A symbol is a funny thing. Especially when that symbol is a human being. From everything I know, JFK meant a lot of different things to a lot of different people. Iconic imagery can transform a group of people into a concept or an idea, or a president and his family into rockstars. If you’ve kept up with Rolling Stone during the Obama era, you know what I mean. Richard Avedon‘s portraits of the Kennedy family, shot in January of ’61, are impressive for their intimacy though. Avedon’s shots are personal, as if to subtly remind you that behind all the media hype, these are actually just people we’re looking at. Pretty inspiring stuff.
Success is pretty dope. It’s like you work and work and work and work, for what? For goals, I suppose. But more so it’s about the journey. I think our personal pursuits are in a lot of ways like climbing a mountain. Moments like Reggie’s here, are like the times when you’re climbing a mountain and stumble upon a clearing and happen upon a view. You get a chance to take a deep breath, and see how far you’ve come. They’ll be special moments along the way that’ll make it all worth it. But you’ve gotta climb the mountain to see the pretty views.
For the kids like myself that grew up in ’90s, I think most of us remember an era when MTV was the purveyor of all things cool. Beavis & Butthead and Daria aired daily, The Real World wasn’t scripted yet and alternative, electronica, and hip-hop music inspired some of the dopest music videos of all time. The music video was a full-fledged art form, complete with superstar directors (Spike Jonze, Michel Gondry) and full of weird shit an eight year-old kid probably shouldn’t have been watching.
But hey. Now that MTV programming is almost exclusively dedicated to quality, thought-provoking programming like Jersey Shore and The Hills, it’s hard to see why anyone would be nostalgic for a time when these five-minute masterpieces ruled the small screen. In any case, Pitchfork picked 50 of their favorites, and luckily for us nostalgia junkies, Maaria gave me the heads up. Check here for the full list, and hit MORE for a few of my personal favorites.
If you’re able to say you introduced Andy Warhol to anything, you’re already winning in my book. As the man who once gave Warhol his first camera (not to mention introducing Warhol to the works of both Jean-Michel Basquiat and Keith Haring), Christopher Makos holds an interesting place in the pop art canon. Famous for his Polaroids, Makos’ work serves as a window into the ’70s and ’80s, capturing personal and cultural moments with a one-of-a-kind aesthetic sense. For the art lovers in New York, East Hamptons’ Clic Gallery will be featuring a collection of some of Makos’ Polaroids up until September 5th. For everybody else, peep the gallery below.
“Got no time to for spreadin’ roots,
The time has come to be gone,
And to our health we drank a thousand times,
It’s time to ramble on…”
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“When she walks, she’s like a samba that swings so cool and sways so gently
That when she passes each one she passes goes, aahhh…”
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“Here comes the sun, little darlin’
Here comes the sun
I say
It’s all right, it’s all right
Little darlin’,
It’s been a long, cold and lonely winter,
Little darlin’ it feels like years
Since you’ve been here
Here comes the sun, little darlin’
Here comes the sun
I say
It’s all right, it’s all right…”
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Growing up I always loved the flashy players. The ones that would make you stand up out of your seat and say, “Whoa” I always loved the players that did something so amazing on the court that you had to go outside and try the same shit yourself. When I didn’t know any better, it was Hotsauce. But in the same vein, it was J. Will, Franchise and Kobe to name a few. As my appreciation for hoop developed, so did my research. Which led me to the Pistol. Perhaps he was the inspiration for White Chocolate to do his thing. Because from ’99 to ’01 he was the king, in my eyes. Nonetheless, I wanted to reach back and share this interview with Pistol Pete today. For those with a little time on their hands, we’ve thrown part 2 and 3 in there after the more. SettledSaturday.com. I see you Lan.
The story of Janette Beckman‘s early career goes roughly like this: after shooting album covers for The Police, and portraits of everyone from The Clash to Boy George in her native England, she moved to New York in 1982, only to capture some of the most iconic shots in hip-hop’s golden age. To rattle off just a few quick names, Run DMC, LL Cool J, Public Enemy, The Beastie Boys and Eric B. & Rakim were among some of the more famous subjects. Arkitip’s Project Space in L.A. will be featuring a retrospective of Beckman’s work, aptly titled Archive of Attitude, opening August 12th, and highlighting some of the more iconic shots from her storied career. If you get a chance to stop in, don’t miss it.
A symbol is a funny thing. Especially when that symbol is a human being. From everything I know, JFK meant a lot of different things to a lot of different people. Iconic imagery can transform a group of people into a concept or an idea, or a president and his family into rockstars. If you’ve kept up with Rolling Stone during the Obama era, you know what I mean. Richard Avedon‘s portraits of the Kennedy family, shot in January of ’61, are impressive for their intimacy though. Avedon’s shots are personal, as if to subtly remind you that behind all the media hype, these are actually just people we’re looking at. Pretty inspiring stuff.
