Found via the always-amazing Kottke: the NYC Ramen Map.
[Photo Via: Joe Burgers Pdx]
Head on over to Kottke and check out the two videos on the making of a Steinway grand piano.
Photography was once an act of intent, the pushing of a button to record a moment. But photography is becoming an accident, the curatorial attention given to captured images.
It was the autumn of 1971, and two tickets to an Elvis show turned up at the offices of Creem magazine, where I was then employed. It was decided that those staff members who had never had the privilege of witnessing Elvis should get the tickets, which was how me and art director Charlie Auringer ended up in nearly the front row of the biggest arena in Detroit. Earlier Charlie had said, “Do you realize how much we could get if we sold these fucking things?” I didn’t, but how precious they were became totally clear the instant Elvis sauntered onto the stage. He was the only male performer I have ever seen to whom I responded sexually; it wasn’t real arousal, rather an erection of the heart, when I looked at him I went mad with desire and envy and worship and self-projection. I mean, Mick Jagger, whom I saw as far back as 1964 and twice in ’65, never even came close.
There was Elvis, dressed up in this ridiculous white suit which looked like some studded Arthurian castle, and he was too fat, and the buckle on his belt was as big as your head except that your head is not made of solid gold, and any lesser man would have been the spittin’ image of a Neil Diamond damfool in such a getup, but on Elvis it fit. What didn’t? No matter how lousy his records ever got, no matter how intently he pursued mediocrity, there was still some hint, some flash left over from the days when…well, I wasn’t there, so I won’t presume to comment. But I will say this: Elvis Presley was the man who brought overt blatant vulgar sexual frenzy to the popular arts in America (and thereby to the nation itself, since putting “popular arts” and “America” in the same sentence seems almost redundant). It has been said that he was the first white to sing like a black person, which is untrue in terms of hard facts but totally true in terms of cultural impact. But what’s more crucial is that when Elvis started wiggling his hips and Ed Sullivan refused to show it, the entire country went into a paroxysm of sexual frustration leading to abiding discontent which culminated in the explosion of psychedelic-militant folklore which was the sixties.
I mean, don’t tell me about Lenny Bruce, man – Lenny Bruce said dirty words in public and obtained a kind of consensual martyrdom. Plus which Lenny Bruce was hip, too goddam hip if you ask me, which was his undoing, whereas Elvis was not hip at all, Elvis was a goddam truck driver who worshipped his mother and would never say shit or fuck around her, and Elvis alerted America to the fact that it had a groin with imperatives that had been stifled. Lenny Bruce demonstrated how far you could push a society as repressed as ours and how much you could get away with, but Elvis kicked “How Much Is That Doggie in the Window” out the window and replaced it with “Let’s fuck.” The rest of us are still reeling from the impact. Sexual chaos reigns currently, but out of chaos may flow true understanding and harmony, and either way Elvis almost singlehandedly opened the floodgates. That night in Detroit, a night I will never forget, he had but to ever so slightly move one shoulder muscle, not even a shrug, and the girls in the gallery hit by its ray screamed, fainted, howled in heat. Literally, every time this man moved any part of his body the slightest centimeter, tens or tens of thousands of people went berserk. Not Sinatra, not Jagger, not the Beatles, nobody you can come up with ever elicited such hysteria among so many. And this after a decade and a half of crappy records, of making a point of not trying.
Snow! Holy Cow, gettothestoregetfoodhurryhurry. Do you think we’ll make it?
Eh, it’s iffy. In the meantime, I saw this picture over at the always great site, Kottke. Like the shot, especially because it was taken in father’s old neighborhood.
Over at Kottke, I saw this story by Laura June on the life and death of the American arcade.
Man, this brings back memories. I was nine-years old in 1980 so I remember all these games–Space Invaders, Asteroids, Galaxian, Defender, Pac-Man, Donkey Kong–being a big deal.
Centipede was my favorite.
Check it out.
[Photo Credit: Retronaut]
Via Kottke, check out this Q&A over at Fast Company with the wealthy and successful inventor, James Dyson:
You once described the inventor’s life as “one of failure.” How so?
A: I made 5,127 prototypes of my vacuum before I got it right. There were 5,126 failures. But I learned from each one. That’s how I came up with a solution. So I don’t mind failure. I’ve always thought that schoolchildren should be marked by the number of failures they’ve had. The child who tries strange things and experiences lots of failures to get there is probably more creative.
Not all failures lead to solutions, though. How do you fail constructively?
A: We’re taught to do things the right way. But if you want to discover something that other people haven’t, you need to do things the wrong way. Initiate a failure by doing something that’s very silly, unthinkable, naughty, dangerous. Watching why that fails can take you on a completely different path. It’s exciting, actually. To me, solving problems is a bit like a drug. You’re on it, and you can’t get off. I spent seven years on our washing machine [which has two drums, instead of one].
What’s the main lesson from those 15 years’ developing the vacuum?
A: It can take a very long time to develop interesting products and get them right. But our society has an instant- gratification thing. We admire instant brilliance, effortless brilliance. I think quite the reverse. You should admire the person who perseveres and slogs through and gets there in the end.
Via the most-amazing site, Kottke, check out this bit of hipness from John Boswell and Fred Rogers: