#detroit artists market

[justforbooks]

Roger Corman

American film director and producer who liked to describe himself as the ‘Orson Welles of the Z movie’

Although Roger Corman, who has died aged 98, directed more than 50 films, he will be remembered mainly as an influential producer and genial godfather to the New American Cinema of the 1970s. The list of his beneficiaries makes up a Who’s Who of contemporary American film. Martin Scorsese, Peter Bogdanovich, Francis Ford Coppola, Monte Hellman, and Jonathan Demme were all directing proteges of Corman.

“You can see right away that the guy’s a superior producer,” said Jack Nicholson, who appeared in five films directed by Corman. “He’s the best producer I’ve met in the business. The man carried me for seven years. I feel tremendously indebted to him.”

But to pre-70s cinemagoers, Corman was an auteur in his own right, describing himself as the “Orson Welles of the Z movie”. The schlocky titles of the majority of his films disguise the fact that Corman was an extremely cultured, elegant and well-spoken man, without the slightest hint about him of the rock’n’roll counterculture in which he played an important part. He also had cameo roles in about 30 films, including as an FBI director in Demme’s The Silence of the Lambs (1991), and a senator in Coppola’s The Godfather Part II (1974).

Corman’s filmography as a director can be roughly divided into three groups: the quickies (1955-60), the adaptations of the works of Edgar Allan Poe (1960-64), and the mainstream experiments (1966-70). In the first period, on a tiny budget and in rented studios, he produced and directed such Z movies as Attack of the Crab Monsters (1957), Teenage Caveman (1958) and She Gods of Shark Reef (1958). Science-fiction horror with tatty special effects, cut-price monsters and unknown casts, they were aimed at the drive-in movie youth market.

He would produce up to seven films a year, his fastest being The Little Shop of Horrors (1960), which was reputedly shot in two days and a night. It was filmed using the same sets as A Bucket of Blood (1959), a self-referential black comedy. Corman once joked he could make an epic about the fall of the Roman empire with two extras and a sagebrush.

In slight contrast was the Poe series, amusing shockers in widescreen and colour. These included House of Usher (1960), The Pit and the Pendulum (1961), The Raven (1963), The Terror (1963) and, perhaps the best, The Masque of the Red Death (1964).

Greater commercial success came with such films as The St Valentine’s Day Massacre (1967) and Bloody Mama (1970), but soon afterwards Corman retired as a director. His reasons were manifold: he had made around 26 films in 10 years and felt the need of a rest; he also complained that when he made cheap films nobody tinkered with them, but as a big-budget director everyone seemed to think they had the right to maul his work. “Specifically, a picture I made called Gas-s-s-s for AIP [American International Pictures], which was completely recut,” Corman said.

“It was a controversial kind of a comedy, and AIP cut all the funny stuff right out of the film, including the entire ending. The film was never shown anywhere as I shot it, and I felt, frankly, they emasculated the picture and destroyed any possibility of success.”

He was born in the city of Detroit, Michigan, to William Corman, an engineer, and Anne (nee High). His paternal grandparents were Russian-Jewish immigrants, and his mother was of German ancestry.

The family moved to California and Roger went to Beverly Hills high school before beginning an engineering degree at Stanford University. It was the middle of the second world war, and he spent two years as a navy cadet before finally graduating in 1947. He entered the movies at 20th Century-Fox as an errand boy, but then, under the GI Bill, took off to study English literature at Oxford University for six months, followed by six months in Paris.

In 1954, Corman sold a low-budget script to Allied Artists. It was released as Highway Dragnet, for which he insisted on an associate producer credit. But he was disappointed with the film and, believing that he could do a better job as a producer, scraped $12,000 together to make Monster from the Ocean Floor (1954), directed by Wyott Ordung.

After selling the film for a profit of $100,000, Corman scripted and produced The Fast and the Furious (1954). Shot in 10 days by the film’s star, John Ireland, it was distributed by a small new company, American Releasing Corporation, later renamed American International Pictures, with Corman as its house director.

In the early 60s, for AIP, he made his series of adaptations from Poe, a favourite writer of his since childhood. Using the team of the designer Daniel Haller, writer Richard Matheson and cameraman Floyd Crosby, he created garish, camp and amusing shockers, taking their tone from Vincent Price’s sibilant, ghoulish hamming.

They were sometimes referred to as “late wife” movies because, in most of them, Price had a deceased wife lying around a castle. Taking only 15 days to shoot, they contained scenes and sets interchangeable from one film to the next, but they were popular and gathered a cult following.

A departure from the horror genre of the period, and one of Corman’s favourites, was The Intruder (1961), a gritty social drama in which a rabble-rouser (William Shatner) arrives in a southern town to disrupt racial integration in the schools.

Corman’s taste for updated American Gothic was evident in the biker movie The Wild Angels (1966), which featured actual Hells Angels, and The Trip (1967), an indulgent plunge into psychedelia written by Nicholson. Both starred Peter Fonda, who went on to produce – and star in alongside Nicholson and Dennis Hopper – the Corman-influenced Easy Rider (1969).

Corman’s blood-splattered recreation of 1928 Chicago in The St Valentine’s Day Massacre was more tightly controlled and wordier than his usual product, with impeccable performances from Jason Robards as Al Capone and Ralph Meeker as Bugs Moran. In the cold-eyed and unromantic Bloody Mama, Shelley Winters let rip as Kate Barker, the murderous matriarch of a gang of outlaws, with an unknown Robert De Niro playing her son.

Corman followed up that success with a tale of another female gangster, Boxcar Bertha (1972), hiring a young Scorsese as director.

He gave up directing after The Red Baron (1971) nose-dived at the box office. Phony German accents were dubbed in against his wishes. However the dog fights, actually filmed in the air, gave the first world war flying sequences authenticity.

In 1970, he set up his own company, New World Pictures, and continued to produce formula films for the youth market, abiding by the profitable philosophy “make ’em quick, make ’em cheap and make ’em popular”. These included motorcycle movies (Angels Die Hard); sexploitation flicks (Night Call Nurses, Fly Me, Caged Heat!, the latter directed by Demme) and horror films (Night of the Cobra Woman), but the company also distributed films in the US at the opposite end of the creative scale, such as Ingmar Bergman’s Cries and Whispers (1972) and Federico Fellini’s Amarcord (1973).

In 1990, Corman sat down in his director’s chair once more and made Frankenstein Unbound, with John Hurt and Raul Julia, which proved he could still spin a gory tale, though, alas, without the success of earlier years.

However, the title of his 1998 autobiography, How I Made a Hundred Movies in Hollywood and Never Lost a Dime, still rang true. He continued to produce and executive produce films into his 90s. In 2009, he received a lifetime achievement Academy Award.

He is survived by his wife, Julie Halloran, a film producer, whom he married in 1970, and their four children, Roger, Brian, Mary and Catherine.

🔔 Roger William Corman, film director, producer and actor, born 5 April 1926; died 9 May 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #Roger Corman #in memoriam

[impermanent-art]

Striking work by Pat Perry for the 2016 edition of Detroit's Murals In The Market. In the artist’s words: “A pictograph of us merrily digging our own grave, a swan song procession for the end of the oil age, as we stumble out and off the edge, together.”

#patperry #dakotaaccesspipeline #nodapl #muralsinthemarket #art #detroitart #urbanart #streetart #arteurbano #artecallejero #streetarteverywhere #streetartdaily #streetartphotography #instastreetart #impermanentart #mural #publicart #detroit #detroitstreetart #streetartdetroit #easternmarket #easternmarketdetroit

[motownfiction]

third floor

Sam moves out of his parents’ house in October of ‘89. He’s the last of the Doyle siblings to move away. Sadie moved out last year when she got married; Charlie moved out last month for the same reason. And then there’s Sam. Terminal twenty-two-year-old bachelor Sam. He could stay in his childhood bedroom forever. Except he doesn’t want to.

He’s spent the last two years saving up as much money as he can. The only reason he took the marketing job at his dad’s landscaping business was so that he’d make enough to save up for his own place one day. When he left that job for the gig at the record store, Dad was heartbroken. It hurt Sam something awful to see him like that. Head hung low, talking about how he was going to miss him. He meant it, too. Sam and his old man have always gotten on like Han and Chewbacca, Phil and Don before the split. Today, they harmonize “Bye Bye Love” as they move Sam up to his new apartment in the city, on the third floor. Mom’s lagging behind with a very tall floor lamp.

“I don’t understand why you had to move to Detroit proper,” she says as she stumbles into Sam’s new living room, lamp first.

“Just had to,” Sam says. “Better to say I did. Can’t be a suburban rat my whole life, can I?”

His mother makes a face like she just bashed her knee against the coffee table. Maybe she did. Sam can’t say he’s been paying close attention. His father walks around and puts his arm around her.

“Maggie, come on,” he says. “You really don’t want him to stick too close forever, do you?”

Sam watches as his mother frowns. He doesn’t know what she’s thinking, not really, but he thinks he can hazard a guess. Mom left the city when she realized she couldn’t be an actress … when she realized she was pregnant with him (and Sadie, but when she’s worried about her ego, then it’s all about how she got pregnant with Sam). She walks up to him and takes his face in her hand, just like when he was a kid.

“I just gave you all of my talent,” she says. “Mike, didn’t I? Didn’t I just give this boy all of my talent?”

“What talent?” Sam laughs. “I can’t sing. I can’t really act. I think I can dance, but that might be my absurdly high confidence talking.”

Mom tightens her grip on his face once more before letting go.

“You know what talent,” she says.

Sam doesn’t say anything. He knows.

That’s why he’s moving to Detroit proper, after all.

He and his folks get the last of everything in. Before they turn around and head back home, Mom looks around the place and holds in a cry. Sam knows she means it, too. She’s not that great of an actress. That’s why she’s his mom.

“I’m just … what am I supposed to do without a kid in the house?” she asks.

“Eh, Mom, you’ll figure something out,” Sam says. “One-woman shows.”

He motions to his father on the other side of her.

“One-man audiences.”

Mom laughs, and Dad puts his arm around her again. Sam locks his eyes with his father for a little while. He can’t really hear what Dad is thinking, but he swears he can feel what he’s feeling. Pride. Nervousness. Maybe a little guilt. Sam pretends like he doesn’t know what the guilt would be for.

“Oh, Sam,” Mom says. “What am I going to do without you?”

Sam doesn’t say anything. He just wonders. Is this when she’ll finally realize? When she’ll finally realize he was her ally? Sam is pretty sure he understands his mother better than anyone else in his family. More than Dad, more than Sadie, even more than Charlie. Mom is an artist in a way they don’t make artists anymore. He thinks about those old photographs of hers he found when she was ten … how he loved his little mother in them, how he wished he could have known her then. Maybe then she wouldn’t think he was a thief. Maybe then they wouldn’t look at each other like there’s a changing screen between them.

“I don’t know, Mom,” he finally says. “But I guess I���ll see you tomorrow.”

She smiles to keep from crying. Sam knows she means it, too. He did steal her talent, after all.

He looks down at his hands in his new third-floor apartment, and he knows it.

(part of @nosebleedclub january challenge -- day xxiv!)

#drabble #writeblr #ch: sam doyle #ch: maggie doyle #ch: mike doyle #year: 1989 #this should be better! i'm just busy!

[vizu-al]

Quilted Flowers: 1940s Albanian & Epirot Recordings from the Balkan Label LP Limited Edition

Ajdin Asllan was born in Leskovik near the present-day southern border of Albania on March 12, 1895. At the age of 30, on July 12, 1925, he married a girl named Emverije, who was one month shy of her 16th birthday, in her native town Korçë, about 80 miles north. He arrived in New York by himself less than a year later on September 20, 1926, and when he filed his Declaration of Intent to become an American citizen in 1928 as a resident of Detroit, he gave his occupation as "musician." Emverije joined him in New York City on July 27, 1931. Asllan appears to have made his first recordings in November 1931 as a clarinetist on four songs issued as 12” discs by Columbia sung in Albanian by K. Duro N. Gerati. In January 1932 he recorded again, this time singing and playing oud on three Columbia 12”s along with several Albanian singers and the violinist Nicola Doneff (born March 21, 1891 Dichin, Bulgaria; died July 19, 1961 New York). In 30s Asllan launched an independent label called Mi-Re (roughly “With New” in Albanian) Rekord primarily to release his own recordings, but it stalled out after about 6 releases. In October 1941 he accompanied a Greek singer and songwriter named G.K. Xenopoulos as an oudist along with the beloved Greek clarinetist Kostas Gadinis and accordionist John Gianaros for the Orthophonic subsidiary of Victor Records run by Tetos Demetriades. The trio of Gadinis, Asllan, and Gianaros cut another four sides for Orthophonic May 1, 1942. Shortly thereafter, Asllan relaunched his label as Me Re with the help of Doneff and then quickly renamed it, more generically, Balkan. Gianaros came in as a business partner, and Balkan released scores of records, some of them seemingly selling thousands of copies in the mid-40s, but Gianaros split angrily with Asllan after just a few years over money problems. By 1947, Doneff had trademarked the Kaliphon label, which drew from much of the same roster of New York musicians of the Greek- and Turkish-speaking performers as Balkan and apparently collaborated in distribution, marketing, and manufacturing into the 1950s, but some business distinction had been drawn. A third label, Metropolitan, was launched and became at catchall for further Greek, Turkish, Armenian, and Ladino material by New York players, but it's not clear who was in charge or how things were divided up. Maybe Metropolitan was started by Asllan as a separate business to dodge the taxman or old creditors? We don’t know. All three labels shared a standard black-on-red color scheme that, it would seem reasonable to guess, was based on the Albanian flag and Asslan’s original, core purpose as an artist and impresario. Adjin and Emverije lived during the 1930s into the 50s first at 143 Norfolk St. and then at 42 Rivington St. (where Asllan opened a record shop), in Manhattan's Lower East Side, where Eastern European Jewish immigrants surrounded the small Albanian community and Turkish-speaking Sephardic Jews, and abutting Little Italy and a strip of Greek coffee houses on Mulberry Street. He worked within a network of primarily Turkish- and Greek-speaking performers in New York and released recordings prolifically made both locally and overseas through the 40s and 50s. He corresponded with his brother Selim (who sings on track 1, side A, later worked on the radio in Tirana and co-founded the National Ensemble of Folk Songs and Dances) back home, who was able to secure masters of Albanian performers recorded in Istanbul and Athens along with performances by Turkish- and Greek-speaking stars including Rosa Eskenazi and Udi Hrant (both of whom subsequently made extended visits to the U.S.) Greeks and Armenians had, even at the low ebb of immigration during the 1940s-50s, substantial immigrant populations in New York and around the country - Boston, Chicago, Cleveland, and many other cities. Those markets kept the Balkan label afloat for nearly 20 years. But Asllan also issued about 40 discs for the Albanian-language market ca. 1945-50 (at which point he retained a 500-series numbering scheme for them, picking up where he’d left off with his Me Ri label a decade earlier), including both folk music of southern Albania and choral music, much of the latter anti-Fascist Communist songs. In addition, three discs were issued as part of Balkan’s Greek series of uncredited musicians from Pogoni and Konitsa, towns about 30 miles south as the crow flies from where Asllan was born. The total Albanian-speaking population in the U.S. at the time was less than 10,000, and many couldn’t afford record players. But despite the small market for Albanian-language songs, he made sure to release discs for his countrymen. It was a time of immense political and social turbulence in both Albania and Greece, and the sense of duty to music is palpable in his work. Balkan’s business model was haphazard. Its numbering system, if one can call it that, indicates a tendency to start a series, then add to it - or not - sporadically, driven largely the question, “can we sell 500 of these? (And if so, can we sell 1000?)” The last Balkan 78s were issued around 1959; a few LP releases appeared around 1960, more than 20 years after Asllan released his first discs. We know he visited his native home and family in 1951, 25 years after having become American. He died in New York in October 1976. He had no children, save the records. ========= We have so far been able to trace a biographical narrative of only one of the other immigrant performer among those who play on this collection, Chaban Arif, who apparently sings on track 9. He was born May 22, 1899 in Berat, Albania, attended school through the second grade, and arrived alone at Ellis Island on November 2, 1920 at the age of 19 under the name Aril Shaban. His intention upon arrival was to meet up with a cousin, Mahomet Hajrules (who, in turn, had arrived only six months earlier under the name Mehemet Airula) in Southbridge, Massachusetts. However, there was a family of four from Shaban’s hometown on the same steamship who were headed to Pittsburgh, Pennsylvania (via a stop first at the south Philadelphia home of a relative), so Shaban wound up in Pittsburgh. He filed his first papers to become a U.S. citizen in Canton, Ohio in 1925, but he had returned to Albania in June of 1928, where he married an 18 year old woman named Nadire, and by 1931 had returned to Allegheny County, Pennsylvania, where he was working at the Duquesne, Pennsylvania Carnegie steel mill. (When his cousin Mehmet Hajrulla filed his Declaration of Intent to naturalize as a U.S. citizen in 1937, he was a widower living on Braddock Ave. in Pittsburgh and working as a painter.) The 1940 census found Shaban Arif relocated to 55 Clinton St. on the Lower East Side of Manhattan, about seven blocks from Adjin Asllan’s place on Rivington. Arif told the census enumerator that he worked 60 hours a week, 52 weeks a year for $916 a year (about $17,000 a year in today’s money) at the counter of of a restaurant. The man he listed on his WWII draft registration card as his closest contact was named Kardi Braim, who gave his country of origin either as Albania and Macedonia on different documents, had himself worked for a brick manufacturer in Erie County, Pennsylvania in addition to a string of other laboring jobs and worked at the time at Stewart’s Restaurant. It would seem reasonable to guess that both Shaban Arif and Kardi Braim were in Adjin Asllan’s limited social circle of Albanians in the neighborhood in the early 1940s when he recorded on this song. The $1 that the disc cost could have represented three and a half hours of labor at the restaurant. We know nothing else of Shaban Arif’s life except that he died in New York City in September, 1971. (Kardi Braim died in 1978.)

#Ajdin leskoviku #albania #shqip #vinyl #music

[kolajmag]

COLLAGE ON VIEW

Swan Song

at the Museum of Contemporary Art Detroit through 26 March 2023. Swan Song features the individual and collaborative work of Halima Afi Cassells and Shanna Merola, combining their photo-based collages alongside sculpture and installation. This exhibition examines the cause and effects of colonization, resource extraction, climate crisis, and corporate domination. While Merola’s dystopian landscapes seem fractured beyond repair by free market deregulation, Cassells work manifests the collective liberation of both people and land from the grip of white heteropatriarchal systems of oppression. MORE

*****************************

Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

SUBSCRIBE | CURRENT ISSUE | GET A COPY

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[rgr-pop]

peter max was pretty big too (lisa frank talks about this--i think he had some kind of dealer connection to detroit) but i never see his stuff around still--though he has more of a real market out in the world. the other artists esp the israeli artists, i should better recognize by sight so i can figure out if they’re still in real estate staging photos in oakland county lol

#art

[jakesalablogs]

EmiNFTs?

Welcome back comic fans! I hope you’re as excited as I am to get into today’s stories. I will be looking at the following today: “NFT Monkeys & Comic Books: Eminem’s Newest Track” from MusicDaily

            Will the Real Slim Shady please stand up on the blockchain? Bad jokes aside, this is a pretty cool story that combines music, NFTs and comic books. According to MusicDaily, “As of June 24th, 2022 Eminem and Snoop Dogg graced us all with a music video to their home honoring collaboration. From The D 2 The LBC is a song that’s got hella good bars and flow… but that’s not why we’re here (yet). We’re here to talk about the screenshots below.”

That’s right. Eminem and Snoop Dogg made a music video with their own comic book NFT characters. This a pretty cool development for multiple reasons. First, it represents a mainstream adoption of 21st century digital assets across the media industry. Musicians that have been around as long as Snoop and Eminem have fans across multiple generations. Younger generations of fans can connect to artists on a more personal level by buying and trading NFTs of their likeness. Just imagine what demand would have been for NFTs during the height of BeatleMania for instance. Additionally, blockchain assets allow for a greater share of revenue to go to the artists themselves. There is not a massive royalty split to record labels as there is on digital music streams for instance.

            Comic book fans also have a lot to get excited about here. Eminem’s passion for Spider-Man is one element to note. “Fun Fact: Eminem was very skilled as a kid and teen in illustration. He really liked drawing Spider-Man.” Not only did this project feature classic icons from comics, but it spawned a new comics project. Shady Comics Group is the result of this collaboration. This development represents a new player in the realm of NFT comic books. Consumers will benefit from a wide range of publishers entering this space and continuing to decentralize publishing. Celebrities of this magnitude entering this space demonstrates that there is a sizable market for this type of content.

Overall, this unconventional venture into the NFT space will serve as a great way to add credibility and diversity into digital assets.

Be sure to check back here each week for my latest blog entries to stay up to date with the happenings in the industry. Also be sure to visit https://newhouse.syr.edu/ for more information about how you can get involved in this industry. 

#snoop dogg #eminem #blockchain #media #tech news #nft marketplace

[a-solitary-sea-rover-backup]

In Sydney and Christchurch, the SailGP official broadcasts opened with a new intro featuring red-and-black “laser” graphics of a high-tech cityscape and an original hip-hop song. Now the league talks about how that intro came to be:

“Audience feedback drives a lot of our decision-making and our data shows us that content in the style of our new opening sequence delivers cut-through with a younger fanbase. Our audience has increased by over 300% in the last year alone, with a growing secondary audience where we’ve seen a 240% jump in social video views, proving the engagement that this strategy delivers.”

For the new opening sequence, SailGP commissioned an original soundtrack utilizing the services of Wavze, a music resource whose talent is trusted by some of the world's most recognisable brands and musicians including Drake, French Montana, Skepta, EA Sports, UFC, Six Nations Rugby and Nike.

Wavze, specialize in producing high-quality, rights-cleared music from the most relevant and emerging talent of today. The track, featuring vocals from Detroit native and talented Wavze artist, MRK-SX and produced by Wavze Co-Founder and Creative Director, Phil Jacob (Kill Miami), 'Powered By Nature' will promote SailGP and its disruptive racing format to younger audiences throughout this season and beyond.

Lawton adds: “The new soundtrack sets a better tone for SailGP’s adrenaline-fueled battles between national teams at iconic stadium venues worldwide. The United States is our highest growth market so we wanted a US-based artist to deliver a track that really connects with our growing fan base, whilst communicating SailGP’s purpose and status as the world’s most exciting racing on water. We are really pleased with the end result.”

It’s pretty sharp but with the intro black/white/red and half the boats black/white/red, I don’t want SailGP to go down the “grayscale + red = EXTREME!” route of the modern AC. This is SailGP where we actually get to have fun colors like green and yellow and teal and purple!

#SailGP #link #news #Youtube

[ubaid214]

Beats Beyond Borders: The Global Language of Stay Home

In the powerful sphere of audio, Live Home has surfaced as a variety that transcends limits and cultivates an immersive knowledge for fanatics worldwide. That dazzling style includes sporting beats, vibrant lights, and a palpable energy that unites audiences in a combined party of sound. In this short article, we explore into the interesting world of Stay Home audio, exploring its sources, special characteristics, and the magnetic allure that keeps readers finding its way back for more. ライブハウス

Roots and Development: Stay Home music remnants their sources back to the electric party audio (EDM) movement that obtained energy in the late 20th century. Created in the vivid club scenes of towns like Chicago and Detroit, Live House changed as DJs and suppliers wanted to bring a powerful, interactive aspect for their performances. Unlike old-fashioned DJ sets, Stay Home features live instrumentation, lines, and a seamless mixture of pre-recorded and real-time aspects, creating a wealthy, ever-changing sonic landscape.

The Stay Home Knowledge: In the middle of the Stay Home experience is the synergy between the artist and the audience. Performers craft intricate units, mixing styles, tempos, and textures to construct a sonic trip that takes the crowd on a euphoric ride. The stay part presents an element of unpredictability, with artists often improvising and responding to the power of the room. The end result is a unique, one-of-a-kind efficiency that distinguishes Stay Home from different digital music genres.

Technology and Invention: Breakthroughs in engineering have performed a critical position in surrounding the Live Home landscape. Artists now have access to a large variety of digital instruments, controllers, and software that permit them to produce complex, split compositions in real-time. Aesthetic elements, including synchronized mild reveals and immersive predictions, further elevate the physical experience, transforming Stay House events into multi-sensory spectacles.

World wide Affect and Diversity: Stay Home has transcended cultural and geographical limits, establishing itself as a global phenomenon. From the blinking defeats of Tokyo's vibrant nightlife to the underground scenes of Berlin and the festival stages of Ibiza, Stay Home has found a property in varied sides of the world. Its ability to adapt and incorporate numerous national influences has added to its general appeal.

Neighborhood and Relationship: Beyond the audio, Stay House functions foster a sense of community and relationship among attendees. The provided experience of dance to the same defeats, surrounded with a beach of lights and like-minded individuals, produces a connection that moves beyond language and national differences. Live House has become a place for people in the future together, celebrate, and lose themselves in the music.

Realization: Once we navigate the ever-evolving landscape of music, Live Home sticks out as a type that continues to force boundaries and redefine the stay audio experience. Its combination of engineering, beauty, and community generates an environment where in actuality the boundaries between singer and market cloud, permitting a shared trip through the rhythms and melodies that establish this dynamic genre. Whether in a romantic team placing or a massive festival stage, Live Home audio encourages people to party through the echoes and observe the universal language of sound.

[themotherlove]

Dr. Mother Love chats with Stacy Newman, Host of Heartland Network's "More Than the Music" https://www.blogtalkradio.com/themotherloveshow/2023/09/07/stacy-newman-host-of-heartland-networks-more-than-the-music

[listproperties7]

Exploring the Finest Properties for Rent and Sale in Detroit

Introduction

  Detroit, often called the "Motor City," is a city in the midst of a remarkable resurgence. Known for its rich automotive history and cultural contributions, Detroit is now experiencing a renaissance that has made it an attractive destination for both residents and investors. Whether you're looking to rent or buy, Detroit offers a diverse range of properties to suit various preferences and budgets. In this article, we'll explore some of the Best Properties for Rent and Sale in Detroit available for rent and sale in this vibrant city.

  Downtown Detroit

Downtown Detroit is the epicenter of the city's revival. It's a bustling hub of entertainment, culture, and commerce. Here, you can find modern condominiums, lofts, and apartments that offer a taste of urban living at its finest. Many of these properties feature stunning views of the Detroit River, Comerica Park (home to the Detroit Tigers), and Ford Field (home to the Detroit Lions).

  Midtown

Midtown is a thriving neighborhood known for its artistic and cultural vibe. This area is home to the Detroit Institute of Arts, Wayne State University, and numerous galleries, shops, and restaurants. Midtown offers a mix of historic homes, townhouses, and newly developed apartments. It's a great choice for those seeking a dynamic urban experience with a touch of charm.

  Corktown

Corktown is one of Detroit's oldest neighborhoods, and it's filled with character and history. It's become a hotspot for young professionals and creatives. The area features a mix of renovated historic homes, trendy lofts, and unique townhouses. Corktown is also home to some of the city's best restaurants and bars, making it a fantastic place to live for food and drink enthusiasts.

  Indian Village

For those looking for a more tranquil setting within the city, Indian Village is an excellent choice. This historic district is renowned for its grand, early 20th-century mansions, lush greenery, and tree-lined streets. Properties here offer a sense of suburban living while still being close to downtown Detroit's amenities. Real estate listing website in united States 

  Lafayette Park

Lafayette Park is a modernist's dream. This unique neighborhood was designed by renowned architect Mies van der Rohe and offers a distinct living experience. The minimalist townhouses and apartments feature clean lines, spacious interiors, and plenty of green spaces. Lafayette Park provides a serene urban oasis just minutes from the city's core.

  Boston-Edison Historic District

For lovers of historic homes and architecture, the Boston-Edison Historic District is a must-see. This neighborhood boasts beautifully preserved mansions and stately homes from the early 20th century. It's an ideal choice for those who appreciate the charm and elegance of vintage properties.

  Riverfront

Detroit's Riverfront area has undergone extensive revitalization in recent years. With stunning views of the Detroit River and Windsor, Canada, this area offers a variety of condos and apartments with upscale amenities. The Riverfront is perfect for individuals who desire a blend of modern living and natural beauty.

  Conclusion

  Detroit's property market has experienced a remarkable transformation in recent years, making it an appealing destination for renters and buyers alike. The city offers an array of options, from chic downtown lofts to historic mansions in charming neighborhoods. Whether you're seeking an urban lifestyle, a suburban retreat, or something in between, Detroit has a property to match your preferences. As the city continues to thrive, investing in Detroit real estate has the potential for both an enjoyable living experience and long-term financial growth. Explore these diverse neighborhoods and find your perfect place to call home in the Motor City.

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Exploring the US on a Budget

The United States is a vast and diverse country that offers a wide range of experiences, from bustling cities to stunning natural landscapes. Contrary to the perception that a trip to the US has to be expensive, there are plenty of wallet-friendly destinations that allow you to soak in the beauty, culture, and history without breaking the bank. Join us as we uncover some of the best places to visit in the US on a low-budget trip, proving that unforgettable experiences can be had without a hefty price tag.

New Orleans, Louisiana: Jazz, Culture, and Cuisine

New Orleans is a city known for its rich cultural heritage, vibrant music scene, and mouthwatering cuisine. Wander through the French Quarter, soak in the rhythms of live jazz performances, and savour delicious beignets at Café du Monde. Many of the city's attractions, like the French Market and Jackson Square, offer affordable or free admission, making it a budget-friendly destination for culture enthusiasts. Also, get out of town and explore some of the antebellum homes such as Oak Alley.

Asheville, North Carolina: Mountain Retreat on a Budget

Nestled in the Blue Ridge Mountains, Asheville is a haven for nature lovers and art enthusiasts alike. Explore the stunning landscapes of the Great Smoky Mountains National Park, and don't miss the chance to visit the Biltmore Estate's gardens. The city also boasts a thriving arts scene, with numerous galleries and studios that often host free exhibitions and events.

Austin, Texas: Live Music Capital

Austin's reputation as the "Live Music Capital of the World" is well-deserved. Experience the city's vibrant music scene by catching free concerts in parks, at local venues, and during the famous South by Southwest (SXSW) festival. Stroll along South Congress Avenue to explore unique boutiques and enjoy affordable food truck fare.

Portland, Oregon: Eclectic Charm and Natural Beauty

Portland is a haven for budget-conscious travelers who appreciate a mix of quirky charm and outdoor adventure. Explore the city's distinctive neighborhoods, such as the Pearl District and Alberta Arts District, where you can browse art galleries and enjoy street art. Take advantage of Portland's extensive public transportation system and explore the nearby Columbia River Gorge for hiking and stunning waterfalls.

Albuquerque, New Mexico: Southwestern Delights

Albuquerque offers a taste of Southwestern culture and a multitude of affordable activities. Immerse yourself in the city's rich Native American heritage at the Indian Pueblo Cultural Center, and take a ride on the Sandia Peak Aerial Tramway for panoramic views of the surrounding landscape. The annual Albuquerque International Balloon Fiesta is a budget-friendly spectacle not to be missed.

Kansas City, Missouri: BBQ and Beyond

Foodies and history buffs will find plenty to love in Kansas City. Sample the city's famous barbecue at local joints, some of which offer budget-friendly meal deals. Explore the National World War I Museum and Memorial, where admission is free for veterans and active-duty military personnel, and enjoy a leisurely stroll through the picturesque Country Club Plaza.

Tucson, Arizona: Desert Beauty and Culture

Tucson's unique blend of desert landscapes and cultural attractions makes it an ideal destination for budget travelers. Hike in the nearby Saguaro National Park, home to iconic saguaro cacti, and explore the historic Mission San Xavier del Bac. The city's lively arts and music scene often feature free or low-cost performances and exhibitions.

Detroit, Michigan: Urban Revival and Creativity

Detroit's resurgence as a cultural and artistic hub has transformed it into a budget-friendly destination with a unique charm. Explore the Detroit Institute of Arts, which offers free admission to residents, and wander through the vibrant Eastern Market to experience local food and crafts. Take a stroll along the Detroit Riverfront and enjoy beautiful views of the city skyline.

Salt Lake City, Utah: Outdoor Adventure and Scenic Beauty

For nature enthusiasts seeking budget-friendly outdoor activities, Salt Lake City is a hidden gem. Visit the nearby Antelope Island State Park to witness stunning views of the Great Salt Lake and its unique landscape. Take advantage of the city's bike-sharing program to explore scenic trails and visit attractions like the Utah State Capitol.

Philadelphia, Pennsylvania: Historic Treasures

As the birthplace of American independence, Philadelphia offers a wealth of historic sites and landmarks that can be explored on a budget. Visit the Liberty Bell and Independence Hall, both of which offer free admission, and explore the diverse neighborhoods like South Street and Reading Terminal Market for affordable dining and shopping.

St. Louis, Missouri: Gateway to Exploration

Nestled along the mighty Mississippi River, St. Louis offers a plethora of budget-friendly attractions. No visit is complete without a trip to the iconic Gateway Arch, where you can enjoy stunning views of the city and riverfront. Explore the historic Soulard neighbourhood, known for its vibrant farmers' market and lively atmosphere. Art enthusiasts will appreciate the St. Louis Art Museum, which offers free admission to its impressive collection.

San Antonio, Texas: Rich Heritage and River Walk

San Antonio's blend of history, culture, and natural beauty provides an enticing backdrop for budget-conscious travellers. Wander along the famous River Walk, where you can enjoy the lively ambience, free public art installations, and occasional live performances. Don't miss the chance to explore the historic Alamo, where you can delve into the city's past without spending a dime.

Buffalo, New York: Rust Belt Revival

Buffalo's resurgence has transformed it into a hub of creativity and culture, making it a surprising addition to this list. Discover the city's architectural gems, including the Frank Lloyd Wright-designed Darwin D. Martin House, and explore the vibrant Elmwood Village neighbourhood. The Buffalo City Hall offers free guided tours, providing insight into the city's history and unique design.

Boise, Idaho: Urban Adventure and Outdoor Escape

Boise's blend of urban sophistication and outdoor adventure makes it a budget-friendly paradise. Enjoy a leisurely stroll through the scenic Boise River Greenbelt or hike the trails of the nearby Boise Foothills. The city's downtown area is home to affordable dining options and local boutiques, while the Basque Block offers a glimpse into the region's cultural heritage.

Providence, Rhode Island: Creative Charm and Academia

Providence's artistic spirit and proximity to prestigious universities create a unique atmosphere for budget travelers. Explore the RISD Museum, which houses an impressive collection of art and design, and stroll along Benefit Street to admire historic architecture. The city's Water Fire events, featuring bonfires along the river, provide a magical and free evening experience.  

Our Final Word

With these additional budget-friendly destinations, our list of must-visit places in the US for thrifty travelers becomes even more enticing. From the urban revival of Detroit to the natural beauty of Boise, and the historic charm of St. Louis to the cultural richness of San Antonio, the United States is brimming with diverse and affordable options. Embrace the spirit of adventure, make the most of free and low-cost attractions, and immerse yourself in the local culture to create a memorable and budget-conscious travel experience. Whether you're exploring bustling cities or serene natural landscapes, these destinations prove that a low-budget trip doesn't mean compromising on quality or enjoyment. So pack your bags, hit the road, and embark on an enriching journey through the heart and soul of the United States, all without stretching your wallet.

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#Budgettravel #BudgetTravelUS #low-budgetvacationsintheUS

[rayyan-talha]

Reflection #2 - Straight Outta Compton

What might be forgotten in older generations is that rap music is the most streamed and listened to genre in America, and it sees no signs of slowing down any time soon. As recently as 2018, rap had a net market share of 27.6% of all streamed music. In fact, 8 out of the 10 most streamed artists were rappers, according to billboard.

The story of Straight Outta Compton specifically is not the first time audiences have been introduced to rap music. Rap enthusiasts and those in the streets are well aware of the legendary work these 5 men have done, let alone pave the way for the "golden era" of rap in the 1990's. But before we dive headfirst into this bittersweet story, we need to take a step back and analyze rap as a genre first.

Rap music and "hip-hop" are often characterized as different genres. However, to rap fans and artists alike, they mean the same thing. Rap music arose in a time where the black community in the United States was battling the government sanctioned crack cocaine epidemic within the inner city communities. As Carnegie Hall states, "Hip-hop is rooted in the African American oral traditions of “boasting” (self-aggrandizement), “toasting” (narrative poems that sometimes bestow praise), “signifyin’” (indirect insults), and “playing the dozens” (competitive and recreational exchange of insults)." clarifying once and for all that rap is deeply rooted in African American traditions and a main staple in Black culture today. Rap was seen as a way to express frustration and anger of living standards and treatment of the black community. Many early pioneers of rap and even rappers today come from criminal activity or poverty, often talking about their life stories. However with the success of pop rappers such as Drake and Travis Scott, the original "gangsta rap" has taken a backseat once again, still as popular as ever within the traditional rap audience, but not as popular as it once was within the mainstream audience.

The story of NWA (Niggaz With Attitude) is often seen by mainstream audiences as the "birth of rap", which is factually incorrect. They are in fact the main group responsible for creating a new subgenre known as gangsta rap. This legendary group of young black men has forever changed the sound of what we know as rap today, and made it become mainstream. The story of these men begins with Dr. Dre, now a legend of rap. Dr. Dre was responsible for DJ'ing, or in modern terms, creating rap beats for the group. He met up with Eazy E, and recorded vocals, later releasing the song "Panic Zone" which hit 1,000 official copies sold, making it an instant classic hit on the streets. Unfortunately at the time rap was not heavily followed by the music industry, therefore the accolades and billboard hits don't show. After Panic Zone's unforseen success, the group began recording a full album at a studio in Torrence, California, where a group of police officers patrolling constantly harrased them. This time however, the police dept sent a black officer to curb accusations of racism against black men. This did not stop the police officers from racially profiling them as "gangbangers" and forcing them on the ground with their hands interlocked behind their backs. This treatment by the police was nothing new to this crew, as growing up in the historically poor Crenshaw and Compton neighborhoods of L.A., this was simply a routine check, but this time in an affluent community.

This historic moment prompted N.W.A. to release lead song titled "Fuck the Police" in their debut album titled "Straight Outta Compton". Not only did this song in particular cause unrest and a cultural change, but it also doubled down on the first ammendment, freedom of speach. In fact at a sold out concert in Detroit, the Detroit Police Dept. specifically asked the N.W.A. not to perform the song, to which they refused and performed it anyways. The cops had their own agenda, to end this message of rebellion. They lit up fireworks and firecrackers to simulate gun shots which caused the crowd to stampede, and all 5 of N.W.A.'s members to run back stage only to find a row of police officers ready to arrest and throw them in the back of a paddy wagon.

Later on with egos taking the group by storm and Eazy E, now dubbed the godfather of rap, contracting HIV and passing away in 1995, the group permenantly disbanded, leaving a mark on the world that will be known for generations. The N.W.A. perfectly handed the keys and paved the way for the late 90's, raps most prolific and remembered era, to the Notorious B.I.G. of Brooklyn, and to Tupac Shakur of California. Thanks to the N.W.A. rap continues to be a beacon of truth and a cultural anchor to the black community and by extension, the United States.

Citations:

Ahmed, Insanul. “Is Hip-Hop’s Dominance Slipping? ‘My Concern Is the Magic Is Gone.’” Billboard, October 19, 2022. https://www.billboard.com/pro/hip-hop-music-most-popular-genre-dominance-slipping/.

Ariellethelion, and Ariellethelion. “Police Brutality in Straight Outta Compton (2015).” American Culture, April 4, 2018. https://americanculturesdsu.wordpress.com/2018/04/04/police-brutality-in-straight-outta-compton-2015/.

“History of Rap & Hip-Hop.” Timeline of African American Music. Accessed July 23, 2023. https://timeline.carnegiehall.org/genres/rap-hip-hop.

Knopper, Steve. “The True Story of n.w.a. Playing ‘Fuck Tha Police’ Live in Detroit.” GQ, July 21, 2020. https://www.gq.com/story/nwa-fuck-the-police-live-detroit.

Straight Outta Compton. YouTube. YouTube, 2016. https://www.youtube.com/watch?v=LGmthB51XUc&ab_channel=Movieclips.

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[coghive]

TobyMac, MercyMe & Zach Williams Will Share The Stage This Fall

The Awakening Foundation, powered by Awakening Events, announces the not-to-be-missed tour coming this fall. For the first time in history, three of the most popular artists in Christian music – TobyMac, MercyMe, and Zach Williams – are teaming up for an unforgettable concert experience. Running for twelve dates throughout November, this trio of award-winning musicians will hit key markets including Atlanta, GA, Tulsa, OK, Detroit, MI, and Buffalo, NY. The tour is sponsored by World Vision and Altrua HealthShare. With numerous chart-topping songs joined by a commitment to spreading God’s love through music between them, MercyMe, TobyMac, and Zach Williams will take the stage to share fan favorites as well as deliver an uplifting experience that will surely leave every concertgoer feeling inspired.

Beginning today and running through April 10, fans can gain access to an exclusive pre-sale by texting the word PRIORITY to #615-813-6017.  The pre-sale begins April 12 at 10am local time and ends April 13 at 11:59pm local time. Fans who sign up in advance will receive an access code via text message on April 11. “The Awakening team couldn’t be more thrilled to bring together the talents of TobyMac, MercyMe, and Zach Williams for this incredible tour,” states Dan Fife, founder and President of Awakening Events. “Each artist brings their own unique sound and style to the stage, and we can’t wait to see them unite to create an unforgettable, once-in-a-lifetime experience for fans.” General ticket sales begin Friday, April 14 at 11am CT/12pm ET by visiting HERE. Official tour dates:* Thurs., Nov. 2 – Charlotte, NC Fri., Nov. 3 – Atlanta, GA Sat., Nov. 4 – Louisville, KY Sun., Nov. 5 – Evansville, IN Thurs., Nov. 9 – Tulsa, OK Fri., Nov. 10 – Sioux Falls, SD Sat., Nov. 11 – Rockford, IL Sun., Nov. 12 – Detroit, MI Thurs., Nov. 16 – Youngstown, OH Fri., Nov. 17 – Ft. Wayne, IN Sat., Nov. 18 – Buffalo, NY Sun., Nov. 19 – Columbus, OH *artist lineup may vary; be sure to visit the tour page for the most up-to-date information  Read the full article

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Quinn XCII Shares His M3F Festival Playlist At the end of January, Detroit's own Quinn XCII released his highly anticipated fifth studio album, The People's Champ. It seems like the pop-leaning genre-bender is running up a never-ending incline, collaborating with the likes of Big Sean and Chelsea Cutler, embarking on a North American tour in May with A R I Z O N A and Julia Wolf and becoming a festival staple across the country. Quinn also happens to be one of the headliners of Phoenix, Arizona festival mainstay M3F. Since its inception, charity has been at the core of the festival. Aside from providing entertainment with some of music's largest acts throughout its history from Kaytranada to ODESZA, the festival donates 100% of its proceeds, making it one of the most beloved non-profit festivals that takes advantage of the booming live music market for good. The festival has also announced its new M3F Fund, opening up funding to the public by offering an open application for other nonprofits or 501(c)(3) organizations, prioritizing funding related to community, education, arts and environment. This year's lineup features no shortage of heavy hitters. Alongside Quinn, Grammy-nominated vocalist Maggie Rogers, acclaimed producer Jamie xx, Compton house pioneer Channel Tres, Toro y Moi, Polo & Pan, Neil Frances and more will take the stage in beautiful Phoenix, Arizona from March 3 to 4. In anticipation of the exciting weekend, which PAPER will be gleefully participating in, Quinn has curated a special playlist that features a mix of old favorites and some hidden gems from fellow M3F performers. You can find out more information on the festival here. Keep scrolling to find some new music to take with you into the weekend.Novo Amor - "Haven"I recently heard this for the first time on tour in my hotel room in Australia. I nearly teared up from its simplicity. Such an easy listen!Chiiild - "Weightless"This one makes me feel something I can’t describe. It took two seconds of the intro to get me hooked. My friend Peter showed me this song — thanks, Peter.St. Paul & The Broken Bones - "Love Letter From A Red Roof Inn"I think this might be my favorite song on the playlist, such descriptive songwriting.Norah Jones - "Sunrise"Norah Jones has been an artist I’ve admired for years and I would love to work with her someday.Mulatu Astatke - "Tezeta (Nostalgia)"I found this song on TikTok. Someone suggested listening to Ethiopian funk music so I gave it a try and fell in love with this record.Mac Miller - "Wings"Mac Miller was one of my first concerts ever. I look up to him so much even after his passing. The way he progressed as a musician is something I strive to achieve everyday. The entire Swimming album got me out of a very lonely time on tour. Jim-E Stack feat. Bon Iver - "Jeanie"This one is bouncy and “aquatic” sounding (that’s the only way I can describe it lol). It always brings a smile to my face!Jack Johnson - "Posters"I think Jack is one of my favorite artists. I grew up listening to his music but “Posters” always remains the one song I come back to when I need a friendly musical hug.Allen Stone feat. Alessia Cara - "Bed I Made"The combination of Allen and Alessia’s voices on this song is immaculate. It has such a warm, comforting vibe. I love both of these artists so much.Leon Bridges - "Sho Nuff"I’ll listen to this when I need a pick me up on the road and to feel like I’m cool again lol. Leon Bridges never disappoints.You can view and listen to the completed playlist, curated by Quinn XCII, below.Photo courtesy of Sam Dameshek https://www.papermag.com/quinn-xcii-m3f-2659480865.html

#Quinn xcii #M3f fest #M3f festival #Jade Gomez​ #PAPER

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Pizza Boy wants his pizza right now shirt

Entertainment: Dickson street is great, lots of Pizza Boy wants his pizza right now shirt and good food. There is the Walton Arts Center which has top notch broadway events (musicals, plays, etc). TheatreSquared is also excellent for watching plays. The AMP (Arkansas Music Pavilion) has well known bands/artists every year. There is a Botanical Gardens. Believe it or not, we still have a drive-in theatre which plays current movies and is lots of fun. There is also a retro-arcade, bowling, skating rink, Locomotion (go karts, arcade, mini-golf), Gater Golf (mini-golf), several area Golf courses that are very nice, museums, and lots more. Outdoors: We are right next to the Ozark National Forrest, Beaver Lake, the Buffalo River, White River, Mulberry River, Devil’s Den state park, the Ozark Highlands Trail (218 miles through seven counties), caving, rock climbing, hand gliding, scuba diving in Beaver lake, and countless more to do. There is an excellent paved trail system that stretches from south of Fayetteville to the Missouri border with lots of parks and side trails along the way. Everywhere you turn there is hiking, biking, canoeing, geocaching, etc. Enough to never be bored. Community: Excellent Farmer’s Market, lots of community outreach programs, excellent public schools and some great private ones also (or so I’ve heard) Events: We also have lots of events in our area: Bikes Blues & BBQ, Joe Martin Stage Race, First Thursday (every first Thursday downtown), Fayetteville Foam Fest (Local Breweries, Food Trucks, Lots of Beer), War Eagle Crafts Fair, Block Street Block Party, NWA Naturals baseball games, Tri Sport Kid’s Triathlon, Fayetteville Roots Festival, Lights of the Ozarks, Ozark Valley Triathlon, Halloween Monster Dash, Color Vibe 5K Run, Primal Challenge.

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