Alex Bartsch is a photographer who is a true reggae fan. He was first introduced to Bob Marley when he was a child, and he got so inspired that he spent 10 years of his life traveling around London searching for original locations of the most famous reggae vinyl covers from 1967 to 1987.
What does it mean to “grow up”? Every culture has its way of defining adulthood, whether it’s surviving an initiation ritual or filing your first tax return. I’m only being a little facetious—people in the U.S.
Last summer we checked in with the Internet Archive’s Great 78 Project, a volunteer effort to digitize thousands of 78rpm records—the oldest mass-produced recording medium. Drawing on the expertise and vast holdings of preservation company George Blood, L.P.
If you happen to be walking down Madison Avenue in Manhattan, keep an eye peeled for art amidst the advertisements.
“Superorganism, a globally disparate indie pop collective whose expansive cut’n’paste musical MO reflects the utopian possibility of the online dream, minus the tarnished reality of toxic social media and fake news. Superorganism are a refreshingly modern band, one who bonded over Skype and live in a DIY studio / HQ in East London where they produce music via email, passing files back and forth like a manically inspired game of tennis. More importantly, Superorganism’s sound is a hugely accomplished reflection of the present, a magpie-friendly collage of pop that is reminiscent of the Avalanches, the Go! Team or Beck at his most light-hearted, dragged into a world where Instagram Stories have replaced dusty vinyl scratches as cultural currency.” via pitchfork
Paul McMahon, Have a Nice Day, 1977. The first time the artist Paul McMahon told anyone that the Goddess had appeared to him in a vision and informed him that he was the king of the universe, the person he was telling “looked like he was going to punch me,” McMahon said last weekend.