The Leave It On The Road Custom Speedvagen
It is an honor, a privilege and a responsibility to ride these bikes across the country. They are cancer fighters, pure and simple. These bikes will help us raise awareness and funds to fight colon cancer. They were crafted of steel by Sacha White and the Vanilla Workshop in Portland, OR. We would like to say a huge thank you to Sacha, the team at the Vanilla Workshop, Rapha and all of our component sponsors at Sugar Wheelworks, Enve, Chris King, SRAM, Continental and Quarq. We cannot wait to ride across the country on these machines.
Georges Rouault, Head of a Clown, c. 1920
From the Indianapolis Museum of Art:
Clowns, a popular motif in French art from 18th-century painter Antoine Watteau through Picasso, often appear in Rouault’s work. They are his Everyman, assuming a wide range of different guises.
Much of Rouault’s art and life revolved around anguished themes of sin, suffering and atonement. This image takes on the tragic features of Christ as the Man of Sorrows and expresses suffering in a universal sense. Its smoldering color and emphatic line reflect Rouault’s early training in stained glass.
Jayson Musson, How Do You Get From Here to the Rest of the World?, 2012
Mercerized cotton stretched over cotton
70 x 96 inches
Photographing the Soul of UK Garage
Over the last few years, it’s become increasingly clear that we didn’t appreciate UK garage to the extent that we should have. You can’t help but think that most of the DJs, producers, filmmakers, and fashion designers referencing Todd Edwards and Ben Sherman in their work today actually grew up listening to Coal Chamber and wearing JNCO jeans.
One man who was definitely there, however, is photographer Ewen Spencer. Ewen’s done a lot of things over the years, from working with the White Stripes and documenting the halcyon days of grime (if there was ever such a thing) in his book Open Mic, to taking the liner photos for Original Pirate Material. His latest project concerns the increasingly lauded but still somewhat undocumented world of UKG, and comes in the form of a new book, Brandy & Coke.
The photos are fantastic, perfectly capturing the atmosphere of those early garage nights all my friends’ older brothers claim to have been at. The newspaper-print trousers and YSL button-downs are all there in the forefront, being splashed by open bottles of champagne and classy drinks. After a good few hours of longingly staring at the photos, wishing I was one of the satin-suited people in them, I decided to catch up with Ewen to talk garage, grime, garms and whether or not ex-Newcastle striker Andy Cole really was one of the “original 50 garage ravers.”
You can find some of these images and some words from Ewen in the latest issue of VICE Magazine.
VICE: Hi, Ewen. So, when did you first hear the term garage used in relation to dance music?
Ewen Spencer: In the early 90s, but that would have been American garage, like house music. New York vocal house music would have been called “garage.” I first heard it on the soul scene, probably. At that time, it was crossing over and me and my pals were going to soul parties, avoiding the atrocious rave scene. House music was infiltrating the soul scene and, at that time, garage was basically soulful house.
There’s this debate about who the true parents of UK garage are—what’s your opinion on that?
Yeah, I think it’s a worthwhile debate. It came from America, it didn’t come from rave culture. Rave culture was British. It came from Detroit, America, which is when we started to hear house music in the club—in Newcastle, for instance. We liked all of that stuff, but it was placed side by side with soul music: Soul II Soul, modern soul, SOS Band, all that shit. So I guess rave became overground and house music changed and became something else. And then I’d say speed garage came out of New Jersey and was popularized over here.
Great read about the garage scene in the mid 90’s.
Howard Hodgkin, In the Bay of Naples, 1980-82
Fun timez in Lewes yesterday
Howard Hodgkin, Moroccan Door, 1990-91
From the Tate Gallery:
Hodgkin studied at the Camberwell School of Art and then at the Bath Academy of Art, where he later taught. He received a knighthood in 1992.Moroccan Door was inspired by a trip Hodgkin made to Morocco in 1988. He said that the large scale and legibility of the work were also inspired by the enormous travel posters in the Paris Metro which he saw as a student in the late 1950s. The printed image has been augmented with hand-coloured marks, applied by a studio assistant.
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