Category Archives: Zeitgeist Movement

Undated photo of St. Peter's Basilica during Second Vatican Council. (Lothar Wolleh/Wikipedia)

It was with great interest that I read Dr. Larry Chapps recent column The Progressive Revolutions Continued Control of the Ecclesial Narrative (May 18, 2023). Dr. Chapp and I agree quite substantively on the current issues besetting the Church, as a kind of progressivism has moved into the daylight from the academy and among the clergy and laity more broadly. The desire to be a Church on the move, ultimately in step with the reigning zeitgeist of the contemporary order, risks reinflaming the controversies that beset the Church in the 19th century leading up to the First Vatican Council, and in the early 20th century in the context of the so-called Modernist Crisis.

It is with no small sorrow that I see the counter reaction to this state of affairs now placing the Second Vatican Council in the crosshairs of questioning. As a Ruthenian Catholic, I can list a host of conciliar fruits that have been immensely beneficial for the various Eastern Churches in union with Rome. I have no desire to aid those who look to reject the Council in reaction to the immense issues facing the Church. I understand many traditionalists rage concerning all those who wish to take up anew the project of what Jacques Maritain said was the chronolatrous fatuity of those who are choosing to kneel before the world. Aware of the dated and confrontational nature of the term, he nonetheless did not hesitate, early in The Peasant of the Garonne, to speak of the neo-modernismnot only of liberal Protestants but, more importantly for him, among a kind of immanent apostasy of Catholic thinkers within the Church. It was a situation (then in 1966, in the original French) that he deemed was a virulent fever, compared to which the modernism of Pius Xs time was only a modest hay-fever.

And the fever has raged on. However, sympathetically understanding traditionalist rage is one thing, accepting its anti-Conciliar rejections is another.

I believe, in any case, that Dr. Chapp would agree that Maritains diagnosis was correct. (In Peasant, Maritain shows himself to be deeply reverential in regard to the Council.) Obviously, the language of modernism is immensely fraught. In the mid-1940s, Fr. Reginald Garrigou-Lagranges use of the term in response to the writings of certain theologians, most especially a work by Fr. Henri Bouillard, SJ, and certain privately circulating theological and philosophical papers, enflamed an entire debate which could have been conducted more irenically if the specter of Pascendi dominici gregis and the Anti-Modernist Oath were not so quickly evoked. Even Fr. Garrigou-Lagranges later interventions in this affair have remained mostly unknown, no doubt due to the rhetorically spectacular nature of the term modernism. Thus, we need not use this term, dating from the early 20th century and freighted with all sorts of resonances, nearly all of which serve only to prevent understanding.

What remains true, however, is the fact that our debates today over faith, theology, and the life of the Church remain in basic continuity with the longer arc of history that goes back into the 19th century. Fr. Gerald McCool, SJ, who wrote from a perspective differing from my own, well observed in his Nineteenth Century Scholasticism:

The contemporary debate over theological method is simply another phase in the dialectical movement of Catholic theologys response to the challenge of post-Enlightenment thought from the beginning of the nineteenth century through Vatican I, Aeterni Patris, the Modernist crisis, between-the-wars Thomism, the New Theology controversy, and Vatican II up to the present. To understand where we are in Catholic scientific theology, we must understand where we have come from and how far we have traveled in the course of the last two centuries. The contemporary quest for an adequate method in Catholic theology has a history. The better that history is known, the clearer will be the theologians understanding of his own discipline and his own scientific task.

Now, to bring things back into connection to Dr. Chapps recent article. I completely agree with his concerns, and on the whole with his general outlook concerning the nature of the Second Vatican Council as well as its interpretation during the papacies of St. John Paul II and Benedict XVI. However, I should like to register a point of nuance, which I actually think is of assistance in overcoming the progressivist mania of today. In short, I think that it is very important not to present the Council as a kind of definitive victory of Ressourcement theology over scholasticism. I must be very careful, however, with what I mean in this regard, for it is not at all my desire to reinflame fratricidal conflict between Scholastics and Ressourcement theologians.

Obviously, every Council has had its theological winners and losers. And the Second Vatican Council was motivated by the interventions of non-Scholastic and even (faithful) anti-Scholastic voices. But, in order for there to be continuity in the midst of reform from one period of the Church to another, we must have a kind of respect for the orthodox position that came prior to that Council. To present the Ressourcement vein of theology (itself very internally differentiated), even in its Communio form, as the sole theological outlook of the post-conciliar Church risks a kind of condemnation of the whole of post-medieval theology, which would supposedly be nothing more than a rats nest of theological missteps from the time of the high Middle Ages until the mid-20th century.

Interestingly enough, contemporary Thomism sometimes expresses this sort of attitude as well, often treating contemporary scholarly literature with infinitely more respect than the scholastics of the Renaissance, Baroque, and Leonine Revival periods. But, the outlook is also present in certain veins of Communio thinkers, who have at least the propensity to a kind of disdain for Baroque scholasticism and pre-conciliar Thomism, all too often referring to it dismissively as neo-Thomism, despite the fact that the latter term covers over an immense domain of differentiation within this period. (And of course, there were other Scholastic schools in addition to Thomism, which, however, did manage to crowd out the others.)

I fear that unless this divide is not healed, there is no path forward. My recent work with Dr. Jon Kirwan, titled The Thomistic Response to the Nouvelle Thologie (CUA Press, 2023), is intendedto open a discussion about the possibility of viewing the scholasticism of the pre-Conciliar period as more than a reactionary posture, to see even traditional Thomism as a truly living perspective of theology. I will be the first to admit that such Scholasticism has a kind of totalizing attitude, understandably sounding as though it looked to subsume all things into a single Theological Science, wherein Thomist overlords would graciously dole out roles to various theologians, all as handmaidens in the thousand-year Thomist reign. But, chastened for many decades following upon the Council, and still far from representing the theological mainstream, such a Thomism today stands at a crossroads: shall it offer itself as a reactionary solution to the failures of post-Conciliar theology, or does it wish to live in dialogue with fellow Catholics as a living theological tradition that shares many concerns with the great themes of post-Conciliar theology that are dear to men such as Dr. Chapp? The latter is the only acceptable position for anyone who is ecclesiastically minded.

To this end, I offer a brief list of some themes related to the Council but having rich, organic connections to pre-Conciliar theology. My point is not that the old should replace the new but, rather, that if faithful Catholics were to take seriously people coming from different theological traditionsThomists (even quite strict ones like myself) not presenting themselves as sole alternatives to the current malaise, and Communio theologians not presenting themselves as unqualified victors at the Councilwe would find that contemporary theology would be all the richer. If I personally trumpet the riches of the Scholastic tradition, this is because I have professionally labored in uncovering these riches and wish to present them to the reading public for consideration.

Without being exhaustive, I propose the following examples of points of continuity.

Ecclesiology. The entire theology of the Mystical Body of Christ stands behind the continued developments in Lumen Gentium. Most are aware of the work of Fr. mile Mersch, SJ. However, one cannot underrate the importance of Fr. Sebastian Tromp, SJ, who exercised great influence upon Pius XIIs encyclical Mystici Corporis. (Also, many other works were written on the theology of the Mystical Body of Christ during the first half of the century.) Moreover, there is the profound and massive multi-volume Lglise du verbe incarn of Msgr. (later-Cardinal) Charles Journet. And, much is owed to the insights of certain scholastic thinkers like Fr. Louis Billot, SJ and others who ensured that the Tractatus De Ecclesia was appropriately moved to the context of the Tractatus de Verbo Incarnato and out of the apologetic concerns that overburdened it in many of the manuals of the era. (I hasten to add, however, that Billot is not my Thomistic cup of tea. But credit is due where it is due!)

After the Council, Journet masterfully incorporates the important theme of the Churchs sacramentality into his overall ecclesiological framework. (One finds rich echoes of this in the writings of Fr. Jean-Herv Nicolas, OP who really could be cited in most of these sections below; however, he is a kind of figure overlapping the two eras, so I will not mention him again.)

Christocentrism. Often, Thomism is critiqued for being insufficiently Christocentric. However, as Fr. Dylan Schraeder has masterfully shown in his work on the Salmanticenses, there were important Thomist voices who took quite seriously the challenges raised by the Scotists in this regard. One can find a deep engagement of the Salmanticensess position in someone like Garrigou-Lagrange, as well as in Journets treatment of Christs capital grace. With great spiritual profundity, Bl. Columba Marmion, OSBs spiritual works are arguably the lengthy articulation of a Christ-centered spirituality which is ultimately Thomistically grounded upon the profound Pauline theme of life in Christ.

The fontes revelationis. During the Council, Joseph Ratzinger rightly noted that the language of fontes revelationis was transferred from the earlier scholastic terminology of fons scientiae, that is, the sources of theological science. Many of the 19th and 20th century manuals would treat of the fontes revelationis in their treatises De ecclesia, which were placed at the start of theology, after treatises on revelation and before the treatise(s) on the One and Triune God. There would be two fontes: Scripture and Tradition. The concern, understandably and validly, was to show how the Church proposes the revealed message.

However, such discussions displaced the treatise that was known as De locis theologicis, concerned with the places (loci) from which truths were to be drawn for theological argumentation. This particular treatise was developed from a posthumous work by Melchior Cano, OP (15091560). Its most coherent Thomist treatment dates from the time of the Council on the pen of Fr. Emmanuel Doronzo, O.M.I. in his Theologia dogmatica. And the De locis is related to the topic of positive theology, the pre-conciliar developments of which are excellently presented in the doctoral dissertation by Br. Luke Celestine Salm, F.S.C. (19212009) defended in 1955 at The Catholic University of America. One might also consider consulting the late-19th-century De locis Fr. Jacques-Joachim Berthier, OP, the reforms of studies undertaken by Fr. Ambroise Gardeil, OP, and the German works on Cano by Lang and Hogenmller. (Obviously, in relation to the details of Dei verbum, there are still open questions regarding, for example, the material sufficiency of Scripture. However, the overly-simplified treatment of the two fontes does not reflect the best of the Scholastic discussions of this period.)

Theological assent. Much of the crisis of the post-Conciliar period has been concerned with the Churchs authority, which was rejected so immensely throughout the world. The older articulation of the theological censures plays an important role in understanding the nature of the Churchs authority in various domains. Especially regarding the nature of her definitive authority in non-revealed matters, we still stand in need of a definitive resolution to the question concerning what used to be called ecclesiastical faith (assent given to definitive but non-De fide truths taught by the Church). Many Thomists rejected this notion as an accretion entering later Scholasticism in course of the anti-Jansenist controversies. However, I suspect that a careful revisiting of this topic can at least provide light for how to think of the various levels of assent and, hence, the Churchs authority in teaching.

Development of dogma. The last point about ecclesiastical faith is related to the topic of dogmatic development. On this topic, too many people dismiss neo-scholastics as being fixists without any useful theory of dogmatic development. However, first of all, there is the work of Fr. Marin-Sola, which many view as presenting the magisterial Thomistic position regarding dogmatic development. It is a rich and detailed treatment of the questions involved in this topic. His views were not accepted by all, including by Fr. Reginald Schultes, OP, who taught the history of dogma at the Angelicum in the 1910s and 1920s. Fr. Schultes was very deeply read in the history surrounding the notions of implicit and explicit faith, concerning which he wrote a detailed study in German. His objections to Fr. Marn-Sola appeal to important themes in the history of Western theology addressing the nature of dogmatic development, and in his Introductio ad historia dogmatum, Fr. Schultes in no way shows himself to be a fixist in matters of dogmatic history. He does, however, critique certain (though not all) aspects of Fr. Marn-Solas theory. The debates aroused during this period have a currency that is still illuminating today. (Full disclosure, I am in the midst of translating Fr. Schultess work. I am inclined to think that he does register important critiques of Fr. Marn-Sola.)

Moral and spiritual theology. Very often, Fr. Servais Pinckaers, OP has been credited with overcoming the casuistic legalism of the earlier moral-theological writings penned in the Latin Church. However, as I have shown elsewhere, Fr. Garrigou-Lagrange registered nearly identical critiques a generation earlier, and his older confrere Fr. Ambroise Gardeil also lamented the effects of casuistic excess upon moral theology. (Others could be listed.) Also, there was a great flowering of ascetical and mystical theology during this period. Merely in the line of Fr. Garrigou-Lagrange, one might consider Fr. Juan Arintero, OPs The Mystical Evolution in the Development and Vitality of the Church. Many other examples could be given. The Conciliar texts on the universal call to holiness are unthinkable without considering the immense riches of the pre-Conciliar discussions about the universal call to divinization and mysticism. Much, also, can be drawn from the posthumous writings of Fr. Michel Labourdette, OP, long-time professor of moral theology at the Dominican studium in Toulouse and peritus at Vatican II.

Politics. Even in matters political, there is much of interest. We find ourselves today revisiting all the questions concerning integralism. However, there are, in fact, various kinds of integralism, from what is found in authors like Frs. Billot and Garrigou-Lagrange (and they differ from each other too) to the much more mitigated forms that one finds in Maritain and Cardinal Journet. (The latter wrote a very large volume Exigences chrtiennes en politique.) Moreover, in addition to questions directly related to integralism, how can one fail to mention the critiques of liberalism that one finds in Maritain, not only in his early The Three Reformers but even later on in works such as The Twilight of Civilization. These works contain much, though in a robustly Thomistic language, that one can find in Fr. Henri de Lubacs study of secular humanism. And, also, on political matters, I would be remiss if I did not mention the works of Yves Simon on authority and democratic governmental theory.

In conclusion, I should add that of course, there are many other theological approaches than the two that I have mentioned here. There are many kinds of Thomism; Communio is not a single, united school; and there are many kinds of faithful Catholic thought (in East and West) that cannot be subsumed under these labels. However, there is something emblematic involved in contrasting the great theologians of the Communio approach to the more scholastically-inflected authors I cited above. I wish to draw from the rhetorical strength gained by slightly simplified genealogies, all the while recognizing the limitations of these classifications.

In any event, it is in the interest of the Church that points of continuity between the pre-Conciliar and post-Conciliar Church be acknowledged and even embraced. I do not expect, nor even desire, universal agreement in philosophy and theology in the life of the Church. These domains are always those of debate and discussion. But, what is needed now, in the midst of head-spinning discontinuity, is an appreciation of the continuity of faithful Catholic thought in the 20th century, despite some of its major disagreements and alterations. I hope that in the essentials, Dr. Chapp and others like him can agree with this proposal.

Endnotes:

If you value the news and views Catholic World Report provides, please consider donating to support our efforts. Your contribution will help us continue to make CWR available to all readers worldwide for free, without a subscription. Thank you for your generosity!

Click here for more information on donating to CWR. Click here to sign up for our newsletter.

Follow this link:

Catholic theology yesterday and today: A Thomist's response to Dr ... - Catholic World Report

You might associate Andy Warhol with soup cans or Studio 54, or maybe your kids know him from a T-shirt they saw on TeePublic. Now you can see the source.

Andy Warhol, who lived from 1928 to 1987, was an American visual artist and leader in the pop art movement.

The College of DuPage presents WARHOL, featuring Andy Warhol Portfolios: A Life in Pop/Works from the Bank of America Collection from June 3 to Sept. 10. The multifaceted exhibit will be housed in the Cleve Carney Museum of Art across nearly 11,000 square-feet of exhibition space.

In addition to the 94 pieces on loan through Bank of Americas Art in our Communities program, a collection of 150 Warhol photographs and original works come from the College of DuPages Permanent Art Collection.

It features original silk screens that range from the 60s through the 80s, which means it covers some of his iconic subject matter like the Soup Cans. Theres a beautiful Marilyn Monroe piece and a really fantastic set of flowers from the 60s as well, said Justin Witte, curator of the museum. Then we also have some portraits from the 70s and 80s and the very recognizable, popular Endangered Species series. Theres also covers from Interview magazine, which he founded, and album covers he designed as well.

[Warhols Marilyn sells for $195 million, shatters record for U.S. artist]

A historical exhibit will highlight key points in Warhols life and career. There will be a Studio 54 experience, a Central Park-inspired outdoor space, Warhols interactive Silver Clouds installation and a Kids Pop Art Print Factory. Transitional spaces will feature official Warhol designed and licensed hand-printed wallpaper, an interactive map of New York featuring key locations in Warhols life and videos containing interviews of and about Warhol.

Witte thinks visitors will enjoy seeing Warhols collaborations with 19802 street pop art icon and social activist Keith Haring.

[Who has the missing sections of CPS's multimillion-dollar Keith Haring mural?]

Warhols work has remained ever-present in pop culture, all the way from when he worked as a fledgling illustrator, Witte said. His works translate well to myriad medias, he said.

I think people have seen (his works) on prints and on merchandise so there is a familiarity, he said. It has such a bold and crisp style that I think people react to. It is so clear and so strong and so bright that I think people really enjoy that engagement with it.

Warhol was also involved in politics, fashion, television and publishing.

All those connections really gave him an idea of the zeitgeist, said Diana Martinez, director of the McAninch Arts Center.

The College of DuPage will also offer additional Warhol-related programming, she added.

Additionally, there are 22 DuPage County communities that will offer Andy Warhol-related content this summer; be it public pop art, special events or business and restaurant specials. Several fire hydrants in Wheaton will be painted in pop art style. Roselles annual Rose Parade will be pop-art themed. Westmont will honor its famous former resident, Muddy Waters, with a Muddy/Warhol art exhibit.

Its very touching and inspiring to see the creativity in each community and how everybody is taking it in their own way, she said.

Andy Warhols 95th Disco Birthday Bash will be Aug. 6 at College of DuPage, complete with disco dancing, a printmaking projects for the kids and an ice cream vendor.

Visiting the WARHOL exhibit this summer is the opportunity of a lifetime, Martinez said.

Youre never going to see this here in DuPage County at this level, at this extent, she said. And all of these exhibits are being created and the historical exhibit, which is so rich in context and information and history on Andy, is just going to be here. And the Studio 54 experience is just going to be here. And our Central Park youre not going to see it anywhere else. I think we offer a really unique opportunity to not only see the art of an artist but to get to know the artist in a really fun and different, accessible way.

The collection is child-friendly and also appropriate for people who arent art savvy, she added.

Its like the greatest hits, she said. You have the Soup Cans, you have the Myths, you have the Endangered Species. It has such a broad appeal. I think this is the perfect summer art show and I think its going to be a lot of fun. Andy used to say, it needs to be fun, cheap and easy. Well it hasnt been cheap or easy, but it will be fun. He was quite brilliant and he taught all of us so much and he had such an impact on the way we see the world and the way things are still presented marketing-wise. I think its a really great opportunity for people.

WARHOL, featuring Andy Warhol Portfolios: A Life in Pop/Works from the Bank of America Collection runs June 3-Sept. 10 at the Cleve Carney Museum of Art in the McAninch Arts Center at the College of DuPage. Tickets are $25-$40. At 425 Fawell Blvd. 630-942-4000; Warhol2023.org.

Here are more events happening in the western suburbs and Fox Valley area this summer.

1.) Cream team

The Cream of Wheaton festival is June 1-4 at Memorial Park in Wheaton. At 225 Karlskoga Ave. 630-690-4880; wheatonparkdistrict.com/events/cream-of-wheaton. Tickets are free.

The annual fest features live music, a business expo an arts and crafts fair, food vendors and a carnival. Theres also a Cosley Zoo Run for the Animals 5K/10K, kids activities and a beer garden. Bands include Karla and the Phat Cats, 7th Heaven, Hi Infidelity and Planet Groove.

2. Summer splash

Raging Waves Waterpark in Yorkville is open June 3-Sept. 4. Tickets are $29.99-$54.99; infants 1 and under free. Standard parking $20; preferred $30. At 4000 N. Bridge St. (Illinois 47). 630-882-6575; ragingwaves.com.

Hours are 11 a.m.-5 p.m. June 3-9 and Aug. 14-18; 10 a.m.-6 p.m. June 10-Aug. 13 and Aug. 19-20 and 26-27; and 10 a.m.-5 p.m. Aug. 2-4.

The Outback-themed water park has the Aussie Mat Dash, a six-lane racing slide; the four-person Wonambi raft ride, the Cyclone and the multi-rider Boomerang. Theres also a lazy river, wave pool, twisting slides, a kids area and toddler area. Lockers and cabanas cost extra. Group rates available.

3. Blues on the Fox

Blues on the Fox will be at 7 p.m. June 16 and 3 p.m. June 17 at RiverEdge Park in Aurora. Tickets are $15-$35; children 12 and under free. At 360 N Broadway. 630-896-6666; paramountaurora.com.

The 27th annual Blues on the Fox Festival returns with a fresh lineup of blues legends and rising talent playing live on the banks of the Fox River. Texas guitarist Jimmie Vaughan headlines the first night with the four-time Grammy-nominated singer-songwriter Ruthie Foster opening. Grammy award-winner Christone Kingfish Ingram headlines June 17 with Kenny Neal, Mud Morganfield (Muddy Waters son) and Auroras own Joey J. Saye also performing.

Christone "Kingfish" Ingram performs at Bourbon and Beyond Music Festival on Sept. 16, 2022, in Louisville, Kentucky. (Amy Harris/Invision/AP)

4. Celebrating heritage

Genevas Swedish Days is June 21-25 in downtown Geneva. Tickets are free. At 11 S. Third St. 630-232-6060; genevachamber.com/festivals-events/swedish-days.

Swedish Days started more than 70 years ago to celebrate the heritage of Swedish immigrants who settled in the area. Theres a carnival, 5K run/walk, a craft beer tent, a Kids Day, Swedish food and marketplace, Genevas Got Talent contest, bands and a grand parade.

5. Music on the river

The Summer Solstice Festival is June 23-24 at Riverfront Park in Yorkville. Tickets are free; $5 for a wristband to drink alcohol. At 301 E. Hydraulic St. 630-465-0623; solsticemusicfest.com.

Mike and the Moonpies headline both nights of the 10th anniversary of Yorkvilles Summer Solstice Festival. Music starts are 5:45 p.m. June 23 and at 2 p.m. June 24. Food trucks like Freaky Fries will be on-site. Join the two- or four-mile road race at 7 p.m. June 23.

6. The New Normal

Next to Normal, the Pulitzer Prize-winning musical, is performed June 26-Sept. 3 at the Paramounts Copley Theatre in Aurora. Single ticket prices are TBD; subscriptions start at $75. At 8 E. Galena Blvd. 630-896-6666; paramountaurora.com.

The Paramounts BOLD Series kicks off with this musical about a suburban mom suffering from bipolar disorder, which affects the entire family.

7. Summer sippin

The Naperville Ale Fest Summer Edition is from 1-5 p.m. July 8 at the Naper Settlement in Naperville. Tickets are $55-$65. At 523 S. Webster St. napervillealefest.com.

The beer fest will feature more than 150 unique craft beers and several food trucks. Early admission is at 12 p.m. Tickets get you 18 3-ounce samples as well as lawn games and music from a DJ.

8. Batavias bash

Windmill City Fest is July 7-9 in downtown Batavia at the Riverwalk. Tickets are free. At 327 W. Wilson St. 630-879-5235; windmillcityfest.org.

This festival, once known as Batavia Boo Boo Days, offers a pet contest, sidewalk chalk drawing competition, 5K run/walk, food and beer garden, childrens activities and carnival. Bands include Radio Gaga, Modern Day Romeos, Lounge Puppets, Johnny Russler and the Beach Bum Band and Hillbilly Rockstarz.

9. An A-Fair to Remember

The Kane County Fair is July 12-16 at the county fairgrounds in St. Charles. Tickets are $5-$10. At 525 S. Randall Road. 630-584-6926; kanecountyfair.com.

Hours are 3-11 p.m. July 12-13; noon to midnight July 14-15; 12-10 p.m. July 16. Grandstand entertainment includes demolition derbies, truck pulls, rodeos and live music. Midway entertainment includes carnival rides, magic shows, a petting zoo, Kiddy Land, Swifty Swine Racing Pigs and a car show.

10. Rollin on the river

Yorkvilles River Fest is July 14-15 at Bicentennial Riverfront Park in Yorkville. Tickets are free. At 131 E. Hydraulic Ave. 630-553-4357; yorkville.il.us and search the calendar.

This family-friendly fest features food, childrens activities and country music. A craft beer tasting is from 2-6 p.m. June 15.

11. Fresh Flo

Flo Rida, with special guests Ying Yang Twins, perform at 8 p.m. July 21 at RiverEdge Park in Aurora. Tickets are $49. At 360 N. Broadway. 630-896-6666; paramountaurora.com.

The rapper and songwriter is bringing hits like Low, Right Round, Good Feeling, Whistle and Wild Ones to the banks of the Fox River.

12. Fairy world

The World of Faeries Festival is from 10 a.m.-6 p.m. Aug. 5 and from 10 a.m.-5 p.m. Aug. 6 at Vasa Park in South Elgin. Tickets are $8-$15; children 12 and under are free. At 35W217 Route 31. 815-788-1630; theworldoffaeries.com.

This years festival features The Harp Twins, Camille and Kennerly Kitt, performing heavy metal and more on their electric harps on both days. The festival will also offer a fairy tea time, crafting time, live entertainment, bubble fun, a balloon twister, a mermaid story time and extensive vendor village.

13. Celebrating North Aurora

North Aurora Days is Aug. 4-6 at Riverfront Park. Tickets are free. At 25 E. State St. 630-897-8228; northauroradays.org.

The annual festival includes music, a beer and wine tent, childrens activities and other communitywide events.

14. Art in Aurora

Alley Art Festival is from 12-5 p.m. Aug. 26 at Water Street Mall in Aurora. Tickets are free. At 44 E. Downer Place. alleyartaurora.com.

The grassroots, family-friendly art festival features live music and local artists.

15. Napervilles Last Fling

Last Fling is Sept. 1-4 along Jackson Avenue in Naperville. Tickets are free. At 630-961-4143; lastfling.org.

The annual Labor Day weekend celebration includes family-friendly attractions, food, a carnival and a Labor Day parade. Headlining bands include Hairbangers Ball, Too Hype Crew, 16 Candles and Hi Infidelity. Other acts include the Ron Burgundys, Mix Tape Junkies, Rick Lindy and the Wild Ones and 90s Pop Nation.

Annie Alleman is a freelance reporter for the Naperville Sun.

More:

Andy Warhol exhibition coming to College of DuPage - Chicago Tribune

I wasadmittedlynot immediately hip to Arlo Parks brilliance. But dont get it twisted, I was fully there when her debut LP Collapsed in Sunbeams came out in 2021. And, my goodness, what a treasure that project was to behold. Few debuts in the last decademaybe even this centuryhave been so literary, soulful and paradisiacal. Too Good itself endures as a monumental, sultry soul tune that will outlive us all. In the confines of the music industry, Parks was born in a different millennium than most of her peers; yet, when she wrote Super Sad Generation at the age of 17 on the back of a napkin, something perfect was born in that moment. And ever since, she hasslowly, but rapturouslyheld court at the intersection of indie rock and R&B.

I am often reluctant to embrace my Generation Z identity. Being born in 1998, I cling to the Millennial cuspwhich wasnt made to include me in the first placeas much as possible, lamenting the rigorous 90s Baby prophecy I worked so hard to fill. I played GoldenEye 007 on Nintendo 64; I worshiped American Idiot once upon a time; I filled up on hefty doses of Nickelodeons Golden Age. However, when I tap into Parks work, I become willingand excitedto call myself a Zoomer and unhinge my identity from the jaws of those surfing across their 30s. How could you not be, when someone as gravitational as her is holed up at the frontlines?

The 12 chapters that comprise Collapsed in Sunbeams, from the title track to Portra 400, all combine to make one singular organism: a muscle of heartache, loved and worn-in characters and zeitgeist reference points. Too Good and Black Dog and Eugene are all earworms that have long wedged their ways onto our playlists forever; Caroline even made a cameo performance on the second season of Ted Lasso, only a handful of months after the albums release in January 2021. As one of the first superstars to come out of a world forever-changed by COVID-19, Parks rekindled my own hope in finding a voicenot an answerfor what shape my body was meant to take once lockdowns subsided.

Parks eclectic, familiar range of taste can pull any listener in, but its her deft, uncanny songwriting prowess that keeps you hooked until the last breathing note. To find common ground through watching Twin Peaks and longing for our mothers is only one piece of the puzzle. It is when we watch the echoes of our hearts bend around the curtain call of a relationshipone thats surrender came on the heels of a fear of taking queer intimacy into the public eyethat we are alive in the wake of Parks diaristic, communal grieving and passionate charm.

Collapsed in Sunbeams has endured because the songs are as timeless as they are deep-pocketed. Each time I return to its tracklist, I find a new moment to fall in love with and a new person to meetand thats the purest genesis of a piece of art that transcends eras. When Parks returned to us earlier this year to announce her sophomore album My Soft Machine, I remembered thatper the textbook creative cycle that recording artists must endurethe time had arrived for another entry in her catalog. Though I was still spending as much time with Collapsed in Sunbeams as I was the week it dropped two years ago, I cant lie: I wanted to see where one of the most-brilliant musicians of my generation would go next; how she would begin to live up to the project that had made her a household name barely 700 days prior.

When I get on Zoom with Parks on a rainy weekday, shes in full globetrotter modehaving just done a stint in Los Angeles before jetting off to New York and then back to London and then to Brazil all in a matter of days. The last two years have almost constantly flirted with a similar business for Parks, whoin the last 24 monthshas toured with Clairo, Lorde, Harry Styles and Billie Eilish, been nominated for two Grammys and won the highly coveted Mercury Prize for Best Album. Collapsed in Sunbeamswhich was at the center of it allwas a smash, but its release and widely beloved praise didnt come without whirlwinds of excess and non-stop movement.

Living in the dream and being inside my dream and reckoning with the reality of that and how confusing and incredible and turbulent that time was, for me, it really encouraged me toat any moment I couldretreat into myself and throw myself back into books, into films, into reading scripts and going for walks, Parks says. I had to be really intentional with balancing, having time alone whilst being very much out in the world and having enough energy to give not just to the crowd, but also to myself.

Parks has long coveted and protected a temple of stillness, allowing herself to be in one space with her thoughts, body and energy. This past Christmastime, after finishing My Soft Machine and cancelling shows amidst a case of burnout, she decamped to Mexico with some beloveds from her inner-circle and started writing again. She uses the word intentional more than once, emphasizing just how precious she has to be about her own downtime in the wake of a never-ending tour itinerary, a new album cycle and the dozens of other irons she has in her own fire. Its part of what makes me feel grounded, what makes me feel like myself: making little notes and annotating my books and spending time with my dog, Parks says. I was really intentional about protecting that time, especially going into this year.

Most of My Soft Machine was made in Los Angeles, where Parks spent large chunks of her time lounging by the Pacific Ocean, taking to the beach with her friends, eating fruit and listening to Frank Oceans Blonde on a bluetooth speaker. While many of the stories on My Soft Machine find Parks returning to distinct memories in her own coming-of-age and reflecting and interacting with them in new ways broadened by young adulthood, she often replenishes her mid-album creative energy by taking to the privacy of her own getaways.

A lot of it was just immersing myself in nature and feeling quite small, she adds. I feel like I need to remove myself from my context in order to feel truly still. Listening to a podcast and going on a very long drive up to the Angeles Crest Mountains and then sitting and looking at the city and reading my book, I find a lot of stillness in a mini, healthy escape. Parks is often working on being a vulnerable voice for the people who dont have one. In turn, My Soft Machine was a great source of healing for the 22-year-old as, for the first time in her career, shes being that voice for herself. All of that stems from her own writing process, which has been a restorative exercise and haven for her. She even goes as far as calling it the most-extreme form of meditation.

It was the one space where I could really think aloud and approach feelings that felt quite knotted and really be honest with myself and celebrate the things that have made me joyful and unpack the things that I felt I was really haunted by, Parks says. The process of producing a record, to me, is really therapeuticthe problem-solving aspect of it, that sense of magic. When everything really falls into place and youre like, Finally, we got it, I feel like a scientist, or something. Its beautiful. I think even writing things by-hand in a notebook, your brain is forced to slow down in a way and you have to take your time and be intentional with what youre trying to say.

That intimate processhand-writing your own daydreamsis something that Parks found inspiration in from the poet Ocean Vuong, who wrote his debut novel On Earth Were Briefly Gorgeous by-hand, top-to-bottom, in a tiny New York apartment. That encouraged me to be like: Okay, my notebook is sacred. I need to make sure that Im taking the time with how I note things and that Im more selective with what Im cataloging and the moments that I want to immortalize, she says. To this day, Parks has a letter that Vuong wrote to her and her partner hanging in a bathroom back home. It was so beautiful and so simple: Thank you for the work that you guys are doing for the culture, I hope this note reaches you in time. I look at it every morning, she adds.

Though Vuongs command of poetics remains a huge touchstone for Parks, stepping into one of her songs is most-like stepping into a Frank OHara poem: There will be people living within the language, many of whom youve never met but are convinced youve loved for your entire life. OHara is a poet I am too often inspired by and searching for fragments of in the work of others. Never has that been truer than in Parks language: She does not live in ambiguity; the people in her life whom she grows into and alongside get called out by name. Theres Jodie in Purple Phase, Grady in Puppy and the everlasting you that is either one, two or numerous entities all at once. Before My Soft Machine, Parks dearest arrived in song titles: George, Sophie, Caroline, Eugene; now, she adds her own body into the fold. Her story is just as criticalespecially in how it interacts and intersects with those of everyone else around her.

The title of the album stems from a line in Joanna Hoggs A24 film The Souvenir. In one scene, Anthony (played by Tom Burke) says to Julie (Honor Swinton Byrne): We dont know what the inner machinations of their mind are, or their heart. We dont know. But thats what we want to know when we go and see a film. We dont wanna just see life played out as is. We wanna see life as it is experienced, within this soft machine. Parks watched the film in a hotel room she cant remember the location of, heard that line and knew instantly that it was going to be the name of her album.

It was coming to a point where I really needed to come up with [a title], she says. I had, like, 10-million and I just kept adding and adding to this list and it was becoming more and more crowded. I was watching [The Souvenir] and I was like, That is exactly what this is. And then, I always have this thing where I dont want to tell anyone. Everyones asking me if I have a name and Im just like, No, no, not yet. With something thats supposed to capture the whole essence of a body of work, it has to be exactly right. But I knew immediately in my heart.

Between Collapsed in Sunbeams and My Soft Machine, Parks hosted her own show on BBC Radio One called Dream Fuel. The ethos of the 20-episode show came to her quickly, as she based it on her always having wanted to create an archive that her teenage self could discover and find inspiration in. I remember being a kid and being on YouTube and trying to learn about other peoples journeys, how other people made it and the mythology behind peoples records and who they were as people, Parks says. I wanted to create that resource for younger kids who want to be writers or fashion designers or producers and have these in-conversation moments and get a little musical education as well, having people talk about songs that were meaningful to them.

Parks interviewed everyone from longtime critically acclaimed novelist Zadie Smith to 2022 breakout musical star Ethel Cain to Vuong upon the release of his latest poetry collection Time Is a Mother. However, she cites her conversation with singer/songwriter Sharon Van Etten as one of the most impactful on her own approach to complex, soul-baring songwriting. I always think back to [us] talking about how a specific song encouraged her to leave her partner at the time and start making music and start putting herself first, Parks says. The fact that songs that are vulnerableand maybe make the writer feel overexposed in some wayare the ones that really move people in their lives. That, paired with how her desire for deep-cut and demo-heavy treasure hunting was reignited by curating the work of others for the show, helped her create a patchwork quilt of Parks taste. I was constantly searching for newness, searching for freshness. All the songs were making an imprint on the sounds I was gravitating to as I was making [My Soft Machine], because I was doing both at the same time.

The overexposure Parks spoke about with Van Etten arrives just as My Soft Machine begins, as she endows a proclamation of immense openness to her listeners: I wish I was bruiseless / Almost everyone that I love has been abused / And I am included, Parks sings. From the jump, she makes it clear thatdespite a mammoth touring schedule and the inner-mechanisms of writing and recording songs and albums that well never understandshes been through some shit and shes ready to make sense of it in whatever ways the music allows her to.

In our conversation, she calls My Soft Machine a little terrarium that Ive created, and speaks of letting it breathe. Given that the songs navigate PTSD and trauma and grief and addiction and heartbreak in such palpable waysand that the process of articulating those themes arranging something beautiful beneath them can be exhausting, both mentally and physicallyits easy to wonder whether or not Parks is still caught in a bardo of emotions. The clarity is there, though, and she seems to be at peace with what she worked through on the 12 songs that make up My Soft Machine.

Obviously Im still moving through life. Im still healing, Im still growing. I still have friends who are struggling. Im still struggling, at times. But I do think the beautiful thing about this process is that Ive made something that will provide some peoplewho are feeling the same waywith some kind of relief as we all continue to grow. Its very much a journey. When you take steps back and you take steps forward, it gets confusing. It gets painful. You have epiphanies, you forget yourself. Its all complicated and jumbled, but Im proud of this record, Parks says.

Though My Soft Machine pleaches between numerous sonic criteria, like disco, dream pop, bedroom indie, hip-hop, jazz anddare I say itglam rock-infused funk, the way the album came together wasnt as meticulous as the compositional geography it embodies. Parks made Weightless, Purple Phase and Blades in the same week; Dog Rose came to life in a random Toronto hotel room; Im Sorry and Puppy were made in the same two-day studio session. Throughout, the bedrock of Parks musical archetype holds true: Electronic music and guitar music have been close to my heart for a very long time, so it was always going to be a meshing of those two things, she says. But I didnt really want to sit down and restrict the creative process too much by saying, Hey, were only working synths today. I allowed the songs to reveal themselves to me as they came and just went into itgenuinelywith a blank slate, being like, Okay, we can do anything with this music.

No two songs on the tracklist sound alike and Parks doesnt shy away from taking risks, and the result is a punchier, more-ambitious album than Collapsed in Sunbeamswhich never left the orbit of traditional hip-hop, soul and R&B, three styles she has long mastered. In turn, there is no sophomore slump in sight for Parks, whos truly made something unequivocally pleasing, brilliant and transparent. Devotion is a track that absolutely goes, cascading across rock riffs that dont let up; Dog Rosethe best non-singleis pure dream pop thats a benchmark in Parks universe; Blades plays with glitchy samples and fluid electronica; Pegasus fashions Parks and her longtime good friend Phoebe Bridgers voices into a pop pastoral fit for an early-2010s, chart-topping moment. The most-hypnotic piece of the entire album, Impurities, is sensational R&B down to the bone; a tactile, lyrical oracular fused with wondrous hip-hop percussion.

And while Parks taps into every genre near-and-far to crochet her own singular vision, her springboard has always been hip-hop. She is constantly drawn to how rap is songwriting in its boldest pattern. Its purely about how playful you can be with language, Parks says. Ive always been a writer before being a songwriter or singer. Its always been about the words and the instrumentation elevating what Im saying. When I think about the song WILSHIRE by Tyler, The Creatorwhere the beat is quite simpleit provides a bed for this really vulnerable story. The essence of hip-hop, storytelling and the command of language, are the two things that were very much at the center of [My Soft Machine].

Parks work has often landed at the intersection of hip-hop and indie rock, and she understands how the former is always naturally entangling with other genres. She not only points to how Andre 3000 loves Kate Bush, how Big Boi loves Kate Bush and how Tyler, The Creator loves Portishead, but she also throws out Kendrick Lamars sample of Beach Houses Silver Soul in Money Trees and A Tribe Called Quests sample of Lou Reeds Walk on the Wild Side in Can I Kick It? as the most-vivid example of how the greatest musical minds pull references from everything around them.

A big reference point for Parks has been Frank Ocean. She was at Coachella this year, when he infamously cancelled his second weekend performance after a leg injury and curfew cut his firstalbeit odd and stripped-downset short. Channel Orange was crucial to the storytelling Parks performed on Collapsed in Sunbeams. On My Soft Machine, she cites the life through my eyes perspective as being influenced by Oceans 2017 single Provider. It will be this barrage of images that feel like little glimmers of memory or things that are yet to come, Parks adds. It all feels like this tapestry of subjectivity, this beautiful patchwork of beautiful moments that you can tell mean a lot to him. That also leaves space for the listener to piece together their own vision. Then they experience my work through their eyes and create new meaning. Its that endless repetition of subjectivity.

Dog Rose is the clearest example of that fragmentation, as the song weaves through brief, consecutive images of jumping turnstiles, drinking mezcal in Gowanus, Brooklyn, a lovers brothers birthday, doing dishes with their mom, dancing to Enya and finding a euphoric prettiness in Nicorette patches. Album opener Bruiseless achieves a similar palette of snapshots, transitioning from peonies ripped by dirt bike chains to the narrator being fed cheese to being seven years old and getting flung over the handlebars of a bicycle. Ever the literary purveyor, Parks takes on the role of a novelist and poet on My Soft Machine, coiling lyrical prose into idyllic soundscapes.

Parks music-making dexterity and slick penmanship has only continued to grow since Collapsed in Sunbeams. My Soft Machine is the first time shes ever really written, consistently, from a place of joy. There are a few lines that Vuong wrote in On Earth Were Briefly Gorgeous that I think about often. They go: They say nothing lasts forever but theyre just scared it will last longer than they can love it and Too much joy, I swear, is lost in our desperation to keep it. When I listen to My Soft Machine, those words are not far away, as Parks is very much writing adjascently with Vuong.

There is an undeniable truth in his words, yet, when Parks sings There are sandflies in the champagne / You are closed off, I am so drained / But I sparkle in the rare case that you tell me Im your sunray in Weightless, I consider what it means to write through joy in a way thats unafraid ofand uninterested inlosing it. Parks traverses this on Impurities, when she sings: Dont hide the bruise, I know its hard to be alive sometimes. She is constantly writing towards joy, even in its plainest moments when cruelty endures someplace within it. I found it really hard to write about joy, because I was usually just in it, just floating in the feeling, Parks adds. I could only really be inspired by sad things or difficult things or complicated things. And on this record, with songs like Impurities and Pegasus, I feel like I really unlocked my vocabulary for joy.

Generation Z is continuously finding new ways to analyze the world, as we discover our own vocabularies around mental health, gender, grief and love while becoming more and more open about our struggles within those binaries. At the end of My Soft Machine, Parks is right there with us, moving through life with the people she loves and continuing to unpack the burdens and fascinations that follow themputting trust in the people around her. When Ghost concludes 41 minutes after Bruiseless she sings: Wanna let you in / Wanna let you help me / Wanna let you in / Wanna have transparency / Wanna let you in / Wanna tell you everything / Melt right into you / Let you be the glue.

One of Parks greatest strengths is her ability to perfect a balance between abrasion and softness. Pulling from Oceans refusal to be boxed in and Jai Pauls approach to music, which revels in the imperfection of controlled chaos while maintaining a distinct kind of romance, she was able to find a citation for harmonizing wistful, sensual stories with passages of brutality and intensity. That sense of craftsmanship is alive on My Soft Machine, in its mixture of streamlined grace, delicacy, suffering and hindsight.

Hogg once wrote about filmmaker Roberto Rossellinis Journey to Italy: I strive to create this degree of aliveness. I need to see this film often to understand what it is I am trying to do. That quote resonates with much of what Parks is doing in her own work. Through the attractive shapes and relentless honesty of My Soft Machine, she has crafted her own portrait of aliveness and the intimacy that comes from embracing it through every fault and firework. Parks music has long been cinematic, often contoured into a coming-of-age film or annal of retrospect continuously being added to. My Soft Machine is not just a document of a Zoomer tumbling in-and-out of common, familiar romances; its a testimony and celebration of Black queer love and a person still growing. Each song is theatrical like a core memory; the album, like the ethos echoed in The Souvenir, is Parks approach to seeing life as its experienced versus how its played out.

My Soft Machine is out this Friday via Transgressive Records.

Matt Mitchell is Pastes assistant music editor. He lives in Columbus, Ohio, but you can find him online @yogurtowne.

Continue reading here:

COVER STORY | Arlo Parks Embraces the Intimacy of Aliveness - Paste Magazine

In The Number Ones, Im reviewing every single #1 single in the history of the Billboard Hot 100, starting with the charts beginning, in 1958, and working my way up into the present. Book Bonus Beat: The Number Ones: Twenty Chart-Topping Hits That Reveal the History of Pop Music.

How did this happen? If this column has a point debatable then its that question. How did this song cut through the noise and, however briefly, become the most popular single in America? Thats what Im always trying to figure out. Im reviewing these songs talking about if I think theyre any good or not but the songs story is usually a whole lot more interesting than whatever my opinion might be. I write this column because its fun to trace the social and musical threads that brought all these songs to the top of the mountain. When it comes to the Black Eyed Peas, though, I have no idea. Shit is confusing.

When the Black Eyed Peas reached #1 for the first time, the group had been around for many years. Theyd been fluffy alt-rap also-rans and even-fluffier pop-rap punchlines. Somehow, though, they rose up to absolutely dominate the pop charts, both in America and around the world, for half of the 2009 calendar year. It seemed strange in the moment, and it seems even stranger in retrospect.

Look, I can tell you the story. I can point out the currents that led to that moment. I can tell you how the 2008 economic collapse left millions of young Americans in desperate financial straits and about how those young Americans turned to shiny, frictionless European club sounds for consolation how that sensationalistic inebriation-soundtrack shit hit the zeitgeist. I can tell you how the Black Eyed Peas built a shameless brand over the decade, how the unexpected pop stardom of group member Fergie benefitted the rest of the Peas. I can tell you that will.i.am went to raves as a kid, that he knew the history of intersection moments between rap and dance music. But I cant tell you how Boom Boom Pow, a song with no real structure or chorus or lyrical point, held the top of the Hot 100 for three months straight. Sometimes, things simply dont make rational sense. Maybe the Black Eyed Peas simply got a feeling.

Boom Boom Pow was the culmination of a long, long journey. William Adams Jr., the man who would become will.i.am, grew up in the Estrada Courts housing projects in LAs predominantly Latino Boyle Heights neighborhood. His father wasnt around, but his uncle Lynn Cain played for the Atlanta Falcons. (When Will was born, the Doobie Brothers Black Water was the #1 song in America.) As a kid, Will went to raves and rap club nights. In eighth grade, he met the Filipino-born Allan Pineda Lindo.

In the late 80s, Will Adams and Allan Lindo would go hit LA clubs and battle-rap other kids. They joined up with a couple of other friends and formed a dance crew called Tribal Nation. Adams became known as Will 1X, and Lindo, for reasons that I will never understand, took the name apl.de.ap. In 1991, David Faustino, the kid who played Bud Bundy on Married With Children, opened up a rap club night called Balistyx. (He also released an album with the same title a year later. The early 90s were wild.) One night, Tribal Nation performed at Balistyx, and gangsta rap legend Eazy-E caught their live show. He was impressed enough to sign them to his Ruthless label. (Eazy-Es highest-charting Hot 100 solo hit, 1995s Foe Tha Love Of $, peaked at #41.)

In 2011, will.i.am told Vibe that Eazy-E wanted him to play a very specific role: Dr. Dre had left Eazy, and Ice Cube left Eazy, so he had no one else in the camp to ghostwrite. Eazy signed me to Ruthless to be a ghostwriter. But Eazy also had plans for Tribal Nation. He changed the groups name to Atban Klann. The new name supposedly stood for A Tribe Beyond A Nation, though I dont get why anyone thought it would be a good idea to put the word Klann in a rap groups name. Eazy told them, You guys are going to be the West Coast version of Digable Planets. No one will ever see you coming.

Atban Klann never became the West Coast version of Digable Planets. Really, the West Coast already had a couple of those. Atban Klanns 1994 single Puddles Of H2O sounds like a take on the nerdy, adenoidal rap that California teenagers like the Pharcyde and Souls Of Mischief were making around the same time. (Its not as good as what the Pharcyde and Souls Of Mischief were doing, but thats a high bar to clear.) Puddles Of H2O never made much impact, and Ruthless never released Grass Roots, the album that the group recorded. Eazy-E died of AIDS in 1995, leaving Atban Klann without a label. Eventually, group members Mookie Mook and DJ Motiv8 left, and Will 1X and apl.de.ap went off to form a new group.

Atban Klann did have one weirdly big impact. During one of the groups recording sessions, Will 1X introduced producer Epic Mazur to white rapper Shifty Shellshock. Those two quickly became bandmates, which makes Will indirectly responsible for the existence of Crazy Towns Butterfly. So these Atban Klann guys were out there. They were in the mix. When Atban Klann came to an end, Will 1X and apl.de.ap joined up with their old friend Jaime Gomez, who went by the rap name Taboo, to start a different group. They started out as the Black Eyed Pods, and then they became the Black Eyed Peas. Somewhere in there, Will 1X changed his rap name to will.i.am.

Early on, the Black Eyed Peas took inspiration from casually thoughtful New York groups like De La Soul and from the whole boho-rap movement that was on the rise. They dressed eccentrically, they performed with a live band, and they incorporated their breakdancing background into their stage show and their videos. The Black Eyed Peas signed with Interscope and released their debut single Fallin Up in 1997. A year later, they came out with their Behind The Front album, which didnt set the world on fire but did decent numbers. Their single Joints & Jam popped up on the Bulworth soundtrack.

Unlike most of the groups who inspired them, the Black Eyed Peas werent anarchic, absorbing personalities. They were also pretty average rappers, but they loved to perform. The Black Eyed Peas toured hard, hitting the college circuit running, and they cultivated a fanbase that wasnt really paying attention to mainstream rap. You can hear some of their pop ambition at work on their sophomore album, 2000s Bridging The Gap. Will.i.am was (and is) the groups primary producer, and his tracks got brighter and friendlier. That album gave the Black Eyed Peas their first Hot 100 hit when the Macy Gray collab Request Line reached #63. (Macy Grays highest-charting single, 1999s I Try, peaked at #5. Its a 7.)

Then came Fergie. We already got into this part of the story in the piece on Fergies London Bridge. To recap: The Black Eyed Peas toured and often recorded with a backup singer named Kim Hill, who was never officially part of the group but who went off to go solo. Stacy Ann Ferguson was finishing her time with the mildly successful girl group Wild Orchid, and partly at the behest of Interscope boss Jimmy Iovine, she became a full-time member of the Black Eyed Peas. When Fergie joined up, BEP pivoted hard toward pop-rap, and they immediately became hugely successful. In 2003, they teamed up with Justin Timberlake, someone whos been in this column a bunch of times, on the single Where Is The Love, which blew up around the world and peaked at #8 in the US. (Its a 6.)

The transition was a bit awkward. For a minute, the Black Eyed Peas still had half a foot in the backpack-rap world. Shortly after Where Is The Love, I saw them open for Gang Starr, which made for a weird vibe. But BEPs 2003 album Elephunk went double platinum, and the group never looked back. They went even more shamelessly pop on their next album, 2005s Monkey Business. The singles Dont Phunk With My Heart and My Humps both peaked at #3, and the album went triple platinum. (Dont Phunk With My Heart is a 4, and My Humps is a 3.) By this point, nobody in the rap world took the Black Eyed Peas remotely seriously, but when youre doing numbers like that, you dont have to care.

Fergies 2006 solo album The Dutchess did better than anyone couldve possibly anticipated. It sent three singles, including the will.i.am production Big Girls Dont Cry, to #1. Fergie was now a massive pop star, and she couldve gone off on her own. Instead, she kept her position within the Black Eyed Peas. The group took a bit of a break from recording. They toured the whole planet. Will.i.am played the much-memed voice role of Moto Moto in the 2008 animated film Madagascar: Escape 2 Africa, and then he played John Wraith in 2009s wretchedly shitty Wolverine: X-Men Origins. Not even his death scene is cool.

Will.i.am spent a few months in Australia filming that Wolverine movie. While he was over there, he went to a music festival and had his mind blown by a set from Australian blog-house duo the Presets. That kind of blown-out, party-hard dance music had a huge club moment in the late 00s, and will.i.am was into it. He later told Adelaide Now, Their audience it was like the new generation, new fans. These kids are ready. Theyre the future. They are the Jetsons Thats the reason why this record sounds the way it does my three months in Australia.

While he was filming Wolverine, will.i.am also campaigned hard for Barack Obama. He released the campaign song Yes We Can, and he famously did a hologram interview on CNN on election night. It looked stupid. But when Will had the time, he hit up clubs and listened to electro. When the Black Eyed Peas started making their next album, 2009s The E.N.D., he brought that sound with him.

The title of The E.N.D. stands for The Energy Never Dies; this group loves acronyms. The Black Eyed Peas recorded it with a bunch of dance producers, but will.i.am was the main driving force. Lead single Boom Boom Pow draws on the electro-house of the moment, and it connects that stuff to the early 80s electro specifically Afrika Bambaataas Planet Rock that was always part of the rap canon. (Planet Rock peaked at #48 in 1982.) Talking to The New York Times, Will situated The E.N.D. within rap history: The birth of hip-hop wasnt slow. It was dance music. The only place it lived was the clubs The Jungle Brothers were sampling Todd Terry. This record is like that era.

You can hear a few echoes of early-80s electro and late-80s hip-house in Boom Boom Pow, but the track sounds more like Flo Rida trying to make his own version of 808s & Heartbreak, the Auto-Tuned sad-computer album that Kanye West released in 2008. Boom Boom Pow is a weird record. It doesnt really have verses and choruses. Instead, its the Black Eyed Peas describing the effects of their own beat, which will.i.am co-produced with DJ Poet, the Black Eyed Peas touring DJ, and Jean Baptiste, a songwriter whod been working with the group for years. The high-pitched whine on the intro is a sample from Sweet Mercy and Rowettas 1990 house single Reach Out.

Early on in Boom Boom Pow, will.i.am says that hes got that rock n roll, that future flow. The members of the group then spend the rest of the song describing just how futuristic they are, and their reference points make for a funny time capsule: spaceships that zoom, HD flatscreens, the fictional Transformers planet Cybertron. (I suppose that last bit could just as easily be a shoutout to the pioneering Detroit techno duo Cybotron.) Lots of that futuristic stuff soon became painfully mundane. Will says, Here we go, here we go, satellite radio a relic of an era when satellite radio wasnt just the thing that you get in your rental car. Taboo talks about how his competitors are on that Super 8 shit, that lo-fi stupid 8-bit, blissfully unaware of how those aesthetics would soon come back into vogue. Most famously, Fergie asserts that shes so 3008 and that youre so two thousand and late.

In attempting to describe just how advanced they were, the Black Eyed Peas ensured that Boom Boom Pow would instantly be forever dated. Honestly, it seemed dated the moment that the song came out. (Im fairly certain Fergie wouldve talked about being so 2008 if the song had been ready for release a few months earlier. Instead of rewriting the line, she just set the dial forward 999 years.) The rapping on Boom Boom Pow is clumsy and ultimately uninteresting, even as will.i.am slathers glitch effects and Auto-Tune all over everything. The only person on the song who displays any real charisma is Fergie, who rips into her line about people in the place like a classic house diva. Shes the one who sounds like a star. The three guys are mostly just there.

Boom Boom Pow got a lot of hate for being repetitive, but dance songs are supposed to be repetitive. Youre not supposed to focus on the lyrics. To the tracks credit, the beat really moves. Will.i.am keeps switching it up, adding in bleepy synth riffs or jacking the tempo up and down. Planet Rock didnt have great rapping, either. Still, if you werent out clubbing when Boom Boom Pow was huge and I wasnt then the singles success was flummoxing. The constant boom boom boom chanting was downright annoying, and I didnt get much out of apl.de.ap insisting that hes got the beat that beee-ounce. I did like how will.i.am put the echoing deep-voice filter on his voice so he could scream the phrase let the beat rock! That part was fun.

The Boom Boom Pow video looked like pure dogshit. The clip tried to translate the songs retro-futuristic aesthetic, but it mostly just looked like an ugly echo of Tron, a movie that was already 25 years old. (The sequel Tron: Legacy came out a year later, but I dont think anyone much cared about it.) The Boom Boom Pow clip also has a ton of product placement for the Hewlett-Packard TouchSmart, which now looks deeply silly, and I really hate the bald CGI lady who lip-syncs some of Fergies parts. Its that Lawnmower Man thing: Most of the time, when some new visual technology is supposed to blow minds, it comes out looking like pixelated farts. We never learn.

At the time, Fergie said that the Boom Boom Pow video represented the groups rebirth into this music world, into the digital afterlife. Really, the clip was supposed to echo Kraftwerks 1986 video for Musique Non Stop, but that video kind of sucks, and it didnt improve with 2009 aesthetics. (Kraftwerks highest-charting Hot 100 single, 1974s Autobahn, peaked at #25.)

Janky as it may be, Boom Boom Pow had a huge zeitgeist moment. In its first week, the track sold hundreds of thousands of downloads. Will.i.am told Billboard that he wasnt expecting all that: Boom Boom Pow was made for underground clubs. Like, if I wouldve thought that was gonna be a radio song, I wouldve made it different. The Black Eyed Peas still capitalized on the moment, releasing about a million remixes. Tons of people were involved in Boom Boom Pow reworks: Flo Rida, Kid Cudi, David Guetta, LFMAO.

The Boom Boom Pow remix that I heard the most came from German producer Boyz Noize, and it featured verses from 50 Cent, someone whos been in this column a bunch of times, and Gucci Mane, who was in the midst of a huge mixtape run but who wasnt anything like a pop artist at the time. On that remix, Gucci says, Gucci, Black Eyed Peas, thats what people aint thinking. He was right. I was not thinking that. (Gucci Manes two highest-charting lead-artist singles, the 2017 Migos collab I Get The Bag and the 2018 Bruno Mars/Kodak Black collab Wake Up In The Sky, both peaked at #11. As a guest, Gucci will eventually appear in this column.)

Boom Boom Pow held the #1 spot for an unfathomable stretch of time. It was the #1 song in America when my daughter was born, and she is not particularly thrilled about this fact. When Boom Boom Pow finally fell out of the top spot, the Black Eyed Peas had an even bigger hit ready to go. Well see them again in this column very soon.

GRADE: 4/10

Link:

The Number Ones: The Black Eyed Peas' Boom Boom Pow - Stereogum

Retailers know that trade show visits are precious and require a specific plan: making a schedule to reorder from their regular vendors, while setting aside time to walk the floor and see whats new. To help buyers maximize their trek to this years ASTRA Marketplace (June 11-14), we zeroed in on first-time exhibitors and found out what products theyll have on display. And because tapping into marketplace trends is especially important in todays retail environment, we paid close attention to how these companies are keeping current, so you can stay relevant in your own business.

Heres a sampling of who to check out while youre at ASTRA. Be sure to stop by and welcome them to our community!

Buzzy/Dantoy (Booth #1845): Sustainable living has become a popular buzzword in our cultural zeitgeist, including during playtime. This line of recycled, eco-friendly toys, teethers and kid tableware from Denmark speaks to the Toy Associations Be Authentic trend. The Blue Marine Bucket Set is fashioned from repurposed nets, ropes and other maritime gear, while the Garden Mini Greenhouse Set is made from sustainable recycled materials and encourages young children to explore nature through role play.

Crated With Love (Booth #1815): Kidults, which were once deemed a trend, have quickly morphed into their own product category. This companys line of board games speaks to this movement with date night titles designed for ages 18 and up. Mix It Up Date Night Generator lets couples choose from over 100,000 ideas for enhancing dinner and movie suggestions. Out on the Town Date Night Scratch Off Cards, also aimed at ages 18 and up, offer up fun alternatives for together time while on the go.

HyperTile (Booth # 110): Construction sets that saw a resurgence during the pandemic continue to resonate with kids of all ages. To promote family togetherness comes a line of connectible tiles in different shapes that can be linked together. A departure from traditional building sets, these non-linear tiles use special connectors that enable shapes to rotate, offering a creative spin on construction play.

Kiddy Crawler (Booth # 1849): Parents looking for an engaging way to entertain an active baby can check out the Crawligator. This developmental crawling toy in the likeness of an alligator provides tummy time support, while boosting gross motor skills. The lightweight design enables easy transport for vacations or visits to Grandma.

Merk Games (Booth # 1843): Family game night gets a reboot with a crop of new titles that test players knowledge and quick thinking. Among this exhibitors releases are the fast-paced Wise & Witty aimed at ages 17 and up and two editions of Rapid Around (Childrens ages 7 and up and Family age 14 and up). Each party game offers fast-paced play with plenty of opportunities for laughter.

Soft Notes Toy Company (Booth #1855): An eye-catching line of musical-themed decorative pillows is music to retailers and kids ears. The idea for the company came to light when a violinist who couldnt find a violin-shaped pillow for his daughter decided to sew one of his own design. The plush line also includes a guitar, amplifier, grand piano and eighth note, and fits into the Tween Takeover trend of display-worthy toys.

Soothing Snuggler (Booth #1841): With social-emotional learning gaining ground in the classroom and at home, toys that speak to a childs overall well-being are becoming more prevalent. The Soothing Snuggler, a talking plush bear, helps teach self-soothing skills to little ones. Designed by a child psychologist who sought to assist her own young son, this toy guides kids through breathing exercises and relaxation techniques simply by touching his paw.

See Also From GDA:

Go here to see the original:

7 First-time ASTRA Exhibitors You Don't Want to Miss This June - Gifts & Decorative Accessories

When Lesley Lokko was invited to curate the 2023 Venice Architecture Biennale, it felt like the next chapter of a narrative shed been building for decades. I told myself, Youve been waiting a long time to have a space: now take it, and say something, she says during a stopover in London on her way from Ghana to Venice.

The wait is almost over: the 18th edition of architectures pre-eminent cultural event opens on May 20. Under Lokkos direction, 89 independent exhibitors and 64 nations will present proposals and provocations that reflect the state of the discipline. And, for the first time, the spotlight will be on Africa and its diaspora. The space has opened up to tell a different, more complex story about architecture and its relationship to society, Lokko says.

Her desire isnt to replace the existing architectural canon but to expand it. The sense of an incomplete story, which hasnt made room for other voices, is strong in my mind.

The Ghanaian-Scottish academic heads the African Futures Institute, an Accra-based architecture school and events platform she founded in 2020. Lokko has taken a circuitous route to get here: after trying her hand at Hebrew, Arabic and sociology before studying architecture at UCL in London, she initially gravitated towards designing homes, but found the realities of architectural practice too messy. Id been seduced by the idea of a neat desk with a pot of pencils on it, she jokes. But I was terrible. I built my own house and one for a friend: they were nightmare experiences. She quickly realised that education was her calling, earned her PhD and then taught at universities around the world.

For 12 years she left architecture entirely to be an author: her first novel, Sundowners (2004), was a bestseller, and she published 11 more. In 2012 The Scotsman newspaper described her books as Jackie Collins...with a smart and sophisticated edge. Writing fiction wasnt a total departure from architecture, she found: They are both about imagining worlds, and you have to have a three-dimensional mind to hold it all together.

What has been consistent is Lokkos interest in the intersection between race and space, from her novels and her 2000 anthology, White Papers, Black Marks: Race, Culture, Architecture, to the graduate school of architecture she established in Johannesburg in 2015 against the backdrop of the Rhodes Must Fall movement. The Venice exhibition is the physical manifestation of these ideas.

This is the first time the Architecture Biennale has had a curator of African origin. The absence of voices from the continent is clear in Venices complex of 29 permanent national pavilions; Egypt is the only representative. This matters not simply because it neglects a huge chunk of the world, but because the region is at the forefront of urgent global challenges climate change and rapid urbanisation among them.

The global south is often treated as a problem to be solved from the outside. Lokko argues instead that Africa holds an abundance of ideas that the western establishment has ignored until now. The youthful continent is a laboratory for the future, she says. That is the title she has chosen for this years exhibition, intended to encourage people to experiment with bold visions for how we should live.

Participants will respond to the twin themes of decolonisation and decarbonisation topics, Lokko points out, that go beyond the zeitgeist. Historically for Europe, she says, the black body was a unit of energy. Sothe relationship between decolonisation and decarbonisation is a thousand years old.

Leading African and diasporic practitioners the likes of Ghanaian artist Ibrahim Mahama and South African architect Sumayya Vally are exhibiting alongside others from around the world. Special projects explore themes ranging from food to gender, as well as the Tropical Modernism style that developed in west Africa during colonial rule. National pavilions interpret the themes through their own lenses from countries focusing on water (Greece, Panama, Grenada) to the UK, which explores how diasporic communities use everyday rituals to claim space. A lot of what youll see will be about the construction of the imagination, and of narratives through film, photography, drawings, models its about a world thats yet to come, Lokko says.

The focus on Africa and its diaspora is also a way of exploring hybridity, the merging of identities and cultures arguably the defining condition of our moment. Architecture is itself a hybrid profession, intersecting with planning, politics and public health. Theres something about the training of an architect thats particularly suited to our time: its about bringing disparate pieces of information together in a framework, says Lokko. Architecture is about more than building buildings.

This expansive definition will leave her vulnerable to a common criticism of architects: they think theyre experts at everything. Lokko stresses she isnt proposing that the discipline expands endlessly rather that challenges which fall outside architecture as its traditionally understood are inevitable. The hope is that, by privileging other issues, the nature of how one practises architecture will change, she says. Architects have the power to change the culture of how we build and how we think about resources.

Ultimately, though, Lokkos intention is not just to tell a different story but to change who tells it. More than half the exhibitors this year hail from the African continent or diaspora. There is also gender parity and an average age of 43, contrasting with an industry dominated by older, white, male voices. In keeping with Lokkos interest in education, the Biennale is for the first time running a college for 50 early-career practitioners from around the world.

Not all of Lokkos own teaching stints have been positive. Her departure in 2020 from her position as dean of the Spitzer School of Architecture at City College New York gained wide public attention. In her resignation letter, Lokko described it as a profound act of self-preservation. As well as experiencing overwork during the first phase of the pandemic and a lack of meaningful support no job is worth ones life, she said she says the institution was structurally resistant to the transformation it claimed it wanted.

For Lokko, one realisation that came out of this was the importance of creating alternatives to traditional networks of power. Until then, I thought relationships with allies were things you found almost accidentally. Now I have a more deterministic view: its important, for example, that women of my generation Im almost 60 are available to younger women. Succession is something you make, by constructing opportunities.

When the exhibition finishes in November, this network might be its most immediate legacy. Yet its impact will be limited by its very context. Of a continent of a billion people, how many people from Africa are ever going to come to Venice? (At the time of writing, members of Lokkos own team in Accra had been denied visas to attend the event.)

So what will people who can make it take away? I hope people will see the power of the imagination that it doesnt depend on privilege or resources, Lokko says, and that theyll come away somehow changed by the experience.

To November 26, labiennale.org

View original post here:

Curator Lesley Lokko on the Venice Architecture Biennale: 'It's about ... - Financial Times

The Frankfurt National Assembly met for the first time on May 18, 1848. The delegates were meant to work on a constitution and prepare for elections. They appointed Heinrich von Gagern (1799 1880) as president of the assembly.

Archduke Johann of Austria (1782 1859) was called upon to serve as regent of the empire. He was the head of state in the German federation until the free elections. His appointment was the first in a series of poor decisions. For the radicals in the assembly, he stood for an old system that needed to be overthrown. For them, it was unimaginable that they should cooperate with such a man.

The next problem arose in the summer of 1848 after the truce of Malm, which ended a conflict in Schleswig-Holstein. There, despite Prussian intervention, the revolution against the Danish ruler, King Frederick VII (1808 1863) was defeated. The National Assembly was forced to recognize that, without an army of its own, it couldn't protect the interests of its members.

The delegates also quickly noticed that they weren't just missing their own army, but also all the other ingredients needed for the founding of a state: a capital city, national institutions, common laws, or other common ideas about who should be part of the new German empire.

Most of the delegates were academics who tended toward wide-ranging discussions. Valuable time was being lost on debates about civil rights or freedom of speech. But statingthese basic rights also paved the way for Germany's constitution today, as DW explained in a podcast in 2008.

But while the discussions went on in Frankfurt in 1848,the opponents of the revolution were able to mobilize their forces.

Even when National Assembly delegate Robert Blum (1807 1848) was executed following an outburst of revolutionary fighting in Austria, the delegates in Frankfurt continued to talk. By the end of December 1848, they'd debated a whole catalog of basic and human rights but failed to see the real power structures for what they were.

One of the core points of the debates was the question of which states should belong to the German empire. For some, it should be the members of the German Federation, Prussia, and Austria the "big German" solution.

Others wantedAustria tobe excluded this was the "small German" solution. But both propositions were factually impossible.

Proponents of the "big German" solution dreamed of a Germany under the Habsburg crown; they were fans of the old empire of the Middle Ages, simply dressing up their ideas with a bit of liberal Zeitgeist. In reality, what they wanted was a revival of the Holy Roman Empire of the German Nation that had disappeared in 1806 under Napoleon's rule.

But they were ignoring the several million non-Germans who would then be living in a German Empire. And as this plan would have led to the division of Austria, it was hardly surprising when Austrian Emperor Francis Joseph I (1830 1916) vehemently voiced his opposition.

But the "small German" solution of the German Federation and Prussia without Austria was also rejected by the Austrian emperor, as he then would have lost his influence in Germany. This solution also missed the mark in terms of the vision to unite "all those of the German tongue" in the new empire. Months went by with the two sides unable to find a compromise, and soon they were arguing over another question: should the new Empire be a republic or a constitutional monarchy?

On March 27, 1849, a vote was held, with a slim majority opting for a constitutional monarchy with the Prussian king at the helm as German emperor. A delegation was dispatched to Berlin to crown Frederick William IV (1795 1861), but he refused to accept it. For him, it was as if he was being offered an "iron dog collar" by the National Assembly. Since he wouldn't allow the "scoundrels" to give him the crown, he squandered the Germans' last chance to become a nation-state within a movement supported by the people.

A little later, when the last troops capitulated in Rastatt, the German Revolutions were over. The delegates failed not just because of the missing power base, but also because they were unable to resolve the question of national boundaries. Excluding Prussia and Austria would have been too bland an option, as if forming a state out of the remnants one which, like the German Federation, would not have been capable of surviving on its own. Instead, it would have been dependent on the goodwill of the other "German states." Including Prussia and Austria would have meant an eventual split for both states, since both were home to large groups of non-Germans.

And so, the status quo remained in central Europe for the time being. But the events of the German Revolutions had made it clear that the danger of destabilization had become greater.

Around 22 years later, a German empire would be founded although without the involvement of the people. The ceremony marking its creation was held in January 1871 in the Hall of Mirrors at Versailles. This time, Prussian King William I (1797 1888) approved. Peace in Europe was maintained for several years until the increasingly aggressive policies of the new German Emperor William II (1859 1941) led to an eruption of unforeseen scope.

This article was originally written in German.

While you're here: Every Tuesday, DW editors round up what is happening in German politics and society. You can sign up here for the weekly email newsletter Berlin Briefing.

Read more from the original source:

German revolution of 1848: A precursor to today's democracy - DW (English)

Alright Amsterdam, it's time to head East. This August will see The Hoxton open its second hotel in the Dutch capital slap bang in the heart of the Eastern Docklands, home to a laid-back, locally-rooted community drawn to the swathes of serene greenery, waterside views and thriving indy scene. Taking up residence in a landmark that was originally built by the Royal Dutch Lloyd Shipping Company in 1921, the 136-room hotel will honour the building's storied past while embracing the vibrancy and youthful energy that defines this corner of the city. A cosy, open-house lobby will welcome locals to their new neighbourhood spot, which also houses destination restaurant Breman Brasserie, hot new cocktail bar concept, Barbue, and The Apartment, The Hoxton's hybrid events and meeting space. The ultimate summer hangout in the form of a sun-drenched, south-facing terrace rounds out the scene for Lloyd's next chapter, Hox style.

As with the interiors of Amsterdam's original Hoxton on the Herengracht, Ennismore's AIME Studios has once again collaborated with local design firm Nicemakers to create an aesthetic that pays homage to the building's roots while capturing the creative zeitgeist of the Eastern Docklands. The architectural heritage of the 1920s structure has been embraced and elevated, with elements such as the stained-glass windows, timber panelling, and original tiling inspired by the brick expressionist movement uplifted by bold tones, and oversized, graphical patterns. Vintage furniture sourced from Northern Europe and statement lighting fixtures such as the seven spectacular glass chandeliers in Breman Brasserie hark back to the glamour of the landmark structure's Art Deco roots. Offering a contrasting shot of modernity, neighbouring gallery Bisou has curated the hotel's all-Dutch artwork collection featuring emerging local talent as well as established and rediscovered artists.

The bold design concept is continued throughout the interiors of the 136 bedrooms where a warm palette of corals, reds and ochres is juxtaposed against cool blues and greys; a playful nod to Lloyd's shipping connections. The unique footprint of the building has allowed for a whole raft of new and exciting room concepts, including the Tower Room with its charming spiral staircase and unbeatable waterfront views, and the split-level Studio Mezzanine. All the Hox favourites including Cosy, Biggy and Roomy categories are represented, and the all-new, four-person Biggy Double Up rooms are perfect for stays with family or pals with the addition of a second king-size bed, while Biggy Bunk Up rooms feature a double bed alongside curtained bunk beds reminiscent of nautical sleeper berths.

The Hoxton will be bringing two fresh new concepts to the neighbourhood: Breman Brasserie, a comfort-driven spot thattakes inspiration from turn-of-the-century European and South American cuisine named after the building's original architect, and standalone cocktail bar - Barbue. Inspired by iconic and timeless brasserie culture, Breman Brasserie will offer an all-day classically European menu whilst combining this with the punchy flavours of South America with a welcoming ambience that encourages people to join for a coffee and cake, a lengthy lunch that stretches into the late afternoon, and a high-spirited dinner that ends with shots of tequila and a sing song on the way home. Situated in the building's original ticket office, Barbue is influenced by golden age Argentina with expertly made cocktails that put a twist on the classics, produced with seasonal and sustainable ingredients.

Loved by locals and curious travellers alike for its easy-breezy vibe and boutique shopping streets such as Javastraat and Czaar Peterstraat dotted with independent galleries, cafes and bars, the Eastern Docklands district offers a striking counterpoint to Amsterdam's distinctive canal house aesthetic with a waterfront dotted with contemporary glass and steel buildings. The hotel is well placed to discover the entire city, it's just a quick 10-minute cycle or tram ride to Centraal Station and 15-minutes away from its sibling on the Herengracht.

Hotel website

The Hoxton, Lloyd Amsterdam Oostelijke Handelskade 34Amsterdam, 1019 BNNetherlands, The

+31 20 561 3636

Read the original post:

The Hoxton, Lloyd Amsterdam to open 21st August 2023 - Hospitality Net

Did I mention that I hate sports? Thats OK, because this Tuesday theres only one focus anyway: Getting to the polls in the Pennsylvania primary and special elections, if you are eligible to vote. Philly voters will be picking the citys first non-comatose mayor in eight years. Suburban school elections could stop the book banners. The Pennsylvania Supreme Court could save your 2024 ballot. So vote in 2023!

Did someone forward you this email? Sign up to get this newsletter weekly, because well be here for all the winners and losers even the biggest losers on the planet, the Philadelphia 76ers.

Interestingly, my question about great 2020s pop musicians didnt stir nearly as much passion around here as the debt ceiling (go figure). But you guys did vote for such diverse artists as Devon Gilfillian and Amos Lee (both from Philly), Jon Batiste, and Leon Bridges. Jason Isbell is a phenomenal songwriter, singer, and guitarist, wrote Donna Carlton. His lyrics hit you right in the gut. He and his band, The 400 Unit, can rock with the best of them. Yup, and Ill add my own two cents: Margo Price, Adia Victoria, and Drive-By Truckers.

This weeks question: How do you handle a problem like the Philadelphia 76ers? Is firing coach Doc Rivers enough, or should they go as far as trading MVP-winner and playoff loser Joel Embiid? For a chance to be featured in my newsletter, email me your answer.

Will Sen. Joe Manchins massive ego take down the American Experiment in 2024?

On TVs remarkable Succession, the lines between real life and art are often blurred like a 19th-century impressionist painting. Sometimes its very deliberate as with Sundays third-from-last-ever episode about an undecided presidential election, a dangerously right-wing Republican, and the role of a biased cable-news network that gave many viewers bad-acid flashbacks to the Election-Night trauma of 2016 or 2020.

One minor subplot (spoiler alert, but not much of one) was the all-too-predictable end of the vain and sometimes foolish presidential campaign of dim-bulb family heir Connor Roy, who blew $100 million of his inherited fortune on an ill-conceived third-party bid (slogan: Enough Already!) that struggled to climb to 1% in the polls and melted when the first 7 p.m. returns came in. Alas, Kentucky, he says to his new wife Willa. Alas, vanity.

I wonder if West Virginia Sen. Joe Manchin was watching. He might have learned something because in this center-right Democrats unreality show, life seems to be imitating art. Its true that unlike Connor Roy, Manchin a millionaire who owns a Maserati and a yacht didnt inherit his wealth. (He doesnt really want you to know how he made it.) But he seems increasingly eager to spend at least $70 million of other peoples money on a 2024 independent White House campaign pretty much as vainglorious and foolhardy as the one concocted in the Succession writers room, and which would only run slightly better in Kentucky.

Alas, West Virginia. Alas, vanity.

Here is what is shaping up as a nightmare scenario for the American Experiment. Remember the 2016 race, when poll data showed that Donald Trump and Hillary Clinton were two of the most unpopular major party candidates ever to seek the Oval Office? Turns out that was just a coming attraction. Headed into 2024, core GOP voters just cant quit Trump and his worldwide Retribution tour, even though a majority of U.S. voters still despise him. Yet the oldest president in American history, Joe Biden, is nearly as unpopular, with even a majority within his own party wistfully hoping for an alternative. His biggest appeal is that hes not Trump.

The weakness of the two prohibitive favorites for their partys 2024 nominations highlighted by polls showing about one fifth of Democratic primary voters might back anti-vaxxer Robert F. Kennedy Jr. seems like a brightly colored invitation for a third-party, independent candidate. Politics abhors such a vacuum, and poised to rush in is the self-proclaimed centrist group called No Labels, whose Democratic members in Congress have already thwarted some of Bidens more progressive goals.

The No Labels folks with a center-right agenda that caused The Intercept in 2018 to suggest that maybe the group should be labelled Republican have tended to oppose a progressive platform (universal health care, free public college) and sought work requirements for social programs like food stamps, while supporting some tame moderate ideas like gun background checks or infrastructure spending. As critics have pointed out, No Labels, despite its branding, does take a side: pro-billionaire, backed by a rogues gallery of corporate CEOs. One of its biggest recent donors is Dallas real-estate mogul Harlan Crow, the sugar daddy of right-wing Supreme Court Justice Clarence Thomas. (Just to keep the Succession analogy going, a No Labels-related PAC also received $500,000 from Logan Roy ... I mean, Rupert Murdoch.)

Despite the fact theres much overlap between No Labels policies and Bidens goals including the infrastructure and semiconductor bills the group has raised that whopping $70 million for the ambitious project to mount an independent, third-party campaign if both parties nominate unacceptably divisive candidates. The GOP? Check. But Biden, seriously? Democratic qualms about their standard bearer center on his age and, among young voters, that hes not progressive enough. Only Fox News brainwashing victims think POTUS 46 is divisive.

But as Anton Chekhov would surely tell us, do not place $70 million on the table in the first act unless you plan to burn it, spectacularly, in Act Three. Never mind that America has never really come that close to electing a third-party president; even a popular ex-POTUS like Theodore Roosevelt couldnt pull it off and a seeming zeitgeist-catcher in 1992s Ross Perot won only 19%. The No Labels scheme isnt even known yet to most voters and has virtually no popular support, yet its kamikaze momentum seems unstoppable.

And in Manchin, this political idea from heck seems to have found its perfect match.

The politics is perfect fit, for sure. Like No Labels, nominal Democrat Manchin can be occasionally OK (confirming Biden judges, surprisingly greenlighting a climate bill) but for the most part is more conservative than even his centrist reputation. And he keeps moving right. Just months after supporting that bill, he now says he will oppose any nominees to the U.S. Environmental Protection Agency who back Bidens radical climate agenda. He said this after returning from the key state of Iowa, where he called himself fiscally responsible and socially compassionate. (Read my earlier columns about Manchins corruption and destructive politics.)

He sure sounds like a presidential candidate, especially when he declared everything is on the table.

There are plenty of good reasons to run not for America, but for Manchin. His Senate seat is up for re-election in 2024 and the odds are that Manchin whos watched West Virginia go from a place Bill Clinton won in 1996 to one of Americas reddest Republican states would lose, especially if the GOP runs popular Gov. Jim Justice. That means his time as kingmaker of a divided Senate is running out.

On the other hand, this man who never says no to the Sunday talk shows would be in even greater demand as a presidential candidate, much as Perot was in 1992. The exposure wont come close to putting him in the White House, but it could boost his salary as a rainmaker or a lobbyist starting in 2025.

But the other thing that a Manchin-No Labels campaign would accomplish would be electing Trump, the most unacceptably divisive candidate in American history. Its true that the impact of third-party candidates is unpredictable; most experts believe, for example, that Perot took votes equally from Bill Clinton and George W. Bush. But the informed hunch is that a three-way race in 2024 would help Trump return to the White House.

Some of it is simple math: Nominally, thered be two Democrats a traditional one in Biden and a conservative one in Manchin facing one Republican, likely to be Trump. Whats more, Manchins appeal isnt his charisma he has very little but for folks who dont really like Trump or Biden. With just two choices in 2020, those voters broke for Biden and gave him the margin of victory. Trump might be loathed by the majority, but he also has the most rabid base of supporters, which is critical in a multi-candidate race.

Heres the reality: The billionaires funding No Labels would indeed love the all-but-impossible Manchin administration, but too many of them would also be perfectly OK with the 21st-century fascism of Trump 47, as long as that kept corporate taxes low and meant more pro-business judges. No one should fall for this Trojan horse of a presidential campaign. As Connor Roy himself might declare, Enough Already!

Yo, do this

Its no accident that the era of the anti-Establishment anti-hero taking on a corrupt civil society in sometimes-violent capers like Bonnie and Clyde or Dog Day Afternoon was also the last golden age of Hollywood movies. In todays fraught political environment, its not surprising that an award-winning, highly praised thriller in that same spirit How To Blow Up a Pipeline has struggled to get theater bookings. But now you can rent the film that the New York Times called a propulsive heist thriller even as it asks the audience what are the moral limits of fighting a catastrophe such as climate change on popular sites like Amazon or YouTube. So what are you waiting for?

This newsletter is often saturated by my own life experiences as a baby boomer from nostalgia for Watergate and Jefferson Airplane to my disappointment at our political failures. Now, the Washington Posts great Philip Bump has written a book asking the inevitable question: What comes after us? In The Aftermath: The Last Days of the Baby Boom and the Future of Power in America, Bump a whiz at using data to analyze where America is going looks at the last throes of the generation born from 1946-64 and what that means for the survivors. Thanks to Doc Rivers, James Harden, and Joel Embiid, I now have plenty of free time to read it.

Ask me anything

Question: Do you think itll be a high voting turnout for the mayor voting race? Via Vernon Carter (@TrkTurner) on Twitter

Answer: Vernon, history tells us the answer will be no. In the last seriously contested mayoral primaries in 2015, just 27% of Philadelphias registered voters turned out. And frankly I wonder if the shockingly lethargic mayoralty of the man who won that election, Jim Kenney, has devalued the citys top job in the eyes of some voters even as the city faces significant challenges. And heres a related problem: Philly unlike most other big cities has neither a runoff system nor the newer innovation of ranked-choice voting. This years tightly bunched field of contenders means the winner could get as little as 25% producing a mayor that the vast majority of Philadelphians did not vote for. No matter who wins tonight, I will be surprised if the 2023 election does not inspire a movement for significant ballot reform.

History lesson for Republicans on the true meaning of Good Samaritan

In the Christian Gospel of Luke, Jesus is questioned by a lawyer who wants to know what it means to be a good neighbor. The Christian savior responds with what is known as the Parable of the Good Samaritan. It describes a traveler who is robbed, beaten, and left for dead at the side of the road. Two men of high standing, including a priest, walk right past him. But a Samaritan people thought to be enemies of the Jews stops to help the hapless victim, treating his wounds and transporting him to a nearby inn. The good neighbor, Jesus told the lawyer, was he who showed mercy on him. Go and do likewise.

Its been a few decades since I attended Sunday school, so I went back and re-read this parable to see if I was missing the part of the story when the Good Samaritan grabs the traveler from behind, places him in a military-style chokehold and strangles him. If that sentence sounds absurd to you, then you are not a fan of politicians like Florida Gov. Ron DeSantis or a consumer of right-wing media like the editorial page of Rupert Murdochs Wall Street Journal. All of them are taking part in what looks to be a coordinated campaign to portray Long Islander Daniel Penny, the 24-year-old ex-Marine whose Manhattan F-train chokehold killed a homeless and mentally ill Jordan Neely, as the Subway Samaritan.

We must defeat the Soros-Funded DAs, stop the Lefts pro-criminal agenda, and take back the streets for law abiding citizens, DeSantis apparently days from announcing a 2024 White House bid tweeted after Penny was booked on second-degree manslaughter charges. We stand with Good Samaritans like Daniel Penny. Lets show this Marine Americas got his back. These attempts to recast Penny as an American hero have been quite successful, raising about $2 million and counting for the ex-Marines legal defense. This alternative universe isnt just endorsing a nation of vigilantes taking the law into their own hands, but also creating a Minority Report-style Department of Pre-Crime, since Neely loudly disrupting the subway car with pleas for food, water, and help assaulted no one and seems to have committed no overt crime immediately prior to his death.

This sends a clear message, said the historian Thomas Zimmer, as cited in Heather Cox Richardsons must-read daily newsletter. It encourages white militants to use whatever force they please to fight back against anything and anyone associated with the Left by protecting and glorifying those who have engaged in vigilante violence call it the Kyle Rittenhouse dogma. I agree, but Im also aghast at the rank hypocrisy at this movement that appeals for the Christian fundamentalist vote while completely distorting the words of the Bible. Before he imposes his campaign on America, I would urge DeSantis to at least re-read the Parable of the Good Samaritan, and then go and do likewise. Because slandering Jesus is not a good look.

What I wrote on this date in 2017

What was that sound? Nothing less than the stirrings of a whole different kind of revolution from the city that gave America the Declaration of Independence and the Bill of Rights a revolution aimed at finally undoing a draconian justice regime that had turned the Cradle of Liberty into a death-penalty capital and the poster child for mass incarceration. Thats what I wrote on this exact date six years ago, in celebrating a landmark moment in modern Philly history: the election of a reform-minded district attorney in Larry Krasner. Will history rhyme on this May 16 for progressives with their mayoral candidate, Helen Gym? While youre waiting for the answer, please read: This wasnt just a primary victory. This was a revolution.

Recommended Inquirer reading

Jeez, theres a lot going on right now. Late last week, I used the controversial occasion of a nationally televised CNN town hall to look at the state of Donald Trump and what that is saying about the state of the nation. I focused on my dismay not over the candidates predictable lies but on the audience of New Hampshire GOP voters who cheered and laughed for the rock-bottom worst of it. Over the weekend, I did that thing where I tried to place some important Philadelphia news billionaire Jeff Yass desperate $1 million effort to stop Helen Gym from becoming mayor in the national context of the far rights crusade against the very notion of public education.

Can you imagine if Philadelphia, the city where American democracy was born, held a mayoral election and there was no daily newspaper to chronicle it? That nightmarish-sounding scenario came close to happening this past weekend as unknown computer hackers wreaked havoc with The Inquirers operations, temporarily shutting down our newfangled newsroom overlooking Independence Hall and causing many subscribers to get an early edition of the Sunday paper lacking the latest news. (And if you havent heard the 76ers news, dont ask.) Whatever the hackers intention, a heroic effort by everyone from IT wizards to reporters and editors largely kept the news flowing on a weekend that saw Philly out for everything from pre-election door-knocking to the glitter of Eagles fan Taylor Swift. The great Joni Mitchell asked: Dont it always seem to go that you dont know what youve got til its gone? The fact the bad guys tried to take down The Inquirer should remind you about whats good about locally sourced civic journalism. Please consider supporting what we do here with a subscription.

More:

Ruin America? Joe Manchin is just getting started. | Will Bunch ... - The Philadelphia Inquirer

Ah, the 1980s. The decade was a blur of saturated colours, zany patterns and, yes, feathered hairdos. And if one single logo design captured this frenetic, rule-breaking creative energy, it has to be the MTV logo.

The shifting look of Warner-Amex's (WASEC) music channel tapped into a look that remains influential today by using a simple logo that could, and did, take on myriad different themes. And it's just being rediscovered by a new generation (see our guide to how to design a logo for more inspiration).

MTV began life back in 1981 and would revolutionise pop culture and entertainment with its back-to-back music videos (it was literally music television back in the day) and, perhaps even more notably, its design.

As recently noted on Reddit (opens in new tab), the MTV logo could take on different themes depending on the occasion needed, and these were often wild Memphis design patterns that would look chaotic and garish today.

While some Reddit users are having to explain the concept of MTV to younger peeps for others, the logo designs bring back a wave of nostalgia for the 80s arcade aesthetic. "I used to draw this on my school notebooks when I was 12," one person wrote. But how was the MTV logo born, and why does it so perfectly capture the spirt of its age?

The MTV logo tapped into the international Memphis designmovement. Led by the Italian architectEttore Sottsass, the Memphis group's first show, featuring objects like the Bel Air chair, was held at the Salone del Mobile Milano in 1981, the same year that MTV launched.

The various iterations of the MTV logo with its hand drawn look and crazy patterns reflected the graphics coming out of the Memphis movement. It was the work of young studio Manhattan Design, which was hired by WASEC vice president of creative services Fred Seibert.

But their first proposal was very, very different to the MTV logo we know. On his website, Seibert (opens in new tab) shares a 1982 article and interview from the industry magazine Cablevision, in which he reveals that the agency sent him a Polaroid of a sketch of a hand holding a musical note as if it were an Apple. He loved it, but attempts to work it into a wordmark were disastrous.

After that failure, and with it now decided that a 'MTV' needed to be in the design, the designers began playing around with the letters alone. The result was something simultaneously simple but unique and daring. A massive stately M as a 3D projection with TV scrawled over it.

The simplicity of it meant that the logo could take on a life of its on, with the M subject to all kinds of interventions, from bricks to flags, animal prints and fruit. These many outfits have the logo a feeling of movement, even if it was static.

Image 1 of 2

Some of them may have been hard to read, but that's not really an issue. It's MTV, it was the zeitgeist. People soon knew what it was. Seibert says the design went against everything he knew, but it came to define an era.

For the design stories behind the identities of more recent media outlets, see our explorations of the YouTube logo history and the TikTok logo history.

Continued here:

How the MTV logo captured the creative spirit of the 1980s - Creative Bloq