Art And Music Open Doors For Transformational Growth
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EU Open House is back! On Saturday, May 14, from 10 AM to 4 PM, the European Union and its Embassies open their doors to the public for a day of culture, food, music, and more. No registration, tickets, or passport required!
We celebrate Europe Day by opening our doors to the public so that Americans can catch a glimpse of the European cultures that make up the European Union. Normally you have to cross the Atlantic to visit the EU, but at Open House, you just have to cross the street!
For nearly 30 years, Music Forward has impacted over 1,000,000 young lives and invested more than $28 million towards providing transformational music opportunities to youth from under-represented communities.
Before COVID-19 hit, live music saw steady growth over the last two decades. During the pandemic, musicians have been monetizing livestreamed performances over social media platforms using donation links or paid access services.
The digital era has been tough on the music industry, but it has also opened the door for emerging artists who might otherwise never have gotten the exposure they deserve. This democratization and proliferation of music through technology is a boon for music lovers, as is the opportunity to watch a performer live online from thousands of miles away. Advancements in music technology have spurred growth and innovation in music creation, which is, after all, the point of art.
Following the war, black music, especially the blues and jazz, became increasingly popular with both black and white audiences. Europe continued his career as a successful bandleader until his untimely death in 1919. Ma Rainey and other jazz artists and blues singers began to sign recording contracts, initially with African American record companies like Black Swan Records, but very quickly with Paramount, Columbia, and other mainstream recording outlets. In Harlem, one club opened after another, each featuring jazz orchestras or blues singers. Noble Sissle, of course, was one of the team behind the production of Shuffle Along, which opened Broadway up to Chocolate Dandies and a series of other black musical comedies, featuring these new musical styles.
Harlem and New York City also contained the infrastructure to support and sustain the arts. In the early twentieth century, New York had replaced Boston as the center of the book publishing industry. Furthermore, new publishing houses in the city, such as Alfred A. Knopf, Harper Brothers, and Harcourt Brace, were open to adding greater diversity to their book lists by including works by African American writers. By the late nineteenth century, New York City housed Tin Pan Alley, the center of the music publishing industry. In the 1920s, when recordings and broadcasting emerged, New York was again in the forefront. Broadway was the epicenter of American theater, and New York was the center of the American art world. In short, in the early twentieth century no other American city possessed the businesses and institutions to support literature and the arts that New York did.
As important as these literary outlets were, they were not sufficient to support a literary movement. Consequently, the Harlem Renaissance relied heavily on white-owned enterprises for its creative works. Publishing houses, magazines, recording companies, theaters, and art galleries were primarily white-owned, and financial support through grants, prizes, and awards generally involved white money. In fact, one of the major accomplishments of the Renaissance was to push open the door to mainstream periodicals, publishing houses, and funding sources. African American music also played to mixed audiences. Harlem's cabarets attracted both Harlem residents and white New Yorkers seeking out Harlem nightlife. The famous Cotton Club carried this to a bizarre extreme by providing black entertainment for exclusively white audiences. Ultimately, the more successful black musicians and entertainers moved their performances downtown.
Trends on TikTok open doors to underground and DIY scenes like Hyperpop and Glitch Hop, exposing them to a global audience. TikTok saw trending songs from dozens of countries, and from every continent. The map here only touches on a fraction of TikTok's global impact.
It takes what we do when we open the doors to the real world and places those same practices in our cycles of teaching and learning. So we can finally remove the brick walls and classroom doors to get at the heart of learning.
The doors are now open at Hotel Indigo Detroit following a $10 million, two-year transformation to infuse the spirit of Motown and the Motor City into every step of the guest experience, from the first step into the upbeat lobby to a new-concept restaurant and the lyrical, harmonious guestrooms.
Located at 1020 Washington Street in the heart of downtown Detroit, Hotel Indigo is perfectly situated for business and leisure travelers, just minutes from Detroit's main attractions. The newly refreshed property includes 241 renovated guest rooms and over 1,700 square feet of meeting space featuring locally inspired decor paying tribute to Detroit's rich music history. The updated design also pays homage to the original mid-century modern design of the building when it was first opened as a Howard Johnson Motor Lodge in 1966. The new restaurant The Trolley Room will open within the hotel at a future date. Hotel Indigo Detroit is managed by Ray Balkey and the Pyramid Hotel Group.
The guestroom headboards, wall sconces and area rugs are inspired by sound waves, equalizer forms, and musical instruments. The guestroom corridors include abstracted graphics derived from recording studio sound baffles. Behind the front desk, a lit wall panel with lines corresponding to major streets in Detroit maps out the majority of music venues that were open when the building was first built. The first and second floor elevator lobby ceilings have a unique light installation that uses a part of the music score from Aretha Franklin's "Respect."
200. Since this Exhortation is addressed to members of the Catholic Church, I want to say, with regret, that the worst discrimination which the poor suffer is the lack of spiritual care. The great majority of the poor have a special openness to the faith; they need God and we must not fail to offer them his friendship, his blessing, his word, the celebration of the sacraments and a journey of growth and maturity in the faith. Our preferential option for the poor must mainly translate into a privileged and preferential religious care.
Ron Hardy produced unconventional DIY mixtapes which he later played straight-on in the successor of the Warehouse, the Music Box (reopened and renamed in 1983 after Knuckles left). Like Frankie Knuckles, Hardy "combined certain sounds, remixing tracks with added synths and drum machines", all "refracted through the futurist lens of European music." Marshall Jefferson, who would later appear with the 1986 house classic "Move Your Body (The House Music Anthem)" (originally released on Trax Records), describes how he got involved in house music after hearing Ron Hardy's music in the Music Box:
In March 1987, the UK tour of influential US DJs such as Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis, on the DJ International Tour boosted house's popularity in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, in 1987 to 1989, UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opened the doors to house music success on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound. Many of the early hits were based on sample montage, and unlike the US soulful vocals, in UK house, rap was often used for vocals (far more than in the US), and humor and wit was an important element.
In England, one of the few licensed venues was the Eclipse, which attracted people from up and down the country as it was open until the early hours. Due to the lack of licensed, legal dance event venues, house music promoters began organising illegal events in unused warehouses, aeroplane hangars and in the countryside. The Criminal Justice and Public Order Act 1994 was a government attempt to ban large rave dance events featuring music with "repetitive beats", due to law enforcement allegations that these events were associated with illegal club drugs. There were a number of "Kill the Bill" demonstrations by rave and electronic dance music fans. The Spiral Tribe dance event at Castle Morten was the last of these illegal raves, as the bill, which became law, in November 1994, made unauthorised house music dance events illegal in the UK. Despite the new law, the music continued to grow and change, as typified by Leftfield with "Release the Pressure", which introduced dub and reggae into the house sound.
This course focuses on the business of music publishing, which has served as a powerful engine fueling the growth of the music business since the first decade of the 20th century. Song copyrights are among the most important and valuable assets that musicians and songwriters have. Knowing how to protect, manage, and monetize these rights is more critical than ever. This course is targeted to students who aspire to careers as recording artists, songwriters, record producers, artist managers, and music executives, among others. Course topics include: roles and responsibilities of music publishers identifying new markets for songs, structure of the music publishing companies, different music publishing deals and their terms, music publishing revenue flow, practical aspects of music publishing administration and licensing, and music publishing as an investment. You will leave with a practical understanding of music publishing as a business and with tools and strategies for turning songs into sustainable sources of income.
Technology is a weasel. Squeezing its way into art, culture and the everyday. It infiltrates our psyche, inspiring playful interactions, fantastical ideas, vengeance and drama. It brings us together while tearing us apart. In this project-based studio, we will focus on a collective approach to creating art, tools, performances, and experiences. Outer Space in the context of this course will be used as a metaphor for the future, the unknown, and the seemingly impossible. We will investigate disparate cultural moments and unravel narratives that are both historical and technological. Technology will serve as a structure with open-ended assignments in music, video, sculpture, electronics, kineticism, surveillance, interactive graphics, and performance. Combined collaborative exercises and individual projects will augment classroom discussions and inform the art that we make. A willingness to use your imagination and personal experience to derail preconceived notions of linear timelines will serve you well in this hands-on multidisciplinary course. 2b1af7f3a8