August 18, 2010
Neu Magazine: San Francisco based remixer and producer Al Lover has this way with the Woodsist hits on this remix album. He turns the likes of Kurt Vile, The Art Museums and Wavves into unrecognizable beat swathes. “I feel like this is the kind of stuff Hip-Hop producers will be looking to sample 20 years from now” he says ‘it’s super low-fi, off-kilter, distortion heavy, weirdo shit. (via yvynyl)

Neu Magazine: San Francisco based remixer and producer Al Lover has this way with the Woodsist hits on this remix album. He turns the likes of Kurt Vile, The Art Museums and Wavves into unrecognizable beat swathes. “I feel like this is the kind of stuff Hip-Hop producers will be looking to sample 20 years from now” he says ‘it’s super low-fi, off-kilter, distortion heavy, weirdo shit.

(via yvynyl)

11:03am  |   URL: http://www.vastandgrand.com/post/972525618/neu-magazine-san-francisco-based-remixer-and
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(Notes: 14)
  
August 18, 2010
"The toy is the child’s earliest initiation into art, or rather for him it is the first concrete example of art, and when mature age comes, the perfected examples will not give his mind the same feelings of warmth, or the same enthusiasms, or the same sense of conviction"

— Charles Baudelaire in his essay A Philosophy of Toys (via BibliOdyssey)

10:59am  |   URL: http://www.vastandgrand.com/post/972510779/the-toy-is-the-childs-earliest-initiation-into
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August 17, 2010
[Flash 9 is required to listen to audio.]

I’m not going to hold it against Weiner and co. that Love didn’t put out their eponymous album until 1966, because, backing that boho loft party with the moody, anti-drug track “Signed D.C.” was just brilliant.

10:23am  |   URL: http://www.vastandgrand.com/post/967252172/im-not-going-to-hold-it-against-weiner-and-co
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August 11, 2010
"The latter are still in the record business."

— Gerard Cosloy, co-founder of Matador Records, on the difference between major and indie labels in The New Yorker

12:33pm  |   URL: http://www.vastandgrand.com/post/937850326/the-latter-are-still-in-the-record-business
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August 9, 2010
General view of part of the South Water Street freight depot of the Illinois Central Railroad Chicago, Illinois, May 1943. Reproduction from color slide. Photo by Jack Delano. Prints and Photographs Division, Library of Congress. From the series Captured: America in Color from 1939-1943

General view of part of the South Water Street freight depot of the Illinois Central Railroad Chicago, Illinois, May 1943. Reproduction from color slide. Photo by Jack Delano. Prints and Photographs Division, Library of Congress.

From the series Captured: America in Color from 1939-1943

2:37pm  |   URL: http://www.vastandgrand.com/post/928287105/general-view-of-part-of-the-south-water-street
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August 9, 2010
"I spent several years learning the difference between advertising and design."

— Alex Bogusky, from his inline comments/corrections to Robert Safian’s recent profile of him in Fast Company

2:36pm  |   URL: http://www.vastandgrand.com/post/928282731/i-spent-several-years-learning-the-difference
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August 9, 2010
Dirty Projectors’ Nat Baldwin rocking a Cains & Abels t-shirt at Lollapalooza.

Dirty Projectors’ Nat Baldwin rocking a Cains & Abels t-shirt at Lollapalooza.

1:31pm  |   URL: http://www.vastandgrand.com/post/928034790/dirty-projectors-nat-baldwin-rocking-a-cains
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(Notes: 2)
  
August 6, 2010
[Flash 9 is required to listen to audio.]

“We Are Time” by The Pop Group from Y

Some groovy post-punk for your Friday.

11:12am  |   URL: http://www.vastandgrand.com/post/913162351/we-are-time-by-the-pop-group-from-y-some-groovy
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August 6, 2010
Farbenkugel in 7 Lichtstufen und 12 Tonen (Color sphere in 7 Light Values and 12 Tones) by Johannes Itten

Farbenkugel in 7 Lichtstufen und 12 Tonen (Color sphere in 7 Light Values and 12 Tones) by Johannes Itten

9:44am  |   URL: http://www.vastandgrand.com/post/912904081/farbenkugel-in-7-lichtstufen-und-12-tonen-color
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August 5, 2010
"An entrenched fallacy about the Bauhaus is that it was somehow responsible for the lamentable global proliferation of boring corporate Modernist architecture after World War II. Actually, the blame lies with commercial property developers who exploited Ludwig Mies van der Rohe’s minimalist “skin-and-bones” formula for steel-framed, glass-skinned high-rise buildings because they were cheaper and more profitable to erect than pre-war masonry-clad, decoratively embellished structures; but they aped his schemes without a trace of Mies’s proportional subtlety or technical finesse."

— “The Powerhouse of the New” by Martin Filler for The New York Review of Books

5:03pm  |   URL: http://www.vastandgrand.com/post/909436147/an-entrenched-fallacy-about-the-bauhaus-is-that-it
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(Notes: 1)
  
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