#Pop Art: A New Vernacular

[th3-0bjectivist]

Springin' Chip with a 24' page update!

Greetings, dear follower! th3-0bjectivist has appointed me, Chipper the Springer Spaniel, as the official page mascot and acting spokescanine of this blog moving forward. It sure is great to be here! And might I say, the range of my vernacular as a mere canine has increased something like 28000% in just the last few weeks thanks to the hard lessons I’ve endured so far. Late nights in front of an English dictionary, lots of treats, and tons of sleepless nights have transformed me into perhaps the only English-literate puppy that has ever existed on planet Earth. From this point forward, I plan to operate as an empathetic, humorous, and nurturing presence to all of those on Tumblr into 2024 and beyond!

If you wanna know a little more about me to start, so far in life, I enjoy 1. Voraciously sniffing all manner of ass and crotch (if you approach me, please just spread fully eagle for one full minute, it lets me know who you are without you saying a word) and getting my own ass/crotch sniffed! 2. Pissing indoors (preferably on carpets to create an overpowering urine-miasma that permeates the entire room) 3. Attempting to playfully bite th3-0bjectvist directly in the balls with my nasty, bacteria-laden, inverted Spaniel teeth on a weekly basis!!

My pal, th3-0 and I, have long discussed my potential nickname on this blog. It has run the gamut from… Chip the Dip, to Chipper the Dick, to Chip the Prick, to Chipper the Testicle-Destroyer. In particular, the phrases ‘Stop biting me’, and ‘Hey, A-hole, cut that biting shit out’, and ‘Hey, dickhead, stop trying to bite my fuckin’ balls!!’ have strongly resonated with me as a puppy. I’ve realized very early on; it is essential that I improve my behavior otherwise I’m going to be hard-up on quality treats. And that’s what this blog will be all about moving forward… gradual improvement! Luckily, I have the good fortune of being cute as all hell. So, we graciously settled on the tentative title Springin’ Chip to instead highlight the positive aspects of our collective spirits and aspirations moving forward. New year, new positive goals! Folks, just look at my pics! Check out my feathered-ears and adorable face! Do I not have the perfect mug to represent a proper renewal of this blog?? And mug I will! If you continue to follow th3-0bjectivist, you’re going to see me grow up slowly over the next few months and years! Anyways, onto a bit of business…

My new friend, th3-0, has instructed me to give you an official page announcement! He will be back soon (end of March) with new art and drawings, music and commentary, goofy-ass memes, and more! This year (2024) th3-0 will be putting an artistic focus on dimensionality and expression by doing lots of drawings of expressions on human faces! He will also attempt to make some paintings with a little more -- POP -- than in previous years by incorporating a liquid background behind a solid mass of brushwork. If you like music, and who doesn't (??), this year will be the year of the musical double-feature! That means every time you see music on this page moving forward, there will be TWO SONGS by the featured musician(s) to highlight the range of said musician(s). Also, it’s election year! Now, I don’t have the vote myself, but you’ll have me around as your comical, politically neutral, and stalwart companion while everybody else on Tumblr is being just about as polarizing as they can be without directly and openly supporting terrorist organizations on the left or right side of the political spectrum! It’s gonna be a great year with this dog n' this blog!

Alright, gettin’ sleepy over here… you guys can fuck off for now. MORE 0bjectivist! END OF MARCH! NEW ART!!! DOUBLE-FEATURE MUSIC SHOWCASES EVERY OTHER WEEK!!! MEMES AND GIFs!!! SNARKY-ASS COMMENTARY!!! AND MORE OF MY BALL-BITING ADORABLE ASS!!!

Best, Springin’ Chip

#th3-0bjectivist #page update #2024 #this year #new art #new music #new gifs #my new page mascot #GOOD BOY #learned English within 8 weeks #true story... #new content end of month #trying to improve my craft #despite no inspiration what-so-ever #chipper the spinger spaniel #springin' chip #back soon...

[kakaji]

“Art says things that history cannot,” 1 said Beatriz González, an artist recognized for her appropriation of popular culture images from newspapers and magazines. Her career unfolded amid social and political turbulence following the 10-year period known as La Violencia (1948–58) in her native Colombia. Collaborating closely with the United States as part of its Cold War project to exterminate Communist activity, the Colombian government encouraged modernization projects that promoted a narrow concept of Latin American modern art as sophisticated, international, abstract, and, most importantly, apolitical.

After González’s first solo exhibition at the Museo de Arte Moderno de Bogotá in 1964, critics portrayed her as the epitome of an international modern artist whose work could circulate abroad. They praised her for her use of abstraction and, more tacitly, her seeming political neutrality. However, González soon shifted her focus to contemporary Colombian life. In her second solo show in 1967, she showed 14 new paintings based on images she had collected from newspapers and magazines, marking her turn toward the incorporation of vernacular culture. In particular, Rionegro, Santander (1967) evokes a sense of nostalgia both in its reference to the region where González’s went on holiday, and because the corners of the painting recall the fasteners in a family photo album.

In the early 1970s, González began to collect furniture from local markets. Her body of work from this period, which includes Lullaby, features enamel paintings of images from popular culture; the artist executed them on metal sheets, which she then mounted on furniture. Because of her appropriation of images from the media, as well as her interest in everyday subject matter and materials, she has often been mentioned in discussions of Pop art, a movement made famous by Andy Warhol. However, as art historian Esther Gabara explains, while the Pop art of the US is most associated with the idea of consumer culture, artists from Latin American often demonstrate how, in their context, consumerism cannot be separated from the history of colonialism, the extraction of natural resources, and the extreme discrepancy between poverty and wealth. 2 González’s incorporation of pop culture imagery was often labeled cursi—a Spanish word that roughly translates to “corny” or “overly sentimental.” This did not seem to bother her. When asked why she stopped using furniture, González responded, “Because people started to like it.” 3

In 1979, González turned her focus to the recently elected President Julio César Turbay Ayala, whose Statute of Security gave the military increased power to interrogate, torture, and ultimately disappear civilians suspected of subversive communist activity. 4 During the first two years of Turbay’s four-year term, every day González made stylized, simplistic drawings based on images of Turbay in private and political life. This body of drawings includes the satirical Turbay Skiing (1980), which meditates on the idea that Colombian politics had morphed into a mass media spectacle.

González has also worked extensively with printmaking. In 1983 she conceived of Zócalo de la tragedia and Zócalo de la comedia, two related series that feature images from the press. The former is based on an image of a man who killed his friend's girlfriend and then committed suicide, while the latter shows Turbay bestowing a state honor on a diplomat during the last days of his presidency. Speaking about Zócalo de la comedia, González explained, “The purpose was to ridicule [Turbay]. It was a bit of a mockery. I wanted the public to call into question the presidents and what Colombia represented, how presidents used power.”5 Collaborating with a print workshop, she reproduced these images, which she saw as representing two facets of national identity: violence and the decoration of national heroes. The prints were intended to be posted on the sides of buildings throughout Bogotá, but were quickly censored by the government.

González sees 1985—the year of a tragic confrontation between the guerrilla group M-19 and the Colombian military—as a turning point in her work. As she explains, this was the moment in which she thought, “I can no longer laugh,” and she began to focus even more critically on media images of drug trafficking, paramilitaries, and massacres.6 For one of her most recent works, Auras anónimas (2007–09), González covered the niches of former graves in Bogotá’s Central Cemetery with silhouettes that reference workers who clean up the corpses resulting from Colombia’s ongoing violence. With this work, she continues her project of rethinking the images we are confronted with daily by incorporating them into new and unexpected contexts.

- Madeline Murphy Turner, The Marica and Jan Vilcek Fellow, The Cisneros Research Institute for the Study of Art from Latin America

The research for this text was supported by a generous grant from The Modern Women's Fund.

1. Beatriz González and Maria Ines Rodriguez, “Conversacions con Beatriz González,” in Beatriz González 1965–2017 (Bordeaux, France: Musée d’art contemporain de Bordeaux, 2017), 209.

2. Esther Gabara, “Contesting Freedom,” in Pop América 1965–1975 (Durham, N.C.: Nasher Museum of Art at Duke University, 2018), 11.

3. Beatriz Gonzalez, Discussion with Ana María Reyes, January 10, 2010, quoted in Ana María Reyes, The Politics of Taste: Beatriz González and Cold War Aesthetics (Durham; London: Duke University Press, 2019).

4. Carolina Ponce de Leon, “From Their Mighty Silence,” in Beatriz González: A Retrospective (Miami: Pérez Art Museum, 2019), 44.

5. Beatriz González, “Zócalo de la comedia. Zócalo de la tragedia. 1983,” Radical Acts (The Museum of Modern Art, New York). https://www.moma.org/audio/playlist/290/3756

6. Beatriz González, “Recuperar el Aura,” in Beatriz González: A Retrospective (Miami: Pérez Art Museum, 2019), 214.

#Beatriz González

[yzeltia]

FFXIVWRITE Day 28: Vainglory

Characters: Erichthonious, Praxithius(Y'zel Unsundered), U'tykha Tia, U'khuba Tia, U'rahn Nuh, U'goromuli, U'odh Nuhn Summary: Life imitates art...just not in the way we'd hope. Rating: T, for Tia Notes: cw: Casual Nudity

--The World Unsundered--

"Prrraxithius! Prrraxithius! Come down here right meow! Shit! I mean now!"

Erichthonius's voice boomed through his apartment, though with the ferocity it could have very be well been heard all through Amarout and possibly as far out as Elpis.

"Where arrre you," he repeated, face flushed as he stormed room to room, ripping his mask from his face and letting it fly in his rage, hood drawn over his features.

Yawning, Praxithius emerged from their bedroom draped in the other's robes, "Must you be so loud? Hyathlodeus had me up all night looking through new shark concepts. Come to bed?"

"Do not play cute with me right now! You've rrruined me," the warder yelled before tearing off his robes. A red set of cat ears popped up from Erichthonius's head, one twitching in anger while out from his slacks a matching tail swayed behind him. “This was neverrr be morrre than a bedrrroom indulgence! Who knows how many saw me like this before I caught my own reflection? Arrre your prrroud of what you’ve done? If Lahabrrreha hearrrs of thi-…DO NOT DARRRE LAUGH.”

Praxithius had his knuckle to his lips, biting the lower as he held back his outburst. “You sound adorable,” he teased before wrapping his arms around the other and drawing him in close, “Toni, please don’t be cross. I don’t think anyone will surmise our original intentions. There’s been talk that sharks have become tired, and so there were talks of lions and…well, you certainly wear it well. And taking a que from Anzem, it’s easier to ask for forgiveness than it is for permission when it comes to the Chief. And, for that matter, you as well, and there are… oh so many more creative ways I can beg.

Erichthonius fumed until he felt his lover’s hand upon his ear, rubbing on it gently. “I am not a canvas forrr yourrr crrreation magicks. What mannerrr of lion could this possibly rrrepresent!?”

“I didn’t say you were a lion, just inspired. Think of it, a whole people just like us, but with the structures and dignity of a lion pride. Regal, majestic, and who’s lives center around uplifting and providing for each other as a unit. Then at the head, their strongest of warrior or scholar at the head to guide them forward. I might tweak some of the vernacular as the purring seems a bit heavy handed…Still, can you just imagine how wonderful they all would be?”

“Not enough to wish theirrr likeness upon myself! Undo this nonsense!”

Praxithius lifted up on his toes, stealing a small kiss. “I am unsure why you did not do so yourself. All that is mine is yours, even my aetheric weavings. Did you perhaps wish to keep them on a moment longerrr, Toni?”

The warder huffed then kissed his lover back, ears lowered and tail gingerly lowering as he lifted the other up. “A moment longerrr…then neverrr again,” he hissed before carrying the other off to their bedroom.

--The Forgotten Springs--

“I swear on the Drake, I took on four sandworms at once! They didn’t even so much make it into the huntresses’ line arrow sights before I laid them low! I’d like to see the old man best that,” U’tykha boasted as he washed himself in the falling spring above beside his brother and cousin.

“Swear it? You’ve all but etched it in the gates for all to see,” U’khuba spat as he roughly raked a sponge down U’rhan’s back, causing the latter to flick his tail to swat at him to ease.

Legs crossed atop a wet rock as his cousin tended to him, U’rahn laughed out, “Yeah, you need a new tale cousin! Though I believe your worms have doubled since I heard them last.

“Indeed I think they have cousin,” U’khuba ageed.

“Yeah brother? What exactly have you done recently? Count your gil and deign to scold the huntresses without so much as lifting a sword yourself,” U’tykha asked, kicking up water to splash at them.

Shielding themselves, the targeted two moved away, U’khuba simply taking a step back while U’rahn slipped off his rock and into the shallow waters. Sitting up, the warrior shook out his head, flicking water everywhere before giving a strong splash towards the instigator.

Without his glasses, U’khuba squinted at the two, then stepped forward to box both their ears. “Enough. One wrong kick dicking around and someone will definitely lose all hope of being a Nuhn!”

His cousin and brother stopped immediately and cupped themselves, tail and ears perked.

“Oi! Wait! I am a Nuhn,” U’rahn protested.

This fell on deaf ears of course as the brothers faced each other. “And I’ll have you know, I have done more than balance our clan’s expenditures and provided constructive criticism to the front lines of defense. I brokered a deal with Lord Lolorito to be the Sultana’s exclusive supplier of tea. The Syndicate will brew nothing but the leaves from our lands for all their future hosts for the next five years, lining our coffers and providing for the tribe for the generations to come. My generation,” U’khuba boasted, crossing an arm over his waist as he pressed at his nose where his glasses would normally be.

“Oh. A lot good that little toad’s money will do us! You bow down to the man that nearly killed out little cousin here and then take his money so that we can have a nice big target on our backs for thieves? As if the worms weren’t enough!”

“With money, we can by sufficient walls! The huntresses’ might very well not need to lift a finger again!”

“You know guys, I felled a great dragon…” U’rahn offered.

“Ha! And grow complacent and weak! There are more dangers than the worms brother! The Drake have always been warriors and take great pride in it! Do you think anyone would want to bed a Tia that was too afraid to get his hands dirty?”

“And I fought Zenos yae Galvus…”

“I doubt they’d want a fool hardy idiot that can’t see the bigger picture and support them!”

“…And traveled to a whole different world and saved it from destruction…”

“Idiot! At least I’m not some quill pushing Tia that is too delicate to lift a sword!”

“…And then traveled to the edge of the universe and spared the world from the Final Days alongside my friends….”

“I’d like to even see you spell delicate!”

“And when I got back roughed up a few gods…”

“WE KNOW U’RAHN,” both brothers hissed before the three of them found themselves under a deluge of ice-cold water.

The men screamed then quickly bounced away from the pouring waters before being clocked in their heads by falling buckets. “Oi! Will you boys shut it! We’re all trying to relax over here,” U’goromuli huffed from above, her sisters glowering at her sides. “We’d tell you to get a yalm stick and measure already, but that won’t ever matter, now will it?”

With that, the huntresses disappeared back to their spot in the springs. Moments later, U’odh Nuhn stumbled through to use the springs himself, cocking a brow as he saw his son and two nephews parted away from another, hugging their knees with their noses just above the water. “What did you thrrree do now?”

#final fantasy xiv #ffxiv #final fantasy 14 #ffxiv oc #ffxivwrite2022 #ffxiv miqo'te #ffxiv endwalker #erichthonios #praxithius #endwalker spoilers #cw nudity #u'rahn nuhn #u'odh nuhn #u'goromuli #u'tyjha tia #u'khuba tia #vainglory #shrinkage

[bookgeekgrrl]

My media this week (24-30 Jul 2022)

📚 STUFF I READ 📚

😍 If They Haven't Learned Your Name (silentwalrus) - Bucky Barnes Gets His Groove Back & Other International Incidents #2 - it had been about 18 months since my last reread, it was well past time.

🥰 Sad Cypress (Hercule Poirot #22) (Agatha Christie, author; David Suchet, narrator)

🥰 Rhapsody on a Theme (Bittersweet_in_Boston, author; Astaraiche, artist) - symphony AU, silver fox steve

😊 Zen and the Art of Steve Rogers (Gfawkes, author) - no powers AU, motorcycle roadtrip

😊 (Not A) One Night Romance (Oh_i_swear, author; Girl_Back_There, artist) - silver fox steve + omegaverse! Family drama! -

🥰 Babies and Junk series (BarlowGirl) - sterek kidfic (and i am *picky* about my kidfic) - proof that you should def subscribe to authors/series you love bc you never know when an author will add a whole new fic SIX YEARS LATER

💖💖 +197K of shorter fic so shout out to these I really loved 💖💖

Anywhere, Anytime (AidaRonan) - Stranger Things: Steddie, 10K - - Eddie doesn't die but he does have nightmares, he flirts outrageously with a largely oblivious Steve. I absolutely love it when a fantastic and beloved writer just yanks you onboard a new ship. I don't even go here! But I love them. My blorbos-in-law.

📺 STUFF I WATCHED 📺

The Brokenwood Mysteries - s8, e5

Only Murders In The Building - s2, e6

What We Do In The Shadows - s4, e4

🎧 PODCASTS 🎧

You're Dead To Me - The Harlem Renaissance

The Jump with Shirley Manson - Laura Jane Grace "I Was A Teenage Anarchist"

Desert Island Discs - Bono, singer and songwriter

Hit Parade - One and Done

Teach Me A Lesson with Greg James and Bella Mackie - Where's The Most Painful Place To Get A Tattoo?

Ologies with Alie Ward - Testudinology (TORTOISES) with Amanda Hipps [Encore]

The Atlas Obscura Podcast - Buck Atom on Route 66

Sidedoor - Culture in Crisis

99% Invisible #501- 99% Vernacular: Volume 2

The Atlas Obscura Podcast - Plain of Jars

The Atlas Obscura Podcast - The Smallest Mollusk Museum

Shedunnit Book Club - The Nobodies

The Atlas Obscura Podcast - Maillardet’s Automaton

Lingthusiasm - Bonus 14: The Poetry of Memes - whomst shooketh the bred in the icebox

Song Exploder - Sudan Archives "Selfish Soul"

Twenty Thousand Hertz+ - Handbook for Sonic Happiness

Switched on Pop - Elvis, Big Mama Thornton, Doja Cat, and the Long Legacy of “Hound Dog”+

The Jump with Shirley Manson - Alanis Morissette "You Oughta Know"

This is Good for You - TIGFY Is Going On Pause - while i'll miss it, i'm genuinely glad NP is stopping before it became a burden

You're Dead To Me - Julius Caesar’s Rise To Power

Hit Parade - Point of No Return

🎶 MUSIC 🎶

Liz Phair

Presenting Against Me!

My Mix #1

Special [Lizzo]

Diva House Anthems

Presenting Rihanna

Tami Neilson

The Biggest Beats

The Donnas

The Linda Lindas

Women In Rock

Sudan Archives

Presenting Alanis Morissette

Funhouse 4am: 80s Freestyle

#sunday reading recap #bookgeekgrrl's reading habits #bookgeekgrrl's soundtracks #ithlyn - if you know you know #i'd basically forgotten that christie so it was delightful to watch it play out #much less of the usual contemporary bigotry which made the few instances stand out more if you know what i mean unfortunately #still very excellent #fanfic ftw #both the silver fox steve bang and a cap reverse bang are posting right now so it is an absolute *feast* out there #i'm only watching my 'must see' tv #hit parade podcast #switched on pop podcast #the jump podcast #sidedoor podcast #atlas obscura podcast #this is good for you podcast #you're dead to me podcast #20k hz podcast #song exploder #shedunnit podcast #99% invisible podcast #lingthusiasm #ologies podcast #desert island discs #teach me a lesson podcast #the donnas #lizzo #liz phair #alanis morissette

[independentartistbuzz]

Cozmic, Kiran + Nivi, Stevie Mackey, Maejor & More Team Up for Mesmerizing Global Pop Track “Una Famila”

Singer-songwriter-producer Cozmic collaborates with TikTok sensations Kiran & Nivi, celebrity vocal coach and prolific singer Stevie Mackey, and multi platinum artist/writer/producer, Maejor. Together this powerful group of artists is on a mission to create the music that we need now—something the whole world can sing to that transcends all cultural and societal borders. The eagerly anticipated release, titled "Una Famila," (music video out 9/21), serves as the official theme song for the Art of Living World Culture Festival, taking place from September 29 to October 1, 2023, in Washington DC. The festival is  inspired by global humanitarian, spiritual leader and envoy of peace Gurudev Sri Sri Ravi Shankar.

"Una Famila" is more than a song; it's the heartbeat of the festival and its important message to the world especially in these times of division and polarization . It encapsulates unity, love, and shared humanity in an accessible way that will inspire millions around the importance of us all coming together as a One World Family. Cozmic, Kiran & Nivi, Stevie Mackey and Maejor’s artistic alchemy promises a song that transcends borders and languages.

The track is a breath of fresh air as it offers up a message of hope and unification. With infectious pop and reggaeton elements laced throughout the song, the collaboration of the artists make it a dream come true. As each vocalist takes turns highlighting their abilities, their harmonies bring an insightful message to the world…”We’re all in this together, We can win this together, Somos Una Familia, Hey!”

Kiran + Navi bring their Indian classical music roots into the pop vernacular, combining Indian "swaram" scale tones with powerful western lyrics, soaring melodies, and irresistible hooks. Their recent single, "8 billion people", has garnered instant success, with 10M+ streams and countless playlist adds among them, a myriad of Spotify Viral 50 Charts, Spotify's Pop Up, Teen Beats, and I'm Not Crying You Are.The powerhouse twins achieve consistent virality with their spellbinding music and content, having already amassed over 2.8M followers on TikTok alone. 

They have also been amplified by household names like Khloé Kardashian, Shawn Mendes, Sia, Meghan Trainor, Lizzo, Olivia Rodrigo, Michael Bublé and James Arthur. 

Stevie Mackey is an artist, singer and celebrity vocal coach who is highly sought-after and has worked with some of the biggest names in the music industry including Selena Gomez, Jennifer Lopez, Fergie, Coldplay and more. He most famously was a vocal coach on NBC's “The Voice” for over 10 seasons. Stevie is also the creator and host of the hit music showcase, "Taco Tuesdays Live," which has become a staple in the LA music scene and recognized across the globe. With his powerful and soulful voice, Stevie is a dynamic performer and a devoted philosopher of music.

Cozmic creates playful and purposeful “Bollypop” pop fusion, combining elements of Indian and American pop music with trap, reggaeton, and acoustic rock. The resulting sound is vibrant, catchy, eclectic, and relatable. 

Maejor is an American record producer, rapper, singer, and songwriter from Detroit, Michigan. He has written and produced songs for several prominent artists in the music industry—most extensively Justin Bieber—and is half of the EDM duo Area21, alongside Dutch DJ Martin Garrix.

Gurudev Sri Sri Ravi Shankar is a global humanitarian, spiritual leader, and ambassador of peace. Gurudev has been teaching breath-based meditation techniques for health and well-being for over 42 years. His approach blends ancient Vedic wisdom with modern sensibility for a new paradigm of leadership, and living a stress-free, violence-free society.

The Art of Living World Culture Festival is a global celebration of cultural diversity, peace, and human connection. It draws hundreds of thousands of attendees from around the world to the iconic National Mall in Washington DC and is live-streamed to an international audience. This event seeks to inspire hearts worldwide through an unforgettable experience.

The song will also kick off a social media dance challenge with select influencers tagging #unafamiladance & #worldculturefestival to help bring further awareness to the song and festival.

Both the event and “Una Famila” will leave an incredible mark on hearts and minds.

#Youtube

[mimirpipart]

BLOG #3: Mapping the Cycle of Capital

We can compare the pursuit of the cultural capital of art-making through the local Sampaguita. Here we see the seeds held by a hand, labeled as Family, which we know as the building blocks of society. As Bourdieu emphasized, the lineage transmits cultural capital that determines who we are and our status through embodied, objectified, and institutionalized states. For example, the Sampaguita, a common flower used in many scenarios, holy courtesy, and celebratory art that is very profitable in our culture, but when we look at such artwork from different classes in society with unequal cultural capital, most probably the person with the most privileged would be awed by the masses despite both being made the same, as seen in the illustration of the hand which labeled as the upper class has a sampaguita garland on it. On the faces and statues of saints and holy figures, at graduations, weddings, and many more festivities, the cultural capital of the flower seemingly increases in value as the people who hold them and acquire them possess a significant cultural capital. But when we see them in the hands of the hawkers, many of us turn a blind eye, but most probably because some have no need for them at the moment or is it the fact that the one selling it isn't as influential as let's say a person within the ministry or a celebrity who is popular at that moment? It's pressuring, having a person of status selling you those garlands, the opportunities, the judgments of society, the repercussions of saying "no." Because of having more cultural capital/ status, influence will rise, and the masses would try to imitate this and label the person with the most influence as the progenitor, much like the Sampaguitas, as the masses, or "masa," we almost ignore that these Sampaguitas came from the masses' grounds and Sampaguita shrubs. Many of us do not associate the fame of something with someone who has less influence than us. However, the prevalence of the arts came from the masses- The communities and tribes overridden by the economy, colonialism, and other cultural influences. The celebrities' families are an example of cultural capital maintained through high cultural capital in a biased way, nepotism. But they were made famous because of our massive inclination toward them- towards their influential progenitors who have passed on their capital, such as the Barrettos and, in the West, Lily Rose-Depp.

Most of the time influence of the upper classes and ruling institutions comes with a new culture, a capital roused from the embodied state, and rebellion of the masses (like the varying looks of the Sampaguita flowers on the plant), a transformation, and the birth of a new cultural capital, such as Balagtasan in the past, now to some academics the modern Flip top (Angeles, 2014). Balagtasan is a traditional form of debate and a way to address nationalistic ideas, socio-political views, and anti-colonialism through the Filipino vernacular, poetry named after a famous poet, Francisco "Balagtas" Baltazar, his nature of justice, truth, and humanity's dedication to social and political equity, persistently questioned through his works and poetry (Paciente, 2022). And Flip Top, which is one of the popular forms of modern literary debate in the nation, is mainly popular with the youth expressing their scholarly prowess by hurling witty insults embedded with pop culture, which some may find counterproductive. The Flip Top is a counterculture art form despised by conservative Filipinos who regard it as low-ranking poetry or barbaric, but still, a birth of a new cultural capital by aspiring youths inspired by the rap battles in the West that addresses societal ills if people would be patient with it, much like Balagtasan to Duplo, which is a Spanish influence. Even Shakespeare made literary history by fusing the formal language of the nobility with the everyday vernacular of ordinary people within the constraints of poetry; one could argue a similar assertion for flip Top rap fights (Yap, 2012).

In the art of dance, we can see this in Voguing, a dance craze named after a particular fashion publication because it mimicked the models' poses, that began in Harlem, New York, in the 1970s and 1980s among the city's predominantly black gay population wherein an epidemic of queer children of color being expelled from their homes or shunned by their families occurred at that time (Jeffs, 2016). Voguing was their escape from a restrictive culture- a capital harming them; it was a place where they could be themselves and challenge gender roles that had previously served to oppress them. Celebrating one's sexual orientation evolved into an identity performance. It was a maintained cultural capital, for it celebrated their identity, often shunned by the limelight. It is an entirely new separate culture influenced by high fashion and pop culture at that time. The conversion and exchange of capital (social, cultural, and economic) by the appropriation of white female artist Madonna have made the art mainstream, celebrated by the LGBTQ+ community rather than looked down upon as cultural appropriation (Jeffs, 2016). In this scenario, we see how two contrasting cultures, one that is "high culture" during that time and one culture looked down upon for its perseverance and indiscriminate love that does not abide by the standards of society, combined to make Voguing a legitimate form of dance, a celebrated one. This exchange of capital has improved the outlook of the masses towards Voguing, giving its people social relevance and economic opportunities, allowing them to make a profit. Some by teaching the people to vogue and be recognized in a society that has once ignored them.

Art-making and cultural capital are intertwined. One cannot make art without their embodied state and their status as an individual. We use this to navigate our identity and society, especially discovering our roots in our cultural arts. All forms of it are valid, but the harsh reality is that institutions in society do not treat them equally. Therefore we must acknowledge such capitals that are not "elite" because every one of us has types of culture that may be seen as derogative but are part of our daily lives to survive our realities. Like even the simplest art of slang, we use inside schools within our social circles to strengthen our bonds and find solace in a hegemonic system.

References:

Angeles, M. (2014, March 1). Is FlipTop the modern-day Balagtasan. GMA News. https://www.gmanetwork.com/news/lifestyle/artandculture/350760/is-fliptop-the-modern-day-balagtasan/story/

Jeffs, L. (2016, October 4). What is Voguing. Elle. https://www.elle.com/uk/life-and-culture/culture/articles/a32145/what-is-vogueing-the-dance-that-solange-knowles-uses-in/

Paciente, D.R. (2022, November 18). Balagtasan: The Art of Debating Through Poetry. Owlcation. https://owlcation.com/humanities/Balagtasan-The-Art-of-Debating-Through-Poetry

Yap, K.I.M. (2021, October 12). Fliptop: the modern ‘balagtasan’. Inquirer. https://lifestyle.inquirer.net/70820/fliptop-the-modern-balagtasan/

#art

[grad603macytaylor]

Week 7: Sam Hunt

Initial research on my poet, Sam Hunt, as follows.

I wanted to briefly look into this man to get an understanding of the work he does and why. He seems to be one of those 'world famous in nz' blokes, where you arent sure if anyone else knows about them but when you search their name a Stuff article pops up, alongside a link to a website that you're pretty sure isn't theirs.

To start off, the description on Sam's TEDx youtube video

Usually told from memory, the Catholic Mass made its mark on Sam too. Though he likes to call his poems "songs for the tone-deaf", Sam has happily worked with musicians -- country band The Warratahs, modern classical man Gareth Farr, the New Zealand Symphony Orchestra, and alternative rocker David Kilgour, among others. Sam was special guest at two acclaimed Leonard Cohen concerts in 2009. In 1986, Sam was awarded a QSM -- a "quiet sober man" he claimed. In 2010, he was further festooned with honour when he was made a Companion of the New Zealand Order of Merit (CNZM) for services to poetry. Sam has enjoyed a burst of activity in recent years, publishing a new collection of poems Doubtless and the semi-autobiographical Backroads: Charting a Poet's Life, as well as a selection of James K. Baxter poems. His most recent book is Knucklebnes: Poems 1962 -- 2012.

His radar-like ear attuned to the Kiwi vernacular, he is able to plumb the depths that lurk in seemingly straightforward phrases. There is sharp observation in his lines; things being said no-one else can quite manage. And while the rich rumble of Hunt’s voice speaks volumes from the stage, there’s a different kind of richness to be had on the page. The poet packs a remarkable amount into each spare phrase, offering complexity of sensation while cultivating the illusion of simplicity.

Whether romantic or elegiac, he’s an essentialist, offering aphoristic, pithy phrase-making in short poems which have the clarity of classic song lyrics — all wiry, concise, snap-shut lines: the metre sure, the assonances neat, the stanzas tidy. Generating poetry from specific instances, Hunt plays artful games with syntax and imagery that tease both ear and eye. Nursing rhymes at once primal and primitive, he makes verses into charms and chants so as to invoke the land, and then there’s the interior landscape of childhood, with its lupins and sand-dunes and tree huts in pine trees.

I think of the poem not as written down, that’s just the score. And you can get to the poem by way of the score. But I hear poems. I know the voice of the poem. If a new poem is coming along, it’s like a pregnancy, different things happen at different times. For me, it doesn’t happen the same way every time by any means but a poem starts with a sound. It’s almost like I’ve recognised a voice from somewhere. Sometimes the poems land on the roof and I’m not sure whether it’s a possum or a poem! Something thumping across the corrugated iron on top of my house, and I think, what is that? 

Experiences had more to do with my poetry than any sort of marks I got for School Certificate. I remember once, my father and I were going to see French cellist Pierre Fournier at the Auckland Town Hall (who was playing, among other things, the Dvorak cello concerto which I fell in love with that night and love to this day) and I discovered a passage from my father’s chambers on Queen Street directly to the Auckland Town Hall backstage, and I ended up in the number one backstage room where Pierre Fournier was tuning up his cello for the show.

The image in the header of this site is great for me, as you can see art has been made, and even better, by a kiwi artist I looked at in high school. This is an avenue of research I'd like to delve deeper into another day.

Since splashing Sam Hunt's poems over canvas, Dick Frizzell is now moved to tears when he reads his new friend's poems, which is an interesting confession for an expressionist pop artist who admits he's never been keen on poetry.

[tigerstrikesasteroidnetwork]

PHL / Vitche-Boul Ra: CRIB

Vitche-Boul Ra: CRIB October 29 - December 4 curated by Logan Unsen

Second Thursday Reception & Performance: November 10th, 6-9pm. Closing Reception & Performance: Saturday December 3rd, 6-8pm.

Abyssi

CRIB is an immersive installation that swarms the viewer with sculptures, costumes, sounds, and text created by artist and theurgist, Vitche-Boul Ra. A prolific creator whose work is at the forefront of Black Queer Vernacular Craft, Vitche-Boul Ra ushers in a new, trans-humanist dominion within the Tiger Strikes Asteroid Philadelphia gallery. In this ever-mutating installation, the artist complicates pop-cultural aesthetics through alien embodiments and highlights the paradoxes that exist between protection, belonging, self-exclusion, and ostracization. CRIB explores the duality of violence and heroics and asks, if internal and external domination are pathways to glory, what is to be said about our society’s fixation on beauty, coolness and Blackness?

Vitche-Boul Ra is a Transhumanist Folk-Theurgist with a BFA in Interdisciplinary Fine Arts (Sculpture concentration) from The University of the Arts [2018]. To develop a physicalized performance practice adjacent to western sculpture, It also studied dance in the UArts School of Dance directed by Donna Faye Burchfield. In Philadelphia, It has shown solo (+collaborative) works at The Philadelphia Museum of Art, Vox Populi Gallery, Little Berlin Gallery, and Hightide Gallery.

In New York, Ra performed in Fridman Gallery’s 5th Anniversary Festival and was curated into the Center for Performance Research’s Spring Movement Festival 2018 as well as the New Dance Alliance’s 2019 Performance Mix Festival: 33. In 2021 It has collaboratively worked alongside Moor Mother (Goddess) showing at Pace Gallery (NY), CalArts REDCAT (LA), and The Kitchen (NY).

photos by Constance Mensh

#crib #tigerstrikesasteroid #tiger strikes asteroid

[puggaardball07]

The Malecon: Puerto Vallarta's Noted Boardwalk

Simply one and only of the most well-liked activities in Puerto Vallarta is a saunter downhearted the city's swell known boardwalk, the Malecon. Lined with retailers, feeding establishments and art, the Malecon presents fantastical use for completely ages and budgets. The young and trendy stern go buying for the continuance of the workings daytime and fall upon the dining establishments and golf game equipment in the eventide. Families rear get joy in the landscapes, come up a goodness flock of friendly manpower and women and activities and liberalisation on whatever of the boardwalk's many bumpkinly benches. In that location is unrivalled matter for every mortal downwards on the Malecon, 1 of Puerto Vallarta's nearly popular vacationist sights. Another of the Malecon's virtually notable sculptures is the "Rotonda del Mar," a crackers building and designing of chairs by regional artist Alejandro Colunga. Lying at the midway charge of the Malecon, this grave is encircled by benches and provides a large localization to rest period and look at joy in the date. On Tuesday mornings, Gary Thompson-- proprietor of the Genus Galleria Pacifico-- gives biotic community carving excursions alongside the Malecon. Homer A. Thompson has been included in the Puerto Vallarta nontextual matter prospect for over xxx various years and presents an over-the-top stand on each the sculptures and the artists impulsive them. Commencing away the theater the Auberge Centaurium calycosum at 9:30 am, the tours terminate at Thompson's gallery where guests are delivered refreshments and farther aspects on the city's alone graphics put to work. As an bundled benefit, Ramiz Barquet-- scarce unitary of Puerto Vallarta's near acknowledged artists, whose sculpture "La Nostalgia" serves as an spherical persona of the metropolis-- is usually current to pop the question concerned tourists a firsthand write up of the Malecon's modern meaning. Fair non farsighted ago, the Malecon was drawn-out regular even out farther with the mise en scene up and structure of a bridge around the Rio Cuale. Excursus from delivering a pin-up come out to cease and savor the sundown or just apprise the imbibing weewee, the bridge backlinks the boardwalk to 1 of Puerto Vallarta's most vernacular seashores-- Playa de Los Muertos. A preferent of profession families, Los Muertos is an peachy sea-coast for relaxing or placing up a picnic. The pleasant suppliers of Los Muertos grocery store everything from handmade keepsakes to New-cooked seafood if you involve to do a fiddling buying on the seaside. You should genuinely utterly assay roughly of the awing foods offered at the Malecon's dining establishments. Helping anything from adventuresome European culinary art to classic Mexican fare, the dining institutions of the Malecon supply to every soul's preferences. The Malecon presents a circle of browse, a lot as well. Separated from the souvenir retailers, you leave escort retailers supply handcrafted jewelry and leather-founded product. Thither are eve around gravid-tight merchants big couture wearable, all right wanted jewelry and actually unrivalled of a variety mementos. The Malecon is similarly the exceedingly idealistic even life-time position in Puerto Vallarta. From dance clubs assailable up money box the bitty hours to unwinding lounges with consist jazz, the Malecon accommodates any province of brain. It is even achievable to think an dark sail in Banderas Quest along the Malecon. Thither are Restaurant Berlin Kudamm out of ships catering to couples and homes alike, good about every supplying supper and halt residence entertainment. Exactly after the solar sets end-to-end the bay, you bequeath be able to insure the Malecon light up as fireworks flash into the flip. Still though the push volition belong of various tourists, regional homes similarly fall out to the Malecon to pleasure in the active ambience and fireworks shows. Los Arcos Amphitheatre, the death issuing of the Malecon, is implied for totally exempt of billing Billy Sunday eve exhibits and efficiencies. Virtually of the Malecon's great places to consume volition be overt tardy and declare oneself you peculiar menus for untried children. Still anytime is excellent for a walking on the Malecon, Nov is a specifically enceinte time to go to Puerto Vallarta. Grading the starting line away of the vacation holiday travel fourth dimension, Puerto Vallarta presents a substantial artwork contender with a right apportion of gratuitous situations, completely revolving end to the Malecon. Hardly unity of the nigh democratic pursuits in Puerto Vallarta is a saunter down pat the city's far-famed boardwalk, the Malecon. Thither is nonpareil affair for every individual downwards on the Malecon, matchless of Puerto Vallarta's near well-liked holidaymaker sights. Prevarication at the midway phase of the Malecon, this sculpture is surrounded by benches and gives an outstanding post to lie and treasure the experience. As an provided advantage, Ramiz Barquet-- unity of Puerto Vallarta's nigh regarded artists, whose sculpt "La Nostalgia" serves as a worldwide reading of the metropolis-- is ordinarily current to acquaint concerned vacationers a point explanation of the Malecon's aesthetic signification. The Malecon is what is more the superlative nightlife holiday situation in Puerto Vallarta.

#deutsches restaurant kurfürstendamm

[philamuseum]

Andy Warhol often appropriated photographs of celebrities from magazines and newspapers to reinforce an individual's public image rather than creating his own artistic interpretation. After the assassination of John F. Kennedy in 1963, the artist chose photographs of Jacqueline Kennedy used in media accounts. Here, the combination of four pictures brilliantly condenses and intensifies the numbing effects of the mass media coverage that shaped the nation's experience of this shared tragedy.

See this portrait on view in "Pop Art: A New Vernacular" through February 6.

"Jackie (Four Jackies) (Portraits of Mrs. Jacqueline Kennedy)," 1964, by Andy Warhol © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York 

#Andy Warhol #Warhol #Jacqueline Kennedy #Jackie Kennedy #John F. Kennedy #JFK #portrait #Pop Art #Pop Art: A New Vernacular #contemporary art #art #art museum #museum #art history #history #Philadelphia Museum of Art #Philadelphia art museum #Philly art museum

[girlfriendsofthegalaxy]

tuesday again 3/15/22

huh my original fun little quip got eaten. whatever. come for a turn about the garden with me as opposed to our leisurely long ramble

listening the Franz Ferdinand song The Fallen off the album You Could Have It So Much Better.

LOVE a jaunty rollicking hook. LOVE some stupid little bible puns. no real chorus in this one but some fun phrases to shout in a car while you’re doing an inadvisable speed down a turnpike

Did I see you in a limousine Flinging out the fish and the unleavened 

and i have had to Really Think about how to pronounced “unleavened” ever since. does NOT rhyme with “limousine” in the common vernacular

oh right how did i find this: i went to high school from 2010-2013 okay this band was unavoidable, popped up in my sp*tify releases bc they rereleased it. think i originally originally discovered it from a CD at the library, specifically (sigh) the tim burton take on alice in wonderland’s soundtrack, they did a song about the lobster quadrille iirc? as was my wont, i promptly ripped that cd to my ipod touch and then went back and looked up more albums of the artists i particularly liked. and here we are today.

reading lobdell and rocafort’s red hood and the outlaws. i am part way through the third collected volume out of seven or eight, bc batman comics reliably turn my brain off at night. not that they make me sleepy, but i’m just invested enough in them to want to read them but also be able to put them down at random. if that makes sense.

the art in this thing is pretty great. very bad chronic case of tits and ass (not even equal opportunity tits and ass, which is a shame), but the linework is crisp as hell. i don’t really remember how i came across this, it’s been on my list for a while but got bumped up to the top bc i cannot yet pirate a good quality cam of The Battinson.

watching just as fnv is baby’s first leftist video game, i feel like ds9 is baby’s first leftist tv series? even tho sisko is not Not a cop? anyway i am fully “wow cool space station!” about this show (did i make that joke last week? i don’t care). i’m on s2e5 and bashir is. bashir is trying. he’s in his first job out of med school and he’s twenty eight and an idiot. he is slightly more of an idiot that me, who is twenty seven and in her first job postgrad.

also watching killing eve and losing my whole fucking mind but what else is new??? ep 1 has been out for a full month so i do not feel these are spoilers: did not super care for s2 and s3 but watching eve slowly become more and more and more like carolyn is delicious. also love her progression of bond girls and boys. love a bisexual disaster who goes “this is what i want and i’m doing it” with no real thought to if the thing she wants Is Actually the thing she wants. DELICIOUS you’re doing amazing eve

also the fact that villanelle did a born again christian thing to try to persuade eve she’s a good person? even is not religious why would that convince her??? did villanelle literally google “how to be a good person” and show up at the nearest church??? what a delightful mental image

these two shows could not be more different and i am having an outsized reaction to them this week bc i’m playtesting a bunch of really insipid stuff for work and it’s nice to be like! oh! these are grownup shows for grownups with lots of conflict and gray areas!!!! good for my brain!

playing love on the peacock express, the mystery train milf dating sim. love trains, love milfs. content specifically for me. it took me about one lunch hour to play through four endings, so i assume for people with a normal reading speed who don’t habitually skim it’s more like a three-hour dealio.

this is a light romance with some incidental mystery instead of a mystery-solving visual novel, which i do not think the itch.io page is great at conveying. you do get handed the mystery as you go along, but it’s a solid little visual novel with all the quality of life tweaks one expects from a much larger team. i admire this game’s commitment to not giving you icon customization. you’re a private investigator, that’s what you look like, deal with it. all the ladies’ routes are fun (i liked the butch’s route best bc i am a simple woman, there are platonic and romantic endings) and the bonus hidden route dipped the most into the private investigator schtick i think. pwyw on itch.

how did i find this?: a tumblr post from the devs i can no longer find :(

also i am obliged to point out the ukraine game bundle with some big fuckin names (celeste! fatum betula! wandersong! baba is you! the sword lesbian ttrpg!) and note that some of these folks are my dayjob clients but i cannot tell you which ones

making i made some more curtains but i’m unhappy with them. did finish the kitchen ones tho and attached all the fucking pom pom trim and AM happy with that set. also put up a knife strip but that’s not very photogenic. once i figure out how much the next round of doctor’s appointments is going to cost, my next unwise kitchen purchase will be whetstones.

#tuesday again #tuesday again no problem #i want to go to bed so you all get this a little early #if it were not daylight savings time it would be on time #Youtube

[theirprofoundbond]

Negative Self-Talk in Fandom

I’ve never liked self-deprecating humor because trying to figure out how to respond to someone using it makes me feel really awkward and uncomfortable. I also think that it’s a gateway toward normalizing negative self-talk.

In fandom, we know the terms “trash” and “clown,” and admittedly those are funny and overall they’re pretty harmless. (And they’re also interesting and fun examples of vernacular!) But I frequently see people openly disparaging themselves and their creations in their bios and posts and tags, and that never fails to disturb me.

I’d like to ask people in fandom--especially creators--to evaluate how they talk about themselves, and reconsider casually putting themselves down.

Here’s why:

Imagine you’re brand new to the fandom--maybe even new to fandom itself!--and you dive in, wide-eyed and enchanted. You’re seeing all this amazing content from people whose work you admire, and you’re inspired. You start to think that maybe you might want to write some fic yourself, or make some art, or learn how to do gifsets or fanvids. But some of your faves think their work is shitty. You think it’s awesome, and so do other people! But the talented person who made it thinks it’s shitty. So how on earth could your attempts ever be any good or worth sharing?

Speaking as someone who has depression, I am hesitant to follow or interact with people who use negative self-talk, because I work hard to safeguard my mental health. I want to see people’s creations and support creators, but if I’m also seeing negative self-talk pop up on my dash every time I visit Tumblr, or there it is in a bio every time I visit a person’s page, I’m going to take a step away from the person putting that out into the world even if I really like what they create. Also, I find it interesting that tagging for triggers is a commonly-accepted practice, but somehow negative self-talk doesn’t get scrutinized.

I mention this in another post I made about fandom but I’ll say it again here: the way we talk informs the way we think. Don’t let your head become a toxic waste dump! You also wouldn’t tolerate someone putting your friend down, so be your own friend and don’t allow it. Even if you think you’re only being self-deprecating, even if you only mean it casually. Also worth mentioning: disparaging yourself publicly opens you up to receiving reassurances from friends/anons, which can lead to reliance on external validation. Avoid going down that road.

There’s no rule that says that if you want to talk about your work or put it out into the world, you’ve got to put it down first. It doesn’t make you egotistical or self-absorbed to simply put your stuff out there without insulting yourself. It’s okay and understandable if you lack confidence; that’s pretty normal. But it’s also okay--and wonderful--to like and be proud of yourself and your own work!

So, people in fandom, let’s perpetuate warmth and positivity, rather than insecurity and negativity. I encourage you to re-examine your bios, your posts, and your tags. I encourage you to love yourselves--and what you make--a little more ❤️️

(The follow-up post.)

#fandom #rachaelly writes nonfiction

[gabrielkahane]

Heirloom

Short form:

Heirloom (concerto for piano & chamber orchestra) premieres with Jeffrey Kahane & the Kansas City Symphony under the baton of Michael Stern, September 24-26. Tickets are here.

I’ll play a solo show at Rockwood Music Hall on Tuesday, September 28th. My dear friend and colleague, Johnny Gandelsman, will open with a solo violin set. Johnny’s on at 7pm, I’ll go on around 8pm. Tickets are $20 and are here. This will be my only NYC appearance this year!

Applications for Luna Lab with Oregon Symphony are now open! If you are a female-identifying, non-binary, or gender-nonconforming composer between the ages of 12 and 18, and live in Portland or Southeast Washington, please apply for your chance to study for a year with the incredible Nathalie Joachim!

Long form:

Several years ago, my friend Eric Jacobsen started pestering me about writing a piano concerto for my father, Jeffrey Kahane. It was an intriguing (and natural!) idea, but I kept putting it off in large part because I’ve never felt comfortable with large-scale instrumental composition. I think of myself first and foremost as a songwriter, and while I love to write for instruments in the context of vocal music, I feel almost entirely unmoored when voice & text are taken away. But Eric was persistent, and, well, here we are. Next month, the Kansas City Symphony will open its season with Heirloom, after which the piece will be heard in the coming years in performances presented by the co-commissioners who’ve rounded out the consortium: the Oregon Symphony, the Aspen Music Festival, the Los Angeles Chamber Orchestra, the St. Paul Chamber Orchestra, and Eric’s Brooklyn-based group, The Knights.

Heirloom is an aural family scrapbook, exploring, in its three movements, a series of inheritances. I’m incredibly excited to witness its birth September 24-26 in Kansas City. You can find the program note I’ve written to accompany its premiere at the end of this email.

The following Tuesday, September 28th, I will play my first concert in New York City since our lives were individually and collectively turned upside down by the pandemic. Most of the evening will be devoted to a new slate of songs drawn from thirty-one composed in October of 2020, the final month of a year-long, complete internet hiatus. Johnny Gandelsman, violinist of Brooklyn Rider, opens with what promises to be a ravishing solo set. Tickets are here.

Lastly, in 2019, I took on the position of Creative Chair with the Oregon Symphony. I’m very pleased to announce that this season, we’ve begun a partnership with Luna Lab, the brainchild of composers Missy Mazzoli and Ellen Reid. Luna Composition Lab offers mentorship and professional training to female-identifying, non-binary, and gender-nonconforming composers between the ages of 12 and 18. We at the Oregon Symphony are incredibly grateful to partner with Luna Lab to offer one student a year-long period of mentorship with Grammy-nominated flutist, composer, and songwriter, Nathalie Joachim, who happens to be one of my all-time favorite humans, and who will be giving the world premiere of Suite from Fanm D’ayiti with the Oregon Symphony in the spring of 2022. What makes this even more amazing is that another all-time favorite human, the violinist Pekka Kuusisto, will be playing Nico Muhly’s concerto Shrink, on the same program. Oh, but we were talking about Luna Lab. If you or someone you know wants to apply, you can find more info & the application form here; you just have to submit one score & a recording (MIDI is acceptable). I will be reviewing submissions along with Nathalie. Applications are due on September 7th.

Obligatory capitalism appeal: I know it’s been a while since I’ve put out new music. It’s coming. I promise. In the meantime, may I remind you about this gorgeous limited edition vinyl record?

That’s it for now, folks. Stay safe. Try to lead with love, even when it’s hard.

All my best,

Gabriel

Heirloom program note:

Tucked away in the northernmost reaches of California sits the Bar 717 Ranch, which, each summer, is transformed into a sleep-away camp on 450 acres of wilderness, where, in 1967, two ten-year-old kids named Martha and Jeffrey met. Within a couple of years, they were playing gigs back in L.A. in folk rock bands with names like “Wilderness” and “The American Revelation.” They fell in love, broke up, fell in love again. By the time I was a child, my mom and dad had traded the guitars, flutes, and beaded jackets for careers in clinical psychology and classical music respectively. But they remained devoted listeners of folk music. Growing up, it was routine for dad to put on a Joni Mitchell record when he took a break from practicing a concerto by Mozart or Brahms. That collision of musical worlds might help to explain the creative path I’ve followed, in which songs and storytelling share the road with the Austro-German musical tradition.

That tradition comes to me through the music I heard as a child, but also through ancestry. My paternal grandmother, Hannelore, escaped Germany at the tail end of 1938, arriving in Los Angeles in early 1939 after lengthy stops in Havana and New Orleans. For her, there was an unspeakable tension between, on the one hand, her love of German music and literature, and, on the other, the horror of the Holocaust. In this piece, I ask, how does that complex set of emotions get transmitted across generations? What do we inherit, more broadly, from our forebears? And as a musician caught between two traditions, how do I bring my craft as a songwriter into the more formal setting of the concert hall?

The first movement, “Guitars in the Attic,” wrestles specifically with that last question, the challenge of bringing vernacular song into formal concert music. The two main themes begin on opposite shores: the first theme, poppy, effervescent, and direct, undergoes a series of transformations that render it increasingly unrecognizable as the movement progresses. Meanwhile, a lugubrious second tune, first introduced in disguise by the French horn and accompanied by a wayward English horn, reveals itself only in the coda to be a paraphrase of a song of mine called “Where are the Arms.” That song, in turn, with its hymn-like chord progression, owes a debt to German sacred music. A feedback loop emerges: German art music informs pop song, which then gets fed back into the piano concerto.

“My Grandmother Knew Alban Berg” picks up the thread of intergenerational memory. Grandma didn’t actually know Alban Berg, but she did babysit the children of Arnold Schoenberg, another German-Jewish émigré, who, in addition to having codified the twelve-tone system of composition, was Berg’s teacher. Why make something up when the truth is equally tantalizing? I suppose it has something to do with wanting to evoke the slipperiness of memory while getting at the ways in which cultural inheritance can occur indirectly. When, shortly after college, I began to study Berg’s Piano Sonata, his music— its marriage of lyricism and austerity; its supple, pungent harmonies; the elegiac quality that suffuses nearly every bar—felt eerily familiar to me, even though I was encountering it for the first time. Had a key to this musical language been buried deep in the recesses of my mind through some kind of ancestral magic, only to be unearthed when I sat at the piano and played those prophetic chords, which, to my mind, pointed toward the tragedy that would befall Europe half a dozen years after Berg’s death?

In this central movement, the main theme is introduced by a wounded-sounding trumpet, accompanied by a bed of chromatic harmony that wouldn’t be out of place in Berg’s musical universe. By movement’s end, time has run counterclockwise, and the same tune is heard in a nocturnal, Brahmsian mode, discomfited by interjections from the woodwinds, which inhabit a different, and perhaps less guileless, temporal plane.

To close, we have a kind of fiddle-tune rondo, an unabashed celebration of childhood innocence. In March of 2020, my family and I were marooned in Portland, Oregon, as the world was brought to its knees by the coronavirus pandemic. Separated from our belongings—and thus all of our daughter’s toys, which were back in our apartment in Brooklyn—my ever resourceful partner, Emma, fashioned a “vehicle” out of an empty diaper box, on which she majusculed the words vera’s chicken-powered transit machine. (Vera had by that point developed a strong affinity for chicken and preferred to eat it in some form thrice daily.) We would push her around the floor in her transit machine, resulting in peals of laughter and squeals of delight. In this brief finale, laughter and joy are the prevailing modes, but not without a bit of mystery. I have some idea of what I have inherited from my ancestors. What I will hand down to my daughter remains, for the time being, a wondrous unknown.

Heirloom is dedicated with love, admiration, gratitude, and awe, to my father, Jeffrey Kahane.

#jeffrey kahane #kansas city symphony #piano concerto #pekka kuusisto #nathalie joachim #oregon symphony #st. paul chamber orchestra #los angeles chamber orchestra #aspen music festival #missy mazzoli #ellen reid #rockwood music hall #johnny gandelsman #folk music #classical music #the knights #eric jacobsen

[blogdojuanesteves]

ZERO, Cadernos de Fotografia #0 > Org.Eder Ribeiro > Andrea Paula>Adriana Amaral>Carolina Koff>Denis Santos>Eny Aliperti>Felipe Bataglia>Henrique Setim>Juliana de Camargo Cerdeira>Leda Braga>Marcia Gadioli>Paulo Delfini>Renata Danicek>Taís Dias.

P

ANDREA PAULA

O mato-grossense Eder Ribeiro, curador do livro ZERO Cadernos de Fotografia #0 (Alter Edições, 2021) se pergunta "O que é a fotografia?" para logo responder que esta questão ontológica é subjacente e perpassa todos os projetos apresentados nesta coletânea, "obras que funcionam como ponto de partida para interrogar o próprio meio fotográfico, suas características, sua potência e seus limites."

   Sendo assim, estamos diante de uma publicação que evoca os complexos estatutos epistemológicos da fotografia, representados por imagens, gravuras, frames de vídeos e filmes como resultado de hibridização que envolve cada vez mais o fazer fotográfico e suas infinitas possibilidades. Trabalhos criados em um momento muito particular de imersão virtual de um grupo de 12 autores, resultado de um momento coletivo de criação no ano de 2020 dos Grupos de Narrativas Visuais que ocorrem na Casa Contemporânea em São Paulo e Ribeirão Preto.

ADRIANA AMARAL

O conceito de hibridismo, já evocado aqui desde o início, se pensado como produto (terceiro) de conexões entre dois produtos ou meios - um tema muito presente, como pensa De Tacca, tem na fotografia um papel para articulação, quando pensamos que a intertextualidade estabelecida interage, a partir desta, na relação com outros meios de expressão e com a ciência desde seu surgimento.

 Esta interação se posiciona aqui em trabalhos que não seguem um fio condutor na estrutura do livro. Segundo Ribeiro, foram pensados para explorar a heterogeneidade nas abordagens do meio fotográfico. O que nos leva também à investigação teórica sobre este suporte e suas possibilidades dialógicas, abolindo a rigidez das margens mais tradicionais entre um e outro elemento conceitual e composicional.

CAROLINA KOFF/PAULO DELFINI

Zero tem um conjunto eclético que mostra, em sua maioria, produtores emergentes e também relacionados a outras atividade próximas, como a historiadora Andrea Paula, professora na Universidade Federal do ABC, outros com algumas publicações, como Denis Santos, autor do fotolivro O Murmúrio das coisas ( Alter Edições, 2019) e Leda Braga, que participa do livro Ato Falho  (Alter Edições, 2020), com histórias mais longas, como a artista plástica Eny Aliperti, que participou da Mostra Anual da FAAP, em 2008, Adriana Amaral, que já expôs no Museu da Imagem e do Som ( MIS) de Ribeirão Preto em 2005 e Marcia Gadioli, artista visual que já publicou alguns livros de artista como Memorabilia 3 e Versus, Memoriar (por m²) ambos de 2019. [ Leia aqui review sobre estas publicações em

ahttps://blogdojuanesteves.tumblr.com/post/628364696589860864/memorabilia-3-memoriar-por-m%C2%B2-versus ].

MARCIA GADIOLI

Em suas variações, originárias das discussões do grupo de estudos de Eder Ribeiro, surgem conexões e referências com movimentos figurativos, abstratos e até mesmo da Pop Art, com e sem intervenções, que dialogam com imagens mais formais e contemplativas, o que era previsível diante do largo range de atividades de cada autor. Entretanto, o conjunto, mesmo distante de um uma lógica mais restrita para seu percurso, avança francamente pela criatividade liberta dos tradicionais vícios das publicações deste gênero.

DENIS SANTOS

A fotografia, desde o seu início, teve muitos momentos de procura e afirmações no campo da expressão artística e das artes plásticas, principalmente a pintura, que é um elemento de constante aproximação e tensão, escreve Fernando de Tacca. A análise é mais que correta, quando vivemos um momento que traz uma dicotomia constante entre ser "fotógrafo" ou ser "artista". Campos que ora se repelem, ora são entrelaçados, fato que se deve ao caráter múltiplo da fotografia que a tecnologia impõe em sua constante expansão.

 O pensamento filosófico sobre as novas mídias e suas situações híbridas vão além do meramente visual, explica Mark Hansen, professor da Duke University, nos Estados Unidos, em seu livro New Philosophy for New Media ( MIT Press, 2004), com o argumento que a imagem digital engloba todo o processo pelo qual a informação se torna perceptível, colocando-a como um filtro de informações para a criação de imagens. Embora devemos contestar essa transcendência tecnológica e defender a indispensabilidade do ser humano. Seria interessante pensarmos este momento à luz do pensamento bergsoniano de que a afeição e a memória podem contaminar a nossa percepção - quando selecionamos apenas relevantes para uma forma singular de incorporação.

Acabamos filtrando as informações que recebemos para criar imagens, em vez de recebê-las como formas preexistentes. Estas, por sua vez, não são uma representação fixa, mas sim definidas por sua total flexibilidade e acessibilidade, o que de fato ocorre no conjunto de imagens deste livro. A interatividade das múltiplas mídias transforma espectadores em usuários que também exploram o investimento estético contemporâneo na base afetiva e corporal da visão, diz Hansen, lembrando das obras de artistas como o americano Bill Viola ou o escocês Douglas Gordon.

RENATA DANICEK

Fernando de Tacca confirma esta conceituação ao afirmar que a intertextualidade da Fotografia com os campos da arte, encontra, geralmente, no ambiente midiático da convergência digital um espaço vertiginoso de encontros com outras linguagens visuais e sonoras. "E, principalmente, que as narrativas ganham uma visibilidade com apropriação de imagens em processos individuais de criação e expressão. Neste conjunto, ressaltamos a boa edição do livro, como aglutinadora dos diferentes predicados, expondo assim claramente suas individualidades, mas criando um fluxo compactado deste entendimento. Refletindo mais amplamente, um certo gestaltismo, considerando o livro como um conjunto constitutivo, com suas unidades autônomas, mas capazes de serem solidárias.

FELIPE BATAGLIA

Eder Ribeiro explica que na série "O amor é um produto" Leda Braga faz uso da reapropriação das imagens publicitárias cujos títulos contêm a palavra "amor''. Um projeto que ironiza a ideia romantizada de amor veiculada pela publicidade." algo semelhante ao produzido por Andy Warhol (1928-1987) nos anos 1960 em trabalhos como Campbell Soup de 1962. "Lembranças de lembranças" de Adriana Amaral, evoca sensações de melancolia e desconforto do presente entrelaçadas a memória de infância, usando fotografias e vídeo que nos remete, guardadas as proporções, a Bill Viola. A série "Se eu pudesse ao menos me lembrar do meu nome", de Denis Santos, recupera fotogramas de antigos filmes Super 8, impressos nos filmes instantâneos Instax. Já Andrea Paula, em sua série "Matrizes" promove o encontro da imagem vernacular, geralmente anônima, e as técnicas obsoletas, como o uso da retícula que nos fazem lembrar do genial alemão Sigmar Polke (1941-2010) e seu "Freudinnen" de 1965.

   Eny Aliperti "extrai fragmentos de filmes da televisão, como uma mesa de montagem" trabalho que resvala nas produções dos artistas americanos Frank Gillette e Ira Schneider, como Wipe Cyrcle, de 1969. Renata Danicek mostra imagens da natureza em colagens "restituindo o movimento e a passagem do tempo." de uma forma lírica e contemplativa, porém poderosa, a nos lembrar do islandês-dinamarquês Olafur Eliasson e algumas de suas instalações como Riverbed, de 2014. Felipe Bataglia com suas Impermanências "se serve de poucas imagens carregadas de simbolismo" questionando a noção do tempo e da condição humana e sua efemeridade. Com algumas imagens que nos lembram o conceito da artista mineira Rosângela Rennó em sua Série Vermelha, de 1996.

HENRIQUE SETIM

A ideia da correspondência performática da dupla Carolina Koff e Paulo Delfini na série "Me conta dos seus dias" segundo Ribeiro, restitui esse diálogo silencioso e constrói um universo de signos e metáforas. Já Juliana Camargo Cerdeira, trabalhou wna ideia do “Exterior como espaço de projeção, acessível apenas através do aparelho fotográfico, e à noite, um tempo dilatado" para interessantes recortes a nos recordar com mais intensidade que vivemos na pandemia. A cidade também é o registro de Henrique Setim, utilizando-se, em sua sérios ''Indícios" dos grafismos surgidos do asfalto, uma espécie de um registro (mais leve) como os produzidos pelos artistas britânicos Boyle Family, no final da década de 1960 até hoje.

TAÍS DIAS

  Fotos anônimas de família e outras de sua autoria constituem o trabalho de Marcia Gadioli, produzida de forma artesanal, apresentam a ideia da temporalidade que o filósofo francês Pierre Lévy chamou de cíclica ao estabelecerem uma correlação entre as tecnologias cognitivas. Também pensamos nas “camadas” sobrepostas da arte contemporânea e a possibilidade da reintegração do fazer artístico no tecido da sociedade como um todo, lembrando da curadora e crítica de arte nova iorquina Lucy R. Lippard  em seu ótimo Overlay- Contemporary Art and Prehistory (The New Press, 1995). Taís Dias, em "Metamorfose da morte" caminha também pela paisagem urbana em um complexo reordenamento visual ressignificando estes espaços, dialogando com desenhos e gravuras, através das técnicas de fotogravura e da gravura em àgua-forte, explica o curador.

JULIANA DE CAMARGO CERDEIRA

Zero, Cadernos de Fotografia #0 foi composto graficamente de forma ampla, usando papéis diferenciados que valorizam os trabalhos individuais, como Markato edition bianco, Opalina evenglow diamond, Super Bond, com a capa em Translucents red. A excelente direção de arte é de Felipe Bataglia com impressão na gráfica paulista Cinelândia, com uma tiragem de apenas 300 exemplares.

   Estas inter-relações, como bem nos lembra o título do texto de Eder Ribeiro: "Fotografia e suas contaminações", tem um caráter salutar quando lembramos de uma arte tão híbrida como a fotografia, por sinal desde seus primórdios, aqui nesta publicação tem o condão de alertar que não existe uma produção contemporânea de qualidade sem o aprofundamento cultural, mister ofício do curador ao compartilhar seu conhecimento e a fomentar amplamente a arte fotográfica . Melhor ainda nas palavras do próprio: "A fotografia reafirma sua sua propriedade de meio híbrido e miscegenado por excelência, os projetos aqui reunidos são a prova eloquente dessa condição."

LEDA BRAGA

Imagens © dos autores   Texto © Juan Esteves

para adquirir a publicação:

https://www.alter-books.com/

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* nestes tempos bicudos de pandemia e irresponsabilidade política com a cultura vamos apoiar artistas, pesquisadores, editoras, gráficas e toda nossa cultura. A contribuição deles é essencial para além da nossa existência e conforto doméstico nesta quarentena *

[thecrownnet]

‘The Crown’ Season 4 Review: It’s to Di For

Ann Donahue, IndieWire Nov 9, 2020

*Spoilers*

In a case of art imitating life, the addition of Princess Diana to the Netflix series revitalizes the Royal Family.

[Editor’s Note: The following review contains spoilers for Season 4 of “The Crown” and British history between 1979-1990.]

Like the good public school types that they are, the British Royal Family isn’t above a bit of hazing to those who seek to enter its inner circle.

It’s known as “The Balmoral Test” and involves diligent bouts of outdoorsy activity at the Queen’s castle in Scotland. (Traipsing over steep hills in the mud! Stalking stags to kill! Wearing tartans unironically!)

Season 4 of “The Crown” debuts November 15 on Netflix, and early on you learn Margaret Thatcher wore high heels, brought a briefcase and a sneer to Balmoral, and unequivocally, catastrophically failed the test. Diana Spencer wore boots, bangs, and a sweet smile, and passed with flying colors.

In the end, though, they both lose the bigger game of conquering The Firm.

After a subpar Season 3, it turns out that what this ongoing narrative of Queen Elizabeth really needed was an enemy — or two. In a season with the most pop culture audience pressure riding on it — because of the Princess Diana factor, there is no doubt that people who have never watched a single second of  “The Crown” before now will tune in — Peter Morgan’s show delivers its best yet.

With the addition of Thatcher, played to gritty, galling Iron Lady perfection by Gillian Anderson, and Diana, a near-impossible role that Emma Corrin makes look effortless without descending into hagiography, “The Crown” gives a riveting look at a decade that codified callous excess in the characters’ public and private lives.

Instead of the world being seen through others’ eyes and leaving Olivia Colman on the margins to react — as she was left to do in Season 3 — Colman is now allowed to own the monarch’s authority in her performance. And with foils like Anderson and Corrin, all three turn in very brittle and beautiful performances.

The great fear was that the Prime Minister vs. Sovereign face-offs between Anderson and Colman could be reduced to tropes: either “It’s Girl Power time, Tory style!” or “Oooh catfight!” Thankfully, this is avoided entirely by letting both actors show their chops in the most understated and devastating ways at their command.

Morgan was the playwright for 2013’s “The Audience,” which envisioned the weekly meetings between the Queen and her long history of Prime Ministers, and it won Tonys for Helen Mirren (playing guess who) and Richard McCabe as Prime Minister Harold Wilson. Colman has extensive stage experience, most recently in “Mosquitoes” at the Royal National Theatre in London in 2017. Anderson has three Laurence Olivier Award nominations, including one for 2019’s production of “All About Eve.”

As a result, the scenes between these two are a study in the subtleties of power dynamics and differences in upbringing that are framed to read as beautifully on a TV screen as it would on the West End. What you see is Anderson as Thatcher curtsying particularly deeply at a certain moment, or Colman as the Queen making a calculated move to end the audience. What you understand is that Thatcher doesn’t get why someone with an inherited title should hold more power than her, and the Queen’s firm resolve to keep Thatcher in her place.

Yes, yes, yes, contemplating the wounds caused by the vicissitudes of the British class system is all well and good, let’s please get to the part about Prince Charles and Lady Di, rich people in doomed love. Or “Whatever love means?” as Charles agonizingly asked at his engagement press event as Diana wilted beside him. This famously public cringe-moment is recreated in “The Crown,” and it’s one of the reasons why this long has been the timeframe where the show stood the most risk of devolving into shadow puppetry.

The Charles and Di moments have been covered a million times in various news clips and documentaries; you can see the entirety of the terrible engagement interview at a moment’s notice via YouTube. Great credit is due to Josh O’Connor as Charles, Corrin as Diana, and Emerald Fennell as Camilla Parker Bowles, as they all find layered emotional textures to enrich the footage that’s been part of the pop culture vernacular for decades.

Corrin, in particular, does a hell of a job. This is not a Diana with a sad-princess-imprisoned-in-a-tower sheen — several episodes open with content warnings due to the graphic depiction of her disordered eating. The show doesn’t play coy: Diana was a particularly child-like very young woman who checked all the boxes for “virginal beautiful young princess” — and beyond that perfect-on-paper resume there wasn’t a second thought given to her mental health. She is shown without the emotional capacity or maturity to understand that this isn’t a love story; it’s a job to fill the global complexities of a role in a chilly, treacherous family.

Corrin pulls no punches; her Diana is winsome and frustrating, sweet and calculating. She is savvy and silly and petulant. She is world famous but starved for attention. Corrin spins around to the point of collapse as she dances, all desperate, keening, frenetic energy and no joy. It’s a complex portrayal of a complex person, one that is fully aware of the mythology that surrounds the character but isn’t weighed down by it.

Diana was an Instagram royal decades before there was such a thing, and it’s through gestures like famously hugging a child with HIV in the hospital that the princess tried to kill the Crown with her kindness. It’s something a perpetually battle-ready Thatcher would never conceive of doing — but it’s also something The Queen would never consider. But why shouldn’t they? What do we expect of our hallowed institutions, and why? If we can envision better, more humane treatment, why don’t we require it?

These are weighty questions, and they are asked in a show relentless in its ability to propagate its characters’ power through setting and spectacle. It goes without saying that the production design, hair and makeup, and costumes remain outstanding on “The Crown”  — there is a reason the show is undefeated during its three-season run at the Emmys in the category of Outstanding Period Costumes.

The streak should continue this year if for nothing else than the combination of creating a wedding dress inspired by Princess Diana’s voluminous meringue and the true-to-life pink plaid ensemble the lonely princess wears to roller skate around Buckingham Palace. (Corrin also at one point wears a sweater with llamas embroidered on it — also based on an outfit Diana wore. The ‘80s were a lot.)

Beyond reveling in the tawdry candy-colored tale of Charles and Di, Morgan’s writing on the show routinely explores notions of classicism, privilege, sexism, and racism. But this time around, the undercurrents surface in a way that is timely, incisive, and, ultimately, more pointed and hopeful: If England can survive 11 years of Margaret Thatcher as Prime Minister, the United States will survive four of President Donald J. Trump and the craven GOP leadership.

This isn’t a particularly sunny take. The cruel deprivation, degradation, and devastation wrought by the Thatcher years is the basis of several episodes over the course of the season. A war was started out of preposterous personal motivation (Shout-out to former President George W. Bush! Some of us haven’t forgotten that you’re a war criminal!); institutional racism was bolstered and emboldened for oligarchical profit; public resources were diverted from the marginalized in the righteously cold-blooded notion that there is no implicit bias in society, it’s just that some are lazy and choose to suffer.

All of this is familiar. Very painfully, infuriatingly familiar. But as “The Crown” in this season shows, with a steel spine and ice in its veins, the Monarchy was built to withstand whatever onslaught comes its way.

So are we.

Grade: A

“The Crown” Season 4 will be available Friday, November 15 on Netflix.

#olivia colman #tobias menzies #gillian anderson #helena bonham carter #the crown #the crown spoilers #peter morgan #josh o’connor #emma corrin #emerald fennell #the crown netflix #The crown season 4

[dustedmagazine]

RXM Reality — WEWEREFRIENDS (We Be Friends)

Photo by Mike Meegan

WEWEREFRIENDS by RXM Reality

Chicago producer Mike Meegan, AKA RXM Reality, charts our ever changing moods on his new album WEWEREFRIENDS. He captures the atomizing effect of lockdown, plague, climate apocalypse and the general bloody minded selfishness wrapped in the scoundrels’ flag that play with what’s left of one’s sanity every day.  The sleights of hand at play reflect the fractured and fractious environment in which we must persist. We are turned inside out, trapped between despondency and hyper distraction. Moments of quiet flip into dense constructs of frantic beats, harsh noise, febrile synths and anxious voices. Meegan traverses experimental RnB, body music, drill and obsidian ambience with an attention to detail that emerges with repeated listens.

“DAYS GO BY” opens the album with heavily distorted vocals over simple guitar notes and a wobbling shuffle. The synths are pop facing, the mood reflective of time slowed to a crawl, burdened with nostalgia. Then the mood gets darker and angrier. On “PUNK SHIT” subterranean death metal growls fail to suppress the outbreak of a rebelliously pretty melody; it enters like a flower-bearing protestor using a gun barrel as a vase. Much of the following is a horror show of bouncing off walls hyperactivity, as concussive and disorientating as the most extreme moments of Squarepusher or Aphex Twin but with the same degree of control and artistry. Meegan knows exactly how far to go and when to interpolate harmony, humor and hope. At the halfway point “ALCOHOLIC” delivers lush swathes of synths, a simple piano motif and a moment’s respite that manages to mirror the woozy comfort of home drinking and the nagging awareness of the hangover to come.  

RXM (Risk Exposure Management) is the acronym of the moment, even if it hasn’t entered the vernacular; reality is evermore what we’re inured to, even if a sizable proportion of people don’t accept facts. In this splintered world RXM Reality takes what he can as tools to tussle with the art of the possible. If solutions are scarce, escape impossible and sanguinity hard won, WEWEREFRIENDS offers at least a sense that we are all in this together and a hand held out is often the most we can do for ourselves and others even if we sometimes just need to bounce the pain away.  

Andrew Forell

#rmx reality #WEWEREFRIENDS #we be friends #andrew forell #albumreview #dusted magazine #electronica #experimental