He should think of himself more ‘like a frog’, she said. Shapiro was wondering whether to feel insulted when she explained: ‘You should sun yourself on a lily-pad until you get bored; then, when the time is right, you should jump to a new lily-pad and hang out there for a while. Continue this over and over, moving in whatever direction feels right.’The Antidote by Oliver Burkeman
Alex Bartsch spent the last ten years photographing the original locations of some of his favorite UK reggae vinyl covers from 1967 to 1987. Holding each sleeve up to arm’s length, he meshes the past and present of London’s surroundings.
While Googling came handy, what he found in his research was that most of the shoots took place outside the record label offices themselves. He told Huck Magazine:
“It often starts with the information on the record sleeve but many of them don’t offer much to go on. I have learned through doing this project that a good place to start is the area where the label was based. Sometimes it was just outside the door of the record label.”
Some of the artists included in his book Covers: Retracing Reggae Record Sleeves in London include Bob Marley & The Wailers, Alton Ellis, Peter Tosh, Delroy Wilson, and more.
The internet reintroduces lost objects. Everything from rare reggae recordings to out of print books finds its way online to be consumed for the first time.
Only physical objects like pieces of art retain their scarcity, and therefore their value. But digitization means one copy makes infinite shelf life.
Sharing bytes of knowledge amplifies the value of the original asset. What’s mine is your’s, even if your copy is just a jpeg.
Living in digital format ensures permanency and shareability. Mass production begets mass consumption, all without a factory and a warehouse.