Monthly Archives: January 2008

Oh sweet Jesus, they’re back.

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I was paging through Nylon (we keep saying we’re going to stop subscribing to that magazine and then I’ll find something mind-blowing like this) and almost flipped straight past the Kool-Aid colored, full-page, pre-masthead ad. I was still taking cold meds by the handful and thought I was surely hallucinating. But this is the REAL DEAL, PEOPLE!: the Reebok Freestyle is celebrating its 25th birthday by introducing a whole new generation of Flashdancers to the original aerobic high top in a kaleidescope of colors. Hipsters everywhere rejoice.

Is this the most beautiful bookstore in the world?

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The Guardian published a top 10 list of the world’s most beautiful independent bookstores including this one in the Netherlands, installed in a centuries-old church. The only American shop to make the list is Secret Headquarters in Silver Lake, LA, a comic book store with a surprisingly elegant and mature look and more fitting geek-chic website.

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This is friggin cool.

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Olafur Eliasson (currently showing at SF MoMA – see yesterday’s post) created this lazer-cut model of his house out of 454 pieces of paper and bound them together in a book. See more pictures and English story here.

All images copyright http://www.kremo.de.

San Francisco barbershop found!

Sort of. Maybe.

It was haircut time for the boyf again, and as I gushed about in a post a few weeks ago, we’re really into this barbershop revival thing we’re starting to see everywhere. There was Rudy’s in Portland and Freeman’s in New York… but what about San Fran? As the wonders of strange timing would have it, I got an email from the co-founder of my company (who also lives in London… I’m telling you, super random) tipping me off to the new Mr. the Barbershop at approximately the same moment Ben was starting to spaz out a little about his fro and the fact that he was leaving for Italy on a business trip the next day. (You might think he would have seen that one coming, but “planning” is sort of a foreign concept to him.) “Wait a minute! I think I might have found something!” I called from the kitchen. “Oh… actually I think this place is a bar….No wait, a barbershop!…But it looks like a bar… Maybe it’s a bar/barbershop…?” It took some digging (the website is a bit slow to reveal what they actually do) but here’s the deal: you pay a monthly membership fee which includes, at the lowest level, a cut, a drink and a 2nd touch-up trim or shave. The highest level (“Mogul”) includes all the above, some other stuff, and “unfettered access” to MR, their lounge/club space. I guess they sponsor events and have a bar that’s open all the time? Some of the time? Not sure. I wouldn’t actually call it a barbershop at these prices but it’s an interesting new concept in man grooming/fraternal bonding.

Unfortunately, we weren’t able to get over there to test it out – this was the day I was feeling craptastic and Ben kindly obliged to take me to MOMA instead – but maybe we’ll go next weekend. Watch this space.

Lazy, almost-artsy Saturday.


Banksy.
Originally uploaded by Klara Kim

I picked up some kind of nasty illness last week and felt like such shite I had to cancel my weekend trip to LA to see the sis (boo!), but I did make it out of my sweatpants long enough for a quick trip to SFMoMA (yay!). We made it just in time for the last couple days of the Jeff Wall exhibit who’s become a new fave in the last year or so. This show was somehow less commanding than the one at New York MoMA, though—his luminous, larger-than-life pieces leapt off the white walls in New York but felt caged and muted in San Fran. Most of his works are back-lit and digitally composed to affect this amazing cinematic quality—you’ll pore over every surreal detail of a photo until you realize your eyes are dried out and you haven’t blinked in minutes. We also saw the Olafur Eliasson exhibit which was super cool, though I admit we didn’t give it the time and thought it deserved since once I hauled myself up to the 5th floor (those endless stairs!) I felt like I was going to pass out. I did muster up the energy to pick up the new Banksy book from the gift shop on the way out, though, and it was only $22! Score! I’ve always loved his subversive, political, or just plain beautiful street art but had no idea he could also hack it as a more traditional painter– he really has incredible range. The book reads like a comic, lots of pictures and just enough words to tie them together. Perfect for a lazy, rainy Saturday stoned out on cold meds.

New Music Monday!

After reading a bunch of reviews, I finally got around to listening to Vampire Weekend’s debut disk. I have to be honest, I was really skeptical– a bunch of preppy kids from Columbia banging on bongos and singing about Louis Vuitton and summers on Martha’s Vineyard? Sounds like my worst nightmare (see: this guy). They’re actually a lot of fun, though. Jaunty reggae beats, nice harmonies, symphonic in places, synthesized in others– this is fresh, happy music. They’re too earnest to be pretentious. Listening to them makes me want to get out the croquet set, mix up some G&Ts and run around our springy, expansive Greenwich lawn barefoot.

Oh and look at that, Pitchfork reviewed them today! Swear I just saw that now.

More on typography and film.


Originally uploaded by your pal Matt

The Ministry of Type pointed me to an interesting post on Kit Blog about the consistent use of a certain font (Windsor, it turns out – white on black) in the opening and closing credits of Woody Allen films. I’d actually noticed this recently catching the end of Annie Hall on TV but more in a “Aw, aren’t intellectual movies from the 70s so cute?” kind of way. The credits stuck out for their throwback feel, but now I remember noticing that he did the same “outdated” (at first blush) thing with movies as recent as Match Point (2005). I hadn’t realized just how consistent and intrinsic to the Woody Allen brand this treatment was but it’s true—that white on black lettering screams Dialogue-Heavy Woody Allen Film Set in Pre-Giuliani New York!!!! It made me think of the typography used in the credits and posters for There Will Be Blood and just how well that creepy, gothic lettering works to set the scene and the mood.