7-year-old redesigns condiment label so that it doesn’t look like turds
07:21 am


brown sauce

There is packaging that is corny and packaging that is ugly and packaging that is lame, but most of the time we can ignore bad design. But then there are cetain labels that look like shit—not “shitty,” mind you, but like actual, literal shit. For example, the original packaging for Waitrose brown sauce appeared to feature feces—apparently they’re dates (Where besides Palm Springs would they serve dates with breakfast? I say they’re cat poop.). Luckily, intrepid six-year-old (now seven) Harry Deverill sensed something amiss, and wrote to the company a helpful letter, politely skirting the obvious resemblance of the dates to something less nutritious…

Dear Mark Price,

I am writing as the other morning I had Waitrose essential Brown Sauce with my bacon sandwiches. I asked Daddy what the picture is of on the label. Daddy didn’t know and neither do I. Please could you let me know. Mummy says I am good at drawing so if you would like me to draw a new picture for the label I would be happy to.

Kind regards, Harry Deverill, aged 6

You can see Harry with his adorable (and identifiable) redesign in the picture below. The traditional English breakfast is unfairly maligned in my opinion, but its reputation isn’t helped by fecal graphics. So well done, Harry! May all your breakfasts be devoid of scatological imagery!

Via Fast Company

Posted by Amber Frost | Leave a comment
‘Cool in the Pool’: Beating the heat with Can’s Holger Czukay, 1979
06:40 am


Holger Czukay

Holger Czukay’s first solo single “Cool in the Pool”
Holger Czukay, the bassist who co-founded Can, quit the group after 1977’s Saw Delight. His departure marked the beginning of the end for Can, who split in 1979 and didn’t play together again for almost a decade.

Around the time of the split, John Lydon, then leading Public Image Ltd., suggested Can take him on as lead singer. “There was all this trouble with Holger leaving, which was a sad thing,” Can’s keyboardist Irmin Schmidt told MOJO. “It was time to stop, and even John Lydon wouldn’t have brought anything into it!” (Lydon didn’t end up singing for Can, but PiL bassist Jah Wobble did collaborate with Czukay a few years later.)

Holger Czukay’s 1979 solo album Movies
Meanwhile, the 41-year-old Czukay had more important things on his mind, like how to beat the heat. With nothing more than a tuxedo, a comb, a bow and a French horn, he made this supremely silly promotional film for “Cool in the Pool,” the first song on his solo album Movies (1979). Most of the lyrics are as straightforward as it gets, though I’m afraid I can’t help you decipher the parts about the donkey dancing forward and the ice cream soda. However, Holger’s vamps can help lower your body temperature a few degrees.

Come on in—the water’s fine!

Holger Czukay “Cool in the Pool” music video

Posted by Oliver Hall | Leave a comment
Incredible music billboards from the Sunset Strip
06:37 am


Robert Landau

UFO, Obsession, 1978
I love everything about these remarkable advertisements, all of which were on the Sunset Strip in Los Angeles between 1967 and 1981. We have photographer Robert Landau to thank for these pictures, as his collection represents the best available resource about them. Last year he came out with a very pretty book called Rock ‘n’ Roll Billboards of the Sunset Strip.

According to Landau, it wasn’t until 1967 that the music industry ventured into billboards to advertise new rock albums. The first rock billboard was for the Doors’ first album. As we can see here, other acts had billboards by 1967, so it must have caught on quickly.

“When I went out to explore the world,” says Landau. “I felt the Strip was like a gallery; there were these hand-painted works of art on the street. ... They looked like giant art pieces that kind of represented my generation and the music I listened to.”

“At one time, L.A. just felt a lot funkier. It felt more Western, and ... people could come here and do whatever they want. To a degree, that created a lot of chaos, but there was something about that freedom that allowed people to do fun things,” he says. “Things were a little quirkier back then. There was a bit more of a personal feel to the environment.”

A few notes about the pictures below. The ELO billboard is noteworthy because of the custom-made plexiglass neon space station, based on John Kosh’s logo for the band, which cost $50,000. Obviously, the Abbey Road billboard pictured here was defaced by some Beatlemaniac, which is why Paul’s head isn’t there. My favorite billboard of the bunch (and Landau’s too) is the remarkable one for the London Symphony Orchestra’s recording of Tommy from 1972; the billboard features no text whatsoever, just those creepy sci-fi eyes staring out at you. So ballsy!

Pink Floyd, Atom Heart Mother, 1970

Cocker Is Coming

10cc, Deceptive Bends, 1977

Joni Mitchell, Blue, 1971

The Knack, Round Trip, 1981

Jimi Hendrix, Axis: Bold as Love, 1967
Neil Young and Crazy Horse, Zuma, 1975

London Symphony Orchestra, Tommy, 1972

ELO, Out of the Blue, 1977
Many more billboards plus a video, after the jump….

Posted by Martin Schneider | Leave a comment
‘Brickjest,’ the LEGO version of ‘Infinite Jest’ by David Foster Wallace
04:49 pm


David Foster Wallace
Infinite Jest

“These are three Deans—of Admissions, Academic Affairs, Athletic Affairs. I do not know which face belongs to whom,” p. 3
Infinite Jest, the famously brilliant and famously unread 1996 novel by David Foster Wallace, frequently described as the most important novel of the 1990s and then some ... finally has inspired a LEGO muse to take up the task of executing a brick adaptation. It is called BrickJest. Infinite Jest is about many things, including tennis, addiction, filmmaking, corporate sponsorship, and terrorism. It’s a rich tapestry that positively cries out for the medium of brightly colored plastic bricks.

Charmingly, the photos below (just a fraction of the whole) are the fruits of a collaboration between Prof. Kevin Griffith of Capital University and his eleven-year-old son Sebastian, who “created all the scenes based on his father’s descriptions of the relevant pages.” They were jointly inspired by The Brick Bible by Brendan Powell Smith.

“‘I am not just a creatus, manufactured, conditioned, bred for a function.’ ... ‘Sweet mother of Christ,’ the Director says,” p. 12

“He felt similar to the insect inside the girder his shelf was connected too, but was not sure just how he was similar,” p. 19

“And out of nowhere a bird had all of a sudden fallen into the Jacuzzi,” p. 44

“The tall, ungainly, socially challenged and hard-drinking Dr. Incandenza’s May-December marriage to one of the few bona-fide bombshell-type females in North American Academia, the extremely tall and high-strung . . . Avril Mondragon . . .,” p. 64

“So but when Schtitt dons the leather helmet and goggles and revs up the old F.R.G.-era BMW cycle . . . it is usually eighteen-year-old Mario Incandenza who gets to ride along in the side-car . . .,” p. 79

“Feral hamsters are not pets. They mean business,” p. 93

“Video telephony rendered the fantasy insupportable,” p. 146

“1610h. Weightroom freestyle circuits. The clank and click of various resistance-systems. Lyle on the towel dispenser . . .,” p. 198

“Gately now shares the important duty of ‘breaking down the hall,’ sweeping floors and emptying ashtrays . . .,” p. 360

“Clipperton plays tennis with the Glock 17 held steadily to his left temple,” p. 409

“Gately has to smile at the Wraith’s cluelessness . . .a drug addict’s second most meaningful relationship is always with his domestic entertainment unit, TV/VCR or HDTP,” p. 834
via Biblioklept

Posted by Martin Schneider | Leave a comment