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- 05/08/13--11:45: _Watch The Lonely Is...
- 05/08/13--13:23: _Creative Growth Has...
- 05/08/13--14:20: _Comedy Podcasting P...
- 05/08/13--14:45: _A Tokyo Nightlife M...
- 05/08/13--16:00: _This Simpsons Drawi...
- 05/08/13--16:32: _There's an Actual B...
- 05/09/13--07:30: _The Kiss Cam Break-...
- 05/09/13--10:00: _10 Etsy Finds: Hous...
- 05/09/13--10:30: _Will Sasso Gets Us ...
- 05/09/13--11:00: _Watch RuPaul Talk A...
- 05/09/13--13:30: _Note From David: Li...
- 05/09/13--14:00: _Olivia Wilde Tells ...
- 05/09/13--14:00: _The Barnes Goes Con...
- 05/09/13--14:50: _Pearl & Ash's Intri...
- 05/09/13--14:50: _Robert Oades Polaro...
- 05/09/13--15:39: _This Guy Does the B...
- 05/10/13--07:15: _"Ryan Gosling Won't...
- 05/10/13--10:00: _Behind the Scenes W...
- 05/10/13--11:00: _The Subcultural Pun...
- 05/10/13--12:35: _Savor the Sadness W...
- 05/08/13--11:45: Watch The Lonely Island Hijack Between Two Ferns
- 05/08/13--13:23: Creative Growth Has a New Cheryl Dunn-Directed YouTube Series
- 05/08/13--14:45: A Tokyo Nightlife Maven Tells Us Where the Cool Kids Flock to Party
- 05/08/13--16:00: This Simpsons Drawing Club Is Awesome
- 05/08/13--16:32: There's an Actual Bluth Banana Stand Touring Around
- 05/09/13--07:30: The Kiss Cam Break-Up Is Your Perfect Dose of Schadenfreude
- 05/09/13--10:00: 10 Etsy Finds: House Print Shirts and Poodle Mugs
- 05/09/13--10:30: Will Sasso Gets Us Laughing In Six Seconds or Less
- 05/09/13--11:00: Watch RuPaul Talk About Gay Rights and Getting Married
- 05/09/13--14:00: The Barnes Goes Contemporary with Ellsworth Kelly, Sort Of...
- 05/09/13--14:50: Pearl & Ash's Intriguing Murder on the Ebullient Express
- 05/09/13--14:50: Robert Oades Polaroids of Off-Duty Models Are Super Cute
- 05/10/13--07:15: "Ryan Gosling Won't Eat His Cereal" Vines Are Perfection
- 05/10/13--10:00: Behind the Scenes With The Lonely Island
- 05/10/13--11:00: The Subcultural Punk Fashions the Met Left Out
- 05/10/13--12:35: Savor the Sadness With Schadenfreezers
While this would be fun in and of itself, amidst the guys' sing-rapping about "puke and rally" and "banging chicks right there in the sand" comes a weird (yet awesome) gay marriage parallel storyline. The video inexplicably cuts from images of girls in wet t-shirt contests to shots of Samberg and Galifianakis holding hands in a marriage ceremony, Franco and Shaffer looking at wedding stationary fonts and, craziest of all, Ed Norton(!) and Taccone feeding each other wedding cake. Apparently the video is part of the trio's "Wack Wednesdays," in which they'll release a new video or song each Wednesday ahead of the June 11 release of their newest record, The Wack Album (though it's a little unclear if the song in the video -- "Spring Break Anthem" -- appears on the record). Watch the clip above and head over HERE to read more about The Lonely Island in this month's issue of PAPER.
[via Funny Or Die]
We're big-time (and long-time) fans of Creative Growth Art Center, the Oakland-based non-profit for adult artists with developmental and physical disabilities. Founded in the 70s, Creative Growth has become better-known in recent years thanks to New York Times pieces, Marc Jacobs collaborations and its own fashion line. And now filmmaker, photographer and Creative Growth collaborator Cheryl Dunn has made a new web series about the non-profit for Pharrell's YouTube channel iamOTHER. Part of the series is comprised of short claymation films by some of Creative Growth's best artists, and the other features profiles on some of the Center's most prominent artists. Creative Growth will also participate in Cutlog Art Fair, which will held in New York for the first time (after 4 years in Paris) May 9th-13th at the Lower East Side's Clemente Soto Vélez Center and will feature pieces by David Albertsen, John Hiltunen, Aurie Ramirez and William Scott, among others. We recommend you check out the whole web series but, above, catch a short introduction to Creative Growth and, below, check out a claymation short by William Tyler, one of Creative Growth's longest attending artists, and a profile on Ramirez, whose watercolors are inspired by KISS and the Addams Family.
In 2013, anyone with fingers and a keyboard can have a "voice" on the Internet. But New York-based comedian Julie Klausner has one worth your attention. Klausner's much-loved podcast How Was Your Week -- which features interviews with comedy icons like Amy Poehler and Joan Rivers, as well as notable filmmakers, authors and musicians -- begins with a stream-of-consciousness monologue recorded in her SoHo apartment. Klausner touches on pop culture topics like film ("The women in Edward Scissorhands are far too horny considering the realities of life and sexuality"), and reality TV (she refers to the Millionaire Matchmaker star Patti Stanger as a "monster python woman") with a lightning-quick wit. And for good measure, she'll throw in updates about her tuxedo cat, Jimmy Jazz. It's like a one-sided phone conversation with the friend you wish you had, or could be.
Klausner is equally entertaining on Twitter and in her riotous Real Housewives recaps for New York magazine's vulture.com, a site she also makes videos for. (A recent clip featured her at the Bravo upfronts asking reality stars about North Korea.) Author of a 2010 memoir about the woes of dating in her 20s, called I Don't Care About Your Band, Klausner's now tackling Y.A. lit with her new book Art Girls Are Easy, a novel about life at an upper-crust summer art camp. Here, we chat with her about her podcast, the new book and getting blocked by NCIS stars on Twitter.
You've been doing How Was Your Week since 2011. Have you seen the show change since you started it?
I think I have more confidence as a monologist and in myself as a draw, rather than feeling this pressure to book lots of celebrity guests. Sometimes celebrities aren't the most interesting people to talk to. I try to keep it balanced so that I have guests who are reasonably diverse and so that it stays a comedy podcast. I think if my monologue is funny and if I'm a funny person, then that's enough. Not every comedy podcast has to be comedians shooting the shit with each other.
It seems like your show has a real appreciation for fandom -- whether that's reflected in your choice to interview guests you admire or guests who love very specific, interesting things.
I try to target guests with a certain focus, whether they have a story to tell, or want to talk about something they're really passionate about -- just having that structure makes it so much more satisfying for a listener. I love talking to authors and filmmakers. It's an opportunity I have as a fan to get my questions answered. It's probably selfish of me to use the show for that.
You've talked on How Was Your Week about celebrities who have blocked you on Twitter. Who has blocked you?
[NCIS actress] Pauley Perrette. I was covering a dog show for Vulture and I asked her if she was drunk and if she was going to steal any of the dogs and try to take them home in her dress. Then the [dog show] publicist came up to me and said, "We've gotten complaints from people." And I was like, "What are they?" And she said, "We heard that you're asking people if they're drunk and taking home dogs in their dresses." And I was like, "OK, those are clearly from Pauley Perrette." Then she tried to get me kicked out of the dog show. That didn't happen, but ever since then she's been my sworn enemy. I also discovered that her Twitter is idiotic. It's just the ramblings of this random woman who completely won the lottery and got cast on this show and probably makes more money than I could ever think about. I agree with her politics -- she's all for gay rights and animal rights, which is great -- but in terms of what she has to say, she's the living embodiment of why nobody should ever listen to an actor. What does it matter what they have to say? She has no sense of humor. But that's pretty much my only celebrity Twitter feud.
Do you love Twitter for that reason? For its transparency when it comes to celebrities?
Oh yeah. I love Twitter for so many reasons, but one of the biggest reasons has to do with the access that you have to celebrities' brains. Twitter helps to strip celebrity of its veneer, and I think it encourages a more participatory pop culture. I think that celebrities who are savvy about their Internet presence come across as being way more intelligent and cool than they actually are. Being Twitter-savvy is surpassing more traditional skills in the celebrity world, like being beautiful or having talent, or other things that we tend to love celebrities for.
Beyond that, I love Twitter because it's just really fun. I don't think I can go for more than two days without tweeting and not get depressed. Which is a depressing thing to say out loud, but it's true. Twitter is like a lever that a lab rat presses in its cage to get a dopamine jolt. It's really good to just turn your head off and the Internet off and write for an hour a day, but when you're not doing that, for whatever self-indulgent and frustrating reason, and you're like, "OK, I'm going to write a sentence and then I'm going to reward myself by checking Twitter," there's something about that 140-character limit and that constant stream that really does feel like dope. There's a readily available quality to it, a quality of instant access. You have a joke, you tweet a joke and you get a response right away. It's very addictive.
What do you think about people whose Twitter accounts have helped them get book deals, or other big jobs?
I think Twitter is a good way to get attention, but that doesn't necessarily lead to work. The things that have always led to work are experience, having relationships, having samples of writing, having a good reputation, being professional and putting in the hours to get good at something when you're starting out, without expecting to be paid for it. Those are the things that get people jobs. Twitter's just another platform for attention and it's a good showcase for jokes. But it's good to be doing other work besides tweeting if you want it to lead to more than that.
The protagonist in your book Art Girls Are Easy is 15 years old. Did adolescence and the Internet overlap for you at all?
I was around 18 when the Internet came around so I didn't have access to it. Thank God.
Why did you decide to do a Y.A. novel?
My agent basically talked me into it by assuring me that Y.A. novels are really dirty now. They're not like when we were growing up and reading Judy Blume. I read the first Gossip Girl book around this time and thought, "Wow, this is really good. It's really satirical -- like American Psycho without the murdering." It wasn't what I thought of as typical teenage fiction. I had an idea for a story set at an art camp and I tried to draw on my experiences of being the age of my target audience, and to remember how much it sucked to not have the agency and autonomy and freedom that you have as a grown-up.
What were you like as a teenager?
My nightmares are either about my teeth falling out or being back in middle school. Actually, as I get older, they're about being back in college, but the worst dreams are about middle school. Those are the hardest years, if only because that's the time that your body and your brain are changing at this astronomical rate, and you're hormonal and basically just psychotic. And on top of that so much is expected of you. You have to create your identity and say goodbye to childish things and you also have this burning sexuality that you have no idea what to do with. It really is the height of powerlessness. At that age, I had a whole brooding world in my head. I would just completely zone out and go into my head and fantasize about what it would be like if I were older and my life was different and I could have sex with anybody I wanted. That felt so much better than being present and in the moment. Nobody needs to be present for every moment of 7th grade.
Did you go to camp?
I did. I went to a traditional camp when I was 10 that I really hated -- there was canoeing and color war, sleeping bags and campfires, and that was just a complete nightmare to me. I was not emotionally or socially prepared for that. And then I went to an artsier camp but it was in no way like the camp that's in this book.
The camp in the book is attended by wealthy Manhattan teenagers and has ridiculous amenities like "the Cindy Sherman Snack bar."
I wanted to make sure there were some jokes in there for people will get them. But I hope that younger readers who maybe don't get those references will still be interested in looking them up. When I was growing up, even if I didn't get a reference, I was always curious about it. I remember watching a lot of British comedy when I was in high school. They would joke a lot on the Young Ones about stuff I didn't get -- like a mention of Felicity Kendal would get a huge laugh from the audience. I was like, "I don't know who that is, but it must be funny" and then I'd do the research later because I was a nerd and curious. I hope those references are Easter eggs for the nerdier or more obsessive readers.
You're also currently the head writer for an MTV show called Blogger Girls.
That's what the pilot was titled but it's not going to be called that anymore. It's a talking head show starring awesome chicks like Shelby Fero, Esther Povitsky and Sasheer Zamata who have good Internet presences and are funny and charming. It's about themes that are universal to the girls of MTV's demographic.
It seems like there's so much more media out there for girls in that age range, with sites like Rookie and, from the sounds of it, this show.
Everything that I see now, with girls coming into their own and being self-aware is so encouraging. Their abilities, their imaginations and their sense of what's cool and what's not cool. It's blossoming at the same rate as the technology that's there to facilitate it. It's incredibly exciting. Boys, I think, are in a little bit of trouble.
Art Girls Are Easy is out now as an e-book and in paperback June 1st.
Hair by Kyle Malone for Next Artists / Makeup by Margina Dennis.
Each week in our new column, "No Sleep Til...," we'll be talking to cool kids around the globe, asking them to fill us in about the bands, DJs, music venues and night spots they and their friends are obsessing over. Next time you visit their home city, leave your Fodor's and Lonely Planet guides behind and go party like a local instead.
Mai Ann Nguyen-Miyoshi a.k.a @maisassygirl
Where do you live?
What do you do?
Buzz Creator, Cultural Attache, Freelance PR, Party Blogger, English Teacher, and recently full time mother
What Japanese bands or DJs are you obsessed with and that you think we should know about?
My favorite DJs are Shinichi Osawa, Chaki from Lowbrows, Peli, and FPM (Tomoyuki Tanaka). This list can go one forever...
As for bands, [I like] TRIPPPLE NIPPPLES and AKB48!
How did you discover all of them?
I discovered the DJs at clubs because I used to party every day / 7 days a week and became friends with them. The TRIPPPLE NIPPPLES members used to perform at some events I went to and because they are so creative and cool, I immediately became a fan! They definitely represent Tokyo. AKB48 is an idol group of 48 girls. The group is actually split into smaller groups but the main girls in the group have the most catchy popular songs you will ever hear and everyone who listens to them will become obsessed.
What types of music do these bands and DJs make?
Shinichi Osawa, Chaki from Lowbrows and FPM are all electro DJs. My favorite Shinichi Osawa remix is "What a Feeling" by Namie Amuro. I can't really pinpoint my favorite remixes from Chaki and FPM but their DJ sets always rock the floor! DJ Peli is my favorite Tokyo fashion icon and has the best selection of music. She plays more oldies, rock, alternative, and rockabilly-style songs and also mixes in electro and other things depending on the parties. She became the resident DJ at Le Baron as well. She also recently launched her own brand PAMEO POSE which you can find more info on her website.
TRIPPPLE NIPPPLES are an electropop band and THEY ARE SOOOOOOO RAD AND STRANGE at the same time and their music rocks! AKB48 on the other hand sound like catchy anime music...my favorite song of theirs is "Heavy Rotation." They actually did the song "Sugar Rush" at the end of Wreck it Ralph, too. They are one of those bands that people don't admit to liking but secretly wish they were part of the group. They also occupy every billboard and most advertisements in Japan.
Where are the cool places to see live music in Tokyo?
There are many live houses but I don't know if being 'cool' or not matters. Of course we have Blue Note and Billboard Tokyo but the young kids can't really afford to go there. Tokyo Zepp is also a famous live house and if an artist is playing there it usually means they are getting popular or are doing really well. Sometimes there are small live events that take place earlier in the evening at club venues like Vision, Womb, AGEHA, Unit, and Liquidroom. For club music, I love Vision in Shibuya and Club Air in Daikanyama. Womb in Shibuya is also great but can get quite sweaty and gross so I often just hang out in the VIP upstairs. Music lovers will usually go to Vision, Air, Womb and AGEHA because those clubs bring the best DJs from all over the world and the capacity is quite huge. For the absolute best sound system and for famous DJs from all over the world AGEHA in Shin-Kiba is the most well-known club. It can fit over 2,000 people! It's not so close to central Tokyo so it's difficult to trek out there everyday. There is a shuttle bus from Shibuya that can take you there in 20 minutes. People usually have to stay there until the first train starts again or travel back on the shuttle bus with super drunk people (that's not so fun). Vision in Shibuya, which opened a little over a year ago, is becoming one of the most popular places to go now. They also host a lot of fashion events and fashion after parties. It's new so it's the new 'it' place to go. As for what type of crowds go where, people follow the music and don't really care about the place. If Katy Perry is doing a secret live set at Ageha, everyone will travel out of Tokyo to see her.
Describe your perfect night out in Tokyo.
Before I became a mom, my life was really flexible. I basically worked freelance so I made my own schedule and could do whatever I liked, whenever I liked. Since I was able to attend events from 6pm and go to clubs until morning, every day was basically like a weekend for me. When the actual weekend came, there were more parties I had to attend so to be honest, I liked doing the more relaxed things -- like catching a movie with a friend -- on weeknights because it was less crowded. [Before I had a baby], my perfect night in Tokyo would be to have a nice dinner with a bunch of my close friends. I really like the restaurant Kinsai in Nakameguro. After that, I would go sing karaoke for a few hours because singing rocks. A few drinks in, we would head to our first club by midnight. If DJ friends were playing at different venues, I usually make a schedule of how I would travel around to each club. For example, Dinner in Nakameguro, karaoke in Nakameguro, DJ Peli at Trump Room in Shibuya, walk to see Chaki from Lowbrows at Womb in Shibuya, then walk to see FPM at Vision in Shibuya, then save the best for last and stay all night at Daikanyama Air to see Shinichi Osawa. Now that I'm a mom, it's important to keep a routine for my baby and my schedule is not as flexible as before.
What's your favorite bar/nightclub?
This is a tough one because I shouldn't be biased. I usually go to where my friends are organizing [events], partying, or DJing. I used to go to Le Baron in Aoyama a lot. Most of the fashion people used to party here and some still do. Le Baron is more of a lounge atmosphere so people don't really go there to dance but more to mingle and drink. It used to be more exclusive but has changed a lot over the years. For more underground and crazy with all the funky fashion Harajuku kids, Trump Room is definitely the fun place to go.
The cool neighborhoods are, of course, Harajuku as well as Shibuya, Daikanyama, Nakameguro, Aoyama, and Omotesando. It depends on what you're into but those places have the best shopping, food, and people watching experiences.
What's a bar or nightclub you would NEVER go to in Tokyo?
I would never go to nor recommend Heartland in Roppongi. You will never meet locals or fashion people there and I feel like it's filled with foreigners who aren't in Japan to appreciate Japanese culture. It can be quite cheesy and annoying. It might be an easy place for those who only want to be around English speakers but it's not really my cup of tea. Sorry Heartland.
Check out Mai Ann's band and DJ recs:
TRIPPPLE NIPPPLES -- "L.S.D."
AKB48 -- "Heavy Rotation"
Shinichi Osawa -- "What a Feeling" Remix
Chaki from Lowbrows -- "5k Mix"
FPM -- "Ain't No Mountain High Enough" Remix
Check out Mai Ann's nightlife listings:
Billboard Tokyo, Tokyo Midtown Garden Terrace 4F, 7-4 Akasaka 9-chome, Minato-ku, Tokyo 107-0052
Tokyo Zepp, １-３-11 Aomi Koto, Tokyo 135-0064, Japan
Blue Note, 6-3-16 Minami Aoyama, Tokyo 107-0062
Vision, Shintaiso Bldg. B1F, Dogenzaka, Shibuya-ku, Tokyo
Womb, ２-１６ Maruyamacho Shibuya, Tokyo 150-0044
AGEHA, ２-2-10 Shinkiba Koto, Tokyo 136-0082
Unit, ZaHOUSE １-３４-17 Ebisunishi, Shibuya, Tokyo 150-0021
Liquidroom, ３-１６-６ Higashi Shibuya, Tokyo 150-0011
Club AIR, Hikawa Bldg. B1F-B2F, 2-11 Sarugaku-cho, Shibuya-ku, Tokyo
Le Baron, Aoyama Center Bldg. B1F, 3-8-40, Minami-Aoyama, Minato-ku, Tokyo, 107-0062
Trump Room, 301, 1-12-14 Jinnan, Shibuya-ku, Tokyo
Kinsai,1-27-12 Aobadai, Naka-Meguro, Meguro-ku, Tokyo
No Sleep Til...Paris
No Sleep Til...Sydney
No Sleep Til...Brussels
No Sleep Til...Bogotá
No Sleep Til...Copenhagen
No Sleep Til...Seoul
No Sleep Til...Oslo
No Sleep Til...Johannesburg
No Sleep Til...Gothenburg
No Sleep Til...Hamburg
No Sleep Til...Mumbai
No Sleep Til...Cartagena
No Sleep Til...London
This collaborative blog, The Simpsons Drawing Club, featuring Simpsons-inspired artwork is pretty sweet. The famous yellow family is being re-interpreted through the artwork of artists and cartoonists like Kelly Walton, Benjamin Wright, and Sam Taylor. From Jack Teagle's dark comics (who knew Bart could be so messed up?) to Sam Rennocks' adorable illustrations, the blog features a wide variety of imaginative perspectives on Springfield's finest family. Check out some of our favorite works from the blog below.
1. There's a real live Bluth Banana Stand going on tour in the weeks leading up to the Arrested Development premiere on May 26th. Right now it's in England, but it will be coming to NYC and LA! [via @arresteddev]
2. 17-year-old Jennie Lamare developed a program that blocks Tweets about your favorite shows when you don't want to see any spoilers. Any Tweets that mention the show's name or character names will automatically appear blank. We can't wait till this is available to the public. [via Upprox]
4. Momofuku Milk Bar and La Newyorkina are apparently collaborating to make paletas, the Latin American ice pops made with fresh fruit. Now we know what we'll be eating every afternoon of the summer. [via Zagat]
6. Brooklyn Brewery's annual BBQ Blowout will be on May 14th at Good Co. They'll be serving up "Marrakesh Lamb Skewers" so we will obviously be there. You can buy tickets here.
Here's your Morning Funnies schadenfreude of the day: a couple breaks up while caught on the "Kiss Cam." Ouch. [via The Daily What]
Here's Tina Fey and Amy Poehler fighting Sacha Baron Cohen on the set of Anchorman 2. #HolyShitCantWait [via Tall Whitney]
Nothing but net! [via Knusprig Titten Hitler]
This is the best mum ever. [via Humor Train]
Awesome Ringo GIF bomb. [via Julia Segal]
Robin Williams throws some shade at Kimmy K. [via Tastefully Offensive]
Here's a look at Minka Kelly and James Marsden in character as Jackie Kennedy and JFK in the new movie, The Butler. [via Entertainment Weekly]
We're gonna make this GIF our new email signature. [via The Clearly Dope]
"I'm the actor that played the good guy's friend in that thing," reads Will Sasso's Twitter bio. Though the Mad TV alum's career has mostly been composed of bit parts, he's become one of the bigger breakout stars of Twitter video app, Vine. Sasso, who played Curly in last year's Three Stooges remake, uses the app's six-second looping video format to showcase his talent for physical humor and slapstick; posting videos of himself vomiting up whole lemons, impersonating Robert De Niro, Hulk Hogan and Arnold Schwarzenegger and creating characters like the Internet bully, Corey -- all of which has won him over 150,000 followers. "I think what I came to discover for myself was that I have a bunch of dumb ideas that don't fit anywhere else," he says.
Sasso tweets once or twice a day, either to "share something or to make a dick joke," and signed up for Vine just a week after it debuted in late January. "I would call myself tech-savvy in some ways," says Sasso, who also spearheads a podcast called Ten Minute Podcast with two friends, comedians Chris D'Elia and Bryan Callen. "Other times, I'll look at some technologies and go, 'That's bad technology.' I went through my whole teens never having a CD player, just literally thinking, 'This is not going to catch on.'"
Though he can't say if Vine will ever be as popular as its parent company Twitter, he says that as an actor he feels a responsibility to keep the entertainment bar high, even if it's only for six seconds. "In a way I think, 'Oh geez, I'm already an actor. I get to be in TV shows and movies and now here I am bogarting Vine'," he says one night after a recording session for his upcoming animated Fox series Murder Police. "So if I make a Vine it has to be sort of specific to what I think people would like to see from me. When a bunch of kids enjoy a video of you spitting up a fucking lemon then don't be a prick and say, 'Well now that I've got your attention I really want you to check out this peach cobbler.' Just being there is not interesting enough," he says. "There might be some weirdos who are like, 'Oh I'll watch you do anything,' but you don't want to feed those weirdos."
The New York Times sat down to talk with RuPaul and it's a lovely little interview. Seeing Ru sans makeup and talking very frankly about his personal life is a nice change, and he addresses issues surrounding drag and gay rights that he doesn't often talk about -- including his opinion that acceptance of gays will inevitably take a downturn. On a sweeter note, we also hear about his 19-year relationship and how he and his partner may get married "for business reasons." Watch above to see RuPaul get real and still be just about as fabulous as a person can be.
A technology issue of a print publication? How oxymoronic! Print is a medium under siege, its nearly 600-year hegemony challenged by the upstart digital media -- a brutal, speed-defying force capable of spitting out pages at a rate that would make a Jack Kerouac amphetamine binge look like slo-mo. I remember Internet Magazine, a British publication launched in 1994 that kept up a list of websites because there was no other way to find anything. It did very well until search engines came around in the late '90s and made it obsolete. And so it goes. The digital juggernaut continues unabated while the print world is forced to make adjustments.
There are so many directions in which to look when contemplating the confluence of media, art and technology, so much going on, that it's easy to imagine one's head spinning faster than a food processor on steroids. This perhaps best captures the current state of affairs among the pundits, intellectuals, educators and industry leaders tasked with making sense of the turbulence caused by the technological disruption.
Much of the discussion in the last few years has centered around social media and the continuing disintegration of the hierarchical top-down paradigm -- a game that was best played by large corporations who had no interest or incentive to change. So change came after them and now every brand has a Facebook page. Many -- even stodgy giants like IBM -- have Tumblr pages, and Twitter has become the PR messaging center of choice. Desperate to learn and work with the prevailing technology, the big brands (and their messengers, the ad agencies) are learning the ropes and playing the game at a higher level. No longer able to control the narrative with omnipresent advertising, they supplement their messaging with one-to-one communication, aka social media. Lesson learned, we're on to the next phase, perhaps as some would argue, the eventual morphing of brands into media companies with their own newsrooms, à la Red Bull. Just Google "brand newsroom" to see how big a trend this is right now.
Apart from business interests figuring out how media and technology can make money for them, there is a latent distrust of technology and its disruptive forces. The media tends to follow the fear-mongering storyline in which technology is a force, like Mother Nature, that is not to be messed with. It's out there threatening our very existence with tornado-like fury. From terrorists hacking into our financial institutions to identity theft, stalking, sexting and everything in between, we're told to prepare for the worst. Our minds as well as our "likes" are compromised and placed at the service of Big Data-collecting super computers that turn us into constructs for marketers to sell us shit we don't need or want. It's ruining our children and turning us into Attention Deficit Disordered, multi-tasking machines, breaking down borders and destroying governments. Lets not even talk about e-mail!
Can nothing be done about this? Douglas Rushkoff, author of the compelling new book, Present Shock: When Everything Happens Now and a onetime champion of the Internet, argues for a "new humanism," (man over machine) and "living in real time," (not digital time), a form of personal intervention that recognizes that we have a problem and takes steps to address it. Like Rushkoff, Evgeny Morozov (author of To Save Everything Click Here: The Folly of Technological Solutionism) is no Luddite. Morozov questions the abilities of technocrats to solve our problems with algorithms and big ideas like the one suggesting that taking classes online is as good -- or even better -- than attending classes in person. He argues for imperfection: What makes us human and should not be replaced by formulas.
Here at Paper we wallow in our positivity. Long ago we decided to focus on letting our readers know about what we like, not what we disdain (of which, let me put your mind at ease, there is plenty). Likewise when it comes to our technology issue. We're filled with pride at the amazing work of the folks we have chosen to spotlight. And let's not forget our cover friends in the Lonely Island, who owe their superstar success to the Web. You might ask, "Why also include a food section as part of this issue?" Well, here too technology has taken hold, creating opportunities for people to reach across political and cultural lines and to break bread together. So kick back, turn it on, tune it in and enjoy the food for thought we have lovingly and mindfully prepared.
Amidst the hubbub surrounding the Met Ball and Frieze this week, New York's 5 Beekman St. hosted its final fête before the beautiful, dilapidated late-nineteenth century building gets re-made into a luxury hotel. Eyewear brand Carrera hosted the last hurrah, celebrating their more than a half-century in business with a party whose guests included Olivia Wilde, Derek Blasberg and stylist Robert Verdi, among others. We caught up with Wilde about her favorite encounter at the Met Ball and which rap song is her go-to morning jam.
Nice shades. Are you one of those actresses that wears sunglasses inside or at night?
I'm not the person who rolls into a party with the shades on. Never been that girl. But I think one of the most embarrassing things about being a celebrity is wearing sunglasses at the airport.
So you do that?
Yeah and I feel like an idiot. But I also don't want people taking pictures and being able to see how exhausted I am after a nine-hour flight. Sunglasses can be a barrier between you and a photographer and can make you feel a little bit safer and a little more private. I guess that's why people do it.
Any highlights from the Met Ball?
I met Frank Ocean but he was wearing a ski mask so I didn't get to enjoy [the interaction]. This man came up to me and was like, "Hello, you look beautiful." And I was like, "You're wearing a ski mask with a unicorn on it!" and "I don't know who [you are]!" And then he walked away and I saw him roll it up and I was like, [screaming] "THAT'S FRANK OCEAN!"
What music are you listening to right now?
I've been listening to a ton of hip-hop. A$AP Rocky's "Fuckin' Problems" is my morning pump-up jam. I love that song because Hit Boy who made the beat for that and who's made the beat for Kanye and Jay-Z's "Clique," he's like 25 years old, lives in Brooklyn and is a genius so I'm really into him and everything he's made. I'm still on my Kendrick Lamar kick. I heard four new Kanye songs at the Met Ball that I really liked.
Any big summer plans?
I'm working this summer. Actually, I'm hoping to travel to India. I want to go to Calcutta and New Delhi. In Calcutta, I want to visit this incredible girls' school run by an organization called New Light. We are doing a fashion collaboration including this dress that I'm wearing. It'll be available at Anthropologie in September and sales will raise money to support this school.
Did you help design the dress?
Yes. I'm starting a company called Conscious Commerce with my partner, Barbara Burchfield and we are pairing brands with NGOs -- so small, locally-run organizations [paired] with bigger brands. We're helping people incorporate consciousness with their commerce.
Ellsworth Kelly, Sculpture for a Large Wall, 1956
"Contemporary" is a tricky word in art today. It used to mean something that was aggressively pushing forward the new. Now with the waning of such avant-garde radicalism into obscure nostalgias, and the supplanting of the new with the diminished notion of novelty in a post-modernist history that is utterly ahistorical, well, contemporary may now be merely a term for what is recent as made by people who are still alive. By such a measure, Ellsworth Kelly is indeed thriving and making work that despite its familiarity in the scope of his long career remains remarkably fresh. Seeing him speak recently before the opening of his major show at the prestigious Barnes Foundation in Philadelphia, his continued liveliness and engagement is striking, even if one has to wonder how this now 90-year-old man whose place in history belongs to the innovations he brought more than a half century ago is meant to launch an ongoing series of contemporary art at the Barnes. Perhaps, as Kelly put it to us, "art continues no matter what is happening."
As one of the last men standing from those wild and wooly days of Modernism, the moment does seem to belong to Ellsworth Kelly. With exhibitions devoted to his work being mounted around the world -- an impressive show of art he has made over the past two years running at the blue chip Matthew Marks Gallery in Chelsea from May 11th to June 29th (concurrently at two of the gallery's spaces, 502 and 522 West 22nd Street), and Philadelphia leading the biggest celebration, bringing back not only his much-heralded public art commission "Sculpture for a Large Wall" to the Barnes that he did for the Philadelphia Transit Building in 1956-57 (where it resided until 1998, at which point it was acquired by MoMA) but honoring him further with a delightful show of seminal early work at the Philadelphia Museum of Art --we might say that survival is not merely the best revenge it is the ultimate validation of relevance.
Ellsworth Kelly, Seine, 1951
If Ellsworth Kelly does not shock or startle the mind as his art once did, he brings to us yet that possibility. "Sculpture for a Large Wall," a monumental dance of forms that still inspires and was nearly lost to the less noble forces of progress (as he said of it, "when it's public work, sometimes you have to fight for it"), is well worth the pilgrimage to the town of cheese steaks. And for any who have not had the chance yet to visit Albert Barnes' eclectic, eccentric and erratic collection cluttered with modernist masters (it boasts 181 Renoirs, if that is anything to boast about), there really need not be much of an excuse to see it now that it has moved from its former suburban inconvenience to a marvelous new museum in the heart of the city. Surely as Kelly reminded us "art does go on" and if it is not such a linear line forward, as it once maintained, it is worth our while to gaze back at it from time to time to see just where we are.
It's crushing when a craving for, say, a boozy Manhattan strikes, only to discover dinner will unfold for the next few hours in an establishment that possesses a mere beer and wine license.
Pearl & Ash, the Bowery's stylish new small plates destination, is one of those restaurants sans the strong stuff, but, thankfully, Eben Klemm's drink menu isn't a predictable mash-up of saketinis and sangria.
"The constraint itself becomes the asset," says Klemm. "You don't have to do anything expected. With hard alcohol you can't really avoid putting on the list an old-fashioned variant or a seasonal margarita. Without them, you get to place the drinks within the context of the food and wine."
Freed from the shackles of using traditional bottles, Klemm turns to the obscure apéritifs glistening behind the bar and weaves them into intriguing low-ABV concoctions including Murder on the Ebullient Express. White port's assaulting sweetness is tamed by Cocchi Americano, herbaceous gentian-and-bark-infused French apéritifs Bonal and a hybrid of celery-lime juice. Like all of Klemm's cocktails, this one gracefully straddles bitterness and acidity, making it an appealing companion for chef Richard Kuo's dishes -- particularly, Klemm points out, the diver scallops accompanied by fennel, lily bulb and berbere spice.
Murder on the Ebullient Express:
1 oz. white port
1 oz. Cocchi Americano
½ oz. Bonal
1 oz. celery/lime juice
In a shaker, combine white port, Cocchi Americano, Bonal and celery-lime juice. Shake. Strain and garnish with two celery leaves.
1. Netherlands comedian Ronald Goedemondt does the best impression of Nicolas Cage we've ever seen. Also, his "horror movie that Nicolas Cage would be in" concept is pretty damn accurate. [via Death and Taxes]
2. Target's next collab will be with Phillip Lim! The range will include menswear, womenswear and accessories and it will launch on September 15th. [via Press Release]
3. This may be the strangest contest ever: Jim Beam is making people compete to go on tour with Kid Rock and become his "personal bartender." Anyone, with or without bartending experience, can enter for a chance to travel with Kid Rock to three of his tour stops this summer and earn $10,000. You can apply here if that's your thing.
4. Mr. Sunday is back on May 12th at 3pm. The Sunday afternoon late brunch/dance party will kick off for the summer at Gowanus Grove with tacos, beer and sangria. [via Free Williamsburg]
5. Drag City is releasing an album by legendary comedian Andy Kaufman. The album, Andy and His Grandmother, will feature never-before-heard material from micro-cassette tapes that Andy recorded during 1977-79 and will be out on July 16th. [via Press Release]
6. Oh god. Jonah Falcon, the guy with the world's largest penis, went and made a terrible song about having a huge penis. [via Queerty]
7. Lauryn Hill, who was recently sentenced to three months in jail for tax evasion, released this new track, "Neurotic Society (Compulsory Mix)" because she was legally obligated to. Hill wrote on her Tumblr, "Here is...a piece that I was 'required' to release immediately, by virtue of the impending legal deadline. I love being able to reach people directly, but in an ideal scenario, I would not have to rush the release of new music... but the message is still there. In light of Wednesday's tragic loss (of former label mate Chris Kelly), I am even more pressed to YELL this to a multitude that may not understand the cost of allowing today's unhealthy paradigms to remain unchecked!" Ooookay.
8. Things we shouldn't eat but need to eat a thousand of: a "croughnut" from Dominique Ansel Bakery in SoHo, which is a combination of doughnut and croissant. According to GrubStreet it "may very well change your life." We're not sure we want to find out how it will change our lives. [Thanks Abby!]
A genius named Ryan McHenry has made a bunch of Vines of him trying to feed Ryan Gosling cereal and they're all perfection. Never ever change, Internet. [Dlisted]
Jimmy Kimmel has a new edition of his Celebrities Read Mean Tweets series. Elisabeth Moss is the best. [HuffPo]
Meanwhile, Nick Offerman read tweets by Miley Cyrus, Carly Rae Jepsen and Amanda Bynes on Conan last night. I think you know whose tweet was the best.
Here's an insane interview with Janet Hubert, the original Aunt Viv from Fresh Prince of Bel-Air, about being fired from the show by Will Smith. She also proves that Alfonso Ribeiro LIED about nobody wanting to eat lunch with her on set. She ate lunch with people! She is performing in a one-woman show in New York in August and obviously we are going opening night.
This better be the uncensored version. [Pulptheclassics]
Yes, artists. [Pizzzatime]
Don't touch the Duck Prince. [FYeahDementia]
We filmed The Lonely Island guys goofing around and mugging for the camera during their cover shoot with Autumn de Wilde from this month's issue of PAPER (read the cover story HERE) and now, more than ever, we really wish we could have a hang out session with these bros -- we'd even provide some "pulp free" orange juice.
Watch the clip, set to their song with Beck, "Attracted to Us," above. (And, while you're at it, take a trip down PAPER memory lane and watch this behind-the-scenes video from Andy's 2007 cover shoot in which he makes out with lesbian photographer Cass Bird and tells us how big his penis is.)
By giving the title "Chaos to Couture" to the punk fashion exhibition that opened yesterday, the curators of the Metropolitan Museum's Costume Institute have announced a particular perspective and methodology. They re-tell a by now canonical story: enterprising art-school dropout Malcolm McLaren visits New York in 1973 and 1975, marvels at the spiked hair and torn clothing of Richard Hell, and adapts the style for his and Vivienne Westwood's London boutique SEX, where it is taken up by house band the Sex Pistols. After December 1, 1976, when members of the Pistols uttered obscenities on Bill Grundy's nationally televised talk show, the style filters down to kids on the streets of London and up to the fashion houses of designers like Zandra Rhodes and Rei Kawakubo.
Only one room of the exhibition includes non-couture looks: these are all from SEX. Maybe they should have called it "Vivienne Westwood: Chaos to Couture." (The t-shirts are also displayed at such a height as to render illegible the printed text.) Imposing video screens throughout the galleries show footage of the Clash, the Sex Pistols, and Patti Smith, but these flicker by too quickly to make an impression. The most punk thing is the shrill alarm that keeps going off when schoolkids get too close to the displays.
Punk fashion, says curator Andrew Bolton in the exhibition's catalogue, "became increasingly more prescribed and homogeneous from around 1979 onward." Subsequently, punk matters only as a reference for three decades of fashion collections by the likes of Stephen Sprouse and John Galliano. This approach, focusing on charismatic individuals with well-known intellectual credentials (Hell took his name as a reference to Rimbaud; McLaren studied Situationist theory), treats clothing as art rather than, well, clothing. "But clothes themselves," as Hell writes in the catalogue, "no matter how beautiful or interesting, are not great art."
An unintended irony is that, for all the curators' emphasis on punk individuality, they end up repeating variations of the same look, by now most often seen on runways: Union Jacks, tartan plaids, bondage straps, garbage bags, spraypainted or scrawled slogans, as well as "studs, chains, zippers, padlocks, safety pins, and other savage and sadistic trappings that punks exploited to imbue their fashions with an aesthetic of anarchy, violence, and even cruelty." Punk has always functioned as a uniform. Hell knew this -- that's why he chose to style his bandmates in matching tatters. So did the Ramones, with their matching leather jackets and jeans. In citing Dada to explain punk bricolage, Bolton only reifies the romantic ideology attacked by Dadaist Max Ernst as "the fairy tale of the artist's creativity." Or as Ian Mackaye of Minor Threat says in Steven Blush's American Hardcore, "The Sex Pistols were ultra-fashion; Sham 69's fashion was work-wear. They were Punk Rockers without the glam. My thing's been anti-fashion: bands like Sham reflected that -- a major influence in our direction." But anti-fashion can still be fashion, a fact the Met overlooks.
Punk didn't just materialize on the Bowery and the King's Road. As Dick Hebdige writes in Subculture: The Meaning of Style, "Punk reproduced the entire sartorial history of post-war working-class youth cultures in 'cut up' form, combining elements which had originally belonged to completely different epochs." Stewart Home has also emphasized "punk's non-intellectual origins in British street culture." Here are some of the styles of the (male-dominated) subcultures that led into punk, as well as some of the distinct punk styles that came out of it. While some of these groups distanced themselves from and even quarreled with punks, their uniform styles are bound up with punk as it was actually worn.
Teddy Boys (1950s)
Hebdige's study starts with the teddy boy, who "visibly bracketed off the drab routines of school, the job and home by affecting an exaggerated style which juxtaposed two blatantly plundered forms (black rhythm and blues and the aristocratic Edwardian style)." He defines their "shamelessly fabricated aesthetic -- an aggressive combination of sartorial exotica (suede shoes, velvet and moleskin collars, and bootlace ties)."
Rockers favored motorcycles and pompadours as well as the leather jackets and pinned-on patches that punks would adopt. You can see the style on the early Beatles, who would later poke fun at their transformation into more mod looks in a Hard Day's Night (a fan asks Ringo if he's a mod or a rocker and he says he's a mocker).
Rockers' famous nemeses, as described in Stanley Cohen's Folk Devils and Moral Panics. The connection between neatly-styled mods and outlandish-looking punks isn't obvious. Hebdige writes,
Unlike the defiantly obtrusive teddy boys, the mods were more subtle and subdued in appearance: they wore apparently conservative suits in respectable colours, they were fastidiously neat and tidy. Hair was generally short and clean, and the mods preferred to maintain the stylish contours of an impeccable 'French crew' with invisible lacquer rather than with the obvious grease favoured by the more overtly masculine rockers. The mods invented a style which enabled them to negotiate smoothly between school, work and leisure, and which concealed as much as it stated.
Punks picked up their devotion to style, then, from mods, but turned the style inside out.
Quietly disrupting the orderly sequence which leads from signifier to signified, the mods undermined the conventional meaning of 'collar, suit and tie,' pushing neatness to the point of absurdity.
Mods were drawn to the driving sounds of American R&B; eventually those who were less interested in hippie fashion split off into the hard mod scene, which Cohen defines as "wearing heavy boots, jeans with braces [i.e., suspenders], short hair."
Skinheads (late 1960s)
Hard mods eventually gave rise to skinheads. Hebdige again:
Aggressively proletarian, puritanical and chauvinist, the skinheads dressed down in sharp contrast to their mod antecedents in a uniform which Phil Cohen has described as a 'kind of caricature of the model worker': cropped hair, braces, short, wide levi jeans or functional sta-prest trousers, plain or striped button-down Ben Sherman shirts and highly polished Doctor Marten boots.
Hebdige also emphasizes overlooked aspects of black culture in skinhead culture: not just reggae, but also such garments as the crombie, a three quarter-length overcoat also popular with so-called "rude boys." The style would later be revived by late-'70s oi! bands like the 4-Skins, as well as by the neo-Nazi band Skrewdriver.
Glam (early 1970s)
Sex Pistols svengali Malcolm McLaren got his start in the music industry by managing the androgynously-dressed New York Dolls, but glam went beyond their SoHo chic and David Bowie's otherworldly charisma. U.K. group Slade might provide a good case study for the intersections of these varying subcultures. For one thing, they came as close as anybody to predicting the sound of punk: four-on-the-floor beats, singalong choruses. (Frank Kogan has described the influence of New Orleans R&B, via Jamaican ska, on Slade's sense of rhythm.) Initially marketed as a skinhead group, Slade's glam phase saw a popularization of the tartan plaids that punk would soon reclaim. (Other glam groups like Mud dressed in a retro Teddy Boy style.) Hebdige underlines the common ground between punk and glam: "Punk claimed to speak for the neglected constituency of white lumpen youth, but it did so typically in the stilted language of glam and glitter rock -- 'rendering' working classness metaphorically in chains and hollow cheeks, 'dirty' clothing (stained jackets, tarty see-through blouses) and rough and ready diction."
After the initial explosion of punk described at the Met, different punk niches arose with their own distinct looks.
Street punks (early '80s)
In My So-Called Punk, journalist Matt Diehl describes the "'leather, bristles, studs and acne' style of metallic street punk favored by British band like GBH and Discharge." These bands, sometimes known as "UK82," formed in the wake of the Sex Pistols, taking to the next level both the Pistols' aggressive sound and their spiky hair.
2 Tone (early 1980s)
The Specials' keyboard player Jerry Dammers imitated an old Peter Tosh album cover to create the character (known as "Walt Jabsco") on the label of his band's 1979 single "Gangsters," the first release on their own 2 Tone Records. The music was a punky update of '60s Jamaican ska; the look was black suits with straight legs short enough to expose white socks. The sound and style caught on with other bands like the Selecter and Madness; now there's even a 2 Tone museum in Dammers' hometown of Coventry.
Crust punks (mid-1980s)
Crust punks are, according to Punks: A Guide to an American Subculture, often homeless and devoted to anarchist ideals. In an essay collected in Hideous Gnosis: Black Metal Theory Symposium 1, Brandon Stosuy recalls seeing a "crusty punk girl with long multicolored dreads and spikes and leather and she was just like a total metal-crust pinup." More common than the leather are black denim vests covered in patches.
After the initial flowering at CBGB's, US punk became the louder, faster hardcore. Steven Blush defines the look in American Hardcore: "All regional looks were variations on the working-class Punk thing: jeans, flannel or t-shirts, boots, maybe chains. Everyone had a worn-out leather jacket. Onstage it was either dirty jeans or used work wear. Rugby and Oxford shirts were not uncommon." (Pictured: Black Flag.)
Youth Crew (late 1980s)
A subset of New York hardcore, youth crew takes its name from the vegetarian straight-edge band Youth of Today, whose singer Ray Cappo has described the accompanying look as "Tony Hawk meets Leave It to Beaver." Crew members, devoted to physiological purity, dressed like high school athletes in crewcuts, varsity jackets and hi-top sneakers.
You've heard of pop art, but have you heard of Popsicle art? Started by Matt Moore and Jason Kreher, two friends who work at advertising agency Wieden Kennedy, comes a slew of GIFs that we can't get enough of. Schadenfreezers is a new series of edible and aesthetically pleasing pieces that'll leave you with a sad aftertaste. Take your pick from the orange, grape or cherry-flavored Popsicle, and watch as they melt to reveal blunt riddles that speak to the deep, dark night of the soul. Collect them all, kids!