99percentinvisible:

Abstracted, imaginary urban settlements could be from the past, present or future. 

phoenix-falls:

No sugardaddies. No sugar mamas. No sugarbabies. Full socialism in romantic relationships. There are only sugarcomrades.

photojojo:

You may not know what a dandy is, but you’ve undoubtedly seen them. They’re those elegant men whose idea of casual is a tailored seersucker suit.

Photographer Rose Callahan has been photographing the diverse population of modern-day dandies for years now, and she recently compiled the suave portraits into a fantastic book.

Portraits of Well-Dressed Modern Day Dandies

via Slate

ladycrappo:

The modern system of international maritime signal flags dates back to 1855, although it was based on earlier flag codes. It continues to be used today by both naval and merchant vessels to signal messages and intentions at sea.

These ones spell out PENIS.

31DC2014 day 28: inspired by a flag

unbornwhiskey:

So if “manufactured” is unfair, what is the right metaphor for Britney’s relationship to the pop machine? Scanning the pop culture of the late 90s gives us a better possibility: mecha, the Japanese anime genre where beautiful, tragic youth fuse themselves to sublime, state of the art machines. Britney is not the machine’s puppet; she’s its pilot.

Tom Ewing, “Popular: Britney Spears - “…Baby One More Time”

oumcartoon:

Spies, Gamblers, and Brutes

Today I left Cairo’s Ezbekiyya book market without a piaster in my pocket. I spent all my dough on paperbacks—good ones, too.

Among today’s finds:

—Several undated novels with film-noir inspired covers, mostly from the Novels of the World series. Highlights include Graham Greene’s The Ministry of Fear and little-known thrillers like The Brute and The Ideal Crime.

The Spy, written anonymously. The inside cover reads: “I worked as a spy for the CIA, the American spy agency.”

—A 1993 Arabic translation of Raymond Chandler’s 1943 novel The Lady in the Lake. Weighing in at a hefty 430 pages, this first translation of Chandler I’ve been able to dig up after a year of sleuthing. The cover is a nostalgic noir pastiche, as lovely and simple as the author’s prose. ( I wonder how he reads in Arabic!)

—A skeleton carrying Alfred Hitchcock’s head on the cover of his Terrible Revenge. In fact, I came across dozens of Hitchcock dime novels today, fodder for an entire blog post.

The Gambler, by Fyodor Dostoyevsky, a 1936 edition from the Pocket Bookimprint, which happens to be in quite excellent condition and cost less than a dollar.

If you’re not familiar with the Egyptian capital’s best trove of treasures, the Ezbekiyya book market, Elliott Colla dishes out the facts:

When Napoleon tried to conquer Egypt, this was the site of a man-made lake surrounded by the ornate palaces of Turkish Pashas and high-ranking officials of the late Mameluke state. A century later, during British rule, the lake had been filled in and the area converted into a vast entertainment district. Bars and theatres, cabarets and brothels catered to Cairo’s elites who met in this border zone located between the medieval casbah and the new colonial downtown. By the time I get to Cairo, most of this history has disappeared under flyovers and Soviet-era concrete projects. Still, a few sordid belly-dance clubs still hold out over near the decrepit old fire station and post office.

Continue reading Elliott’s post, "Buying Books in Cairo."

More on Arabic noir here and here as well as in my recent essay for the Paris Review Daily.

gowns:

ginny arnell - dumb head (1963)

another interesting subset of ’60s pop songs: girl sings song about how she’s a total fuck-up because she rejected (or broke up with) a guy.

this one is the most incredible example to me, because the contrast is so striking: the lollipop voice of ginny arnell singing these very violent lyrics about how she needs to “bang her head against the wall” because she’s such a “dumb head, stupid little girl, goofy little girl, just a dumb head.”

every time i hear this song, i have to stop whatever i’m doing and hold my breath for 2 minutes. this song is so intense.

this is the peak of this phenom to me, but here are some other examples:

an interesting bedfellow is linda scott’s “don’t lose your head,” in which she counsels herself to reject a guy because to do otherwise would be giving into her silly emotions and foolish head. opposite action, similar shameful feelings!

not that there aren’t ’60s pop songs about women being OK after a breakup! like irma thomas’s “time is on my side" (recorded before the rolling stones’ version), or patsy ann noble’s "it’s better to cry today"… as well as fantastic bits of rebellion, like lesley gore’s "you don’t own me.” not as prevalent as the “i’m just a silly dumb girl” songs, but still bopping alongside them. (more empowered protagonists in lady pop songs started to take over as the ’60s went on and blossomed into the ’70s, which gave us folk and disco on the airwaves. more on that later.)

and there are some great songs that tell boys to cut it out:

as well as some that really turn the screw on the guys, like “he cried" by the daughters of eve — an ultra rare perspective, but worth mentioning. this song nearly ties us back to the vindictive pop songs, except the narrator of the daughters of eve song doesn’t sound vengeful; she passively reports that she fell in love with another person and made the guy cry. there’s no joy, just a feeling of “how about that?” which makes it all the more spine-tingling!

http://stopmoving.tumblr.com/post/98056138049/diasyrmus-kowloon-cross-section-low-jpg

diasyrmus:

diasyrmus:

Kowloon-Cross-section-low.jpg (4716×1754)

diasyrmus:

Prior to the labyrinthine city’s demolition, a Japanese research team drew up this huge cross-section map

http://io9.com/5723698/a-massive-cross-section-map-of-the-walled-city-of-kowloon

I like the club on the…

haaa - that’s amazing. also - thanks for the translations, I’m curious about the people who did this now. it looks like their initial brief was an architectural cross-section, but if so they’ve clearly exceeded their brief, and felt it was more a cultural record, a form of socio-cartography - like Polybius’s maps, outlining territories and representations of their people.

from the boilers at the bottom to the aerials on the rooves you get a sense of the human and structural flow of the place.

There’s another great infographic of it here, from this South China Morning Post article.

  

minimoonstar:

stopmoving:

minimoonstar:

mbmelodies:

sukinauta:

Artist: YUKI
Title: Jodi Wideman
Album: FLY
Lyrics: YUKI

Hey Jodi, don’t forget the day when we sneaked out at midnight
Hey Jodi, remember our dreams from that time

Anytime dance, you look so beautiful lying on your bed
Although I redraw your beautiful smile on my notebook, goodbye bye bye

Holding hands in a dream, it’s a secret date
Kiss your surroundings, dance, the dance floor is the maximum
Let it go and dance so much that it’s scary
Under the tight high waist skirt, it’s a secret date
Kiss your surroundings, dance, the dance floor is the maximum
Let it go and dance so much that it’s scary

Don’t get back
Don’t get back
Don’t get back

Go Jodi, are you doing fine? The heat haze is shaking a bit
Go Jodi, bye bye to the days when we linked our fingers to make a promise

Holding hands in a dream, it’s a secret date
Kiss your surroundings, dance, the dance floor is the maximum
Let it go and dance so much that it’s scary
Under the tight high waist skirt, it’s a secret date
Kiss your surroundings, dance, the dance floor is the maximum
Let it go and dance so much that it’s scary

Don’t get back
Don’t get back
Don’t get back

I was pretty much ready to be let down by YUKI’s “Fly” just based on how good the previews sounded…there was no way they could keep that up for a whole album. But, they sorta did! Save for a late-album stretch that slows everything down a little too much (but lined up so you can just skip it all at once!), it actually stands as a very strong J-pop album. Here’s one of the highlights.

Yuki goes Kompakt, damn

Ok so @minimoonstar is overplaying this but i def want
1. the superpitcher rmx of this that consists of the bubbly synth and yuki’s voice at its breathiest stretched into a lonely dreamer infinity
2. the michael mayer rmx of this that’s a “falling hands” style filter-disco soup of the chorus

LOL I literally tried to tag you on this but it didn’t work XD

why tag when you can dogwhistle!

  

minimoonstar:

mbmelodies:

sukinauta:

Artist: YUKI
Title: Jodi Wideman
Album: FLY
Lyrics: YUKI

Hey Jodi, don’t forget the day when we sneaked out at midnight
Hey Jodi, remember our dreams from that time

Anytime dance, you look so beautiful lying on your bed
Although I redraw your beautiful smile on my notebook, goodbye bye bye

Holding hands in a dream, it’s a secret date
Kiss your surroundings, dance, the dance floor is the maximum
Let it go and dance so much that it’s scary
Under the tight high waist skirt, it’s a secret date
Kiss your surroundings, dance, the dance floor is the maximum
Let it go and dance so much that it’s scary

Don’t get back
Don’t get back
Don’t get back

Go Jodi, are you doing fine? The heat haze is shaking a bit
Go Jodi, bye bye to the days when we linked our fingers to make a promise

Holding hands in a dream, it’s a secret date
Kiss your surroundings, dance, the dance floor is the maximum
Let it go and dance so much that it’s scary
Under the tight high waist skirt, it’s a secret date
Kiss your surroundings, dance, the dance floor is the maximum
Let it go and dance so much that it’s scary

Don’t get back
Don’t get back
Don’t get back

I was pretty much ready to be let down by YUKI’s “Fly” just based on how good the previews sounded…there was no way they could keep that up for a whole album. But, they sorta did! Save for a late-album stretch that slows everything down a little too much (but lined up so you can just skip it all at once!), it actually stands as a very strong J-pop album. Here’s one of the highlights.

Yuki goes Kompakt, damn

Ok so @minimoonstar is overplaying this but i def want
1. the superpitcher rmx of this that consists of the bubbly synth and yuki’s voice at its breathiest stretched into a lonely dreamer infinity
2. the michael mayer rmx of this that’s a “falling hands” style filter-disco soup of the chorus