saul bass

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I mentioned Saul Bass in a post I wrote over the weekend on design. (And I’ve referenced him before.)

I was, therefore, delighted to learn of this Saul Bass-inspired title sequence for Lost (I learned of it from the always fantastic Pop Candy):

The music, by the way, is Buddy Rich’s “Machine.”

As a point of comparison, here’s Bass’ credits for Anatomy of a Murder (music by Duke Ellington):

Part of being iconic means never looking dated.

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Last night I was so struck by the design of my Rod Lavers, I took a picture of them, and wrote about how I feel they’re an example of iconic design.

Well, the way my particular brand of ADD/OCD/ROTFLMAO works is that I’m now fixated on this idea, and am seeing (what I consider) iconic design all around me. Since what is mostly around me is my office (well, what’s mostly around me is an airplane/airport…and don’t think I’m not already contemplating how to weave those iconic designs into a future post), I took a couple pictures of what I’ve chosen to surround myself with:

Eames Lounge Chair and Ottoman

This chair is indisputably the best example of mid-century design. Charles and Ray Eames (it’s pronounced “aims,” by the way, like Ames Iowa or Willie Aames…you know from Eight is Enough, Chachi In Charge, etc.) just sort of changed everything when it comes to design.

I love the fact that the first one was made for that titan of style, Billy Wilder.

I further love that this is how Charles Eames described his goal for the chair: “a special refuge from the strains of modern living.”

There are people far more qualified than I to speak on them, but I can’t resist embedding the following little video as they use Miles’ “So What” as the bed music:


Find more videos like this on Global MediaCommunity

Le Corbusier: Basculant Chair LC1

I sort of have a thing for chairs, and just beside the Eames chair are these:

Charles Le Corbusier has had a massive impact on our world via his architecture and city planning.

My mind is calmed by his description of the houses that he designed as “[machines] for living in.” (Another great Le Corbusier quote: “Chairs are architecture, sofas are bourgeois.”)

If you’ve read The Da Vinci Code (and, I guess, who hasn’t), you’ll appreciate the fact that Le Corbusier applied things like the “golden ratio” and Fibonacci numbers to his design work.

A note on why these icons of style are in my office, and not my house. My wonderful wife, who is far more evolved than I, is a vegetarian. While it’s hard (and sad) to imagine that I had a life before my wife came into it, I did. It was during this time that the cowhide chairs were purchased.

Understandably, they weren’t my wife’s favorite piece of furniture, and it’s a minor miracle that she was willing to overlook this and marry me any way. What constitutes “overlooking,” however, is not looking at them at all (except for when she comes to visit me in my office), and, hence their banishment to my office. (Secretly, I’m OK with this. It makes Marci happy, and it reduces the possibility that my young children will use them as a canvas for one of their creations. Shhh.)

As an aside, while this iconic design thing appears to be a new theme here on the blog. I’ve sort of written about it before:

Here’s a post that talks about the title/poster art of the great Saul Bass.

And, recently, I wrote about (and got some great comments on) the nexus of cover design and music.

I’m going to add the design category to these posts as well.

Do let me know what you think are iconic designs, and if you want to lounge/sit, come on by the office.

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I’m a little late to the party, but am completely obsessed with Mad Men. Of course, they had me with the homage to Hitchcock (NxNW and Vertigo) via their Saul Bass-inspired title sequence. I’ve written of my love of Mr. Bass’ work, and it’s fantastic that a whole new generation may discover the genius of his work (and see what utter crap passes for most title/poster design today).

But, to the point at hand, the Mad Men blog has a very good Q&A with music supervisor, Alexandra Patsavas. The show, in my opinion, is successful because of the details. This includes not only the obvious visual details, and just unbelievably great writing and acting details, but the music as well. Ms. Patsavas just nails it every time. There has not been one episode where I’ve not thought, “I gotta find out who that is” with respect to some piece of music.

What’s interesting, of course, is that while 90% of the music is of the period, not all of it is. The RJD2 theme is the most obvious example, but others crop up. While other shows might use such devices as sort of post-modern winking-at-the-audience moments, Mad Men never does. Rather, like the themes addressed in the show, these musical moments subtly (almost subliminally – hey, it is a show about advertising) remind the viewer that the show is not nostalgia, but rather – in the way all great art is – a lens to better examine both our past and present.

I teach many students who aspire to get into the world of music supervision. To them I say, study the work of Ms. Patsavas; she’s knocking it out of the park. Here’s a question/answer exchange that sort of sums up why:

Q: Can you talk about a song from an episode and why you chose it?

A: A good example would be “Manhattan” by Ella Fitzgerald. Anytime you get a music supervision gig, you begin to delve into the world, especially if it takes place in another era. It’s an exciting research project. We focused on songs about New York and that was one of the first things that we really looked into — a song from the era about the city — and that was one of the gems that I came across. It’s the vocal performance; it’s the timelessness of Ella’s voice and the lyrics. I find that it’s about how a song feels first and then the lyrical content next. Because even if the lyrics are perfect, but the song doesn’t feel right, you never get to that point.

Here’s Ella Fitzgerald singing “Manhattan” (I could listen to her all day):

3-08-manhattan

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anatomy of a murder poster

Everything, everything about Duke Ellington’s Soundtrack to the Otto Preminger film Anatomy of a Murder is perfect.

The movie was one of the first to feature an all-jazz soundtrack, and what a soundtrack it is. While Billy Strayhorn composed the music, it’s Ellington’s touch that provides the noir-ish nuance.

It’s a record I come back to at least once a month. A true masterpiece.

anatomy of a murder flirtbird
“Flirtbird” from Anatomy of a Murder

The movie is darn good, too. As is the poster art (which hangs in my office), designed by the incomparable Saul Bass, who also did the poster/credits for films like North by Northwest, West Side Story, Vertigo (also in my office), and many others.

Amazing when it all comes together. Sort of explains why certain things stand the test of time.

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