan article. Seriously. Comments too. Seriously.
Brother Ray Pettibon shares his own version of what’s going on in a 12/13/13 interview with The Guardian.   
Despite whatever issues outsiders and insiders believe Greg to have, he has issued forth music from his post-Gone bands Bias, Confront James, El Bad, Elevator, Get Me High, Good For You, The Taylor Texas Corrugators, Hor Jambang,  Mojack and The Perfect Rat. More are listed at Wikipedia, but the could be fakes. If anyone has heard records from these groups and would like to write an honest overview, please get in touch with Andrew.
Minutemen
Zoom Info

fuckinrecordreviews:

"This music deserves more than half-ass wharf front packaging, and it deserves real liner notes, or a boxed set…The label, in its prime, offered rock that is somehow responsible for your taste at this moment." 

We are pleased to offer a long overdue first time appearance here at Fuckin’ Record Reviews for…

THE CIMARRON WEEKEND #00006  1998 (page 17)

MINUTEMEN comp review and SST slag by ANDREW EARLES, Co-Editor (with David Dunlap Jr.)

  • We wonder every time we read the title, is this Earles guy fucking crazy? Does he not realize how such a tome has the potential to rend the subculture into pieces? There will be blood in the streets! Now Playing brothers and sisters will turn against one another in heinous acts of one one-upmanship and posting bloodlust. Oh Andrew, what have ye wrought?
  • (Best be some Homestead era VOLCANO SUNS records on that list.)
  • From the Voyageur/Quayside site: The ultimate guide to one of the most revered periods and movements in American rock history. In Gimme Indie Rock, music journalist Andrew Earles describes 500 essential indie-rock albums released by 308 bands and artists from coast to coast in markets large and small. From giants of the movement (Black Flag, the Minutemen, Mission of Burma, Fugazi, Superchunk, Melvins, Dead Kennedys, Minor Threat, Hüsker Dü, the Replacements, Sonic Youth, Mudhoney, Dinosaur Jr., Big Black, the Pixies), to more obscure bands which nonetheless made their own impacts (Jesus Lizard, Cows, Low, Mercury Rev, Polvo, Squirrel Bait, Karp, Bongwater, Naked Raygun, Sun City Girls, and many others) and scores of artists who still await their proper due (Fly Ashtray, Dumptruck, Truly, Man-Sized Action, Steel Pole Bathtub, godheadSilo, Sorry, Team Dresch, Further, Grifters, World of Pooh, Trumans Water, Malignus Youth, Eggs, and many more), Earles provides an exhaustive album guide to the era. Earles also features those bands that cut their teeth on the indie circuit but graduated to a greater degree of mainstream recognition in the late 1980s and early 1990s (acts like R.E.M., Soul Asylum, Urge Overkill, Hole, Smashing Pumpkins, and Nirvana), making Gimme Indie Rock the definitive manual for the best of American indie music made between 1981 and 1996.

  • Compliment & Complaints Department: Andrew Earles, Memphis, Tennessee 

"Free Marissa Now stands with the U.N. Committee on the Elimination of Racial Discrimination (CERD)’s assessment of the US government’s persistent pattern of racial violence and discrimination, including in the area of policing, prisons, and prosecution. We also add that racial violence in the US intersects with patterns of gender violence as well. Marissa Alexander, a black mother of three from Florida who was attacked, strangled, and threatened with murder by her abusive husband, and who fired a warning shot that saved her own life without injuring anyone else, was not allowed to use the Stand Your Ground law to affirm her right to self-defense. Ms. Alexander now faces the chilling possibility of a mandatory 60 years in prison if she is found guilty in her upcoming December trial. She has asked “If you do everything to get on the right side of the law, and it’s a law that does not apply to you, where do you go from there?” One place to start is a major overhaul of the racist US criminal justice system and a plan to repair the communities that it has devastated. CERD’s condemnation of the racism embedded within US policies and institutions is an important step, and we urge the US government to take serious measures to address their findings."



-

Free Marissa Now’s response to the U.N. Committee on the Elimination of Racial Discrimination (CERD)’s assessment of the pervasive racism embedded within US policies, including Stand Your Ground.  More here:

U.N. urges U.S. to stop police brutality after Missouri shooting

(via freemarissanow)



"

Thus on the moral level I propose that we view the whole of American life as a drama acted out upon the body of a Negro giant, who, lying trussed up like Gulliver, forms the stage and the scene upon which and within which the action unfolds. If we examine the beginning of the Colonies, the application of this view is not, in its economic connotations at least, too far-fetched or too difficult to see. For then the Negro’s body was exploited as amorally as the soil and the climate. It was later, when white men drew up a plan for the democratic way of life, that the Negro began slowly to exert an influence upon America’s moral consciousness.

Gradually he was recognized as the human factor placed outside the democratic master plan, a human “natural” resource who, so that white men could become more human, was elected to undergo a process of institutionalized dehumanization.

"



- Ralph Ellison, from his essay “Twentieth-Century Fiction and the Black Mask of Humanity”, found in his collection of arts criticism Shadow and Act