Articles

  • 3 weeks ago | readfeedme.com | Natasha Stagg

    This week, I’m 90% offline because I’m on my honeymoon. Instead of going dark, I handed the keys to Feed Me over to a few friends, kind of like when Johnny Carson would let Joan Rivers fill in for him. The newsletters and comments will be available to all readers this week.

  • 3 weeks ago | family.style | Natasha Stagg |Meka Boyle |Ann Binlot |Ross Simonini

    On a Sex and the City tour, part of a friend’s New York-themed birthday week itinerary, I am now the same age as Carrie Bradshaw in the show’s final season (2004), but it is 20 years later.

  • 3 weeks ago | family.style | Meka Boyle |Natasha Stagg |Ann Binlot |Ross Simonini

    Andrew J. Greene is holding a “Yes or No” coin in his hand as he leans forward on a leather chair in his bungalow-turned-studio in central Los Angeles. Vintage scales line his mantle, old fortunes are clipped to a note-card tree, and two early ‘90s novelty talking characters—the Yes Man and Whipping Boy—stand by ready to be turned on and either belt out affirmations or take the blame. Choices are abundant, but the artist doesn’t offer answers.

  • 3 weeks ago | family.style | Meka Boyle |Natasha Stagg |Ann Binlot

    There’s an oft repeated phrase in the design world: “Always start with the rug.” But Michelle R. Smith never really felt bound by this maxim until she embarked on a collaboration with Nordic Knots.

  • 3 weeks ago | family.style | Ross Simonini |Natasha Stagg |Ann Binlot

    When I studied music composition at the University of California in the 2000s, a new wave of contemporary classical music was on the rise. Max Richter and Jón Þór “Jónsi” Birgisson were at the crest of this wave, and I could sense the students around me wrestling with the influence of their sweeping, minimalist atmospheres. For us, this music created a fresh, liminal space between the atonal music of the academy and the ambient experiments of post-rock.

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