nicco's diary
衣, 食, 住 In No Particular Order
nicco's diary
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blastedheath:

Girolamo De Stefani (Italian, 1909-1976), Paesaggio lagunare, 1970. Oil on canvas, 70 x 90 cm.
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catrinastewart:

The Jantar Mantar is a collection of astronomical instruments, built by king Sawai Jai Singh in Jaipur, India between 1727-1734.
 “The observatory consists of fourteen major geometric devices for measuring time, predicting eclipses, tracking stars’ location as the earth orbits around the sun, ascertaining the declinations of planets, and determining the celestial altitudes and related ephemerides. Each is a fixed and ‘focused’ tool. The Samrat Yantra, the largest instrument, is 90 feet (27 m) high, its shadow carefully plotted to tell the time of day. Its face is angled at 27 degrees, the latitude of Jaipur. The Hindu chhatri (small cupola) on top is used as a platform for announcing eclipses and the arrival of monsoons.” Wikipedia
catrinastewart:

The Jantar Mantar is a collection of astronomical instruments, built by king Sawai Jai Singh in Jaipur, India between 1727-1734.
 “The observatory consists of fourteen major geometric devices for measuring time, predicting eclipses, tracking stars’ location as the earth orbits around the sun, ascertaining the declinations of planets, and determining the celestial altitudes and related ephemerides. Each is a fixed and ‘focused’ tool. The Samrat Yantra, the largest instrument, is 90 feet (27 m) high, its shadow carefully plotted to tell the time of day. Its face is angled at 27 degrees, the latitude of Jaipur. The Hindu chhatri (small cupola) on top is used as a platform for announcing eclipses and the arrival of monsoons.” Wikipedia
catrinastewart:

The Jantar Mantar is a collection of astronomical instruments, built by king Sawai Jai Singh in Jaipur, India between 1727-1734.
 “The observatory consists of fourteen major geometric devices for measuring time, predicting eclipses, tracking stars’ location as the earth orbits around the sun, ascertaining the declinations of planets, and determining the celestial altitudes and related ephemerides. Each is a fixed and ‘focused’ tool. The Samrat Yantra, the largest instrument, is 90 feet (27 m) high, its shadow carefully plotted to tell the time of day. Its face is angled at 27 degrees, the latitude of Jaipur. The Hindu chhatri (small cupola) on top is used as a platform for announcing eclipses and the arrival of monsoons.” Wikipedia
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donotdestroy:

“The intense, and ultimately pointless detail of the list really appealed to me … it was good working with James Burton and the team at Warp to stretch out this mantra that tells the reader everything and nothing about the creation of what I hear was an intensely personal album in the making reduced to the numbers of an album in the marketplace,”—Ian Anderson/ The Designers Republic
donotdestroy:

“The intense, and ultimately pointless detail of the list really appealed to me … it was good working with James Burton and the team at Warp to stretch out this mantra that tells the reader everything and nothing about the creation of what I hear was an intensely personal album in the making reduced to the numbers of an album in the marketplace,”—Ian Anderson/ The Designers Republic
donotdestroy:

“The intense, and ultimately pointless detail of the list really appealed to me … it was good working with James Burton and the team at Warp to stretch out this mantra that tells the reader everything and nothing about the creation of what I hear was an intensely personal album in the making reduced to the numbers of an album in the marketplace,”—Ian Anderson/ The Designers Republic
donotdestroy:

“The intense, and ultimately pointless detail of the list really appealed to me … it was good working with James Burton and the team at Warp to stretch out this mantra that tells the reader everything and nothing about the creation of what I hear was an intensely personal album in the making reduced to the numbers of an album in the marketplace,”—Ian Anderson/ The Designers Republic
donotdestroy:

“The intense, and ultimately pointless detail of the list really appealed to me … it was good working with James Burton and the team at Warp to stretch out this mantra that tells the reader everything and nothing about the creation of what I hear was an intensely personal album in the making reduced to the numbers of an album in the marketplace,”—Ian Anderson/ The Designers Republic
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type-lover:

BadRoomStudio Recordsby Ricardo Leite
type-lover:

BadRoomStudio Recordsby Ricardo Leite
type-lover:

BadRoomStudio Recordsby Ricardo Leite
type-lover:

BadRoomStudio Recordsby Ricardo Leite
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kindagamey:

guardian:

Scottish independence referendum: final results in full
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Richard Wentworth Book
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npr:

nprmusic:

Leonard Cohen's 13th album creates a space for slow-moving reflection that expands with each listen.
Stream Popular Problems from NPR Music’s First Listen. 

Lots of tunes available on First Listen today. Stream these new albums too:
Maipei, Hey Hey 
Tweedy, Sukierae
Perfume Genius, Too Bright.
King Tuff, Black Moon Spell 
-Kate
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danielle080881:








I’m sad Roger lost but you’re the besr forever
I will be in Geneva on Friday to to encourage you and dream team
danielle080881:








I’m sad Roger lost but you’re the besr forever
I will be in Geneva on Friday to to encourage you and dream team
danielle080881:








I’m sad Roger lost but you’re the besr forever
I will be in Geneva on Friday to to encourage you and dream team
danielle080881:








I’m sad Roger lost but you’re the besr forever
I will be in Geneva on Friday to to encourage you and dream team
danielle080881:








I’m sad Roger lost but you’re the besr forever
I will be in Geneva on Friday to to encourage you and dream team
danielle080881:








I’m sad Roger lost but you’re the besr forever
I will be in Geneva on Friday to to encourage you and dream team
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dynamicafrica:

Revisiting the “African-Urban-Man” Style: Sapeurs by Amira Ali.
“White people invented the clothes, but we make an art of it”, a phrase commonly used and referred to the Sapeurs, Congo-Brazzaville’s self-confessed modern day dandies. The phrase coined by Sapeur godfather Papa Wemba. 
Sapeurs, French slang for “dressing with class” take their name from the acronym SAPE, for Société des Ambianceurs et des Personnes Élégantes. Gentlemen’s club for the dapper, it’s a sartorial subculture consciously emulating its colonizer, layered with ambience and new expressions. The Sapes profess “La Sape” is an “art for ‘real’ gentlemen”. Living by an agreed aesthetical rule, their savior faire and modish use of the body and expensive dress with meticulously matched colors is a radical yet subtle form of protest, which in recent years has received international attention. Seemingly, the symbol of the Sapeur par excellence receives more notice on its aesthetics and less on meaning.
 In this extravagance buzz, the Sape’s fashion statement and bold flair is producing a post-modern phenomenon of the “African-urban-man” style and elegance. Sapologists, “gentlemen who live by a creed with a strict code of honor and morality”, are said to contest circumstances poised through the beautification effect of chic dressing. A belief that “it’s not the cost of the suit that counts, it’s the worth of the man inside it.” A performance and embodiment of sophistication, Sapeurs are prototypes of vibrant icons consciously portraying the embracing of a subcultural lifestyle. 
Fascinated by this culture, the western world, beyond its ahistorical representation of Africa, has taken on the Sape as its new ‘western’ media phenomenon. In 2011, though an oddly placed feature the Sapeurs stole the spotlight in Solange Knowles’ “Losing You” video, shot in South Africa. But discovered long before Solange’s video, they have been introduced to the world colorfully as a ‘society of tastemakers and fashionably elegant’ stylistic inspiration to photographers. 
The latest is the Guinness advertisement campaign; a break from the prototypical brand marketer’s portrayal of Africa, its approach takes on the exposé of the urban-debonair-man. A post-modern embodiment of style and sophistication, and a commitment to the “Society of Elegant Persons of the Congo” (La Sape), yet again, they add style, charm and vividness to a campaign that would otherwise be ordinary. These gentlemen referred to by Stephen O’Kelly, Guinness’ marketing director for Western Europe, as a “truly inspiring and unique group of men” are the featured ‘stars’ of Guinness’ recent advertising campaign, “Made of More”.  
A fashionable depiction, the Guinness ad artistically captures the extravagance of the everyday working Sapeurs as they transform from their day job to a cigar wielding, European-three-piece suit, silk socks, and fedora wearing men. Aesthically well crafted, a fine image is displayed of the urban-elegant expensive-looking of gentlemen. Yet, on the far side of this captivating documentation and splendid dress there is another side to the story of the Sapeurs living in Bakongo. These men are described as not being economically wealthy, and in fact some are said to rent items of clothing in the name of ‘ambianceur’ and fashion ‘worshipping’ or even take small fee(s) in exchange for a photographer’s glory –a snapshot of their dapper image. So, besides the undoubtedly rich spirit it may be a wonder, “what of what of the image we see of the Sapeurs is ‘true to life’?” A contrast of their ‘real-life’ far removed from our sight, the world is nonetheless left to experience the Sapeurs through the lens of photographers and cinematographers who bring out their mode par excellence alive. And perhaps, such depictions can be representational of the (re) construction attached to African cultural movements that permeates the western mainstream landscape.  
 All photos by Ruddy Roye :: a Brooklyn (New York) based photographer specializing in editorial and environmental portraits, and photojournalism. You can find more of his work here
dynamicafrica:

Revisiting the “African-Urban-Man” Style: Sapeurs by Amira Ali.
“White people invented the clothes, but we make an art of it”, a phrase commonly used and referred to the Sapeurs, Congo-Brazzaville’s self-confessed modern day dandies. The phrase coined by Sapeur godfather Papa Wemba. 
Sapeurs, French slang for “dressing with class” take their name from the acronym SAPE, for Société des Ambianceurs et des Personnes Élégantes. Gentlemen’s club for the dapper, it’s a sartorial subculture consciously emulating its colonizer, layered with ambience and new expressions. The Sapes profess “La Sape” is an “art for ‘real’ gentlemen”. Living by an agreed aesthetical rule, their savior faire and modish use of the body and expensive dress with meticulously matched colors is a radical yet subtle form of protest, which in recent years has received international attention. Seemingly, the symbol of the Sapeur par excellence receives more notice on its aesthetics and less on meaning.
 In this extravagance buzz, the Sape’s fashion statement and bold flair is producing a post-modern phenomenon of the “African-urban-man” style and elegance. Sapologists, “gentlemen who live by a creed with a strict code of honor and morality”, are said to contest circumstances poised through the beautification effect of chic dressing. A belief that “it’s not the cost of the suit that counts, it’s the worth of the man inside it.” A performance and embodiment of sophistication, Sapeurs are prototypes of vibrant icons consciously portraying the embracing of a subcultural lifestyle. 
Fascinated by this culture, the western world, beyond its ahistorical representation of Africa, has taken on the Sape as its new ‘western’ media phenomenon. In 2011, though an oddly placed feature the Sapeurs stole the spotlight in Solange Knowles’ “Losing You” video, shot in South Africa. But discovered long before Solange’s video, they have been introduced to the world colorfully as a ‘society of tastemakers and fashionably elegant’ stylistic inspiration to photographers. 
The latest is the Guinness advertisement campaign; a break from the prototypical brand marketer’s portrayal of Africa, its approach takes on the exposé of the urban-debonair-man. A post-modern embodiment of style and sophistication, and a commitment to the “Society of Elegant Persons of the Congo” (La Sape), yet again, they add style, charm and vividness to a campaign that would otherwise be ordinary. These gentlemen referred to by Stephen O’Kelly, Guinness’ marketing director for Western Europe, as a “truly inspiring and unique group of men” are the featured ‘stars’ of Guinness’ recent advertising campaign, “Made of More”.  
A fashionable depiction, the Guinness ad artistically captures the extravagance of the everyday working Sapeurs as they transform from their day job to a cigar wielding, European-three-piece suit, silk socks, and fedora wearing men. Aesthically well crafted, a fine image is displayed of the urban-elegant expensive-looking of gentlemen. Yet, on the far side of this captivating documentation and splendid dress there is another side to the story of the Sapeurs living in Bakongo. These men are described as not being economically wealthy, and in fact some are said to rent items of clothing in the name of ‘ambianceur’ and fashion ‘worshipping’ or even take small fee(s) in exchange for a photographer’s glory –a snapshot of their dapper image. So, besides the undoubtedly rich spirit it may be a wonder, “what of what of the image we see of the Sapeurs is ‘true to life’?” A contrast of their ‘real-life’ far removed from our sight, the world is nonetheless left to experience the Sapeurs through the lens of photographers and cinematographers who bring out their mode par excellence alive. And perhaps, such depictions can be representational of the (re) construction attached to African cultural movements that permeates the western mainstream landscape.  
 All photos by Ruddy Roye :: a Brooklyn (New York) based photographer specializing in editorial and environmental portraits, and photojournalism. You can find more of his work here
dynamicafrica:

Revisiting the “African-Urban-Man” Style: Sapeurs by Amira Ali.
“White people invented the clothes, but we make an art of it”, a phrase commonly used and referred to the Sapeurs, Congo-Brazzaville’s self-confessed modern day dandies. The phrase coined by Sapeur godfather Papa Wemba. 
Sapeurs, French slang for “dressing with class” take their name from the acronym SAPE, for Société des Ambianceurs et des Personnes Élégantes. Gentlemen’s club for the dapper, it’s a sartorial subculture consciously emulating its colonizer, layered with ambience and new expressions. The Sapes profess “La Sape” is an “art for ‘real’ gentlemen”. Living by an agreed aesthetical rule, their savior faire and modish use of the body and expensive dress with meticulously matched colors is a radical yet subtle form of protest, which in recent years has received international attention. Seemingly, the symbol of the Sapeur par excellence receives more notice on its aesthetics and less on meaning.
 In this extravagance buzz, the Sape’s fashion statement and bold flair is producing a post-modern phenomenon of the “African-urban-man” style and elegance. Sapologists, “gentlemen who live by a creed with a strict code of honor and morality”, are said to contest circumstances poised through the beautification effect of chic dressing. A belief that “it’s not the cost of the suit that counts, it’s the worth of the man inside it.” A performance and embodiment of sophistication, Sapeurs are prototypes of vibrant icons consciously portraying the embracing of a subcultural lifestyle. 
Fascinated by this culture, the western world, beyond its ahistorical representation of Africa, has taken on the Sape as its new ‘western’ media phenomenon. In 2011, though an oddly placed feature the Sapeurs stole the spotlight in Solange Knowles’ “Losing You” video, shot in South Africa. But discovered long before Solange’s video, they have been introduced to the world colorfully as a ‘society of tastemakers and fashionably elegant’ stylistic inspiration to photographers. 
The latest is the Guinness advertisement campaign; a break from the prototypical brand marketer’s portrayal of Africa, its approach takes on the exposé of the urban-debonair-man. A post-modern embodiment of style and sophistication, and a commitment to the “Society of Elegant Persons of the Congo” (La Sape), yet again, they add style, charm and vividness to a campaign that would otherwise be ordinary. These gentlemen referred to by Stephen O’Kelly, Guinness’ marketing director for Western Europe, as a “truly inspiring and unique group of men” are the featured ‘stars’ of Guinness’ recent advertising campaign, “Made of More”.  
A fashionable depiction, the Guinness ad artistically captures the extravagance of the everyday working Sapeurs as they transform from their day job to a cigar wielding, European-three-piece suit, silk socks, and fedora wearing men. Aesthically well crafted, a fine image is displayed of the urban-elegant expensive-looking of gentlemen. Yet, on the far side of this captivating documentation and splendid dress there is another side to the story of the Sapeurs living in Bakongo. These men are described as not being economically wealthy, and in fact some are said to rent items of clothing in the name of ‘ambianceur’ and fashion ‘worshipping’ or even take small fee(s) in exchange for a photographer’s glory –a snapshot of their dapper image. So, besides the undoubtedly rich spirit it may be a wonder, “what of what of the image we see of the Sapeurs is ‘true to life’?” A contrast of their ‘real-life’ far removed from our sight, the world is nonetheless left to experience the Sapeurs through the lens of photographers and cinematographers who bring out their mode par excellence alive. And perhaps, such depictions can be representational of the (re) construction attached to African cultural movements that permeates the western mainstream landscape.  
 All photos by Ruddy Roye :: a Brooklyn (New York) based photographer specializing in editorial and environmental portraits, and photojournalism. You can find more of his work here
dynamicafrica:

Revisiting the “African-Urban-Man” Style: Sapeurs by Amira Ali.
“White people invented the clothes, but we make an art of it”, a phrase commonly used and referred to the Sapeurs, Congo-Brazzaville’s self-confessed modern day dandies. The phrase coined by Sapeur godfather Papa Wemba. 
Sapeurs, French slang for “dressing with class” take their name from the acronym SAPE, for Société des Ambianceurs et des Personnes Élégantes. Gentlemen’s club for the dapper, it’s a sartorial subculture consciously emulating its colonizer, layered with ambience and new expressions. The Sapes profess “La Sape” is an “art for ‘real’ gentlemen”. Living by an agreed aesthetical rule, their savior faire and modish use of the body and expensive dress with meticulously matched colors is a radical yet subtle form of protest, which in recent years has received international attention. Seemingly, the symbol of the Sapeur par excellence receives more notice on its aesthetics and less on meaning.
 In this extravagance buzz, the Sape’s fashion statement and bold flair is producing a post-modern phenomenon of the “African-urban-man” style and elegance. Sapologists, “gentlemen who live by a creed with a strict code of honor and morality”, are said to contest circumstances poised through the beautification effect of chic dressing. A belief that “it’s not the cost of the suit that counts, it’s the worth of the man inside it.” A performance and embodiment of sophistication, Sapeurs are prototypes of vibrant icons consciously portraying the embracing of a subcultural lifestyle. 
Fascinated by this culture, the western world, beyond its ahistorical representation of Africa, has taken on the Sape as its new ‘western’ media phenomenon. In 2011, though an oddly placed feature the Sapeurs stole the spotlight in Solange Knowles’ “Losing You” video, shot in South Africa. But discovered long before Solange’s video, they have been introduced to the world colorfully as a ‘society of tastemakers and fashionably elegant’ stylistic inspiration to photographers. 
The latest is the Guinness advertisement campaign; a break from the prototypical brand marketer’s portrayal of Africa, its approach takes on the exposé of the urban-debonair-man. A post-modern embodiment of style and sophistication, and a commitment to the “Society of Elegant Persons of the Congo” (La Sape), yet again, they add style, charm and vividness to a campaign that would otherwise be ordinary. These gentlemen referred to by Stephen O’Kelly, Guinness’ marketing director for Western Europe, as a “truly inspiring and unique group of men” are the featured ‘stars’ of Guinness’ recent advertising campaign, “Made of More”.  
A fashionable depiction, the Guinness ad artistically captures the extravagance of the everyday working Sapeurs as they transform from their day job to a cigar wielding, European-three-piece suit, silk socks, and fedora wearing men. Aesthically well crafted, a fine image is displayed of the urban-elegant expensive-looking of gentlemen. Yet, on the far side of this captivating documentation and splendid dress there is another side to the story of the Sapeurs living in Bakongo. These men are described as not being economically wealthy, and in fact some are said to rent items of clothing in the name of ‘ambianceur’ and fashion ‘worshipping’ or even take small fee(s) in exchange for a photographer’s glory –a snapshot of their dapper image. So, besides the undoubtedly rich spirit it may be a wonder, “what of what of the image we see of the Sapeurs is ‘true to life’?” A contrast of their ‘real-life’ far removed from our sight, the world is nonetheless left to experience the Sapeurs through the lens of photographers and cinematographers who bring out their mode par excellence alive. And perhaps, such depictions can be representational of the (re) construction attached to African cultural movements that permeates the western mainstream landscape.  
 All photos by Ruddy Roye :: a Brooklyn (New York) based photographer specializing in editorial and environmental portraits, and photojournalism. You can find more of his work here
dynamicafrica:

Revisiting the “African-Urban-Man” Style: Sapeurs by Amira Ali.
“White people invented the clothes, but we make an art of it”, a phrase commonly used and referred to the Sapeurs, Congo-Brazzaville’s self-confessed modern day dandies. The phrase coined by Sapeur godfather Papa Wemba. 
Sapeurs, French slang for “dressing with class” take their name from the acronym SAPE, for Société des Ambianceurs et des Personnes Élégantes. Gentlemen’s club for the dapper, it’s a sartorial subculture consciously emulating its colonizer, layered with ambience and new expressions. The Sapes profess “La Sape” is an “art for ‘real’ gentlemen”. Living by an agreed aesthetical rule, their savior faire and modish use of the body and expensive dress with meticulously matched colors is a radical yet subtle form of protest, which in recent years has received international attention. Seemingly, the symbol of the Sapeur par excellence receives more notice on its aesthetics and less on meaning.
 In this extravagance buzz, the Sape’s fashion statement and bold flair is producing a post-modern phenomenon of the “African-urban-man” style and elegance. Sapologists, “gentlemen who live by a creed with a strict code of honor and morality”, are said to contest circumstances poised through the beautification effect of chic dressing. A belief that “it’s not the cost of the suit that counts, it’s the worth of the man inside it.” A performance and embodiment of sophistication, Sapeurs are prototypes of vibrant icons consciously portraying the embracing of a subcultural lifestyle. 
Fascinated by this culture, the western world, beyond its ahistorical representation of Africa, has taken on the Sape as its new ‘western’ media phenomenon. In 2011, though an oddly placed feature the Sapeurs stole the spotlight in Solange Knowles’ “Losing You” video, shot in South Africa. But discovered long before Solange’s video, they have been introduced to the world colorfully as a ‘society of tastemakers and fashionably elegant’ stylistic inspiration to photographers. 
The latest is the Guinness advertisement campaign; a break from the prototypical brand marketer’s portrayal of Africa, its approach takes on the exposé of the urban-debonair-man. A post-modern embodiment of style and sophistication, and a commitment to the “Society of Elegant Persons of the Congo” (La Sape), yet again, they add style, charm and vividness to a campaign that would otherwise be ordinary. These gentlemen referred to by Stephen O’Kelly, Guinness’ marketing director for Western Europe, as a “truly inspiring and unique group of men” are the featured ‘stars’ of Guinness’ recent advertising campaign, “Made of More”.  
A fashionable depiction, the Guinness ad artistically captures the extravagance of the everyday working Sapeurs as they transform from their day job to a cigar wielding, European-three-piece suit, silk socks, and fedora wearing men. Aesthically well crafted, a fine image is displayed of the urban-elegant expensive-looking of gentlemen. Yet, on the far side of this captivating documentation and splendid dress there is another side to the story of the Sapeurs living in Bakongo. These men are described as not being economically wealthy, and in fact some are said to rent items of clothing in the name of ‘ambianceur’ and fashion ‘worshipping’ or even take small fee(s) in exchange for a photographer’s glory –a snapshot of their dapper image. So, besides the undoubtedly rich spirit it may be a wonder, “what of what of the image we see of the Sapeurs is ‘true to life’?” A contrast of their ‘real-life’ far removed from our sight, the world is nonetheless left to experience the Sapeurs through the lens of photographers and cinematographers who bring out their mode par excellence alive. And perhaps, such depictions can be representational of the (re) construction attached to African cultural movements that permeates the western mainstream landscape.  
 All photos by Ruddy Roye :: a Brooklyn (New York) based photographer specializing in editorial and environmental portraits, and photojournalism. You can find more of his work here
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mpdrolet:

Mitsuko Nagone
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