As 2010 comes to an end, we are taking a look back at some of our favorite posts of the year by our guest editors.
Portland, Ore.-based Miles Kurosky is what old-time journalists used to call a “great quote.” He’s one of the few interview subjects you’ll find in the music biz these days who’s totally unafraid to step on a few toes to get his point across. And he’s got the musical chops to back up his shoot-from-the-hip posture. Kurosky’s previous band, Beulah, was a true California original, good enough to catch the ear of pop genius Robert Schneider of Apples In Stereo, who released the first Beulah album under the banner of the Elephant 6 collective. As is the case with other creative one-man shows (Grandaddy’s Jason Lytle, for example) the transition from band to solo career is as simple as painting a new name on the office’s glass door. The Desert Of Shallow Effects (Majordomo) is every bit as exhilarating as anything Kurosky has ever cut. Kurosky will be guest editing magnetmagazine.com all week. Read our brand new Q&A with him and more about Beulah.
Kurosky: In 1997, there was an exhibit about the Stenberg brothers at the MoMA in New York. My girlfriend at the time bought me a poster called The Pencil. I still have it hanging in my office. Ever since that exhibition, I’ve been a huge fan of early Soviet propaganda art, especially movie posters. The kings of that artform, in my opinion, were the brothers Georgii and Vladimir Stenberg. They were both engineering students but also flirted with costume design, sculpture and architecture before designing some of the most provocative and enduring movie posters of their era. A lot of their work is unique because of their use of Dadaist photomontage, bold typography and their handmade recreations of photographs. I find most of their work absolutely mesmerizing.
Video after the jump.
