Ali Forbes’ clip together jewellery reminisces of childhoods spent playing with Meccano sets, creating, dismantling and rebuilding with all the miss-matched order of creation. Having recently won accolades in the form of a prestigious ITS#EIGHT award Forbes’ interactive style of jewellery brings a new dimension to the art of accessorizing. In vivid colours and strong shapes, Forbes’ work is somewhat mechanical and at the same time fanciful, a vibrant collection of youthful imagination…

The relatively unknown British band The Invisible have been nominated for a 2009 Mercury Prize*. Past winners include Pulp, Franz Ferdinand, Arctic Monkeys, Klaxons, and nod in this year with so much outstanding talent is a very prestigious honor. The Invisible play self-described 'experimental genre-spanning spacepop' or 'psychedelic, avant-funk' and have been gaining popularity in their London home. "London Girl" has been remixed by Hot Chip and Nightmoves (among others) and is my soundtrack as I pack for my week-long stint as a (pseudo)... London
Girl! :)

* An annual music prize awarded for the best album from the United
Kingdom or Ireland.

The world is a strange but wonderful place.

This is where I live in my dreams.

If you want to spend a chill evening w/ some good musics, come hang out with us @ Palihouse Holloway. Bring some vinyl and take your turn spinnin' tunes!

NYLON Magazine recently launched their own label, NYLON Records and their first release will be Paris’ Plastiscines’ About Love (available August 4th). This French-girl-rock-glam band are absolutely adorable and their debut album was recorded in Los Angeles with producer extraordinaire Butch Walker (Katy Perry, Pink, Avril Lavigne). The Plastiscines "have been hailed as France’s most exciting rock band with an addictive garage sound that gave them a hit, 2007’s “Loser”, while still in high school". The girls will be touring the US this summer with Patrick Wolf, Jaguar Love, and Living Things (who, incidentally, will be playing the first Little Radio Summer Camp of the season on August 2nd). Check out the Marvin Scott Jarrett directed music video for "Barcelona" below.

Baby look at me
And tell me what you see
You ain't seen the best of me yet
Give me time I'll make you forget the rest

I got more in me
And you can set it free
I can catch the moon in my hands
Don't you know who I am

Remeber my name
Fame

I'm gonna live forever
I'm gonna learn how to fly
High

I feel it coming together
People will see me and cry
Fame

I'm gonna make it to heaven
Light up the sky like a flame
Fame

I'm gonna live forever
Baby remember my name

Remember
Remember
Remember
Remember
Remember
Remember
Remember
Remember

Create a MySpace Music Playlist at MixPod.com

The 12 acts up for this year’s prestigious Barclaycard (new sponsor) Mercury Prize have been announced at a ceremony in London this morning.

There’s no big surprises on this list, which includes the usual mix of mainstream favourites and obscure bands as it aims to celebrate and promote all different kinds of music.

So, the 12 nominees for album of the year are (in no particular order):

Kasabian: West Ryder Pauper Lunatic Asylum
Friendly Fires: Friendly Fires
La Roux: La Roux
The Horrors: Primary Colours
Florence And The Machine: Lungs
Sweet Billy Pilgrim: Twice Born Men
Speech Debelle: Speech Therapy
Led Bib: Sensible Shoes
Lisa Hannigan: Sea Sew
Bat For Lashes: Two Suns
The Invisible: The Invisible
Glasvegas: Glasvegas

Florence And The Machine and Kasabian are currently 5/1 favourites to scoop the prize according to William Hill, with Bat For Lashes, Glasvegas and La Roux immediately after on 6/1. No-hopers at 10/1 are Led Bib, the Invisible and Sweet Billy Pilgrim.

Surprisingly, Friendly Fires’ self-titled debut comes in at 8/1 along with Speech Debelle, the Horrors and Lisa Hannigan.

The winner of the 2009 Barclaycard Mercury Prize will be announced at the Albums of the Year show on September 8 and broadcast live on BBC2.



- Scott Goodacre
July 21, 2009

Tune in today! I'm giving away 2 tickets to Girl Talk, and 3 copies of Ladyhawke's album on vinyl. Good luck!

We flew Daisy back from London last minute so she could spin for Judd Apatow's latest film premiere. Mr. Apatow himself gave our lady DJ the thumbs up!

Check out info on the VIP section here
Check out Daisy's page on the lovebox site here

Right now Florence And The Machine's debut 'Lungs' is the only non-Michael Jackson album in the top 5 on the U.K. charts. The album has been getting incredible reviews and Florence Welch and her band The Machine even received the Critic's Choice honor at this years Brit Awards. According to OMM "despite its dark heart, there's a real
joy about this debut. It's the sound of someone who has found their voice and is keen to use it - as loudly and freely as possible". Florence was discovered and now managed by Mairead Nash (one half of ultra-scenesters/promoters the Queens of Noise), who's night at Punk I DJed last time I was in London. There are several standout tracks on this record but my favorite is a cover of the 1991 song "You Got The Love" originally recorded by The Source and Candi Staton. The original was a dance single but Florence has put her indie-blues spin on this
track and created uplifting pop-perfection.

July 16th // Buried without a Brain @ Sketch
July 17th // B.O.R.E.D. @ Brixton Dogstar W9
July 18th // Lovebox Festival
July 18th // Audio Sushi @ Tooting Tram and Social SW17

Sat 18th & Sun 19th July, Victoria Park, London - Confirmed so far: Alan Pownall, Andy Butler (Hercules & Love Affair) DJ Set , Annie Nightingale, Au Revoir Simone, Bill Brewster & Frank Broughton (DJ History/Lowlife), Black Joe Lewis, Bombay Bicycle Club, Chairlift, Chew Lips, Chipmunk, DAISY O'DELL (VIP only), Dan Black, Dananananaykroyd, David Shrigley, Datarock, Diplo, Disco Bloodbath, DJ Sneak, Doves, Drums Of Death, Duran Duran, Fenech-Soler, Filthy Luka AKA Luke Howard, Florence And The Machine, Fontan, Friendly Fires, Frankmusik, Gang Of Four, Gary Numan, Giles Smith, Groove Armada, Gruff Rhys, Hip-Hop Karaoke, Horse Meat Disco, Hypnotic Brass Ensemble, Idjut Boys, James Priestley, Jazzie B, Joakim, Joey Negro (VIP only), Johnny D, Justin Robertson, Ladyhawke, Late Night Audio, Lightspeed Champion, Magistrates, Matt Berry, MPHO, Mr Hudson, N*E*R*D, New York Dolls, Nextmen (VIP only), Nisennenmondai, Noah & The Whale, Norman Jay M.B.E (VIP only), Ou Est Le Swimming Pool, Richard Norris (Beyond the Wizard's Sleeve), Rodrigo Y Gabriela, Rokia Traore, The Rumble Strips, secretsundaze, Severino, Simian Mobile Disco, Stuart Patterson & Leo Elstob (Soulsonic /Faith)(VIP only), Swimming, Temper Trap, The Death Set, The Emperor Machine, The Jive Aces, The RGBs, The Twelves, Tom Maddicott, Tommy Reilly, VV Brown, Wave Machines, X-Press 2, Young Fathers PLUS MORE TBA

I think that Sian Ahern's voice is unusual and exquisite. On 'The Dusk Line,' her and Rupert Clervaux (grand piano), two members of Sian Alice Group, create a sound that is so vulnerable that it evokes a myriad of emotions in me and proves that the space between the notes is as powerful as the music itself. Sian Alice Group have become known for their "sweeping, orchestrated aesthetic", but 'The Dusk Line' distills their sound to its core. This song is elegant in its simplicity, yet an absolutely beautiful arrangement. Check out the Ben Crook directed video below, Sian Alice Group's debut 59.59 and follow up EP The Dusk Line are out now on The Social Registry, and learn more about the band at
http://www.myspace.com/sianalicegroup.

xoxo

Daisy O'Dell

WONDERWALL

By Carol-Anne Lennie

Joe Massot's surreal '60s visual masterpiece has enjoyed somewhat of a critical revival in recent years, not least in the wake of the Oasis mega-hit of the same name. However, for those with more than a passing interest in the Beatles and '60s psychedelia the word 'Wonderwall' conjurs up more than a dreary '90s anthem.

Wonderwall the film began shooting in 1967 and would become a snapshot of swinging London at it's height. The story was slight: mad professor (Jack MacGowran) dismantles his grubby flat to eavesdrop on the freaky goings-on next-door and in so doing develops an obsession with a model (Jane Birkin) living there. Not much, perhaps, to elevate the film beyond the ranks of everyother psychedelic cash-in of the day. But add in a bit of Beatle fairydust in the shape of a George Harrison soundtrack (and the fact, apart from a rare airing on British ITV regions in the mid-nineties, the film has not been seen since 1968) and you have the stuff of (minor) legend.

Wonderwall trivia:

-George Harrison's soundtrack was re-released on in the early '90s as part of the (now-stalled) Apple CD re-issue programme.

--According to Joe Massot, George Harrison was not the first to display an interest in providing music for the film: "I had various choices, the Bee Gees were interested in doing something and came to Twickenham Studios to see me. It seemed the movie had created a vibe as Graham Nash also wanted to join in. George told me that he had been working on "Magical Mystery Tour" helping out, but that was Paul's project...that he would like to do something solo. So I told him he would have a free hand to do anything he liked musically. That was what interested him in the picture"

-One of those rumored to be amongst the musicians on the soundtrack was Monkee Peter Tork.

-Track two on the 1996 Kula Shaker single 'Govinda' ('Gokula') uses an instantly-recognisable guitar riff from the film's soundtrack. Though George Harrison/Apple would not allow a direct sample, the Mills-performed guitar figure was sanctioned with Harrison earning a co-credit on the track. Kula Shaker would later record a new (and very Wonderwall-esque) soundtrack to the Joe Massot short 'Reflections On Love' from 1965.

-The recent video release of 'Wonderwall' has seen the Indian chants over the opening titles replaced by the Remo Four track 'In The First Place', a song newly-discovered in the search of the film's original stereo recordings. The Remo Four had been brought in as sessions players on the album and although Colin Manley and Tony Ashton are credited as the song's writers this brooding psych gem positively oozes Harrison circa '68. Re-issued on CD single in 1999 by Pilar.

Record Club: Velvet Underground & Nico "Femme Fatale" from Beck Hansen on Vimeo.

TOM WAITS x BECK HANSEN


Irrelevant Topics in a new section featuring conversations between musicians, artists, writers, etc. on various subjects, without promotional pretext or editorial direction. When asked to do these kinds of interviews, I've noticed that invariably there will a moderator appointed to, as an editor once put it, not let the conversation 'veer off into irrelevant topics.' Although it's a publication's objective to get something that fits the conventional format, I became interested in where the dialogue would go if it were allowed to take its own course, however mundane or esoteric. For the first in this series of conversations, the legendary musician and performer, Tom Waits agreed lend an hour of his time to talk about anything and nothing in particular. Here is part one of that conversation.


Tom Waits: How you doin'?

BH: Good, I'm good.

TW: Are we up and runnin'?

BH: Yeah I think so. Hey, I wanted to ask you about being from Los Angeles. You grew up there...

TW: Yeah, Whittier, La Habra, Downey, that whole area. Yeah, Los Lobos, they're from Whittier. So is Nixon. I remember Nixon's market. He had his own family market.

BH: He was? For some reason I thought he was from the Midwest.

TW: No, California, and we used to get a visit every year from the Oscar Meyer wiener mobile, which was an enormous vehicle shaped like a hot dog. The driver was a Dwarf, and the wiener mobile would broadcast music while he sang the song "I wish I was an Oscar Meyer wiener." He drew quite a crowd. Pretty exciting for a shopping center.

BH: That car is still driving around. I see it from time to time.

TW: You see the Oscar Meyer wiener mobile?

BH: I've seen it parked.

TW: They used to pass out little whistles that were about two inches long and it had three notes available. (Laughs.) Whittier lore.

BH: I was born in the McArthur park area.

TW: You remember when they drained McArthur Park, the lake?

BH: I do, yeah...

TW: They found unbelievable things: Cars, human bones, weaponry.

BH: They should have done an exhibit.

TW: I don't know why they didn't. I thought that's why they drained it.

BH: I'd always heard that when they drained the Echo Park Lake they found an amateur submarine.

TW: Oh, my God.

BH: I don't know if that was lore.

TW: You mean a homemade submarine?

BH: Yeah, I think it was older too, from the early days of "home submarine building." I don't know if that subculture still exists?

TW: That was the East Kids.

BH: There's so many different versions of the city.

TW: It is pretty international. Drive over here and you're in Russia. Here, Indonesia, the Philippines, Central America. It's pretty wild that way.

BH: I think of the city as a sort of mirage. If you look at pictures of the city a hundred years ago it's just a bunch of weeds and desert dust. Its not really supposed to be here. I was always fascinated by the city it was meant to be. I guess it was a place created by developers. It's not really like a city where some people roam around and then they find a good piece of land, and then they test it out for a while and make sure there is water so they don't die, and then they decide to make a city. I started looking at some pictures...Beverly Hills was originally supposed to be called Morocco Junction. I started thinking, if they'd gone with that name we'd be in a whole other situation. I was wondering if there were any things that you remember? It seems like it's shed its skin so many times.

TW: Well, cars choked everything. I know originally there was a red line that ran from San Bernardino all the way to the ocean and for 35 Cents you could ride a streetcar you know from...

BH: Yeah I heard you'd get there in 20 minutes.

TW: And in one of those red car buildings, dispatch is right there where Epitaph records is right around Sunset and Silver Lake. You remember the Continental Club in Silver Lake? That big Latin Club in Silver Lake. Burned down.

BH: Yeah I remember that.

TW: It was lightning.

BH: Lighting?

TW: Yeah, a form of lightning.

BH: I played at this benefit concert where I was about to go on stage in 45 minutes. It was a clear blue sky and a bolt of lightning came out of nowhere. I don't know if you heard about that? It was about twelve years ago.

TW: You got struck by lightning?

BH: No, I didn't. I was inside, but someone in the audience did. I heard this crash, and looked outside and the whole venue was streaming out with people.

TW: You lost your crowd.

BH: Yeah, they had to cancel the whole thing.

TW: That's what I hate about playing outdoors.

BH: Yeah right? I've had more outdoor shows canceled from natural disasters. I was playing in Mexico once and some kind of hurricane came. Turned into chaos. One time I was in Japan. I was going to play on Mt. Fuji and a typhoon hit.

TW: A typhoon hit? Wow. I haven't really played outdoors much. I played in Japan once; I played in an abandoned temple. The roof had been torn off. They thought it would be a cool place for a concert but it was 30 below. All I remember was my sax player making a fire out of chop sticks and holding his horn over the flame to warm it up before we went on. Everyone was dressed up in moon gear. It was pretty cold out there. It's hard to compete with the natural elements. It's captured better in a theater. I'm probably a little old fashioned and a little backward.

BH: I'm always interested in how the whole festival thing evolved. Those pictures from the 50's, the early rock 'n' roll people playing at the state fair.

TW: Opening for super markets.

BH: Yeah, exactly.

TW: Stages that were built in a few hours out of scrap wood.

BH: I'm always curious what it sounded like?

TW: My bass player Larry Taylor toured with Jerry Lee Lewis in the 50's. They toured all over the US in a Cadillac and all their gear was in the trunk. The amps, the bass... the speakers in the hall they played at were no bigger than an encyclopedia. But there was still wild enthusiasm and energy created out of the performances and the crowds went out of their minds. But it wasn't done with volume. It was the odd sight of a man possessed at a keyboard, with hair hanging down. The other thing: the mics for the piano - they just used a violin pick up wrapped in a hanky and stuffed it in the hole of a baby grand. Standards were lower.

BH: But it does make you play a different way. We did this thing a couple years back, we were on a tour in the South. After the show we'd find a bar and we'd play there with little practice amps. Maybe the bar might have a PA with two little speakers. Usually we were singing through a guitar amp. I remember one time we were in El Paso. We had the day off and we were just going through town, and we found a coffee house. They didn't have any equipment. We just had a couple of those little 15-watt practice amps. I think my guitar player found a dorm or something down the street and started knocking on the doors and people lent us the equipment. You know, when we got in there and started playing, probably 100 people crammed into this café that didn't even have a stage; you couldn't hear anything. So the performance had to rely on whatever kind of feeling you could put out.

TW: People had to be quiet so you could be heard then. That's just a basic human thing I guess, right?

BH: There's something about that awkwardness of being bereft of a sound system and that volume you're used to. You're stripped of that and suddenly you have to make due with almost nothing. And the people were crowded in there. They were about two inches from your face. That's another thing. You're singing right into people's faces, which is another interesting thing. (Laughs.)

TW: You'd like to be raised up a little bit. I played the Roxy with Jimmy Witherspoon a long time ago, and somebody hit the telephone pole in front on Saturday. Knocked out all the power - this was like 5minutes before we went on. Place was in total darkness. People were lighting candles. Jimmy Witherspoon went and did a killer show. He just put his organist on a piano, and he has this big big, huge voice any way. Got right on the lip of this thing. I was freaked out. I didn't know what to do. He killed. I guess you have to get reduced to that to find out the origin and basic building blocks of what you do are still in tact. Look under the building, make sure the supports are still there and haven't been eaten through. (Laughs.) But, yeah, you can do a lot with a bullet mic and a wah-wah pedal. But before that there was changing your voice and raising your volume. I guess we've all gotten very lazy with all the toys that are available.

BH: I wonder, in a way, if it's good to put yourself in those positions where you don't have the equipment, you don't have those crutches. But I think we're so attuned to hearing it at that volume and having to feel that impact? There's something maybe uncomfortable now to just hearing somebody's voice in a room singing.

TW: I guess it's like when you make dinner at home. You shove the bowl across the table and you throw a fork and you drop the napkin.(Laughs.) You make due. I don't know if it's all cosmetic. I guess you can tell when something is primarily cosmetic and lacks the structural integrity. I think we all have an instinct about that. Where does this "Best" thing come from? Is that human? Is that American? Is it all over the world? Everyone wants the best eye surgeon, the best babysitter, the best vehicle, the best prosthetic arm, and the best hat. There's also the worst of all those things available and they're doing rather well. (Laughs.) Denny's is doing great. It's always crowded. You have to wait for a table.

BH: Also this obsession with ranking. All the "Best of" lists. I get asked to write "Best of" lists occasionally. An emphasis on ranking things. Having a hierarchy and having it be written in granite, written in stone.

TW: It's economic. So you can charge more.

BH: Yeah, it must be. But maybe it's just a need to have some order that's been established, and that everybody has been notified. I don't know.

TW: There's too much of everything.

BH: Maybe it's a millennial thing. It started around the millennium. "What are the best movies? What are the best songs?"

TW: Well, then there's the pressure of feeling that you need to have what has been already rated the best. A lot of people are afraid to explore their own peculiar taste for fear - that it would be uncool. Just like when you're a teenager you don't want to be caught with the wrong sports shirt, the wrong socks.

BH: I think there's a bit of that. Certain things haven't made it to the "List," so then they go into the category of guilty pleasure or something.

TW: My theory is that the innovators are the ones that open the door to things, and then behind them there's a huge crowd and they are trampled by the crowd behind them. And then you have to peel the innovators off the ground like in the movie, The Mask. Like a Colorform.

BH: I was thinking about influences and people who jump on a train or a trend, follow something. I was reading about the Greek playwright, Euripides, and a few others. He had written 105 plays and two of the plays survived from antiquity. I was thinking, "Can you imagine writing 105 plays, and you had to write 105 for one or two of them to survive?" I was thinking maybe in a way that the people who were influenced by the lost plays are the ones who are going to help them survive in some way. It's not really about what you're doing originally, it's about the transmitting of the thing to the next person. It mutates along the way and turns into other things.

TW: You leave a little map for somebody. Maybe the others were lesser works. Or maybe the two that survived were lesser works.

BH: Maybe they were the throwaways? You never know. Maybe there's things in there that were lost that would've changed everything?

TW: That's very possible.

BH: The throwaway ones that he wrote to make the deadline are the ones we have.

TW: It's like they found one of those van Gogh's at a garage sale. This woman bought it and she was using it to block out the sun in her kitchen. She was using it as a window shade, so it was getting all faded from the sun. And she cut it because it didn't fit the window. When they finally discovered she had a van Gogh as a window shade, they brought in all these experts from the museum and they were all filling in her living room and they said, "How can you cut off the top off this painting?" And she said, "It was just a little piece of the sky." Sometimes it's the value you attach to things. It's subjective. And we record on stuff that's going to disintegrate. Just like films are made on celluloid that's going to vanish, it's going to be gone. It's like drawing on wax paper or something.

BH: Yeah, I think I read that only twenty percent of the films made before 1930 have survived.

TW: It's the way of all flesh. Even in the world we're down to the last of 20 percent of all animals that were originally here on earth are left. There were millions of other species that vanished. You really have to fight. Only the strong survive. Whose song was that? "Only the Strong Survive"? Your songs have to wind up being used as soundtracks to jump rope. Tapes will go, but people will still be jumping rope. They'll need tunes for jump rope.

BH: It's true. I think the last song standing will probably be "Happy Birthday."

TW: I'm sure it will be. It's terrible, but I guess songs are just interesting things to do with the air.

BH: There's sort of a planned obsolescence or something. That's just part of it.

TW: Yeah and we have every generation making a whole bunch of new ones. Even though the generation before says, "What's wrong with these tunes? We've got plenty of good tunes lying around here. What are you making new songs for? We've got cool songs about everything you're writing about. We've got plenty of songs about girls." "No, no. That's all right, Dad. We're doing something else, something cooler over here. You go ahead." And the dad says, "Do you know Jimmy DURANTE? Have you ever heard of Jimmy Durante?"

BH: I think its gold panning. You know? They're just holding out. They're just gonna get some little piece of something. Some little piece, even if it's just a crumb.

TW: Yeah, that's what every body does. That's what Alfred Hitchcock said when he saw Ginger Rogers in a gold lame dress at a movie opening on Hollywood Boulevard: "There are hills in them gold."(Laughs).

BH: There is probably an alternate endeavor that can be engaged in and everyone can take a hiatus from "The Song."

TW: Look. There were heavy metal bands whose music was being used to torture prisoners in Iraq. They played it real loud to get information. Well, they deprive you of sleep and they play these bands. And that's all you get to listen to. It's one particular song from this band. In the same way that they use it now in the parking lot of 7-11 when they play classical music. It keeps all the hoods away. They blast Beethoven. No one hangs out now, drinks beer in the parking lot. Changed everything.

BH: Yeah, so you may be an unwitting instrument.

TW: You don't know how you're going to be used. You could be a doorstop or paperweight or maybe a national anthem. There's no way of telling. Once we're gone, the whole promotion thing is over. Now we'll see if it can fly on its own now. Like some tunes do, you know?

BH: I think they are also some kind of ephemera or reminder to give some impression of what it was like. You know, if we just had pictures of the 1920's, 1930's and 1940's; it would be one thing. But some how, when you can hear the music?

TW: Yeah, people really did listen to the song and it really captured their imagination. You could hear a song about "California, Here I Come" and you would actually decide based on that song to move to California. That's what people did to San Francisco.

BH: There weren't really many songs about moving to Northern Finland.

TW: Yeah, or even Needles or look at Lodi. Not a good advertisement for Lodi, 'cause you say, "Stuck in Lodi Again." Who's gonna move to a place that this guy told the whole world he felt "stuck in"? Not every town gets their song. Actually, Sinatra tried to do a song about Los Angeles. It was really lame. Really lame. It embarrassed the shit out of me.

BH: That was in the 80's right?

TW: "LA, You're a Lady." It was one of those lame, awful... Maybe it's the rhyme or the rhythm of the name Los Angeles.

BH: Yeah I don't think anyone has written a definitive LA song.

TW: Maybe it's the rhyme or the rhythm of the name Los Angeles.

BH: Yeah, I don't think you can...

TW: But Chicago or St Louis, such cool sounding names. New Orleans. So many songs about New Orleans.

BH: I'm trying to think, I don't know if I've written any place-name songs? Oh no, that's not true. I wrote one called "Modesto".

TW: The city itself was named because the two guys who founded the town didn't let them use their names in the name of the town. They were too modest and they didn't let them use their names, so they called the town Modesto.

(Thanks to Rishi for originally posting this)

What do the phrases: “Jackson Pollock painted the Mona Lisa”, “The homing pigeon luxuriated in the hot bath”, and “That man has a city for a head turkey archeologist” have in common?

As David at Shores of the Dirac Sea explains, they’re all encoded in the digits of pi:

This result states that any message that you want is written in the digits of a normal number an infinite number of times. Every single message.

Or, to put it in the words of my college probability professor:

Randomness is not the absence of order; it is the presence of every possible type of order.

This is, quite possibly, the single most important sentence to know when thinking about conspiracy theories or the hidden-message variety mysticism. Never be surprised at people’s ability to find messages, or even fragments of messges, in apparently randose3m;’%hkl;##%15kmg.

http://peculiarvelocity.wordpress.com/2009/02/10/random-pieces-of-pie/

i-D is a British magazine dedicated to fashion, music, art and youth culture. i-D was founded by designer and former Vogue art director Terry Jones in 1980. The first issue was published in the form of a hand-stapled fanzine with text produced on a typewriter. Over the years the magazine evolved into a mature glossy but it has kept street style and youth central to every issue.

The magazine is known for its innovative photography and typography, and over the years established a reputation as a training ground for fresh talent. Photographers Nick Knight, Wolfgang Tillmans, Juergen Teller, Terry Richardson and Ellen von Unwerth have produced work for i-D. The magazine celebrated its 250th edition at the end of 2004 and its 25th anniversary in 2005. The July Issue of 2009 was the magazines 300th publication, boasting many interesting articles and iconic photography, true to the magazines concept. The content, focused mainly on ideas from past issues and bringing these ideas into 2009. Raquel Zimmerman was the covergirl for this edition.

The magazine pioneered the hybrid style of documentary/fashion photography called "the straight up". At first, these were of punks and New Wave youth found on English streets and who were simply asked to stand against any nearby blank wall. The resulting pictures - the subjects facing the camera and seen from "top to toe" - are a vivid historical documentary photography archive, and have established the posed "straight up" as a valid style of documentary picture-making.
Tipped on its side, the "i-D" typographic logo reveals a winking smiley. Most issues of i-D magazine have featured a winking cover model.*

*Thanks Wikipeadia

Harold and Maude

"You need a mani bad. You should find a Chinese chick to buff your situation."
"It smells like Thai food in here. Have you guys been fucking?"
"Your killing people?!?" "NO, I'm killing boys!"

I LOVE me some Diablo Cody dialogue and have a feeling that JB may brings some zingers as good as "Fuck me gently with a chainsaw!".*

*Heathers (my favorite teenage girl quote film of all time).

I could stare at Audrey Tautou all day. She is simply breathtaking.

This is pretty funny too.

From the Gawker peanut gallery:
Chanel, the legendary fashion brand run by Mugatu-esque overlord/enemy to Heidi Klums everywhere, Karl Lagerfeld, is pissed. They let everyone know how much they cringe when you use their name to refer to anything but Chanel. Dare speaketh Chanel?!

Don't try it. Because their lawyers will find you and stab you with a wire hanger, or something. Via Pursuitist, Chanel ran an ad in the back of yesterday's Women's Wear Daily letting the world know specifically what IS and IS NOT Chanel, and how it absolutely chaps their exquisitely powdered asses when you get it all wrong. Neit more with this bullschizah! Get it right, you Well Intentioned Mis-Users!

http://gawker.com/5307041/karl-lagerfeld-will-not-tolerate-hoi-polloi-appropriations-of-chanel

On their MySpace page MEN define themselves as “a Brooklyn-based band and art/performance collective that focuses on the energy of live performance and radical potential of dance music. MEN speaks to issues such as wartime economies, sexual compromise, and demanding liberties through lyrical content and an exciting stage show.” MEN is a side project of JD Samson and Johanna Fateman from Le Tigre, who (along with Ginger Brooks Takahashi and Michael O'Neill) create highly danceable electro-pop. “Off Our Backs” is not their newest song, but it is certainly one of the most fun. MEN (like Le Tigre) inspire some serious ‘Bedroom Dancing’ in me. Look for the great remixes of “Off Our Backs” by I'm Not a Band and Pegase, check out the rad music video by K8 Hardy bellow, and hear more from MEN at http://www.myspace.com/men.

xoxo
Daisy O’Dell

JULY 4th PLAYLIST
North American Scum - LCD Soundsystem
America - Baby's Gang
Declare Independence - Björk
American Face Dust - Black Moth Super Rainbow
Rocket U.S.A. - Suicide
America - Simon & Garfunkel
Kids In America - Kim Wilde
American Girl - Tom Petty & The Heartbreakers
Going To California - Led Zeppelin
Born In The U.S.A. - Bruce Springsteen
and...
Young Americans - David Bowie

Clifton posted this and I dig to song and video. As you can see from this image bellow, me and the gang like to play this game TOO.

POSSO: 12″ LIMITED EDITION available now at POSSO THE SHOP. ONLY 12 OF EACH STYLE EXIST IN THIS UNIVERSE, SO SHOP SWIFTLY (12″).


DRIPPING IN TURQUOISE CROCODILES, EVENINGS IN CREME ANACONDAS.

The beautiful ladies at POSSO have released a limited edition collection of goodies. Not only have they produced gorgeous spats, cuffs, and belts, but a playlist of fantastic music to accompany the accessories.

http://possotheshop.bigcartel.com
http://diamonddusted.com/?p=2252

Stone Temple Pilots have announced a number of shows in the US this summer, kicking off July 1 in Los Angeles. The band are on a tour of the US, having reunited last year after Scott Weiland quit as singer of Velvet Revolver.