Monthly Archives: August 2014

Thursday 08/21 2014
Inside Brisbane Road, the Beating Heart of English Football

“And so the game began with the Gillingham fans looking like Rothko’s “No 1 (Royal Red and Blue)” and serving as the predominant source of noise. They sang songs and chanted, unopposed save the occasional seagull. Watching from the West Stands, I was fully prepared to suffer what author Bill Buford described as a “physical appetite” for a goal, even with the knowledge that Orient was considered to be a rather high-scoring club. As it turns out, I did not need to steel myself.”

Read the rest at VICE Sports

Tuesday 08/19 2014
A Savage Menagerie

“The wealth gap has become less a gulf dividing the upper echelons of society and those toiling near or beneath the poverty line and turned into more a maw, an infernal mouth, a massive, institutionalized pit dug into America and stocked with perhaps the most vicious and awesome beast known to man: The System. The pit waits for a savage bureaucracy to push erstwhile victims into its ant-lion mandibles. It sucks them dry before tossing aside the shell.”

Read the rest of my review of Matt Taibbi’s The Divide at Paste Magazine

Tuesday 08/12 2014
The Sagging Rope Expert

” … that opening trick, the creativity, the embrace of aesthetics over technical proficiency, being sketchy. It changed how I would skate, how I would forever perceive art and motion and the panoply of human physical expression, in the same way a seminal novel or movie or album might have changed your life. It was like seeing a Basquiat for the first time, and also it was not really much like anything else.”

Read the rest at The Classical 

Thursday 08/7 2014
Judging a book by its … well, you know …

“An exceptional cover … can bridge the gap between author, idea and reader in a graceful way. As such, a cover is intrinsically linked to its book, but examples with which to inspire bootstrapping author’s abound. Shaykin points to David Pearson’s cover of George Orwell’s Nineteen Eighty-Four for Penguin: Along with Penguin’s classic orange and white, the title and author are rendered in black on black, as if redacted, perfectly encapsulating Orwell’s dystopian novel. Peter Mendelsund’s Ulysses, in sea foam and black surgical scars, similarly evokes the jovial and verbicidal legacy of Joyce’s crucible.”

Read the rest at The Airship