Criticism is easy. But it’s even easier online, where the relative anonymity can encourage people to give themselves carte blanche to condemn a subject, an artistic creation or a personality who, for whatever reason, has become the target of the wrath of somebody. Examples abound. YouTube’s comment sections often require a combination of intellectual and moral hazmat to navigate, Twitter’s talk regularly degenerates into mob mentality, and Facebook can also be the official mascot for the most goofy political tirades.

While breaking with the Web2 assertions above, Web3 is not entirely free from instinctive negativity. Critics within NFT communities can be even more nasty than in any Web2 space, because at the heart of almost every project is money.

The NFT space is collaborative, yet encouraging. But it’s also filled with community members who view all Web3 art as a commercial enterprise. And a subset of these can and do act as impatient and authoritative investors. You can be overwhelmed by a flurry of GM and WAGMI in an instant, and be called an accomplice or labeled a ruthless rug puller the next day. That’s enough to give anyone a severe case of vibrational vertigo.

Web3 is still in its infancy, and this period of early growth is the perfect time to set the future tone before the bones harden and become rigid, so to speak. Basically, projects that take risks and fail in no way deserve our outrage.

On the contrary, they deserve our respect and encouragement.

Cool Cats and the Curious Case of Cryptic Criticism

One of the most interesting case studies here is Cool Cats. In October 2021, the project was one of the hottest in the NFT space, with the average price of a Cool Cats NFT standing at around 26 ETH (or $92,000, at the time). The 9,999 programmatically and randomly generated cat-themed PFPs were created in July of the same year, closely following the release of projects like Bored Ape Yacht Club. The project quickly gained momentum and popularity when celebrities like Mike Tyson, Reese Witherspoon and Steve Aoki bought NFT Cool Cats and tweeted about them.

The project became known in the space as a generally positive project. Its reputation as an NFT project to be reckoned with continued to solidify as prominent figures in the space like Farokha well-known NFT enthusiast and the founder of the Web3 media platform Rug Radio, have become strong supporters of the project.

But in early 2022, criticism of the behavior of high-level Cool Cats holders began to surface. Some have accused Farokh of pumping and dumping — essentially, pushing a project to help boost its value, then quickly selling their NFTs for a profit. Discerning whether a person is actually doing this isn’t a particularly easy thing to gauge, but the criticisms came nonetheless.

Cool Cats itself encountered a few stumbling blocks during this time. At the end of January 2022, the project hired Chris Hassett as CEO, a move some community members considered a faux pas, since Hassett did not have a reputation as a Web3 native. This feeling was exacerbated by Hassett leaving the company just three months into his term.

Shortly before Hassett’s departure, Cool Cats released a long-planned NFT game called Cooltopia for its community, in which holders could quest and nurture their Cool Pets eggs, which are NFTs from the project’s secondary collection that dropped in early February. However, Cooltopia simply wasn’t as successful as the Cool Cats team had hoped, and the value of its native utility token, MILK, immediately began a steady decline from which it has yet to recover. handed over.

The combination of Cool Cats’ struggles in 2022 with an increasingly deep crypto winter has resulted in a remarkable decline in the popularity and value of its original collection, which now has a floor price of just 2.68 ETH, down from 10 ETH in fall 2021.

Pour salt on Cool Cats wounds

Some members of the Web3 community have not reacted sympathetically to Cool Cats’ downfall, seeing it as an opportunity to “sell shame” to collectors who are now parting ways with the struggling project. Perhaps unsurprisingly, Farokh once again found himself the target of such criticism when he began doing so last month. Since the start of August, he has sold ten of his NFT Cool Cats at an average price of 2.31 ETH – a remarkable loss, to put it mildly. Yet people still accused him of quitting the project for money.

This kind of criticism is insidious. Like Farokh himself recently pointed out, judgments like this betray the bad faith of those who render them. If we condemn people for selling their NFTs when a project is at its peak and later condemn them for liquidating their NFTs when a project is in the doldrums, we have built a Catch-22, throwing charges against which there is no chance of being found innocent. In other words, we criticize for the fun of it, and that’s behavior unbecoming of anyone.

NFT projects deserve better

The Cool Cats team — Tom Williamson (xtremetom), Rob Mehew (Lynqoid), creative director Evan Luza (ELECTED) and Colin Egan (clone) – has done an amazing job trying to create new uses, experiences and values ​​for their collectors, and they deserve all the credit for doing so. Even under Hassett’s brief tenure with the project, Cool Cats released a long-awaited game project and signed with famed Creative Artists Agency for licensing and merchandising opportunities. The brand premiered an IRL version of its Cooltopia game at NFT.NYC this year, which some say was a highlight of the event. The team is working and you have to respect that.

The disappointments with a project’s toughest fixes are understandable, as is the collective frustration with the overall state of the crypto and NFT market over the past six months. What’s harder to fathom is the implicit holier-than-thou attitude that often accompanies criticism leveled at projects like Cool Cats and their most vocal supporters for trying to build something substantial and stumbling in the process. of road.

And you don’t have to look far for an example of how Cool Cats could bounce back in the future. DeGods is another NFT community that has come under a lot of criticism for trying new things, failing, and regrouping, a project that has arguably done more to put Solana on the map than any other community built on this channel. Remember, DeGods had barely been around a month when people pronounced him dead in the water. Even its developers were about to abandon ship. But that hasn’t stopped them from experimenting with things to make their collection valuable and unique – the Paperhand Bitch Tax, DeadGods and DePalace, among others.

Not all have been hits, and that’s the point. Not everything an NFT community tries to build will be successful, and this is a good thing. This means people are swinging towards the fences. You can’t expect project developers to innovate and try new things while holding them to an impossible level of infallibility, berating them when things don’t go according to plan. Web3 is a big and welcoming place, but there’s no room for that kind of limiting thinking.

It largely boils down to two things: a tendency to define ourselves in opposition to things rather than in support of them, and an understanding that we cannot entirely blame others for their failures any more than we can entirely ourselves. give credit for our successes. Australian comedian Tim Minchin said it well: “Empathy is intuitive, but it’s also something you can work on intellectually. […] Define yourself by what you love. Be demonstrative and generous in praising those you admire. Send thank you cards and give standing ovations. Be pro-stuff, not just anti-stuff.

Text-to-image synthesis algorithms, such as DALL-E, have demonstrated an extraordinary ability to transform an input caption into a coherent image. Several recent techniques have also used multimodal solid models to create artistic representations of input captions, proving their ability to democratize art. However, these models are only intended to analyze a single, brief input legend. To capture the meaning of the input language, many text-to-image synthesis use cases require models to handle extended narratives and metaphorical sentences, condition existing visuals, and create more than one image. Several works have already built specific models of generative adversarial networks (GANs) such as image-to-image translation, style transfer, etc.

Visualizing stories is a challenging endeavor that combines the production of images and the understanding of stories. However, the recent introduction of large pre-trained transformer-based models opens possibilities to more efficiently exploit latent knowledge from large-scale pre-trained datasets to perform these specialized tasks in a paradigm similar to the adjustment of pre-trained language models to perform downstream tasks based on language understanding. Accordingly, we investigate approaches to adapt a pre-trained text-image synthesis model for complex downstream applications, with a focus on story visualization, in this study. Storytelling methods, for example, turn a series of captions into a series of images that describe the story.

While previous work in narrative visualization has highlighted potential uses, the work offers specific challenges when applied to real-world scenarios. An agent must create an identical sequence of images that displays the contents of a set of captions that make up a tale. The model is limited to the fixed set of characters, places, and events it was trained on before. He doesn’t understand how to represent a new character that appears in a caption during testing; the captions do not contain enough information to adequately characterize the character’s appearance. Therefore, for the model to generalize to new parts of history, it must include a method to gather more information about how these elements should be graphed. For starters, they’re making narrative visualization more suitable for these use cases by introducing new work called story continuation.

They present a starting scenario that can be obtained in real use situations in this work. They give DiDeMoSV a new visualization dataset and adapt two existing visualization datasets, PororoSV and FlintstonesSV, to the narrative continuation scenario. The model can then replicate and adjust the components of this scene as it creates successive photos by adding them (see figure below). It benefits by diverting attention from text-to-image creation, a hotly debated topic. Instead, it diverts attention to the narrative structure of a sequence of images, such as how an image should evolve to reflect new narrative material in captions.

To adopt a text-image synthesis model for this storytelling continuation work, they must first refine a pre-trained model (such as DALL-E) on a sequential text-image generation task with the added flexibility of copy from a previous entry. . To do this, they first modernized the model using additional layers that duplicate the vital output of the initial scene. Then, during the production of each image, they integrate a block of self-attention to build narrative embeddings that provide an overall semantic context for the tale. The model is refined on the challenge of storytelling continuation, where these additional modules are learned from scratch. For the continuation of the tale, they call their technique StoryDALL-E and compare it to a GAN-based model called StoryGANc.

They also explore the efficient architecture of prompt tuning parameters and present a prompt consisting of task-specific integrations to prompt the pre-trained model to generate visuals for the target domain. Pre-trained weights are frozen while training this quick-set version of the model, and new settings are learned from scratch, saving time and memory. The results suggest that their upgrade strategy in StoryDALL-E effectively exploits the pre-trained knowledge of DALL-latent E for the tale continuation problem, outperforming the GAN-based model on various criteria. Additionally, they found that the copy technique allows for improved generation under low-resource circumstances and produces invisible characters during inference.

In summary, they present a new story continuation dataset and introduce story continuation work, which is more closely related to real-world downstream applications for narrative visualization.

• They provide StoryDALL-E, a modernized adaptation of pre-trained Transformers for the continuation of the tale. They also create StoryGANc to serve as a robust GAN benchmark for comparison.

• They perform comparison tests and ablations to demonstrate that refined StoryDALL-E outperforms StoryGANc on three sets of narrative continuation data across multiple parameters.

• Their investigation demonstrates that the copy increases the correlation of the images produced with the original image, which improves the visual continuity of the story and the development of low-resource and unnoticed characters.

The code implementation in PyTorch can be found freely on GitHub.

This Article is written as a research summary article by Marktechpost Staff based on the research paper 'StoryDALL-E: Adapting Pretrained
Text-to-Image Transformers for Story Continuation'. All Credit For This Research Goes To Researchers on This Project. Check out the paper and github link.

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If there’s one thing Shefali Das will give you, it’s pure story combined with perfect pitch. It was in 2019, when Shefali released her first EP, “Dear Somebody”, which consisted of five of her self-penned songs, each with a unique story, a unique perception. Yes, she is both a singer and a composer! His musical project received a positive response, and it was not surprising, since Shefali had always put this “Shef’s Kiss” in all his musical projects.

Born and raised in New Jersey, USA, Shefali was moved by her own desires and passion for music, and had an engaging and quite joyful musical journey. However, that doesn’t mean she hasn’t had her share of ups and downs. Until 2020, she went by her stage name, Das, under which Shefali also has the song “Tired” which crossed 600K streams on Spotify. The music is personal to him rather than a mere commodity for the public. Since her previous profile didn’t resonate with the singer-songwriter on the same level, she changed her name to a profile more in tune with her. And so a new aura emerged, a new stage name, ‘Shef’s Kiss’ (there couldn’t be a better stage name for her!) and we frankly look forward to the music that’s yet to come in this refreshing new chapter. of his!

Here’s a deeper dive into Shefali’s approach to music, his lyricism, and a little heart-to-heart on the enigma of the art.

Music is more than just melodies for Shefali Das: early childhood and the beginning

The beginning of Shefali’s musical journey is different from others. No, she wasn’t born with a natural inclination for music, nor did she adopt it on her own. Rather, it was her father who insisted that his daughter learn the piano. Just one of the many things in the neighborhood where kids were supposed to pick up a creative hobby or two. Therefore, at the age of four, Shefali started practicing the keys. It was just one day at the church recital, which literally made Shefali the singer she is today.

At the recital, there was a 10-year-old girl who played the piano and sang. The way she sang, as described by Shefali, “full body facing the audience, broad torso, feet plantedwas something she had never witnessed before. She was dazzled. Shefali’s father immediately asked the piano teacher to give his daughter singing lessons, but she wasn’t really looking forward to it. One thing Shefali struggled with as a child was interacting with people she didn’t know. She wanted to stay hidden from the eyes of others. Because of this, her parents tried to involve her in several creative and sports activities, and music was one of them.

Despite being against vocal lessons, Shefali eventually had to give in to it, and what came out of it was so worth it. There’s something so beautiful about the way Shefali describes the opening moments of her very first singing performance. Recalling those emotions, she said: “I pushed my shoulders back, I took in more breath, I kind of physically took more space, and then the way that sound reverberated through my chest, the way it felt in my hips, in my lips, for the first time I felt it was okay to take up space. It was good, it was a little different. And so far, the best thing about it is the way it feels. It taught me that I had the right to take up space, that I had the right to be heard, in fact maybe, if I was crazy enough to think that maybe people wanted hear me too,” and so began the new journey of Shefali.

The school orchestra gave her a sense of community and creativity, where she found a sense of comfort and space. Plus, her dad always had songs playing on the speakers, which kept her surrounded by disco-pop, classic rock, Motown, and her favorite, Bruce Springsteen. So, when asked what fuels her zeal for music, she simply replies that growing up, there was always an intrinsic desire within her to be surrounded by creation, to be surrounded by music. She never did and had to question it.

Currently, the singer-songwriter is pursuing his doctorate. of Yale. It is a dual program in sociology and African-American studies. She also pointed out that a lot of new music is in the works and should be released soon!

Music, Social Media and Transition: Stepping Stones to Shef’s Kiss Music

As a singer-songwriter, Shefali consumes a lot of media: movies, books, songs, etc. She is not only inspired by musicians like Taylor Swift, Harry Styles, Dua Lipa or 70s-80s disco pop, which happens to be her favorite genre, but also finds her inspiration in designer architects and decorators. interior. All forms of creativity and art are a source for her to embrace, learn and grow through them.

While promoting her debut EP, “Dear Somebody,” Shefali took to social media. Although she found an incredible community of artists, a huge following, and a phenomenal response to her music, the bad side overwhelmed her. She regularly posted cover songs to stay on trend, or trying to fit the idea of ​​what people wanted, or impostor syndrome, all of which cost her dearly. The claws of the internet have tainted the relationship she had with music. The social media bug severed the connection she valued the most. So, she finally took a break from music all together. It was also the time of the pandemic. She then focused on other creative pursuits like baking, movies, and reading books.

After the break, Shefali knew she had to rename herself, and that’s when she changed her stage name from Das to Shef’s Kiss. She created a new Spotify profile and decided to create music for herself and express her true form, as she had always wanted. It was a shift towards a more sustainable way forward.

Tapping on Lyricism: Shef’s Kiss as a Songwriter

When it comes to lyricism, Shefali recalls her childhood when she had no one to talk to. She would put all her feelings and thoughts on a sheet of paper, and then, through that, it would become a therapeutic outlet for her. His lyrics have a lot of weight, symbolism and metaphors. As a songwriter, his lyrics derive not only from personal experiences, but also from his environment, the stories of others, the social and the political. For example, his song “Tired” tells the story of a suffocating relationship, a relationship in which someone is not able to live with and without the same person. The song also echoes feelings of frustration, isolation and mental exhaustion from the pandemic. Meanwhile, his song, ‘Forty-five Pt. II’, is a very political song. It’s about American politics and Trump. There are implicit metaphors and powerful feelings of anger, action and questioning. The lyrics play a crucial role in the essence of the songs and its purpose, and apparently this songwriter’s pen brings out her personal expressions very easily in the words.

Message for budding artists

Shefali Das believes that talent is acquired rather than inherent, however, the exceptions are always there. She herself is living proof of this, having acquired her vocal and songwriting talents. She also adds that the creative spirit and the desire are innate, but not the talent. A person must have the will to create. She also says that we always have to question ourselves and ask ourselves why we do it. Currently, with the 70s-80s vibe in the mainstream industry, she almost feels justified in following her. But in times like these, she always wonders why she’s into music in the first place. You have to find the balance between desires and tendencies, and always do what makes you feel fulfilled.

One of the life lessons she learned, which she also applied to her music, was when she gave up on pursuing a medical education. Her pre-med high school years were just her search for the kind of stability her parents wanted for her. She was chasing someone else’s expectations. When she got to college, she realized that pursuing medicine was really not viable for her. She confessed to her parents about the decisions to change majors, and it was as if a dam had broken. Parents often look at unconventional career paths, but the best way is to have a candid conversation with them and give them time to understand.

Shefali Das wants her mind, body, and soul to be one hundred percent involved in everything she does. When she dropped her previous profile, “Das,” which still has 15,000 monthly listeners, it felt like the plane was finally taking off. But Shefali decided to jump just then, because that direction was not for her. With her Shef’s Kiss identity now, she released the song ‘Expectations’, produced by ShiShi. The song echoes mixed feelings of anger and despair after a breakup.

So, for budding artists, the songwriter has only one word to say: go for it! If that means anything to you, then that’s the end of it all. Even though money is an important factor, especially in this capitalist world, you still cannot let it rule your own desires, especially when it comes to your own creation and art.

BROOKLYN, NY–(BUSINESS WIRE)–651 ARTS, Brooklyn’s premier institution for the performing arts of the African Diaspora, today announced details for its 2022 season – “Liminal spaces: confined to the house » – to include a mix of feature presentations, performance and new programming. In addition to its fall schedule, 651 also revealed that it will be launching the House Warming Initiative as it prepares to move to the institution’s first-ever grounded space at 10 Lafayette in downtown Brooklyn in the spring of 2023. Marking a watershed moment in the institution’s history, the new multipurpose facility of 12 500 square feet at 10 Lafayette will deepen 651’s programming and bring together the multiple communities it serves in a way never before possible.

With the recent appointment of its new CEO, Toya Lillard and about to move into its first permanent home, the upcoming season of 651 ARTS signals a new era for the legacy organization as well as a major milestone in its continued growth and expansion. Since its inception in 1988, 651 ARTS has navigated literal and figurative liminal spaces and is now – with the move – confined to the home. This “liminal spaces: confined to the house” season provides an opportunity to reflect, individually and collectively, on “how we will appear in the future we imagine.”

“For over 34 years, 651 ARTS has answered the call to create programming that centers and values ​​the performing arts and cultures of the African diaspora. And so far, the institution has fulfilled its mission to deepen knowledge and appreciation of the contemporary arts and culture of the African Diaspora without its own physical space. We wanted this season to reflect and encapsulate both where we’ve been and where we’re landing, especially as we look forward to moving into our new home and celebrating 651’s 35th anniversary.^e Anniversary in 2023,” Lillard said. “The word liminal is rooted in the Latin word limen, which means “threshold”. In the literal sense, a threshold is a door—or border between two places or stages. 651 ARTS has a history steeped in nurturing Brooklyn’s art ecosystems, while showcasing and producing work by emerging, established, and world-renowned artists from across the United States and around the world. For Black people everywhere, liminal spaces have historically provided the opportunity to imagine and create more sustainable futures where we can survive and thrive.

With this concept in mind, 651 ARTS’ fall lineup will include unique collaborations with world-class artists and leaders in the arts. The season will start on October 15^e with Perform an Afro Future, at The center of fiction. This roundtable will explore the creative mapping involved in the imagination of future afros. The first performance of the season will take place from November 18 to 20^e at The center of fiction with Malik Work Award-winner Verses at Worka dynamic performance in which the dynamic actor/MC tells his own story of perseverance, love, music and the struggle to survive as an artist in New York.

Educational residences include Towards a generative theatre: work in progress by The Black Seed Cohort at Weeksville Heritage Center December 2^n/aand the fourth year of The network of loggersa mentorship and career accelerator residency program for emerging, self-identifying female artists in jazz. This legacy project by NEA Jazz Master and music legend Dee Dee Bridgewater, and artistic director and associate director Tulani Bridgewater-Kowalskiwill take place in February 2023. The application and submission process for the program will begin in October.

Launch today, 651 ARTS’ House Warming Initiative seeks to galvanize support from key stakeholders around the organization’s efforts to transform its new home into downtown Brooklyn’s first center for black art creation and to open a new stage for black art.

HIGHLIGHTS OF THE AUTUMN 2022 SEASON

Perform an Afro Future

Appointment): October 15, 2022

Location: The center of fiction – 15 Lafayette Ave, Brooklyn, NY 11217

Verses at Work

Date: November 18-20, 2022

Location: The center of fiction – 15 Lafayette Ave, Brooklyn, NY 11217

RESIDENTIAL HOMES

Towards a generative theatre: work in progress

Date: December 2, 2022

Location: Weeksville Heritage Center – 158 Buffalo Ave, Brooklyn, NY 11213

The network of loggers

Appointment): Starts February 27, 2023

About 651 ARTS

Since its founding in 1988, 651 ARTS has become a trusted convener of contemporary artistic expression from the African Diaspora, a champion and nurturer for emerging artists and their work, and a vital cultural resource for its surrounding community. As it evolves, part of 651 ARTS’ mission is to preserve the legacy of black culture in Brooklyn, celebrate the eclecticism of black performance, and launch new visions from diaspora artists. African. This year – the year of transition – is an integral part of the institution as it continues to establish the framework that will help further strengthen the role of 651 ARTS as a leader of African diaspora culture while making it an incubator. of artistic innovation at 21^st century.

For more information, please visit: www.651ARTS.org.

651 ARTS programs are made possible through generous private donations and grants from The Bay and Paul Foundations, The Baisley Powell Elebash Fund, The Black Seed Funds, Con Edison, Doris Duke Charitable Foundation, Ford Foundation, Harkness Foundation for Dance, Howard Gilman Foundation, Lambent Foundation, Mertz Gilmore Foundation, Mid Atlantic Arts Foundation, The New York Community Trust Mosaic Network & Fund, The Fan Fox and Leslie R. Samuels Foundation, Wallace Foundation, New York City Department of Cultural Affairs in partnership with the City Council, including Majority Leader Keith Powers, the office of the Brooklyn Borough President Antonio Reynosoand the New York State Council on the Arts with support from Governor Kathy Hochul and the New York State Legislature.

Before there was Lincoln Center, there was San Juan Hill, once home to New York’s largest black community and later a large Puerto Rican population.

In the area around which Lincoln Center now stands. San Juan Hill was home to hugely important artists and icons, including Arturo Schomburg, Thelonious Monk, and James P. Johnson, composer of the famous “Charleston.”

On October 8, 2022, the new David Geffen Hall will open with the world premiere of San Juan Hill by Etienne Charles: A New York Storya multimedia work that reconsiders the cultural and musical heritage of the lost district of San Juan Hill.

A series of free arts programs at the David Rubenstein Atrium and the Weeksville Heritage Center examine this history leading up to the world premiere, titled Sounds of San Juan Hill, starting September 22, 2022.

More information below.

calendar list

San Juan Hill Sounds

The Jazz Legacy of San Juan Hill

Thu, Sep 22 at 7:30 PM

Atrium David Rubenstein

FREE

Return to the dance halls and jazz clubs of San Juan Hill in the late 1800s and early 1900s with host Loren Schoenberg (saxophonist and senior scholar at the National Jazz Museum in Harlem) and a special guest. Long before Harlem earned its rightful place as the center of African-American cultural achievement, San Juan Hill was home and a nurturing neighborhood for the creative minds of many of jazz’s greatest artists. James P. Johnson, Benny Carter and Thelonious Monk are just three of the legendary entertainers who lived and performed there, and it’s where West Side Story was set. Join us for an intriguing and questioning look at many vital stories that intersect with this too long forgotten community.

Move memorials

Wed, Sep 28 at 7:30 PM

Atrium David Rubenstein

FREE

Lincoln Center’s ongoing project on San Juan Hill reconsiders the culture and heritage of New York’s lost San Juan Hill community. New York-based, Chilean-born visual artist María Verónica San Martín captures the spirits of displacement and memory in her collage work, constructing intricate multimedia sculptures evoking memory as a living entity that meaningfully occupies space. physical space and invites interaction. For this participatory workshop, San Martín will instruct participants in his creative process, guiding them on the path to bringing their own personal story and experience to the construction of a three-dimensional holistic memory palace. All materials will be provided on site and participants can take their creation home at the end of the workshop.

San Juan Hill Day; Connect to seams

Thu, Sep 29 at 7:30 PM

Atrium David Rubenstein

FREE

Once home to New York’s largest black community and later a large Puerto Rican population, San Juan Hill was demolished between the 1940s and 1950s as part of the “urban renewal” plan that created the Lincoln Center campus and d other major developments. While many families were moved to other parts of New York and beyond, a significant number of residents moved to nearby homes in Amsterdam. This multi-part celebration of the heirs to the San Juan Hill story brings the oldest residents of Amsterdam Houses to the Atrium to publicly construct creative oral histories in collaboration with Sydnie L. Mosley Dances. After an afternoon brainstorming session, SLMDances will perform these new works with support from Lincoln Center’s first Poet-in-Residence, Mahogany L. Browne.

Presented in collaboration with Sydnie L. Mosley Dances

DJ logic

Fri, Sept. 30 at 7:30 p.m.

Atrium David Rubenstein

FREE

Bronx-born champion of the city’s musical memory, DJ Logic specializes in connecting the threads between New York’s rock, jazz and rap traditions. He is currently collaborating with trumpeter and composer Etienne Charles on a Lincoln Center-commissioned work inspired by the story of San Juan Hill that will reopen David Geffen Hall when it premieres in October in conjunction with the New York Philharmonic. On this festive dance party, DJ Logic will continue to link the art to the venue for a non-stop hip hop jam with selected music from New York artists only. Come and dance to the hits and deep cuts of the masters of ceremonies and DJs representing as many as possible of the five boroughs!

Is this land our land?

Saturday, October 1 at the Weeksville Heritage Center &

Monday October 3 at 7:30 p.m. at the Atrium David Rubenstein

FREE

The unanswered questions is a series of conversations presented in collaboration with the New York Philharmonic and the John Jay College of Criminal Justice exploring complex social issues raised by the Orchestra’s programming. The season of the series begins with Is This Land Our Land? – a discussion of the history of the neighborhoods of San Juan Hill and Weeksville, New York communities of color that thrived with culture and tradition but were systematically dismantled, leaving behind a legacy of displacement and erasure which resonates to the present day. Weeksville Heritage Center President Dr. Raymond Codrington hosts a conversation with SUNY Binghamton professor and researcher Dr. Jennifer Lynn Stoever and Etienne Charles, the performer and composer whose Lincoln Center-commissioned work inspired by the story of San Juan Hill will reopen David Geffen Hall when it premieres in October in conjunction with the New York Philharmonic.

Presented in collaboration with the New York Philharmonic and the John Jay College of Criminal Justice

San Juan Hill: A New York Story

Saturday October 08, 2022 at 2:00 p.m.

Saturday October 08, 2022 at 8:00 p.m.

Co-presented by Lincoln Center and the New York Philharmonic

Commissioned by the Lincoln Center for the Performing Arts

Composed by Etienne Charles

Performed by Etienne Charles & Creole Soul, and the New York Philharmonic

The early reopening of David Geffen Hall kicks off with a pair of concerts featuring Etienne Charles’ new work, San Juan Hill: A New York Story—performed by Etienne Charles & Creole Soul, and the New York Philharmonic, conducted by Music Director Jaap van Zweden.

An immersive multimedia work, San Juan Hill: A New York Story transports audiences via music, visuals and original first-person narratives of the history of the San Juan Hill neighborhood and the indigenous and immigrant communities that have populated the land in and around where the Lincoln resides Center. A multitude of musical elements – from ragtime, jazz, piano stride, swing, blues, mambo, paseo, West Indian waltz, calypso, funk, disco and hip hop – are woven with historic films and present-day interviews to showcase the myriad musical styles and culture brought to New York by migrants from the South and the Caribbean. In addition to his band, Etienne Charles & Creole Soul, Charles is working with a range of artists and scholars on this commission, including special guests Carl Hancock Rux, Elena Pinderhughes, DJ Logic, and collaborating with playwright Eljon Wardally , video artist Maya Cozier , graffiti/visual artist Wicked GF (Gary Fritz), visual artist Bayete Ross Smith, and historian Julia Foulkes, among others.

San Juan Hill: A New York Story combines the past with the present, laying the foundation for our community to build a new future for Lincoln Center. Leading up to the premiere, Charles, Lincoln Center and the New York Philharmonic are teaming up for a series of conversations and workshops that will explore the preservation and transformation of culture, gentrification, community activism, as well as resilience in resisting adversity, in collaboration with the Weeksville Heritage Center, the National Jazz Museum in Harlem and others.

With

Etienne Charles, Composer/Trumpet/Percussion

CREOLE SOUL: Sullivan Fortner, Piano; Ben Williams, bass; John Davis, drums; Alex Wintz, guitar; Godwin Louis, Saxophone; Elena Pinderhughes, Flute; DJ Logic, Turntables

Creative team

Maya Cozier, director; Bayete Ross Smith, 3D multimedia artist; Eljon Wardally, narrator/playwright; Hollis King, Photography; Carl Hancock Rux, spoken word; Wicked GF (Gary Fritz), graffiti artist; Julia Foulkes, historian

Production team

Kathleen Felder, producer; Billy Banks, stage manager.

Photo credit: San Juan, Wikipedia, 1956.

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Last week’s Colorado State Fair was Jason Allen’s first time competing in an art competition. So it came as a surprise to the 39-year-old fantasy tabletop game creator that his creation, “Space Opera Theater,” won a first blue ribbon in the “digital art/digitally manipulated photography” category.

What surprised even more people than Allen was that he had created his work – a rendering of three lushly robed figures looking through a sparkling portal to another world – with the artificial intelligence tool. Midjourney. For Allen, the win was an unexpected triumph, but for others it was the fuse that sparked a heated debate about the potential uses of AI — and abuses — in the arts.

Midjourney, DALL-E, and other text-to-image tools are just one of the ways AI has worked its way into the creative process. Look no further than the brief but controversial existence of rapper IA FN Meka or the appearance of a deepfake company on “America’s Got Talent.”

Is AI a new technology that will create the next great art movement? Or does it announce the destruction of the artist? It turns out that the answer is not so simple.

“It’s important to be aware of the implications of automation and what it means for humans who might be ‘replaced,'” says Cansu Canca, associate research professor at Northeastern, and founder and director of the AI ​​Ethics Lab. . “But that doesn’t necessarily mean being afraid of becoming obsolete. Instead, the question we should ask ourselves is what do we want from machines and how can we best use them for the benefit of humans.

Concerns about AI’s perceived incursion into art go beyond the allegations of digital plagiarism that have been thrown at Allen. With the push of a button, he was able to create a work of art that would have taken hours to create by hand.

“We are witnessing the death of art unfolding before our eyes – if creative jobs are not machine-proof, then even highly skilled jobs risk becoming obsolete,” said one Twitter user. “What shall we have then?” »

Derek Curry, associate professor of art and design at Northeastern, isn’t convinced that AI art will ever replace the creative work of humans. By its very nature, technology has its limits.

“He can’t produce anything that he hasn’t already been trained on, so it’s impossible for him to legitimately create new things,” Curry says.

This is far from the first time that new technologies have caused controversy in the artistic community.

“A lot of the hype is very similar to what happened towards the end of the 19th century with photography,” says Curry, a trained photographer.

Similar to photography, Curry says humans play a much larger role in creating AI-generated art than most people realize.

“There’s this back-and-forth process that, to me, as someone working materially with this, doesn’t feel automated at all,” Curry says. “Everyone talks about ‘the algorithm did this’ or ‘the algorithm did that.’ In my experience, I don’t feel like the algorithm does much, you have to push it into whatever you actually want it to do.

The cycle of fear and acceptance has happened with every new technology since the dawn of the industrial age, and there are always casualties that come with change.

“There are real ways in which an activity that was done one way by a human can now be done in a different way, requiring fewer humans to do that job than before,” said Deirdre Loughridge, professor music associate at Northeastern. .

If AI-generated and AI-assisted art becomes more commonly accepted, artists will need to radically rethink how they do their work, spend their time, and structure their creative process, says Loughridge.

But she also argues that there is a general lack of technological knowledge around AI that leads to misperceptions about what it can do for artists. In music, artificial intelligence has been used for timbre or pitch transfer, allowing singers to use their voices as synthesizers while singing into software that transforms pitch into the sound of a different instrument.

Like any other technology, the way AI is used changes when it gets into the hands of artists, not the other way around. Loughridge compares it to Auto-Tune, a pitch correction processor that was once controversial but has become a music industry standard.

“It’s a tool that was supposed to do this invisible pitch correction, but people turn it all the way to the zero setting, which was never supposed to be done, and it creates this distinctive sound, and then several distinctive sounds,” explains Loughridge. “Something like that I could definitely see [with AI].”

For Jennifer Gradecki, an associate professor of art and design in the Northeast, AI also has potential as a creative aid, in part because of what it can’t do. According to Gradecki, artificial intelligence can help find the most generic answers to artistic dilemmas, leading him down more creative paths.

“We were trying to come up with a collective name using AI and it was fun to see what some of the combinations he would come up with were, but nothing was good,” Gradecki said. “Nothing was as creative as what we would be able to generate.”

To fill what they see as a gap in AI technology literacy, Gradecki and Curry worked together to develop a Creative Computing minor at Northeastern. The aim is to provide students with a critical and creative understanding of how artificial intelligence can be used. The first course, Introduction to Creative Computing, started this fall, and there are plans to run another introductory course in the spring.

By focusing on the potential, as well as the limitations, Gradecki and Curry hope to show students that AI is no different from any other artistic tool. Artists are always bound by the limits of their creativity and their tools, whether they use a brush, a camera or a neural network. In this way, the future of the arts does not belong to the AI, as its worst critics fear, it still belongs to the artists.

“I think this idea that AI could possibly replace creativity, it just seems really implausible to me that it could go that far,” says Gradecki. “Creativity is actually the only thing that cannot be automated.”

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Quinnipiac sophomore creates new student arts organization on campus

Formerly drum major of the Lyman Hall High School marching band, sophomore Sean Formantes has always had a passion for the arts.

As the new academic year approaches, the Graphic and Interactive Design major announced via LinkedIn on August 8 the official recognition of the Quinnipiac University Student Artists League as a student internship organization.

“It was this mix of artistic and creative thinking, and also just a passion for business and entrepreneurship,” Formantes said. “Those are the things that stuck with me after high school.”

Upon arriving at Quinnipiac, Formantes ran for the Student Government Association as a freshman senator and was elected. Throughout his tenure, the arts remained central to his concerns. He had several conversations with Quinnipiac’s music director, Dr. Sprengelmeyer, and worked on an initiative to clean up the music building on Sherman Ave.

“It was something that really stuck with me, I always wanted to do something arts-related on campus,” Formantes said.

Formantes is currently involved with The Quinnipiac Legends A Capella Group as Social Media Manager, The Quinnipiac Chapter of the American Institute of Graphic Arts as Vice President and Treasurer, and The Chronicle as Designer. During his college search, one of the most important things he looked for was to find a school with an artistic background. It was important for Formantes that there was a space to express themselves in a unique way.

“Art is a means of expression,” Formantes said. “It’s a means of communication. It’s a way of sometimes tapping into the unconscious. And I think that’s so important because it’s personal and philosophical, it helps us to think about our own perspectives and also to ask those tough questions.

But Formantes said he observed early in his research that Quinnipiac was not marketing itself as an arts school.

“Which is interesting, because we are an outstanding liberal arts university,” Formantes said.

Formantes has researched the topic extensively, citing old Chronicle articles that discuss the arts in campus culture. He also had his own personal experience of lack of support.

“(In The Legends) we were going to compete in person at this competition in Hartford, Connecticut, but it was canceled due to COVID,” Formantes said. “We were supposed to do a virtual recording with mics, professional standards, on a stage… But something we realized was, well, we can’t really do that here. We don’t have the facilities or the resources to do that on our campus.

Hoping to find a solution, Formantes came up with the idea of ​​creating SAL.

“It was right in the back of my head,” Formantes said. “It wasn’t fully thought out, but I just thought it would be great if we had a community for visual and performing arts students to come together, and just create and collaborate on projects and so on.”

Formantes first pitched the concept to SGA’s freshman cabinet in March and received positive feedback. From there, he worked with Associate Director of Student Engagement Hannah Cranston to get the organization off the ground.

In such a short time, he had a lot of success.

“We actually had a little meeting before the end of May where we had, I mean about 15 people that came,” Formantes said. “There were a lot of people active in our theater program who showed up, and then some of my friends as well as members of SGA.”

Formantes approached assistant theater professor Abigail Copeland in the spring semester to be SAL’s academic advisor. Copeland said she hopes SAL will spark more creative thinking and collaboration on campus, while helping students heal.

“The need to form community, especially in the wake of something like a global pandemic, is central to what it means to be human,” Copeland said. “Being able to come together with others and create new and exciting work after experiencing such collective trauma is just one way to heal our communities and ourselves.”

Formantes’ hard work and dedication has culminated in SAL’s first official meeting as a recognized organization, which will take place on September 12th. Although the idea was originally conceived and pitched to SGA, SAL is not affiliated with the organization.

“I always saw it as a coalition, but not necessarily a council or a governing body,” Formantes said. “I see it as an organization that hopes to partner with other arts organizations. I want it to be like a resource.

Formantes said he also wants to prioritize recruitment and retention because student groups mostly return to in-person events and meetings.

“I think we have to look at something: are the students interested?” Formantes said. “Is this something they want to be a part of? I hope our social media will focus on content creation. I want to be able to show that SAL is an interesting organization because we start, we build trust.

Formantes is a staff designer for The Chronicle.

The Detroit Jazz Festival had to do a lot of improvisation in the past two pandemic-hit years, when it went ahead but through digital and broadcast outlets.

This year, all the improvisations are done live and on four stages.

The internationally acclaimed festival has returned to in-person mode, kicking off Friday, September 2 at Hart Plaza with the first of three scheduled performances by artist-in-residence Chucho Valdes. The event will run until Monday, September 5, with three stages at Hart Plaza and one at Campus Martius Park.

And the feeling Friday, from backstage at the VIP party behind the stage in the Carhartt Amphitheater to the lobby around the square was nothing short of exuberant for what festival CEO and artistic director Chris Collins called “a new brilliance” after two years of absence.

“When we hear a jazz performance, it’s there and it comes out in the air and you have to be there and feel it to really understand its significance, and you can only do that when it’s in person,” Collins said. before the music. starting on Friday. “One of the most exciting things is when I see a family from London next to a family from Hamtramck and they’ve never met in their life but they’re shaking hands because that something cool is happening on stage.

“Music does that, and for me, that’s the most important thing about being in person.”

Collins said the festival is expected to draw around 350,000 people over its four days, bringing in around $30 million for downtown businesses. But it also continues its digital presence; after attracting one million virtual viewers in 2020 and 2.5 million last year, the DJF website will broadcast live shows throughout the weekend. Quincy Jones’ Qwest TV, meanwhile, aired Friday’s opening performances, which Collins expected to have “one of the biggest viewing audiences for a single event, which is pretty cool.”

However, some things did not return with the return of the festival. The Jazz Talk series and after-hours jams at the Marriott Renaissance Center have been postponed this year out of continued Covid caution, although Cliff Bell’s Jazz Club is filling the void with a few nights of programming.

But that didn’t dampen the mood on Friday as the Dr. Valade Marching Band, led by Shannon Powell and featuring Jason Marsalis on snare drum, paraded through the Lincoln Garden Bowl area playing ‘Rock Around the Clock by Bill Haley & the Comet, the standard “When the Saints Come Marching In” and many more to get the party started.

Pianist Valdes followed with an 80-minute performance highlighted by ‘The Creation’, a four-movement composition touching on every stylistic aspect of his diverse career – featuring the 23-member Yoruban Orchestra jointly conducted by Hilario Duran and John Beasley. The piece went through everything from traditional jazz to indigenous Afro-Cuban flavors, and was followed by a fierce encore of “Bacaloa Con Pon”, originally performed by the band Irakere de Valdes.

The New Orleans Soul Rebels, feisty despite a late start, ended opening night with their usual mix of local flavors and renditions of pop classics, starting with Stevie Wonder’s “Living For the City” and a bit of “Earth, Wind & Fire”. Brazilian rhymes” in the first part of his comment.

Schedules and other information, as well as live festival performances, can be found at detroitjazzfest.org or through the festival app.

Jonathan Miranda and Weslie Negrón of MOTHS discuss their debut album, space forceand how the Puerto Rican metal scene has survived several recent setbacks.

On this debut album, Puerto Rican progressive/stoner metal quintet MOTHS fuse Latin flavors with undertones of influences such as Baroness, Mastodon and King Crimson. As a result, it is a very diverse and rewarding introduction.

It’s especially impressive considering the adversity they’ve encountered along the way. Naturally, the COVID-19 pandemic halted the creation of the album; however, several other events—Hurricane Maria, the 2019 resignation of Governor Ricardo Rosselló Nevares, and various earthquakes and power outages—affected not only the group but the entire island. So their story is one of immense endurance and optimism.

We recently spoke with bassist Weslie Negrón and lead guitarist Jonathan Miranda about the impact of these events. space forcehow the Puerto Rican metal scene thrives despite these hardships and more.

Has there always been a strong progressive metal scene in Puerto Rico?

Weslie Negrón: Yeah, it’s been going on since the late 80s. You could say the first band was Cardinal Sin, which was a mix of early Metallica and Pantera.

Jonathan Miranda: It was thrash in the beginning, yes.

WN: Then you have Puya, which became the biggest metal band on the island. They toured with Iron Maiden in 1999, and they mixed nu-metal with salsa and stuff. Since the 80s, a lot of bands came out of the underground and Latin rock was booming. So our metal, punk and hardcore scenes took advantage of that a bit.

I started playing in 2010 when there was another big band boom. It’s like a roller coaster in the sense that the movement can be idle for a while, then a handful of groups explode and it turns back on.

Puya, “Oasis”

How has the scene changed or evolved since you started playing?

WN: Between, maybe, 2011 and 2017, a lot happened, but then Hurricane Maria happened and everything went back to zero.

JM: The scene was hit hard, that’s for sure. In the 2000s there was a lot of post-hardcore and death metal, but now it’s mostly a mix of everything. You know, from hyper-technical to death to black metal and mathcore. It’s very diverse and the music started coming back after Hurricane Maria, but the pandemic knocked it down. However, we are finally resuming our shows and I have seen about 10 new bands in the past six months.

It seems Puerto Rican artists and fans have incredible resilience.

WN: Absolutely.

Which of these styles influenced MOTHS the most?

WN: Well, we have very different tastes. I guess a common interest would be prog.

JM: And each of us has a different musical background. Omar [González, rhythm guitar] I came from the thrash metal crossover, whereas I was more of a “Big 4” type. Weslie was more death/thrash but also hardcore, Damaris [Rodríguez, vocals] loves prog and power metal and Danny [Figueroa, drums] play everything [laughs]. Some of us also studied jazz and classical.

MITES, “Awakened”

Ah, so that explains your varied sound. Then there have been some recent incidents in Puerto Rico that may have hindered the creation of space force. Not only Hurricane Maria, but also earthquakes, power outages, and even the 2019 resignation of Governor Ricardo Rosselló Nevares.

WN: It seemed that every time we walked into the studio, something disturbed us. When we were finishing our first EP [2018’s MOTHS], Hurricane Maria came and destroyed the electrical system of the whole island. I had no electricity for three months afterwards. Then the earthquakes and the pandemic happened as we worked out the final details for space force. We still suffer from these things.

WN: I was very patient, but I was also losing my mind a bit [laughs]. In a way, though, the pandemic was a blessing because we didn’t have to worry about finishing the album and touring.

JM: Also, we couldn’t risk getting sick, so we had to take a complete break and stay in touch. It was only at the end of 2020 that we decided to get back to recording space force.

WN: We were also able to release a split EP with The Stone Eye in August 2020, just to stay active, and we did a livestream for Heresy Fest Online in Argentina. I was anxious to get space force ready as soon as possible, however. Luckily, now seems like a good time for it.

Absolutely. You’ve had a lot of positive reception so far and you’ve shown a lot of perseverance.

WN: Thank you. We also need to be able to play it live and promote it.

JM: You also asked about the situation with Ricardo Rosselló Nevares, didn’t you? It didn’t have a direct impact on the album, except that it allowed us to merchandise it. [laughs], which are selling like hotcakes. That said, there are government issues that limit a lot of groups, like the lack of programs that could help local talent. [or provide them with] platforms to perform at local festivals and stuff like that.

It’s a big problem.

WN: It definitely is, and in general, if these issues persist, we may also struggle to find enough venues for artists. Many of them closed during the pandemic. That said, the general vibe here is one of tenacity. A few weeks ago, two local shows had about 800 people between them.

JM: They were thrilled. People are hungry for quality gigs and bands. It’s finally animated again.

WN: Even with all these hurdles, there are so many new bands emerging. They just refuse to quit, you know, even though they have to work really hard to be exposed. It is very impressive.

That’s wonderful.

JM: It’s true, and artists from all walks of life will support each other, whether it’s punk, rock or extreme metal. We have a taste of everything and it’s very tight.

It feels like a really inclusive community.

WN: That’s a good way to put it. I mean, the pandemic has provided a good reset process for artists to reconsider what they’re doing well versus what they could be doing better for themselves and their audiences.

It’s an exciting time, but also, living in Puerto Rico now is like extreme sports. Every day brings new challenges and adventures. I love it here, though, and one of my biggest goals is to make sure we can successfully do it all from here.

JM: And if we succeed, labels could try to sign other bands, so the idea of ​​elevating Puerto Rican metal is a big inspiration.

WN: Beyond MOTHS, we want people to know that there is great music coming from the island.

Thanks to Jonathan Miranda and Weslie Negrón for the interview. Get your copy of ‘Space Force’ here and follow MOTHS on Facebook, TwitterInstagram, Bandcamp and YouTube.

Most FSU students have a general idea of ​​what clubs they want to join when they first enter campus. They may have been active in similar organizations in high school or already have friends who have spoken about their organization. What students usually don’t realize is the amount of activities and clubs the state of Florida has to offer. While a full list of this school’s 788 RSO options can be found on NoleCentral, the following organizations are strictly for artists, fashion gurus, film and book nerds, creators, or anyone who enjoys quite simply all that is art and culture.

Film and production

With Florida State’s College of Motion Picture Arts ranked in the top 15 in the nation, it’s no wonder FSU draws throngs of filmmakers and production students every year. A student body as creative as FSU demands a selection of film and production clubs available at school today.

For starters, the FSU Film Club is the perfect organization for anyone who simply loves movies, whether it’s talking about them, watching them, or making them. There is also a club specifically dedicated to Japanese animation for all anime fanatics.

The Askew Student Life Cinema (ASLC) deserves its own subcategory because it has four distinct clubs that can fall under the arts and culture umbrella: the SLC Film Committee, the Game Committee, the Events Committee, and a video production committee.

On the production side, there’s Club Downunder, which works tirelessly to bring guest speakers, bands, and host fun events on campus for the enjoyment of the student body. FSU also has its own radio station called WVFS Tallahassee 89.7FM, simply known as V89, which students help produce and manage. For specific audio production, check out the Audio Production Club and the Recording Artist Club.

Music and performances

Whether you’ve been part of a church choir since you could stand or were born to be the next Beethoven, FSU has a place or two for you.

Those whose musical gifts involve instruments have almost too many options to bear. From the Trumpet Guild of FSU to the Society of Composers, your melodic niche can be found. For those whose instrument is their own vocal chords, there are a handful of choirs and acapella groups that call FSU home, including All-Night Yahtzee, Gospel Choir, Reverb FSU, Vox, and Acabelles.

Additionally, the student body here stimulates a wonderful plethora of performers unrelated to instruments or vocals. Our comedy groups such as 30in60 and No Bears Allowed can be found at events throughout the year with popular dance groups, such as the FSU Belly Dancers and Seminole Dance Force. The comedy sketch group Friday Night Live also hosts their own live show once a semester where they perform sketches and show video sketches with a host, much like their inspirational “Saturday Night Live.”

Writing and Art

Luckily for anyone interested in journalism or creative writing, there’s a publication for just about every form in Florida State. “Her Campus FSU” gives women the opportunity to try their hand at the publishing process, as well as an extensive social media staff for content creation experience. “Strike” is a fashion magazine that started at FSU and hosts fashion shows, photoshoots, and surprise themed releases. For those more focused on literature and art, Kudzu Review features the creative work of FSU undergraduate students. Hopeful screenwriters should check out the Script2Screen Club to help them prepare their future scripts for the big screen.

Other art connoisseurs are more than welcome and there is a wide variety of art programs offered at FSU. The Phocus Photography Club gives students the opportunity to master their camera skills while the Student Art Studio for Healing provides a safe space for students of all levels of artistic experience to practice art forms of all sorts.

Any of more than 700 clubs in the state of Florida offer the opportunity to form lifelong friendships and develop skills at all experience levels. Wherever your interests may fall on the arts and culture spectrum, FSU always has a club to call home.

Creator of mobile photo-editing app Lightricks is jumping on the AI-generated art bandwagon with its new “Text to Image” generator in its apps, including Photoleap, which is known for its photo-editing capabilities , and Motionleap, an app that can animate a still photo to make it look like it’s moving. Starting today, users can now create AI-generated images via text prompts to share with their friends and social media followers.

The new feature is the latest AI development for Lightricks, whose flagship Facetune app is used by many Instagram models to touch up their selfies and alter their waistlines. The Israel-based startup is known for leveraging AI technology to power a range of tools for creative expression. Its other products include apps such as Videoleap, Filtertune, Beatleap, Artleap, Lightleap and Boosted.

With the new “Text to Image” feature, Lightricks is adopting technology that will help users not only edit photos or videos, but also create art by leveraging AI capabilities. A similar feature was recently introduced in TikTok’s mobile app to create video backgrounds.

To use the new feature, click “Generate AI Image” at the top of the app and a text box will pop up for you to type in whatever comes from your wildest dreams (within reason, as l app does not allow NSFW content). You can also start with pre-written prompts provided such as “a purple fox, by Van Gogh” or “poodle singing k pop album cover”.

After creating the AI ​​image, users can access editing and animation tools. Photoleap provides tools like overlay, filters, quick art, cutout tools, etc. Motionleap has animation tools, a 3D motion tool, as well as overlays and other effects.

In comparison, other AI illustration apps like Dream by WOMBO do not allow users to edit photos.

The company explains that the underlying AI built into Lightricks’ applications is based on open-source code released by Stable Diffusion, a DALL-E 2-like system launched publicly recently.

To use the new feature, a user enters a prompt and the images are sourced from millions of images on the internet from publicly available websites.

“Text to Image” is free and users can upload as many of their AI image creations as they want. The user owns every image created with the generator, says Lightricks. If you sign up for a Pro subscription, you can download up to 100 “premium quality” files per month. The subscription ranges from $4.99 per month with an annual plan to $9.99 per month with a monthly plan.

“AI technology has proven its powerful capabilities in content creation. Implementing Text to Image functionality directly into our apps opens up a whole realm of possibilities for our users, giving them unlimited opportunities for creating amazing content,” said Zeev Farbman, CEO and Co-Founder of Lightricks, in a statement. “This new tool supports our mission to help users experience the magic of creation and inspire a new generation of content creators.”

AI-generated art, when used ethically, can be a great tool for creators who lack the artistic abilities to physically create their ideas.

Here’s an example of what we found while testing the feature ourselves:

Picture credits: Lauren Forristal/Photoleap

Notice how Nicole Kidman’s face is weathered and looks downright terrifying. This is done to avoid copyright claims. According to Lightricks, its terms of use do not permit copyright infringement. A human-owned photo of an internet celebrity may be copyrightable, but not a work of art created by artificial intelligence. A celebrity’s “likeness” is not copyrighted.

Unlike the more advanced DALL-E and Google Imagen systems, Lightricks’ basic text-to-image generator does not produce photorealistic results, similar to the ambiguous backgrounds created by TikTok’s new AI green screen feature.

NSFW material is a risk with AI art generation systems, but Lightricks uses the Google Cloud Vision API to prevent users from requesting NSFW content. When we tested the image-to-text feature on Photoleap, some text prompts resulted in images of mostly nude and distorted female avatars, but nothing explicit that could be considered pornographic.

We have also typed “Vladimir Putin strip tease” for educational purposes only. Fortunately, the AI ​​generator on Photoleap saved our eyes from burns and generated an artistic image of Putin wearing a suit and tie.

So if you were looking for something light and fun, try Photoleap and Motionleap. Don’t be weird about it.

Photoleap is available only on iOS devices, while Motionleap is on iOS and Android devices. Combined, Photoleap and Motionleap have been downloaded over 170 million times.

The burning of Zozobra is an art form, an expressive depiction of rejuvenation that has gained constant recognition.

ZozoFest and Zozobra Art Show exemplify the meaning of the event each year and have not only captured the essence of tradition, but have advanced the relationship between the extinction of gloom and broader concepts.

The annual show takes place the weekend before the fire at Old Man Gloom, which sits between the revival that takes place in the spring and the resolutions made at the turn of the year. Artist Will Shuster created the event in 1924 and has inspired other artists ever since.

Many new original works will be on display at ZozoFest and the Zozobra Art Show in Santa Fe, which begins today and runs through Sunday. Organized by the Kiwanis Club, this year’s gallery theme is an ode to the 90s.

Since 2014, the Kiwanis club has honored Shuster with its Decades Project. Event chairman Ray Sandoval, after hearing firsthand that the event had become obsolete, floated the idea of ​​a 10-year journey through the decades leading up to the 100th anniversary of the fire of Zozobra.

Sandoval said he wanted to take people on a tour of history going back in time.

“There are basic elements in the ritual of getting rid of gloom, and we’re never going to take that away, but we want to provide a new interpretation,” he said.

Since the start of the project, each year has presented the decades in sequential order from Zozobra’s inception to its 98th fire. With only two years left until the milestone, it’s time to revisit ’90s staples like grunge music, Tim Burton, flip phones and Furbies.

“People are so talented,” Sandoval reflected on the state’s artists. “We have some really good things in store for people.”

ZozoFest and Zozobra Art Show is a free event and proceeds from all art sales go to help children in New Mexico.

The exhibition will feature works by popular artists such as Mike Graham De La Rosa, festival veterans such as Jennifer M. Gutierrez and first-time submitters such as Su Walker.

Regardless of experience level, quality works of art will be on display, acknowledging this iconic celebration.

Capture items

Middle school teacher Graham De La Rosa is the creator of Cosmic Desert, an expertly designed digital art project. The painter embraced the most modern form of creation in 2019, and his work captures elements of New Mexico through a unique blend of pop culture and tradition.

Growing up in Santa Fe, Graham De La Rosa observed and embraced its culture and stereotypes. From standards like distinctive art and heritage to outward depictions like aliens and the atomic bomb.

“I love those things, but there’s just this obsolescence that I really enjoyed playing with,” he said of the stereotypes. “There are these textures that I love in New Mexico…these elements that make up our lives.”

Graham De La Rosa was young in the 90s, but old enough to appreciate trends and draw inspiration from the music scene. His work, “Zozobra Not Even” – which will be featured on a ticket poster – is a take on Nirvana’s classic “Nevermind” album cover.

His piece is his first submission to ZozoFest, an event for which he has great admiration. He reflected on how Zozobra presents an opportunity to confront and overcome their respective issues.

He said, “Will Shuster put a mirror on New Mexicans and their day-to-day issues and said it was good to have them, let’s celebrate them as a community.”

Art comes full circle

Gutierrez is a retired elementary school teacher, which is only to be expected given that her art debut also started in elementary school – creativity is on full swing. She said she was always sitting and doodling, making posters and flyers for her classmates, family and herself.

A woman of many artistic professions, she said, “My artwork is whimsical. I like to make people smile. »

Gutierrez will be attending her fifth ZozoFest and was excited about the ’90s theme. She shared her inspiration from the decade, particularly her admiration for Tim Burton, best exemplified in his work, “Scissorhand Zozo.”

She said of the event, “It’s interesting to hear from other artists and how they create. It’s fun to look at all the artwork and it helps the kids. It’s worth it.”

Many works will be exhibited at this year’s event, from veterans to newcomers.

The first time is a charm

Walker is an internationally acclaimed artist, working primarily in the realm of aliens and Sasquatch. Although she only started drawing in 2016, she said she has been working in crafts for four decades. The Zozobra Art Contest leading up to ZozoFest and the Zozobra Art Show was Walker’s first contest, and she did her research.

“I’ve studied all kinds of Zozobras throughout history,” Walker said. “It was fascinating to watch Zozobra change over the decades.”

For the competition, Walker explained that she explored what was famous in the 90s and designed her piece based on some of the biggest trends and entertainment. His Zozobra, which was named Zozobra Youth Poster 2022, comes with a Furby next to his leg and sports a Jedi robe and lightsaber while chatting on a flip phone. Darth Maul’s menacing face serves as a backdrop of fireworks.

Walker shared, “I just had fun doing it before anything else. I was shocked when I got the email from (Sandoval). “

ZozoFest and Zozobra Art Show continue to grow, showcasing the many talented artists who reside in the state.

Reviving the tradition

Art from ZozoFest and Zozobra Art Show will be for sale with proceeds going to the Kiwanis Club to help improve the lives of children and families in New Mexico. Sandoval said he received 450 submissions to the competition from first- and second-graders alone. There were 150 total submissions specifically for ZozoFest and Zozobra Art Show.

Sandoval said, “As people learned about the Decades Project, creativity boiled over and participation escalated. We are really happy about that. We have reinvigorated the tradition.

No matter the generation, the artists of ZozoFest and Zozobra Art Show remind us that tradition and progression can coexist, especially when there is a common denominator: shaking off the darkness. Gloom has no concept of time or generational differences, but can still be burned every year.

The Deputy Minister of Tourism, Arts and Culture, Mr. Mark Okraku-Mantey, called for the awareness and training of young people in the process of conservation and enhancement of cultural heritage for sustainable tourism development.

According to him, the involvement of individuals in raising awareness would better preserve the heritage of humanity, improve living conditions and reduce poverty.

“Preserving the cultural and natural heritage, to make it accessible to all, to make cultures and civilizations better known, to improve daily living conditions and to reduce poverty, this is what gives meaning to the sustainability of tourism development,” he added.

The minister revealed this at the opening of this year’s World Folklore Day in Accra yesterday.

Under the theme “Arousing the interest of African youth in folklore for sustainable development”, it aims to inspire young people to better understand the essence of folklore in the development of a sustainable economy.

This year’s commemoration saw the participation of Kenya, Togo, Namibia, Gambia and Togo.

Folklore or intangible cultural heritage refers to the means of expressing one’s culture, including music, dance, art, designs, names, symbols and signs, performances, ceremonies, architectural forms , crafts and stories, languages ​​or any artistic cultural expression.

Mr. Okraku-Mantey said the ministry, in partnership with the National Council of Folklore and other cultural agencies, was working hard to develop and implement tourism policies and activities involving the participation of communities, especially young people. , the preservation and enhancement of Ghanaian cultural heritage. long-term.

The initiative, he said, would create a strong relationship between tourism and culture to help Ghana become a competitive and attractive place to live, visit and make business investments to foster sustainability and development.

“Let’s keep in mind that a thriving cultural economy has the potential to improve a country’s social and economic status as well as contribute positively to the lives of our communities,” he said.

The Executive Director of the National Folklore Council, Madame Bernice Ann-Deh Kumah, said that sustainable development was an important topic in African countries and therefore every factor that contributed to or promoted it should be carefully considered, whether whether it is tangible or intangible cultural heritage, adding “nothing should be left out”.

She said that the National Folklore Council is taking the necessary steps to compile a national register of intangible cultural heritage and following the procedure to inscribe it on the World Heritage Register in order to attract tourists to the country.

“In this regard, we must collaborate with our neighboring African countries to enable us to be inscribed on the World Heritage Register, because some intangible cultural heritages are similar in most African countries,” she added.

Professor Kodzo Gavua, Lecturer at the University of Ghana – Department of Archaeology, on his part said that it was imperative for Africans to redefine themselves in a way that would give an edge over their counterparts, adding ” And for this to be achieved, young people must seek, study and learn about African ways of life, especially folklore.”

He said that in recent times, Africans have tended to accept whatever is presented to them without screening, which has led to a lack of trust and a misunderstanding of values.

“Once we start appreciating what we have, we will be able to ensure that we have our dignity and satisfaction. Studying folklore will also challenge us to think logically and bring us back to understanding ourselves,” added Professor Gavua.

Regeneration: Black Cinema 1898-1971, the second major temporary exhibition at the Academy Museum of Motion Pictures, which opens August 21, is a nuanced exploration of how black filmmakers and performers have influenced, defined and expanded American films. The exhibition (which ran for five years) takes a comprehensive look at film history and black visual culture more broadly, highlighting notable items like the original costumes worn by Lena Horne in Stormy weather (1943) and Sammy Davis Jr. in Porgy and Bess (1959), Nicholas Brothers tap shoes and one of Louis Armstrong’s trumpets.

The show’s debut, 1898, marks the creation of “the first known moving picture sequence of African-American performers on the screen, [seen] with dignity,” says Doris Berger, Co-Curator and Vice President of Curatorial Affairs at the Academy Museum. The show ends with material from 1971, the dawn of the Blaxploitation subgenre, acknowledging the shift that took place when black film arts became available and embraced by mainstream audiences.

“We watch independent films as well as Hollywood, and we watch in front of and behind the camera,” says Rhea Combs, co-curator and director of curatorial affairs at the Smithsonian’s National Portrait Gallery. She adds that the exhibition is anchored “with four thinkers: Sojourner Truth, Booker T. Washington, Frederick Douglass and WEB Du Bois, [and looks at] how these 19th century scholars understood the power of imagery and representation, and how this relay was passed on to independent filmmakers in the 1920s and 30s to further this charge.

According to Combs, the way African-American images have historically been portrayed informed the entire show, which includes photographs, scripts, posters, drawings, newsreels, and more.

The show provides a sociopolitical context for early experimental works like “race movies”, which were independent productions from the 1910s through the 1940s, made for black audiences and featuring all-black actors. And the “Stars and Icons” gallery, with more than 50 glamorous portraits on display, pays homage to black artists who were household names as well as those who never quite crossed into the mainstream. “Even within the Hollywood film industry, there were so many people who had roles that were uncredited from the start,” Berger says.

“We recognize that Blackness isn’t a monolith. So there’s this idea of ​​really understanding that there were ecosystems of creative people that were feeding off of each other,” Combs explains. “And this idea of ​​regeneration in is one that I think we not only found inspiration in through a literal ‘racing movie’ title with that name, but also that idea of ​​creativity fueling other creative opportunities. That’s another reason why we integrate visual art with film art – to make sure we recognize that these are porous ideas and that people are inspired by a variety of different artistic pursuits.

To develop the contemporary elements of black film culture for the exhibition catalog in particular, the team interviewed filmmakers such as Barry Jenkins, Dawn Porter, Charles Burnett, Ava DuVernay and had conversations with descendants of notable actors (such as the grandson of Cab Calloway and Tony Nicholas, the son of one of the Nicholas Brothers), in an effort to make the continuum clear – an acknowledgment of how early films not only informed films of the 20th century, but also how they continue to inform the art being made today.

Another notable aspect of the show is its exploration of lesser-known film formats of yesteryear such as “soundies”, three-minute musical shorts that served as the precursor to the modern music video. “[They were] really important to black performers and musicians… they were shown in [panoram] machines in cafes, bars and taverns,” says Berger. “It was so exciting to see that long before MTV there were musical films that really provided a great opportunity for amazing African American talent to perform not just in nightclubs but also in movies – first short, then also long.”

The programming surrounding the exhibition (which runs until April 9) will be robust, in the form of a series of films programmed by Bernardo Rondeau, the museum’s senior director of film programs. Screenings begin August 25 with Reform the school (1939), a film thought to be lost in time, which was rediscovered through research. Starring Louise Beavers, it was restored in 2020 by the Academy Film Archive specifically for this exhibition, making it available to view after many decades. Screenings of around 20 more films will follow, all of which constitute a survey of the films explored in the exhibition itself, including Princess Tam Tam (1935), No Exit (1950) and The learning tree (1969).

The curatorial team also worked with the Los Angeles Department of Education and consulted with a scientific advisory board (including contemporary filmmakers such as Burnett, DuVernay and Shola Lynch as well as other scholars) to cultivate a program around movies, which will be fully expressed at a peak in February.

“We really want to open up film history to inspire conversations, good relationships, and hopefully joy and a sense of discovery of film history,” Berger says. “Sometimes that also means expanding the barrel. And that’s exactly what Regeneration try to do. We try to expand the canon of what is known about African American filmmakers and performance.

A version of this story first appeared in the August 17 issue of The Hollywood Reporter magazine. Click here to subscribe.

Theirsverse’s “Generation Z” artist Yu Enli recently participated in multi-cooperation activities in person at the ATELIER BEAUTE CHANEL store in New York City. He created a unique artistic trend, integrating art and painting with beauty and fashion, breaking boundaries, and integrating Web2 and Web3. He regards makeup as a form of artistic expression and introduces people to his strong sense of trend, diversity and new-era fashion look through his artistic journey by breaking the fourth wall.

Compared to other public figures, Enli hopes to express herself and prove herself with her own art. At the age of 9, his work was exhibited at the “Young GEISAI (TAIWAN) 2011” organized by Murakami Takashi in Asia. With the attempts and ambition of the next generation, Enli tries to create art through fine art, video, sound, body, etc. and uses these media to freely assemble and disassemble.

During ATELIER BEAUTE CHANEL beauty workshop activities, we watched the introduction of Theirsverse movie created by Enli and were impressed by the work and culture created by this “Generation Z” artist with great sense artistic and great creativity, which is characterized by a great appreciation value, collection value and personality of young people.

The highly anticipated interactive activity is the make-up design performed by the make-up artists of the ATELIER BEAUTE CHANEL and Enli workshop. They recreate the makeup of Enli’s works on real people and break the fourth wall accordingly.

Next, Enli, the young artist, talked about his pursuit and exploration of art and let everyone see that he hopes to create a brand new artistic space in his own way, which he is in the process of do right now. It breaks down the barriers between virtual space and real space. It integrates them so that the imagination of the young population, group co-creation, more cultural media and other content will prevail indefinitely in the future.

“I think makeup is a form (of expression) and it’s a relatively new art.” – Enli

For Enli, fashion is the expression of an emotion and clothes have no gender. Clothes are just clothes and they cannot define a person. Makeup is also a new art form, which is drawing on the face and giving everyone the right to explore more possibilities of their facial features.

At the scene, while Enli and three makeup artists recreated the makeup, Enli’s mother, well-known artist Annie Yi, also came to the scene as a “reviewer” to evaluate the makeup. Known as the “leader of beauty”, Annie Yi explained and commented on the creation of different makeups at the scene. Besides makeup, Annie Yi said that she recently learned and understood a lot of knowledge in multicultural fields, hoping to make progress with her son and help Enli show off her artistic creation and talents better.

In this cooperative interaction between Enli and the ATELIER BEAUTE CHANEL atelier, we saw the creativity of the younger generation of artists and understood that art is not just a one-sided expression. If we can understand that makeup is an art form and separate the art of makeup from social judgments and limitations, then we can truly enjoy the fun of makeup.

As Art Director of Theirsverse, Enli will work with young artists in the future building of Theirsverse to create a multicultural community owned by Gen Z artists, young people to create meaningful value.

About Theirsverse：

Theirsverse is a diverse, trendy and artistic new Web3 brand. Created by a group of young artists from different races and gender identities.

Theirsverse is a web3 brand that has a large business network in the entertainment industry. Our track record spans music labels, film production, fashionable toys, virtual singers, and the social metaverse. Our vision is to create a diverse community for the younger generation by integrating trends, entertainment, art and technology. We also hope that every member can find a sense of belonging and create a new identity in Theirsverse.

Theirsverse invites global holders to build brands together and has also created a fund for young artists, which will help more talented young artists and generate a new Web3 ecosystem. Their verse is an invitation to unlock your creative future!

To learn more, please visit https://theirsverse.com/

Media Contact
Company Name: Their verse
Contact person: Media Relations
E-mail: Send an email
Town: New York
Country: United States
Website: https://theirsverse.com/

Rockport’s third Celtic Festival features the region’s enchanted music, but this year will also feature a crossover with Norse music, in addition to late-night cabaret entertainment.

The festival, ‘Exploring Celtic Roots and Branches’, runs until Sunday August 21, with seven events and ending on Sunday with a concert with David Coffin leading the chanteys of the sea along with other surprises. Festival performers include both known and new musicians, as well as singers, dancers and storytellers.

The festival is organized by Brian O’Donovan of A Celtic Sojourn and Edinburgh-born harpist/composer Maeve Gilchrist.

Opening night is Friday, August 19 at 7:30 p.m. with “Nordic Nights,” which brings together top Celtic and Scandinavian musicians in a concert of fiddles, reels and more.

This year there will be two “Festival Clubs”, which means that the music will not stop after the performances on the main stage on Friday and Saturday, but will continue around 9:30 p.m. in a more informal setting in the auditorium. third floor reception. of the place, with drinks and snacks. Musicians and special guests will present an additional session of Celtic music.

Sharing the love of music, on Saturday August 20 at 11 a.m. there will be a lounge session – an art exploration with Brian O’Donovan of some of the artists involved in the weekend with a discussion and a mini-concert exploring musical styles, instruments and vocals.

The Saturday evening concert includes “A Global Celebration of Strings” with musicians from around the world sharing the stage. Among the featured music will be Ladino songs from the Sephardic Jewish tradition, Shetland fiddle tunes and Scottish finger-style guitar.

Sunday includes two events, beginning at noon with “Words & Music: the Celtic Spirit”, described as a spiritual celebration of the word complemented by music, hosted by the two artistic directors, O’Donovan and Gilchrist, as well as a selection of festival musicians.

The final concert, Sunday at 5 p.m., is “A Symphony of the Sea,” which celebrates Cape Ann’s history and its place in maritime history, with special guest David Coffin. This program explores the traditions surrounding the ocean while showcasing traditional and classical music in this celebration of all things sea-related.

For tickets and more information, visit rockportmusic.org.

willie alexander

Punk music legend, musical innovator and artistic icon Willie “Loco” Alexander returns to Music on Meetinghouse Green on Friday, August 19 at 6 p.m. with his band for an evening of musical entertainment at the corner of Middle and Church Streets in downtown city ​​of Gloucester.

Alexander shares his talents as a singer, songwriter and keyboardist with the Persistence of Memory Orchestra. Alexander, who has a musical career spanning around 50 years, has been a member of The Lost, Bagatelle, Grass Menagerie and the post-Lou Reed Velvet Underground, and frontman of his own bands. He is admired for his unique musical voice and his artistic vision, which goes beyond music.

Voluntary donations will benefit the Grace Center, a drop-in center for the homeless and underserved in Cape Ann. The evening food vendor is Crepes du Jour with freshly made sweet and savory crepes. Bring chairs or blankets and picnic with food from the vendors or bring your own. The shows are handicapped accessible. For more details, visit www.gloucestermeetinghouse.org.

Next Thursday, August 25, the Alexander Memory Persistence Orchestra is the featured act for the free Cape Ann Museum Courtyard Concerts, 5:30-7 p.m., 27 Pleasant St., Gloucester city centre.

native flautist

In keeping with John Hays Hammond’s love of music, Helen’s Willow Wind will return with their Native American-style flutes to welcome visitors into the courtyard on Friday, August 19 from 11 a.m. to 2 p.m. at Hammond’s Castle Museum in Gloucester. An award-winning musician, she is globally recognized for her improvisations that aim to take the listener on a journey of mind, heart and soul, from the realm of the ethereal to blues, jazz and places in between. Details at www.hammondcastle.org.

Concert by the pool

Cape Ann Symphony presents a special outdoor concert on Sunday, August 21 at 4 p.m., featuring CAS Principal Flutist Stephanie Stathos and the Cape Ann Symphony Chamber Orchestra under the direction of Maestro Yoichi Udagawa. The musicians will perform poolside at CAS President Fran White’s home in Magnolia. Refreshments will be served. Seating is limited to 75. Tickets are $45 for adults, $40 for seniors, $20 for students of any age; and $5 for youth 12 and under. For tickets and details, call 978-281-0543 or visit www.capeannsymphony.org.

“The musicians and I are thrilled and excited to be able to play together over the summer,” Udagawa said. “It’s such a nice, quiet place that gives the audience a close proximity to the musicians – something we don’t often get in large concert halls.”

The concert program includes Charles Floyd’s ‘Hymn For The Fallen’, Mozart’s ‘Flute Concerto in G Major’ and Bologna’s ‘Symphony No. 2 in D Major’.

tiny landscapes

A solo exhibition of small scenes from Cape Ann by Leigh Slingluff will run until 21 August at the North Shore Arts Association, 11 Pirate’s Lane, Gloucester. The exhibition features seascapes, landscapes and skyscapes by Slingluff, a local artist. The artist finds inspiration for her plein air paintings when she explores the outdoors with her dog and husband, swims and snorkels at local beaches, gardens and gazes at the sea and sky of Cape Town. Ann. She is an artist member of the North Shore Arts Association and the Rockport Art Association & Museum. His most recent works are published on his Instagram: @galobster.

“Deftly Crooked”

Rocky Neck Art Colony announces the opening of a new exhibition, “Deftly Askew”, at The Cove Gallery, 37 Rocky Neck Ave., Gloucester, on Thursday, August 18, with a free public reception from 5-7 p.m. The show features artists Helen Tory, Patricia Wellenkamp, ​​Laurel Rogers and Tobi Klein who work in a variety of mediums with a commonality that generates a “dynamic connection”.

“There is a search for expression and balance in the use of several pieces to create harmonious wholes. Rough edges, rich layering and exploration of textures inspire the boundaries of each artwork to be somewhat ‘crooked’ in its depiction. However, there is careful and “skillful” thoughtfulness in this organic creation process,” according to the exhibition statement.

Rogers combines his extensive knowledge of papermaking, marbling and bookbinding with a sense of lyrical design to create sculptures, books and journals; Wellenkamp stamps, engraves, chases, gilts, braids and rivets to add texture to the mixed metals she uses in jewelry making; Klein’s work took her in two directions: graceful woven metal sculptures and two-dimensional monoprints/collages; and Tory paints on clay and other surfaces with monotypes or etchings pasted on top, and graphite powder, ink or oil paint is added and removed to the using steel wool, an eraser or a rag to produce evocative images.

For hours and more details, visit: rockyneckartcolony.org.

Rock for veterans

Captain Lester S Wass Post 3, 8 Washington St., Gloucester is hosting a benefit concert featuring Boston rock band Power Expo on Friday, August 19, 7-10 p.m. Tickets are $10 and can be purchased in advance at American Legion Post 3 in Gloucester, or at the door. There will be a 50/50 and a draw for a free stay at the Beauport Hotel in support of the Massachusetts Coalition of the Blind and the American Legion.

Shakespeare in the woods

The wooded outdoor setting of Lanes Coven Theater Company’s production of “Macbeth” offers audiences a unique theatrical experience for this Shakespearean classic, which is in its final days, August 18-21 at 7:30 p.m. Surrounded by Trees and under an expansive tent, theatergoers can arrive at 7 p.m. for picnics and BYOB.

Set in medieval Scotland, the tale tells the story of Macbeth’s rise to power and tragic fall, which began after the warrior was visited by the three witches to learn that he would become king. However, the witches also prophesy that future kings will not be descended from Macbeth but from another captain. The cast includes the father-son duo of Michael McNamara, who plays King Duncan, a gentle king, and Max McNamara, who plays Banquo. Oliver Shirley plays the title role. NYC’s Adrianna Mitchell plays Lady MacBeth. For more details and ticket options, visit: www.lanescoven.com.

Tony Nominated Play

The Gloucester Stage production of Tony-nominated ‘Grand Horizons’, a play full of humor, family realities and surprises, will run until August 21. Directed by Robert Walsh, the cast features the beloved married couple of Paula Plum and Richard Snee, as well as Jeremy Beazlie, June Kfoury, Cristhian Mancinas-García, Greg Maraio and Marissa Stewart. Playwright Bess Wohl’s comedy explores a disrupted family. For tickets and details, visit GloucesterStage.com.

innovative dance

The New York-based Cornfield Dance returns to the Windhover Center for the Performing Arts with their latest creation, “The Wasp in the Window,” Saturday and Sunday, August 20 and 21 at 3 p.m., 257R Granite St., Rockport. Ellen Cornfield is known for creating “lush, abstract, full-throttle dances that revel in the use of space, time, and geometric relationships.” The performance is followed by a Q&A with the artists. The show is rain or shine under the large tent at the Windhover Outdoor Stage. Seating begins at 2:30 p.m. and the public is welcome to bring refreshments. For tickets, visit https://windhover.org/performances.

Cornfield Dance also presents two free public performances in Rockport’s Millbrook Meadow Park on Thursday, August 18 at 3 and 6 p.m. The venue-appropriate dance performance takes place in the park in downtown Rockport, across from Front Beach. The Dance features a work described as a lively, athletic dance that includes six red folding chairs and explores social distancing, as well as a series of dances confined to spaces no larger than 6 feet square; the dances will be performed in different places in the park. The performances are followed by a Q&A with the artists. The rainy date is August 19 at 3 p.m. only.

Around Cape Ann is a section devoted to events taking place in Cape Ann and Cape Ann artists performing elsewhere. If you would like to submit an article, contact reporter Gail McCarthy at 978-675-2706 or [email protected] at least two weeks in advance.

PlayGround-Chicago, the first Midwest expansion of the famed California-based playwright incubator, has shared plans for its inaugural season. The company will announce the Season 1 writers pool shortly, 36 Chicago-based early-career playwrights competitively selected from applications received this summer.

In the upcoming 2022-23 season, these writers will generate more than 150 original short plays, 36 of which will be developed through Monday Night PlayGround, a monthly series of scripted readings that is central to the Writer Development Process at several levels of PlayGround. Each month, PlayGround announces a topic and invites members of the annual writers’ pool to submit original ten-minute plays inspired by the topic and written in just four and a half days. The six best scripts are directed by leading local directors and actors and presented this year online for a live (virtual) audience, starting Monday, October 31 and continuing on 1st Mondays, from December to April.

PlayGround-Chicago wraps up its inaugural season with the annual Best of PlayGround-Chicago on Monday, May 1, 2023, featuring a curated selection with input from audiences and society members of the current season’s six best short works.

PlayGround now operates programs and businesses in the San Francisco Bay Area, Los Angeles, New York and – new this year – Chicago. In recognition of PlayGround’s national presence, PlayGround will host an integrated in-person/online hybrid fundraising gala, the One PlayGround Gala, on Monday, September 19 at the Broadwater Plunge in Los Angeles, Potrero Stage in San Francisco and satellite locations in NYC and Chicago, featuring live performances of last season’s Best of, testimonials and a gourmet four-course dinner. All proceeds will support the Monday Night Series and artist compensation.

In addition to PlayGround-Chicago, we’re also offering streaming access to this year’s PlayGround (SF), PlayGround-LA, and PlayGround-NY seasons, with all events free. Tickets for the 2022-23 seasons are now available at https://cloud.broadwayworld.com/rec/ticketclick.cfm?fromlink=2191471®id=23&articlelink=https%3A%2F%2Ftickets.playground-sf.org? utm_source=BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1. For more information, visit https://PlayGround-CH.org/Monday.

PlayGround-Chicago will hold open auditions for this performance season via online video date (reservation required) on Sunday, October 2, from 2-5 p.m. CT. For more information and to schedule an audition slot, visit https://playground-ch.org/audition.

PlayGround-Chicago is the third regional expansion of the Bay Area’s acclaimed playwright incubator and community theater hub, PlayGround. PlayGround was started in San Francisco in 1994 by co-founders Jim Kleinmann, Brighde Mullins and Denise Shama. In 1996, Kleinmann became PlayGround’s first art director. Since its inception, PlayGround has developed and staged over 1,000 original ten-minute plays by over 300 early-career writers from the Bay Area, Los Angeles and New York and has commissioned/developed 100 plays completed by prominent PlayGround alumni, creating 34 of these through PlayGround’s innovative New Play production fund. In the process of staging these works, PlayGround helped identify some of the leading emerging writers and, at the same time, effected the creation of a real community of theater artists, bringing together hundreds of actors, directors and local playwrights.

PlayGround alumni have won local, national and international honors for their short and comprehensive work, including recognition at the O’Neill National Playwrights Conference, The Lark, Humana Festival, Bay Area Playwrights Festival and New York International Fringe Festival . , among others. The directors and actors participating in PlayGround are among the most distinguished theater professionals, working regularly on major local stages.

All performances will take place online via Vimeo’s live stream and will also be available on demand for pre-registered guests. To ensure maximum accessibility, admission is free (donations gratefully accepted). Advance reservations are required and registered guests will receive a Vimeo Live link within 24 hours of the performance.

A Playground gala

Monday night play area

• October 31, 2022 at 7 p.m. CT / 5 p.m. PT

• December 5, 2022 at 7 p.m. CT / 5 p.m. PT

• January 2, 2023 at 7 p.m. CT / 5 p.m. PT

• February 6, 2023 at 7 p.m. CT / 5 p.m. PT

• March 6, 2023 at 7:00 p.m. CST / 5:00 p.m. PST

• April 3, 2023 at 7 p.m. CT / 5 p.m. PT

Best of PlayGround-NY

To book tickets, visit https://cloud.broadwayworld.com/rec/ticketclick.cfm?fromlink=2191471®id=23&articlelink=https%3A%2F%2Ftickets.playground-sf.org?utm_source=BWW2022&utm_medium=referral&utm_campaign= item&utm_content=bottombuybutton1.

Do-it-yourself costumes offer a unique opportunity to pretend and trick or treat

DOYLESTOWN, Pennsylvania, USA, Aug. 14, 2022 /EINPresswire.com/ — Fabby-Do presents its Make and Make-Believe collection of costumes for purchase online or creation in-store.

Fabby-Do is a local establishment specializing in parties, classes, special events and creative play experiences for children. Among the dozens of crafts available to craft in the store or buy online is the “Make and Make Believe” collection with many unique costume designs. These include “Precious Princess”, “Perfectly Pirate”, “Fancy Fairy” and the ever popular “Merry Mermaid”. Children receive the main elements of the costume as well as many decorative supplies and Fabby-Doodads to make their costume personal and unique.

Halloween has become one of the major retail events of the year, with costume purchases increasing from just over 50% to nearly 70% over the past fifteen years. While most purchases are mass-produced costumes, many families seek opportunities to create their own. Halloween is often seen as the holiday that encourages the most individual expression and is a great time to tap into children’s creative ability and boost their self-confidence.

“Fabby-Do encourages the expression of children’s creativity in everything we do. While we provide the supplies, the kids provide the ideas and bring them to life,” said Fabby-Do founder Robin Brackbill. “There are no instructions with our creativity kits and it’s just amazing what little minds and hands can invent.”

Kids can create in Fabby-Do’s “Creative Cafe” – a magical setting for 2-2 year olds to express their creativity. Fabby-Do’s Make and Make Believe collection is also available online at www.fabbydo.com/shop. Follow Fabby-Do on all social media to see the creativity in action and for all the other latest information.

About Fabby-Do
Fabby-Do has been located in the heart of Doylestown, Pennsylvania since 2013. Fabby-Do has been hosting children’s parties for over 12 years and providing creative and celebratory experiences based on arts, crafts, music and entertainment. ‘imagination. Fabby-Do provides exceptional experiences for children by unleashing children’s creativity through artistic expression. To learn more, visit www.fabbydo.com.

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Earlier this year, Guinness World Records recognized the Basilica Cross as the largest free-standing cross in the world. It was measured at 152.4 meters (500 feet) high.

The record books also include the basilica, 260 meters (853 feet) long, the longest in the world. Built between 1940 and 1958, the church cost around $229 million. Under Pope John XXIII, the church was elevated “to the honor and dignity of a minor basilica” in April 1960.

Due to the excellent geological stability and isolation of the area, it also has an underground gravimetry and tidal laboratory in two of its basements. Researchers around the world use it to study Earth’s tides, gravimetry and absolute gravity.

The entire enclosure works through the Fundación de la Santa Cruz del Valle de los Caidos (Foundation of the Holy Cross of the Valley of the Dead). The Foundation is both owned by the Spanish government, previously managed by the head of state, but now by the government national heritage (National Heritage) — and the Benedictine monks.

Patrimonio takes care of obtaining financing, mainly by selling entrance tickets at the main entrance gate at the bottom of the valley. The law stipulates that he must give part of this money to the monks to maintain the employees of the Escolania and the guesthouse.

However, Patrimonio stopped paying the monks four years ago, putting economic pressure on the abbey, which now maintains the compound with the help of private donations and other funds.

The architects estimated that the damage to the abbey and basilica would cost several million dollars to repair.

Patrimonio also blocks maintenance work paid for by private donations. The complex is completely run down.

Fifteen years of “ferocious harassment”

Since the government of José Luis Rodríguez Zapatero adopted the ‘Historical Memory Act’ in 2007, tensions rose between the government and the religious community.

“We were fiercely harassed,” said Father Cantera.

“I had a tough time four years ago, but I took it as a purification from which I came out stronger,” he said.

“All because of the media harassment, the attempt to publicly mock me in the Senate when they called me in about the exhumations.”

“As there were families who objected to the exhumation of the remains of other dead, as is currently the case, at that time we (the monks) were forced to intervene and present an appeal, and the courts have decreed a series of precautionary measures suspending the procedure”, he continued.

“From then on, as they had judicially lost the first battle, they started harassing me in the media and denigrating me as a person.”

Despite the struggles, the community welcomes many young vocations. There are six monks under the age of 30: three who have made profession of temporary vows, two of solemn vows and a soon-to-be admitted postulant.

The Benedictines make a vow of stability added to those of poverty, chastity and obedience. When they go to a place, they usually stay there for life. Many have been martyred for this reason throughout history.

Trinity Church Wall Street announces a new collaboration with Jazz House Kids, a preeminent arts education and performance organization in Montclair, NJ, now in its 20^e year and founded by jazz singer Melissa Walker. Eight-time GRAMMY winner Christian McBride serves as artistic director. This fall, Trinity will host professional and inspirational jazz education for children of all backgrounds in its new signature program JAZZHOUSE @ Trinity. This collaboration with Jazz House Kids reflects Trinity’s commitment to providing a wide range of musical styles and access to award-winning musicians in our public spaces, including jazz, a uniquely American art form and an important voice and unifying for our collective history and experience.

For exam:

NEW YORK, NY, August 22 – Trinity Church Wall Street today announced a new collaboration this fall with Jazz House Kids, a preeminent arts education and performance organization in Montclair, NJ, to provide free, professional jazz education for children, as well as a series of free jazz concerts for the public in its historic downtown churches. Jazz House Kids, now in their 20s^e year, was founded by jazz singer Melissa Walker, and eight-time GRAMMY winner Christian McBride is its artistic director. This [email protected] collaboration reflects Trinity’s commitment to providing a wide range of musical styles and access to award-winning musicians in our public spaces, including jazz, a uniquely American art form and an important, unifying voice. for our collective history and experience.

Earlier this summer, JAZZHOUSE @ Trinity launched Trinity Youth Afterschool programming at Trinity Commons – Trinity’s public space in lower Manhattan – thanks to the creation of the Trinity Youth Summer Jazz Ensemble. Two jazz ensembles studied under the direction of world-class artists, with a culminating performance at St. Paul’s Chapel on Tuesday, July 26.

The new [email protected] offering at Trinity Youth Afterschool will expand access to free music training and jazz education in small and large ensembles; improvisation; novice programs for beginners, which will include the use of a new instrument; jazz vocals and African percussion. Nationally recognized jazz artists will serve as artist teachers, providing students in grades 6-12 with a wide range of creative programs that develop musical potential, improve leadership, social-emotional learning and life skills , and improve school performance. The program will be expanded to K-5 in 2023.

The program for the 2022-23 school year begins on September 19 and interested students in grades 6-12 can register through Trinity Youth.

Trinity Youth Afterschool is a 5-day-a-week program that is free and open to all NYC youth in grades 6-12. Youth members have access to a wide range of quality programs in addition to lunch on arrival, a full-size gym, youth lounge, study space and study studios. art and dance.

As part of the collaborative summer offering, daytime jazz concerts have also made their debut at Trinity. Guests included jazz greats like Bruce Williams, Abel Mireles and LatiNext; and emerging talents Zoe Obadia and Claudia Nketia, performing in Trinity’s historic St. Paul’s Chapel. Building on these successes and on Trinity’s “indispensable and essential” (The New York Times) musical programming, Concerts at One will return this fall and will offer a new Jazz at One series on Tuesdays for seven weeks starting October 11, presented in collaboration with JAZZHOUSE @ Trinity.

Trinity will also present a new Jazz Icons concert series at Trinity Church on Sundays, co-hosted by Mr. McBride and Ms. Walker of Jazz House Kids. On July 10, pioneer Steve Turre Sextet was the first artist in this series, followed by concerts scheduled for October 9 and December 4 with renowned pianist Monty Alexander at 3 p.m.

“Trinity is thrilled to bring a new stream of musical talent to our historic sanctuaries and to offer this gift of free and vibrant music concerts to our neighbors,” said Reverend Michael Bird, Vicar of Trinity Church Wall Street. “We are grateful to our partners at Jazz House Kids for hosting award-winning educational programs for our youth and opening doors to some of the greatest musicians of our time.”

“Jazz House Kids is thrilled to open a campus in New York in conjunction with Trinity Church,” said Ms. Walker, President of Jazz House Kids. “We will pursue our mission as an instrument of change: providing access, learning, career development and community building through jazz. We are honored to begin this collaboration with the renowned Trinity Church Wall Street and recognize their significant investment in jazz – that uniquely American art form born out of the African-American experience and now embraced worldwide.

About Trinity Church of Wall Street:

Trinity Church Wall Street is a growing and inclusive Episcopal parish with over 1,200 members. For more than three centuries, Trinity has been part of the fabric of New York City, weaving together a vibrant and diverse parish of people from all walks of life in and around the five boroughs. The parish is guided by its core values: faith, integrity, inclusiveness, compassion, social justice and stewardship. These principles are why Trinity champions justice and equity through public education, neighborhood outreach and financial resources. More than 20 services are offered weekly online and at its historic shrines, Trinity Church and St. Paul’s Chapel, cornerstones of the parish’s community life, worship and mission, and online at trinitywallstreet. org.

About Jazz House Kids

Now in its 20th year, Jazz House Kids is dedicated to transforming lives using the power and legacy of jazz through world-class education and performances that create pathways for accessing, learning, developing career and community development. The organization and students have received over 125 awards and recognitions for excellence in jazz and jazz education. Every weekday, through a series of curricular and after-school programs, Jazz House helps young people gain an artistic edge through music, mentorship, education and learning, community building prosperous and promoting community leaders and global citizens. The organization’s large-scale cultural signature program is the Montclair Jazz Festival, the New York area’s largest free jazz festival that draws more than 35,000 attendees to downtown Montclair each year. For more information, visit www.jazzhousekids.org.

Later this year, MoonRay, a proprietary production renderer from DreamWorks Animation, will be made available as open source software. The Bad Guys, Croods: A New Age, How to Train Your Dragon: The Hidden World, and the upcoming Puss in Boots: The Last Wish all used the studio’s state-of-the-art Monte Carlo Ray Tracer.

World-class DreamWorks engineers created MoonRay, which features an extensive library of production-tested physical materials, USD Hydra rendering delegate, multi-machine rendering, and cloud rendering using Arras.

“We are thrilled to share more than 10 years of innovation and development on MoonRay’s vectorized, threaded, parallel and distributed codebase with the industry,” said Andrew Pearce, Vice President of Global Technology at DreamWorks. . “The appetite for large-scale rendering grows every year, and MoonRay stands ready to meet that need. We expect to see the code base grow stronger with community involvement as DreamWorks continues to demonstrate our commitment towards open source.

With a mission to “…keep all vector lanes of all cores of all machines busy all the time with meaningful work”, DreamWorks’ in-house MCRT renderer, MoonRay, was built from the ground up by putting the focus on efficiency and scalability. It also offers state-of-the-art features for unrestricted artistic expression. It can produce a wide variety of graphics, ranging from photorealistic to highly stylized. With no previous legacy code and a highly scalable state-of-the-art architecture, MoonRay enables rapid, cinematic-quality art iteration using well-known tools.

Support for distributed rendering, a pixel-matching XPU mode that increases speed by processing ray bundles on both the GPU and CPU, ray processing with Intel Embree, shader vectoring using Intel ISPC Compilation and Bulk Path Tracing are other high performance capabilities. In order to be integrated with content creation applications that accept the standard, MoonRay ships with a USD Hydra render delegate.

To manage multiple machines and contexts, MoonRay uses the Arras distributed computing framework from DreamWorks, which will also be integrated into the open source codebase. Multi-machine rendering accelerates the artist’s interactive display and decouples the rendering from the interactive tool, increasing the resilience of the interactive experience. The artist can simultaneously view various lighting conditions, different grades of materials, many instances in a shot or sequence, or even multiple locations in an environment, using MoonRay and Arras in multi-context mode.

Bill Ballew, Chief Technology Officer at DreamWorks, said, “MoonRay has been a game-changer for our productions. We have over a billion hours of use at DreamWorks. As the open source community continues to adopt and improve it, we will see significant benefits for the animation and visual effects industry as well as academia.

DreamWorks wants to make MoonRay available under the Apache 2.0 license. Further information and updates will be available at OpenMoonRay.org.

DreamWorks Animation is a global family entertainment company with feature film and television brands supported by a strong global consumer products strategy. DreamWorks Animation is a division of Universal Filmed Entertainment Group within NBCUniversal, a subsidiary of Comcast Corporation. With over $15 billion at the global box office, DWA’s picture legacy includes well-known characters and franchises like Shrek, Madagascar, Kung Fu Panda, How to Train Your Dragon, Spirit, Trolls, The Boss Baby and The Bad Guys from 2022 Customers in over 190 countries can watch award-winning original television content from DreamWorks Animation.

Image Credit: Hillman Grad Records

As the A&R Manager for Hillman Grad Records—Maqubela is responsible for finding and nurturing musical talent, while playing a vital role in the development of artists, through music creation, marketing and promotion. As a key label leader that produces “music you can feel”, Maqubela comprehensively plans artists’ careers and oversees recording projects and operations – whether it’s arranging sessions recording – to serve as a link between songwriters, record producers and other creatives. . In addition, Maqubela identifies the vision and structure of each project. Driven by his mission to challenge the status quo, Maqubela helped shape the music roster and release the catalog in less than a year as the new hotbed of hip-hop and R&B.

Formed in March 2021, Maqubela is the liaison with Def Jam Recordings, following the joint venture partnership. Since joining HG Records, Maqubela has signed 4 up-and-coming artists partnering with Waithe – and being her ear for the label – 2x GRAMMY®, ASCAP Award-Winning R&B Artist Davion Farris, singer/songwriter/actress Jai’Len Josey (Synchronization: The Chi, and Around twenty), CS Armstrong (to sychronize : Bel-Air)and rapper and actress Siya (synchronizes: Around twenty, and half-sisters).

Leveraging opportunities across music, television and film, Maqubela works directly with Lena’s music supervisor, Big Tank (aka Derek Thornton), and was able to capitalize on the cultural meaning generated when these worlds meaningfully intersect. Specifically, Maqubela reads scripts and finds music to embody a moment. As Showtime’s most-watched series, The Chi, Maqubela and his team created a special visual concept album for television and a feature film titled “Chi Concert Sounds” (an artistic endeavor similar to that of Beyonceì Lemonade) and helped score the soundtrack and bring that vision to life. The production included a celebration of music and spoken word, with performances by BJ The Chicago Kid, Jai’Len Josey, DeCarlo and Davion Farris. Reflecting his love for music and storytelling, Maqubela also scored the soundtrack and musical supervision for the #2 comedy television series on BET, Around twentyand The one and only Dick Gregory (album inspired by the Showtime documentary film) – with an all-star collection of soul, R&B and hip-hop music that includes: Lupe Fiasco, Big KRIT, Cory Henry, Talib Kweli, Terrace Martin, Statik Selektah, Danni Baylor, BJ The Chicago Kid, and Bobby Sessions from Def Jam, among others. Additionally, Maqubela oversaw the soundtrack and musical supervision of MR SOUL!music inspired by the award-winning documentary, with an all-star soundtrack, featuring classic soul/R&B tracks from Donny Hathaway, Patti LaBelle, Hugh Masekela, Gladys Knight and the Pips, Delfonics, and Kool and the gang. The feature film received honors – 2021 Critics’ Choice Awardas well as a NAACP Image Award Winner.

To ensure that black designers had a seat at the table, Maqubela created a global movement alongside chief executive Albert Cooke and global beauty brand Sephoraentitled SEPHORA: ROOM OF BLACK BEAUTY– a visual celebration of the contribution of black creators in the beauty space with live performances by Jai’Len Josey, Symphani Soto, Kari Faux and Leven Kali.

Before HG Records, Maqubela joined the hedge fund Fortress Investment Group LLC, to expand its skillset on the startup front – a highly diversified global investment manager with approximately $54.2 billion in assets under management as of September 2021, for clients and private investors worldwide. In her role, Maqubela watched Sound Cloud, Spotify, SESACand SONGS Music Editing – which former President Ron Perry sold before going to Columbia Records.

Previously, Maqubela also formed strong ties with the then-budding hip-hop music collective. Brockhamptonwhile managing the first members Rodney Tenor as they found their way to explosive success. In this role, Maqubela helped Tenor develop his own music as a solo artist. Moreover, Maqubela was also the Director by A&R at Columbia Recordswhere he signed and helped develop acts such as the seething alt-R&B, yet genre-transcending singer named Q. His vision was to sign artists with a unique voice – who push the boundaries of creativity in the vein of Tyler the Creator and Adele. During his time as an artist manager, Maqubela co-managed the highly sought after Memphis Recording Artist Jon Waltz. The rapper/singer has multiple songs on 1 million streams on every major platform, has garnered interest from all major labels despite yet to release a full album and is expected to be a smash hit.

Building on his career in the music industry, Maqubela joined 300 Entertainment and rose through the ranks from intern to Marketing Manager – an American independent record company founded by Lyor Cohen, Roger Gold, Kevin Liles and Todd Moscowitz. Maqubela was tasked with leveraging 300 Entertainment’s Spotify presence, in addition to creating, designing and operating #RisktakerFMa playlist initiative that has garnered over 8,000 organic subscribers on 300’s branded playlist. Fetty Wap and Young Thug shared the campaign.

We had the chance to speak with Tebs to discuss his work as A&R for Hillman Grad Records, developing artist, ideal qualities for an artist, Sounds of the Chi concert and much more. Enter the audio of the interview below.

Interview Highlights:

How’s life.

His role as A&R for Hillman Grad Records.

Joint venture with Def Jam Recordings.

Working with Lean Waithe.

Artist in development.

His role Previously at 300 Entertainment.

Her favorite artist to work with.

Top 3 qualities required for an artist.

His Top 5 Artist of all time.

Name a song that describes his life.

What RESPECT. Means for him.

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Ayana Rached

a dedicated sneaker + sports + music writer who will keep you up to date with the latest news. Email: [email protected] | Twitter: @ajrbcg_

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