By Example

Ashlynne took issue with adolescent artists who had difficulty concentrating on this year’s theme show, “Imaginary Friend.” She said, in effect, “I can show them what to do.”

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Then she did it.

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W. o’ …W?: Tony Whyton

“Experiencing a recording as a type of music as process counters the canonical imperative of reifying music.”

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http://www.popmatters.com/review/176027-beyond-a-love-supreme-john-coltrane-and-the-legacy-of-an-album/

W. o’ W.: Kermit Lynch

Change a noun or a verb or two in the following quote and we have excellent advice for listening to music or, more to the point, collecting photographs.

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“Find a good merchant and let her pick out four or five bottles and then give the wines a chance. Try to be open-minded when you taste. A lot of people say, ‘I don’t know much about wine, but I know what I like.’ Maybe you don’t know what you like, because you just keep drinking the same style. The wine world is pretty vast and diverse, and it’s not marriage. You don’t have to be faithful to one style. So don’t impose your comparatively limited experience on every wine you encounter. Try to understand wine styles you’re not familiar with.”

Who’s Hungry?

BHS alum Stephen Hamilton (his is the first picture in “The History of Photography–at BHS”) speaks at the Apple Store on Michigan Avenue this Monday evening. Admission is free. Get on the train and be there. Say hello, too; he’d like to know whence you come. Trust us, it’ll be worth it to attend in ways you won’t know for a while.

http://www.apamidwest.org/2013/10/10/oct-21-apple-store-stephen-hamilton/

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Before you go, look at his site: http://www.stephenhamilton.com/

…and his blog: http://whoshungryblog.com/index.php

and his online magazine: http://www.whoshungrymag.com/

Declassified #1

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This begins a new series of posts in which documents from the Huge School receive the attention they deserve.

W. o’ W.: Wynton

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“I believe that there’s a lot of what I call root American music, and root American musics are all joined together. Those are the blues, gospel, the American popular song, what we call country and western, and bluegrass. Sometimes bluegrass and country western are lumped together, but the two are different. They come out of two kind of different feelings of the same tradition, so I feel that all of those root tributaries feed into jazz. You find jazz musicians collaborating with all musicians. Louis Armstrong inspired Hoagy Carmichael when he was a kid in Chicago, and he gave great readings of the American popular song. Willie Nelson made a great recording singing songs like “Stardust,” and “Stardust” is written by Hoagy Carmichael, who Louis Armstrong spent his birthday party [with at] the Shrine Auditorium in Los Angeles. So we could go on through the bloodlines. Eric Clapton comes from that whole kind of Anglo-Celtic relationship that all Afro-Americans have, that when people use to hear spirituals in the 19th century they’d say it sounded like Irish music to them. When August Wilson, who’s the preeminent Afro-American playwright, passed away, I played at his funeral. He requested that I play “Danny Boy” and that I learn the words. It’s all of these interesting relationships we all have. Our bloodlines are all tied into roots, but when the music becomes a product then all of the segregation and ignorance comes into it, because what it takes to make something is very different than what it takes to sell it. Many times you’re selling an image and other things that have absolutely nothing to do with what it took to make. That’s what I strive for with every collaboration I do; we meet each other on a very human level. We’re not coming together just to make products, we coming together just to make music.”

http://www.readthehorn.com/lifestyle/music/84716/a_conversation_with_wynton_marsalis

Viv Premiered This Morning

http://www.viff.org/festival/films/f9236-finding-vivian-maier

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