After the service, Stone moved to Los Angeles where he worked for Jewel and Modern Records, traveling the country doing promotion. Not satisfied to work for others, he moved to Miami a year later, starting his own distribution company Seminole and recording studio Crystal. Never content with his present enterprises, Stone expanded again in with two publishing companies Pelican and Sherlyn and more labels Chart and Dade where he released music from Sonny Thompson, the Champions, the Evergreens and others.
Brown, himself, played piano on the session. Henry refocused on recording and producing, forming T. A gun was planted at the scene. A bus driver was compelled to corroborate the official line. The protests that followed his death were as much for Becerra — a minor who lost his life over a hastily-sprayed Felix the Cat — as they were for the outrage over a cover-up that felt all too familiar. And not only have colorful murals pervaded the city in the wake of legalization, but also the flourishing of speech and commentary and satire.
Street art is meant to engage with the public. It winks at times, mouths off at others. Always, these layered murals endeavor to say what the less courageous among us cannot, would not. And, to be sure, Colombia shows its pride in its renowned street art scene. As the country has weathered decades of war with leftist guerrillas and narco cartels, Colombia now utilizes its street art as a diplomatic tool. The country is building on its global reputation as a creative powerhouse, showcasing an aspect of the Colombian spirit that transcends its street aesthetic.
In Antwerp, the Colombian embassy invited esteemed art collective Vertigo Graffiti to paint a mural on its wall. The image shows an old man holding a young boy as they gaze upwards at a blue sky. Vertigo Collective also worked on behalf of Colombia in Turkey. The image presents a striking portrait: a Colombian girl in traditional dress holds a basket of coffee beans, overlaid with the pale, delicate relief of a bird in flight. Such a collaboration serves as the most effective kind of soft power: elevating diplomatic dialogue through creativity, artistry, and a free exchange of ideas.
But an art form cannot be both a domestic scourge and a diplomatic tool. The anonymity and carefully-constructed monikers associated with street art, in Colombia and around the world, imbue artists with the freedom to say what the rest of us are thinking. The use of the military members to censor the mural demonstrates exactly how effective the work may have been, exactly how closely it circled the raw, unvarnished truth.
However, there is hope on the horizon. She has a solid track record of confronting malfeasance, even going so far as to relocate out of the country at one point due to safety concerns.
One would think that a mayor so passionate about inclusiveness would appreciate street art for its ability to bear witness to the unseen and the underrepresented. It is a picture of determined love and peace, a still point in the eye of the proverbial storm.
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They deserve a better fate than white paint on a dark night, but an open-air gallery can only remain if the community and its leaders protect it. If speech is silenced this way, we cannot be sure what words will fill the void.
Music Is Politics
In Colombia, artists and authority figures have swapped roles; people rely on graffiti to represent them where the elected government cannot. Anonymous figures in hoodies and masks speak out where leaders cower. Its future requires leaning on its dreamers to pool their creative talents and political advocacy, to envision a rough sketch for a better city. They should be free show the world the creative pulse that has survived decades of war. While the brave new era of digital streaming has proven lucrative for many facets of the entertainment industry, not everyone has seen a windfall.
Members of the American Federation of Musicians AFM , in their bandtogether campaign , continue to protest the lack of streaming royalties and industry-standard residuals due to its members. The classical music served to draw attention to the continuing issues of inequitable remuneration for muisicians. ABC, Warner Bros. Without music, there really is no TV. You deserve to be respected. Your deserve a fair contract.
We want you to know we are united with you. Musicians recently protested the launch of Warner Bros.
The AFM points out that these media conglomerates are effectively forcing musicians to take a substantial pay-cut while realizing billions in corporate profits. Musicians have made tremendous contributions to the film and television industries, and their contracts should reflect the value of their good work. Lost art: to save, or not to save, when works are in peril.
In the digital era, the true metric of artistic success — or at least the monetization of it — stems from streaming services. This marks its third year of growth following decades of decline. While the physical sales of CDs continue to flat-line however, there is one intriguing trend that commands a surprising third of the physical music market: vinyl. A new trade association, called the Vinyl Alliance, just launched following 15 years of consecutive growth.
The Alliance reportedly aims to advocate for all of the elements of production that go into creating vinyl records. Many commentators claim that listening to vinyl offers a better quality experience than streaming, as it preserves more of the original analog sound.
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However, from the artistic perspective, a vinyl record serves a practical function: it might get a consumer to listen to your whole record. There seems to be an untapped, even contrarian, market for music beyond a personal playlist. The CD included an art book, a pair of speakers, and a high-definition screen.
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Sometimes, listening to music is not just about having the autonomy to choose what you like, but is instead about immersing yourself in a world you never knew you could love. Sometimes, you only know your artist best when you listen to each hand-picked song, in order, the whole way through.
Only a small subset of people can do one thing exceptionally well. The year old Hosoo Mill of Kyoto, Japan continues to supply fashion industry heavyweights with woven textiles; twenty master craftsman apply their unique expertise to each textile, keeping their talent a secret to preserve their livelihood. Oban Distillery , one of the oldest active distilleries in Scotland, still makes its scotch whisky with small stills and peat smoke as it has done for two hundred years, with its caretakers conscientiously minding its time-honored method.
In the Pizzeria Da Michele in Naples, master pizza makers use the same recipe that has been followed for generations, meticulously kneading and preparing the dough. These rare, often anonymous people will do the same thing every single day, striving for some unattainable perfection, until the doing of the thing becomes a meditation unto itself. Their genius is inextricably bound up with their obsession.
And where others would grow tired of the monotony, their devotion transforms their practice — until the sameness falls away to reveal nuance, newness, and even surprise. Their great gift to us is that we, who might be bored by the unceasing effort, can glimpse the deeper richness of their viewpoints through their creations. It is the opposite of multi-tasking, and it is where the deepest wells of creativity reside. In the same way that we disassociate from the ordinary landmarks of our morning commute, we can become blind to a famous painting that we know all too well.
He looked to geometric principles as much as he did artistic ones, settling into a movement known as Post-Impressionism and laying the groundwork for Cubism. He has been called the father of modern art. His paintings inspired a new perspective that led to movement, and now, one of his finest works may galvanize a better idea for art ownership. The Mont Sainte-Victoire paintings traced this career arc towards his greater maturity as an artist.
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He favored the view from a sandstone quarry, and often rented a cabin nearby for the uninterrupted solitude it provided. He painted to capture the sensation of the vista from the perspective of its witness, rather than to simply recreate its image. We know his devotion to Mont Sainte-Victoire from the stature he gave to it. He made the mountain grander and more imposing than it actually is. He gave it height, put its outline in sharp relief, and moved it closer to him. He never intended to approximate a photograph. In his oil paintings, we see Mont Sainte-Victoire portrayed with both flatness and depth; the mountain hovers close and still far away.
His composite strokes lend the works a faceted quality, revealing light and shadow in varying planes. In his watercolors, the mountain softens. His tonal value, veering often between cold and hot colors, relied on a vibrant palette to create structure and tell a story.
Provence is southern and sun-baked, and its sensuous light reads in his paintings. Monet painted his dappled haystacks twenty-five times. Hokusai created thirty-six views of Mount Fiji.
At a certain point, one has to wonder if the mastery in a series simply comes from its magnitude. While the Mont Sainte-Victoire paintings would doubtless make the most impact displayed together, one wonders if they could ever have the same significance, the same influence, and the same emotional resonance standing on their own. La Montagne Sainte-Victoire was painted in The mountain is definitive, less abstract, and more traditionally positioned in the piece.
The ochre-colored clearing splayed out before it echoes it the lumbering vastness of the mountain, offering a pathway forward and inviting the viewer closer. There is movement to the clouds, and warmth in the air. While La Montagne Sainte-Victoire stands as a traditional landscape painting, the vibrant quality of his later, more abstract works is present, too. He hinted here at what was to come. He moved outside to paint en plein air. He found light and darkness in distinct modulations of color.
Alternative Rock band Red Jump Suit Apparatus was unhappy with their former label, Virgin Records , because of this and had the golden opportunity to leave without it hurting their career, and leave they did. They are on an independent label now and are as successful as ever with complete creative control. Prince was very bitter over this. So much so he once changed his name to an unpronounceable symbol in order to defy Warner Bros.
Records , and disassociate himself from the "slave" artist that he claimed the label had turned him in to. He wouldn't change it back until his contract expired. Kelly Clarkson 's album My December was a victim of this trope.