Let me set the scene for you. It’s the summer of 2003, you’re sat out in the park with a WKD blue, your mates are absent-mindedly kicking a ball around and you’re trying to hide the spare cardi that your mum thrust at you before leaving the house in a conveniently-placed nearby bush. It’s not even that cold, anyway. You’re listening to this absolute banger of a song. Altogether now: “So baby gimme that toot toot, lemme give you that beep beep…” Welcome to the Weekender.
Stuff you should have read this week
- Legendary fashion photographer Matthew Donaldson kindly let us have a nosy around his very lovely Bookshelf.
- Online editor Liv Siddall asked whether there really is such a thing as a “must-see show” in this week’s Opinion piece.
- We had a jolly good time on the podcast, discussing half-baked art installations and the Morrison’s baguette fail.
- We got some amazing stuff in the post, which we very kindly shared with you in our Things #11 feature! Aren’t we nice?
Lisa Farrell -
This sketch from The Two Ronnies is one of my all time favourites! Apparently it’s based on a real experience submitted to Ronnie Barker from a hardware store shopkeeper, who became increasingly frustrated by misunderstanding what a customer was requesting.
Rob Alderson -
The Longform Podcast is my new jam. It bills itself as “a weekly conversation with a non-fiction writer or editor on craft and career” and is absolutely brilliant. I am obsessed with elegant, stylish and compelling non-fiction prose, and hearing Gay Talese or Jon Ronson talk about it gives me the kind of pleasure I imagine normal people get from, I dunno, The Ministry of Sound (is that still a thing?).
Madeleine Morley -
Since discovering Vladimir Tarasov this week I haven’t been able to stop watching the Russian animator’s Soviet-era animations, and this one has got to be my favourite. It’s about a sleepy astronaut who won’t wake up as his ship travels on a catastrophic collision course to Earth, and everyone down below tries desperately to jolt him back into consciousness. The film has really put my first week at It’s Nice That into perspective: it’s not actually the end of the world if I sleep through my alarm.
Liv Siddall -
I’ve been watching a lot of Bottom recently and every time a new episode starts (every half an hour) I am totally engrossed in how brilliant the opening credits are. I don’t know if I’m doing my whole thing of everything-in-the-olden-days were better, but I think in this case it might be true. From Bottom to I Dream of Genie to Casualty, these snippets and theme-tunes stay with you until the grave. LUCKILY there’s an incredible blog dedicated to this very sentiment, you can thank me later.
Maisie Skidmore -
Mobile phones, or rather “cellphones” as they are referred to over the Atlantic, used to be big. Really, really big, actually. I’d forgotten all about the sheer size of them when they first started becoming in “thing” in the late 1990s, so you can imagine my joy when I stumbled across this blog post on the interwebs full of pictures of people on them. Watch out for Christian Bale clinging happily on to an absolute corker, and here’s a picture of Zach from Saved by the Bell looking equally chuffed.
- "Where’s my community?": Skin Deep and POC on the need for diversity in the film industry
- Jee-ook Choi conveys complex ideas using fine linework and muted colours
- Photographer Mehdi Lacoste on working with Actress
- French designer Victoire Coyon’s understated portfolio
- Unit Editions’ upcoming book on the unparalleled work of Paula Scher
- A creative composite of illustration: ten years of Christoph Ruckhäberle’s Lubok
- A new national identity: Smörgåsbord Studio rebrands Wales
- Graphic design gems: Chicago gang business cards from the 1970s and 80s
- Photographer Dougie Wallace captures the super rich spenders of “Harrodsburg”
- “Romance in a sort-of fantasy world”: photographer Molly Matalon's new work (some NSFW)
- Studio Michael Satter’s sophisticatedly simple graphic design portfolio
- Harry Pearce and Pentagram create a new identity for Pink Floyd’s record label