Mondays are good for jungle, that's what my mum used to say. Well ok she didn't, but classic jungle/drum'n'bass really does seem right to start your week off, honest! So without further ado, here's 's head honcho with his precious selection of “mostly ’94-’96 jungle” for to kick off your week!
FACT Mix 156: Kode9 Fact Mix Archive Mixcloud
As the team are currently in Texas to fill in some shows for the music festival, we'd naturally share a few of the performances at the pop-up radio booth with our dear readers. So without further ado we present you , with & LIVE and S's DJ-set.
We at Whiteboard Journal will always have time for a certain , or better known as , head-honcho of soul/funk/psych label and former General Manager at . So it's without hesitation that we share with you his very interesting hour-long chat with Red Bull Music Academy Radio on the exciting world of record-digging.
iframe not supported!
The active number of participants in this year's Young Curators Forum at Yogyakarta proves to highlight the promising growth of Indonesia's art world. In this opinion piece, Mitha Budhyarto continues her musings of curatorial practice in Indonesia.
As a fan of George Orwell, I was more than excited when Penguin released an edition of the dystopian classic, , that perfectly represented one of the story's core issues: censorship. Though I already owned a copy of the book, I immediately signed into my Amazon account and ordered the latest one anyway. I convinced myself that purchasing it was just my way of appreciating the work of one of my favourite authors.
But when I found out that , another major dystopian novel by Ray Bradbury, was turned into a unique piece of art by designer Elizabeth Perez, I started to question my own motivation for buying the new 1984 edition by David Pearson. Was it really an appreciative gesture directed at the author?
From an aesthetic perspective, Perez's design is indeed eye-catching despite its simplicity, but the way in which she combined the story's main point—the horrors of living in society that burns books—with the physical book itself is what makes it interesting. The "1" in the title's "451" is replaced by a match that one can actually strike against the book's spine. Yes, this edition can actually be set on fire! Unnecessarily extreme though it may seem, it is impossible to deny the design's conceptual success.
Though I didn't purchase Perez's edition, I found myself returning to the question of appreciation. What is the true source of my fascination towards these books? Is it the author, the story, the design, the designer, or a combination of all four? More importantly, what will the answer reveal?
While great books deserve all the appreciation it can get, how many times can a book (cover) be re-designed until the story no longer becomes the reason that people talk about it? For any work of literature to become less important than its outer crust is a tragedy, but it would be unfair to say that the quality of a book's design has no impact on the reading experience. My idea of a good design is one that reminds readers of a good story, one that can symbolize rebirth. But designers, as well as readers, should not forget that the story itself hasn't changed—meaning that it is important to consider the time in which it was written. Perhaps this is the only way we can all truly respect the author without limiting our own creativity.
What do you think? Is there a purpose in re-designing book covers? To what extent should designers explore their visual interpretations of stories from the past?
The things you learn in life eh? First I learned that , from is indeed the current president of legendary jazz label . Then I saw that the dude (with the push of ) recently released a long-lost live recording of the late at the in 1973. The performance, spread over 7 tracks, represents Donald Byrd at one of the best moments in his career, the grey area between his post-bop days and his more funky period. Unfortunately the recording cannot be embedded, but you can listen to the whole thing (and read the write up by Don Was himself) by clicking on the link below.
Personnel:
, Trumpet, Fluegelhorn, Vocals; , Trumpet, Vocals; , Tenor Sax, Flute; , Tenor Sax, Soprano Sax; , Electric Piano; , Synthesizer; , Electric Guitar; , Electric Bass; , Drums, Vocals; , Conga, Percussion.
Backstage Life Bareng Grrrl Gang di Episode Kelima Vindy Ngapain?
Tahun ini Grrrl Gang mendapatkan kesempatan untuk menjadi salah satu line up di We The Fest 2019, dan Vindy diperbolehkan untuk mengikuti aktivitas mereka.
Tahun ini Grrrl Gang mendapatkan kesempatan untuk menjadi salah satu line up di We The Fest 2019, dan Vindy diperbolehkan untuk mengikuti aktivitas mereka.
Son of another Indonesian great, multi-instrumentalist-Jack Lesmana, Indra Lesmana is a child prodigy who learned how to master the keys at a young age, with his first performances done at the age of ten to an audience of hundreds and thousands, and his first album released when he was 12 years old. From child to adulthood, Indra Lesmana has dedicated his life to music.
With currently over 50 albums released, his musical endeavors are not restricted to jazz, Indra Lesmana has also released a multitude of critically acclaimed pop records, winning a BASF Award for his meaningful pop numbers. Currently busy promoting the first LLW record, LLW being his modern jazz trio with bassist-Barry Likumahuwa and drummer-Sandy Winarta, Indra Lesmana spared some time our of his busy schedule to talk to W_Music about some highlights from his three decade-long career, LLW, and leaves the viewers and aspiring musicians some words of wisdom. Enjoy!
[featured caption="W_Music Series Vol.05: Indra Lesmana"]
[/featured]
Invent Your Future
Temukan siapa dirimu dan bagaimana karaktermu menentukan arah masa depan.
