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Posts from the “Music” Category

The Last Dance Before the Lights Come On

Posted on February 14, 2019

A young Michael Jackson takes to the dance floor. Credit: Courtesy Hasse Persson

In a city filled with history and legend, 1977 might just be New York’s most notorious year, as decadence reached dazzling new heights typified by the flight of the Concorde soaring at the speed of sound overhead. While 100 of the world’s most glamorous jet setters shuttled back and forth above the pond, New York was collapsing into anarchy.

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After years of white flight and “benign neglect,” the city was broke. The federal government refused a bailout. Criminal became bold. Arsonists torched the Bronx while landlords collected insurance checks. A serial killer dubbed “Son of Sam” was terrorizing the city and writing letters to the press. Pornography was legalized and prostitution flourished openly on the streets. Then, on one hot night in July, a blackout struck and the city descended into pure chaos.

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Amid the madness, a spark had emerged, soaring through the sky like a comet until it burned to dust — Studio 54, the most legendary nightclub ever known. College buddies Steve Rubell and Ian Schrager transformed a former midtown TV studio into a pleasure palace for the senses that took the Warholian ideal of celebrity to new heights, where everyone was a star in their own right.

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Read the Full Story at Jacques Marie Mage

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Hasse Persson / Courtesy Embassy of Sweden

Categories: 1970s, Art, Fashion, Jacques Marie Mage, Manhattan, Music

Punk Lust: Raw Provocation 1971-1985

Posted on January 22, 2019

Ruby Ray, Penelope on Leopard, 1977, Pigment Print. Courtesy of the artist

“If punk had to have a motto, it wouldn’t have been ‘let’s fuck,’ but ‘fuck you,’” cultural critic Carlo McCormick writes in the introduction to Punk Lust: Raw Provocation 1971-1985, the exhibition he has co-curated with writer Vivien Goldman and Lissa Rivera, Curator at the Museum of Sex in New York. “Forget the romance, this was urgency, necessity, born as much of boredom as from desire.”

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Featuring over 300 artifacts drawn from galleries and collectors around the globe, Punk Lust features work from photographers Adrian Boot, Bob Gruen, GODLIS, Janette Beckman, Jenny Lens, Ruby Ray, Marcia Resnick, and Roberta Bayley; fashion designers BOY, Malcolm McLaren and Vivienne Westwood, and Maripol; artists and filmmakers Amos Poe, Jamie Reid, Arturo Vega, Linder Sterling, and Raymond Pettibon, among many others. Despite the massive scope of the project, Rivera says that “everything wove together beautifully.”

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Read the Full Story at Huck Online

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Sniffin’ Glue, No. 8, March 1977, Fanzine. Toby Mott/Mott Collection, London

Categories: 1970s, 1980s, Art, Exhibitions, Music, Photography

Tschabalala Self: Free Range Miami x Bodega Run

Posted on December 13, 2018

Free Range Miami, Photography Tschabalala Self

Free Range Miami, Photography Tschabalala Self

Last Friday night, as part of the 777 International Mall at Free Range Miami during the city’s annual Art Week, Brooklyn-based multidisciplinary artist RAFiA Santana took to the stage. She wore a black bustier and thigh high boots, her bright, tight cropped curls accented by touches of fuschia coloured fluff at her wrists and around her waist, as she performed a six-song set in front of vibrant projections of pink and purple audio-reactive geometric patterns that she designed for a show.

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“It was a crazy Miami night, and there was so much going on that there was a crazy ebb and flow, and every thirty minutes there would be almost a different crowd of people,” RAFiA says. “There was a separate private birthday party going on upstairs with older white people who kept poking their head down, and I was like, ‘Bring your friends, bring them down!”

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The sounds of Fela Kuti, James Brown, and Soul || Soul filled the air, as DJs including Fulathela, Young Wavy Fox, Loka, and Michael Mosby kept the vibes going for a steady ebb and flow of guests making their way through the converted mall that is now home to Mana Contemporary Miami, a community-based arts center hosting numerous events throughout Art Week.

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“The week has been so exhausting,” laughs African-American artist Tschabalala Self, who is in town to present Lee’s Oriental Deli & Market, the latest work from her ongoing Bodega Run series: a site-specific installation for Fringe Projects Miami located inside a store owned by a Filipino local.

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Read the Full Story at Dazed

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Tschabalala Self’s Bodega Run

Tschabalala Self’s Bodega Run

Categories: Art, Dazed, Exhibitions, Music

7 Black Artists You Should Know

Posted on December 7, 2018

NEW YORK, NY – MAY 02: DJ Juliana performs onstage at the Gucci Bloom Fragrance Launch at MoMA PS.1 on May 2, 2017 in New York City. (Photo by Craig Barritt/Getty Images for Gucci)

Throughout history, great works of art have been ascribed to the hand of “Anonymous,” their names erased and authorship denied. Virginia Woolf famously said, “I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.” Fortunately, we are now at a time to write and publish our histories, firmly inscribed. With Art Basel in Miami Beach heating up this weekend, here are seven black artists on our radar out here changing the game.

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Read the Full Story at Broadly

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Nina Chanel Abney. Photo by J. Caldwell

Categories: Art, Broadly, Music, Painting, Photography, Women

Art Kane: Harlem 1958

Posted on November 27, 2018

Photography Art Kane; Taken from Art Kane: Harlem 1958, Wall of Sound Editions

American photographer Art Kane was introduced to the idea of the “Big Picture” while serving as a member of the Ghost Army – a 1,100-man unit tasked with creating 20 battlefield deceptions, complete with dummy tanks and fake radio transmission to mislead the German Army during the 1944 invasion of Normandy. “The experience of creating something larger than life really stuck with him,” Jonathan Kane, his son, tells me.

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By 1958, Kane was restless. At 27, he was the hot young art director for Seventeen magazine but he yearned to be a photographer. He got word Esquire was planning a special issue dedicated to jazz and decided to pitch his very first photography story: “A Great Day in Harlem,” which they accepted and published as the issue’s centerfold.

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To celebrate the 60th anniversary of this legendary group portrait, one of the most celebrated images in American history, Jonathan Kane has put together the phenomenal book, Art Kane: Harlem 1958 (out this month via Wall of Sound Editions), featuring texts by Quincy Jones, Benny Golson, and Art Kane, as well as dozens of never-before-seen photographs of Dizzy Gillespie, Art Blakey, Thelonius Monk, Coleman Hawkins, Lester Young, Charles Mingus, Gerry Mulligan, Count Basie, and Gene Krupa, among others.

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“It’s exciting to see the outtakes, and also rare,” Kane reveals. “My father did not believe in outtakes. He was about his one vision. I’m normally very protective but become bigger than even his original intention. The book is a journey through that day, and a revelation of the intimacy and connections between the musicians, and what is in the mind of a young photographer doing his first major professional assignment, and how it all crystallised in the ‘Big Picture.’”

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Here, in an excerpt from the book, Art Kane looks back on this moment in time, as history was being made on the streets of Harlem.

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Read the Full Story at AnOther Man

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Photography Art Kane; Taken from Art Kane: Harlem 1958, Wall of Sound Editions

Categories: AnOther Man, Art, Books, Manhattan, Music, Photography

Janette Beckman & Cey Adams: The Mash-Up

Posted on November 27, 2018

Top: Janette Beckman | LADY PINK. Queen Latifah, New York City, 1990/2016

In the years leading up to the birth of hip hop, graffiti was sweeping the streets of New York and Philadelphia, reinventing itself on the cusp of a new millennium. No longer was it mere inscriptions from anonymous hands, but an emerging world filled with charismatic characters who took style to a level never before seen.

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As tags hit the street and masterpieces appeared on the trains, graffiti’s vibrant style, innovative aesthetics, and transgressive nature made it the natural visual expression of a new DIY culture coming into its own. In the 45 years since Kool Herc began spinning breaks, graffiti and hip hop have linked up to collaborate in countless ways; perhaps most famously in the culture first feature film, Wild Style. The film starred some of the scene’s most influential writers at the time, including Lee Quinoñes, LADY PINK, ZEPHYR, and CRASH – each of whom were recently invited by artist and graphic designer Cey Adams to bring their talents to The Mash Up: Hip-Hop Photos Remixed by Iconic Graffiti Artists (Hat and Beard Press).

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The Mash-Up is the brainchild of Adams, the former Creative Director of Def Jam, and British photographer Janette Beckman, whose portraits of hip hop’s greatest stars have graced countless album covers, magazines, and newspapers since she first encountered the artists in 1982. Here, some of the finest to ever wield spray can and marker remake Beckman’s classic images of everyone from Run DMC, Slick Rick, and Salt-N-Pepa to Grandmaster Flash, Queen Latifah, and Big Daddy Kane.

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Read the Full Story at Huck Online

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Janette Beckman | Claw Money. Salt-N-Pepa, New York City, 1987/2014

Categories: 1980s, 1990s, Art, Books, Graffiti, Huck, Music, Photography

eddie OTCHERE: Aaliyah – London, 1994

Posted on November 20, 2018

Aaliyah, photographed by Eddie OTCHERE

By the age of 12, Aaliyah Dana Houghton hit the big time. Her uncle Barry Hankerson, an entertainment lawyer formerly married to Gladys Knight, secured a distribution deal at Jive Records for his Blackground Records label – and signed his niece to a record deal.

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Hankerson introduced Aaliyah to R. Kelly, the hottest new R&B star on the scene, who was taken with her voice after hearing her sing a cappella. Thirteen years her senior, Kelly positioned himself as a mentor, guiding his protégée to success, becoming the sole songwriter and producer of her 1994 debut album, Age Ain’t Nothing but a Number.

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As soon as the album dropped rumours began to swirl. Talk of a secret marriage between Aaliyah and R. Kelly was everywhere. Both artists denied the allegations and it would be some time before Vibe magazine unearthed their Illinois marriage license issued in 1994, in which the 15-year-old singer gave the age of 18 for the certificate. The pair denied the allegations, while her parents arranged to have the marriage annulled in 1995. Aaliyah then severed all communication with Kelly and had all records of the marriage expunged.

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The scandal of a secret marriage did not dampen Aaliyah’s debut. Her first single, “Back and Forth” went to number one on the R&B/hip hop chart and number 5 on the pop chart, with Madonna taking notice and sampling it for a track on Bedtime Stories, released just a few months later.

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In the years since Aaliyah’s death, she continues to be the subject of intense fascination. We look back for clues of who this enigmatic artist truly was in the music, the videos, the films, the photographs, and the stories she left behind.

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British photographer Eddie OTCHERE first crossed paths with Aaliyah in London in 1994, while in his second year of studying photography at the London College of Communication. Like Aaliyah, OTCHERE was at the start of his career – and now his time with Aaliyah can be seen in the new book Contact High: A Visual History of Hip-Hop by Vikki Tobak (Clarkson Potter), which presents four decades of iconic photo shoots. Here, OTCHERE shares what it was like to photograph Aaliyah at her very start.

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Read the Full Story at Dazed

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Aaliyah, photographed by Eddie OTCHERE

Categories: 1990s, Art, Books, Dazed, Music, Photography

Adrian Boot: Bass Culture 70/50

Posted on November 14, 2018

Sound System – DJ’s at Notting Hill Carnival – 1979

Notting Hill Carnival 1979. © Adrian Boot

“I didn’t start life as a photographer,” Adrian Boot says with a laugh. “I stayed at university as long as I could – as everyone else did in those days – and then I went to Jamaica to teach physics for about three years. I took up photography as a hobby, and ran into people like Bob Marley and Burning Spear.”

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Boot got his first paying gig when the Rolling Stones were in town to record Goats Head Soup at Dynamic Sounds Studios, through his friend Michael Thomas. When Boot returned to the UK, he collaborated with Thomas once again on the 1977 book Jamaica: Babylon on a Thin Wire, now in its fourth printing.

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The book was a powerful document of Jamaica in the early ’70s, showing the emergence of reggae music within the larger landscape of politics, violence, and poverty. Suddenly the media took notice, and editors from NME, The Melody Maker, Sounds, Rolling Stone, and the Village Voice were on the phone, giving Boot assignments to shoot the emerging reggae scene in the UK.

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“I decided to delay going back into teaching and have a sabbatical just taking photographs — and I am still having that sabbatical,” Boot says. “Now I am 72. I have been doing it for a lifetime, and I always expected it to fade out but it didn’t. Then I started to work for Island Records, and then Bob Marley came along and started to have success. The rest is history.”

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Read the Full Story at Huck Online

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Specials Live in Montreux 1980. © Adrian Boot

Coxsone International Sound System – Clement Dodd with the microphone. © Jean-Bernard Sohiez

Categories: 1970s, Art, Exhibitions, Huck, Music, Photography

Jared Soares: Small-Town Hip Hop

Posted on November 12, 2018

Oxygen Elements and Skinny in Roanoke, Virginia. © Jared Soares

In 2008, photographer Jared Soares travelled to Roanoke, a small town located in the Blue Ridge Mountains of Virginia. Hailing from Shawnee, Kansas, he set out to connect with his new surroundings through his love of hip hop.

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“I didn’t know anyone in Roanoke, and there were these corner stores where you could buy three CDs for five dollars: one would be someone like Lil Wayne, and the other two would be local artists,” Soares recalls.

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“I bought a few and started calling numbers. I got a hold of Terrence Palmer, a graphic designer who did the artwork for everyone’s mixtape. I told him what I was interested in doing and he invited me to come down to have a chat. His design studio was a hub of activity, with rappers and local producers coming through. It was a great place to meet people in person.”

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Read the Full Story at Huck Online

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Zulu and Ox around town and Ox’s apartment in Terrace Apartments in Roanoke Tuesday night. © Jared Soares

Raw Sole Records Presents VA Is For Rappers at the Front Row in Roanoke, Virginia Saturday March 18, 2017. © Jared Soares

Categories: Art, Exhibitions, Music

Patrick Potter: Skins – A Way of Life

Posted on October 29, 2018

A group of skinheads sitting on the steps of Thomson House, works entrance, Newcastle on September 12, 1970. Photography NCJ

A group of skinheads sitting on the steps of Thomson House, works entrance, Newcastle on September 12, 1970. Photography NCJ

Skinhead culture emerged on the streets of London in 1969, as Mod scene was dying out and a new wave of bourgeois bohemians revelled in the “turn on, tune in, drop out” rhetoric of Timothy Leary. The self-indulgent pretensions of the hippie scene were an affront to Britain’s working-class youth; they created the figure of the skinhead, a back-to-basics rebel who was largely misunderstood.

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The original skinheads were the first generation to be moved from historic East End slums and into then-new 1960s brutalist estates. Angry to be cut off from the old networks of support, skins sought to honour this devastating loss by creating their own utopian mythology of a shared working-class past.

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Embracing their feeling of marginalisation from the mainstream, skins adopted a uniform that begins with a shaved head and ends in Doc Marten boots, with a nod to the style and sound of the Windrush Generation. Quintessential rebels in search of a good time, skins decamped en masse to pubs, football games, and gigs featuring ska, rocksteady, reggae, and dub DJs and bands.

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Skins overtly rejected the historic codes of working-class deference, modesty, and rigid morality and, in the process, became a perfect target for both police harassment and fascist tactics during the 1970s and 80s, forever tainting the image of skinhead culture with the spectre of hooligans and neo-Nazis.

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In the new book Skins: A Way of Life (out today via Carpet Bombing Culture), author Patrick Potter sets the record straight with a phenomenal history skinhead culture in the UK. Here, Potter gives a guide to the truth about this subculture.

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Read the Full Story at AnOther Man

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Skinhead couple Glenda Peake and Tony Hughes. October 7, 1969.
Photography Doreen Spooner, Daily Mirror

Categories: 1960s, 1970s, 1980s, AnOther Man, Art, Books, Music, Photography

Stephane Raynor: All About the BOY

Posted on October 25, 2018

BOY Poster designed by Peter Christopherson 1978

In 1976, Stephane Raynor opened BOY on King’s Road, and it quickly became the Mecca for the punk scene that was taking London by storm. The store created a cohesive brand identity long before anyone was thinking on those terms, drawing its name from provocative tabloid headlines like “Boy Stabs PC” and “Boy Electrocuted at 30,000 Volts,” which had been clipped and hung as décor.

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“The ‘70s were awesome. I didn’t know what the fuck I was doing, but the world knew I’d arrived,” recalls Raynor. “Imagine a wasteland of a city like London where we could do whatever we wanted. There was no capitalism and that was fine for a small bunch of renegades like us.”

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“I was an art anarchist. I didn’t believe in much. I wanted to create and destroy at the same time. I was living in a bubble, taking everything in around me but not knowing if I would succeed or crash and burn —and for some reason, it didn’t matter. I had no fear of consequences.”

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Read the Full Story at Huck Online

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Punks at the Roxy, London, 1977 Photo by Derek Ridgers

Categories: 1970s, 1980s, 1990s, Books, Fashion, Huck, Music, Photography

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