Soundlab online – DS Sound Labs http://dssoundlabs.com/ Fri, 19 Nov 2021 03:49:03 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://dssoundlabs.com/wp-content/uploads/2021/10/icon-5-120x120.png Soundlab online – DS Sound Labs http://dssoundlabs.com/ 32 32 Christina Wheeler Shares New “It Was Then, This Is Now” EP https://dssoundlabs.com/christina-wheeler-shares-new-it-was-then-this-is-now-ep/ Wed, 17 Nov 2021 19:42:27 +0000 https://dssoundlabs.com/christina-wheeler-shares-new-it-was-then-this-is-now-ep/ Berlin / Los Angeles-based composer, musician and multimedia artist Christina Wheeler today shares her haunting new EP That Was Then, This Is Now. Wheeler is widely known for her iconic performances with David Byrne during his US tour in 1997 and 1998. Wheeler made her television debut in 1997 with Byrne in “The Late Night […]]]>

Berlin / Los Angeles-based composer, musician and multimedia artist Christina Wheeler today shares her haunting new EP That Was Then, This Is Now. Wheeler is widely known for her iconic performances with David Byrne during his US tour in 1997 and 1998. Wheeler made her television debut in 1997 with Byrne in “The Late Night Show with David Letterman”, as well as his “Sessions at West 54th “on PBS. .

Now as a soloist, Wheeler takes center stage to sculpt his own personal message to hear. With the release of That Was Then, This Is Now, Wheeler thematically tackles life’s tough questions, to which there are never easy answers. Each song addresses a different emotion and problem that Wheeler has grappled with throughout his life, from the question of the human desire for connection, the difficulty of being an open individual, the passing of time, the heartache of the regret and unsatisfied problem solving. dreams.

The EP begins with “One”, a track that embodies the human need for connection. The lush track combines Wheeler’s expressive vocals with subtle synth beats and autoharp chords to create a shimmering effect as she sings, “All we have is here and now.” Wheeler, illustrating the theme of the song, says, “‘One’ is a meditation on the numbers one and two relating to our notions of separation and connection in our larger universal life experiences, and the song addresses what we need to do. do with these puzzles here and now. “

The sequel is “Open,” which combines uplifting rhythms and lush notes with passionate lyrics to encompass feelings of connectedness. Wheeler describes the track as a “deep and intimate connection experience that confronts the way we try to stay open to anything that prompts us to want to cut connection with others, to separate and to be alone. “

As the EP continues, Wheeler delves into the questions of human time on earth with “Never Know”. Wheeler’s voice acts like a wave, shifting from belts to soft, whispered lyrics, with the gentle tapping on the drum. Through “Never Know” she talks about “… the preciousness of our experience from moment to moment in the present and how we let time pass and, in the face of time, we have no idea what that happens after our experience of time is done. “

Each song weaves together to act as a journey to explore the various life issues that Wheeler continues to engage with. Wheeler recorded all six songs in one take, with no editing or automatic tuning. By recording the songs with this raw process, Wheeler felt she had captured the true essence of each song.

Composer, singer, multi-instrumental electronic musician and multimedia artist Christina Wheeler’s sonic explorations include forays into a myriad of styles and forms. She mixes an amalgam of improvised electronic music from a range of sources: processed vocals, vocal loops, manually triggered sampler, theremin, Q-chord, autoharp and electric mbira. The group’s previous projects include Wiremouth, Floating People and BlowOut, and current and recent projects span solo song cycle series, solo instrumental improv compositions, immersive solo and ensemble multimedia performances and projects. generative installation, and collaborations with Nicole Mitchell, Laraaji, Vernon Reid, Hprizm / Priest, Greg Tate and Satch Hoyt.

A native of Los Angeles, Wheeler graduated from Harvard and Radcliffe Colleges and the Manhattan School of Music. She has performed and recorded internationally with many artists including John Cale, Talvin Singh, Marc Ribot, Chris Whitley, Zeena Parkins, John Carter, Fred Hopkins and Andrea Parkins. Wheeler was a featured artist with David Byrne: the band toured internationally and performed on The Late Show with David Letterman and on PBS’s Sessions at West 54th Street. Wheeler has performed at the Joni’s Jazz concert at Central Park Summerstage, featuring music by Joni Mitchell, with Chaka Khan, PM Dawn, Ravi Coltrane and Vernon Reid.

Wheeler has presented in many venues across New York City including Issue Project Room, PS 1, Roseland, Bowery Ballroom, Irving Plaza, The Anchorage, The Kitchen, Joe’s Pub, Knitting Factory, Soundlab, Unity Gain, Roulette and Tonic, where she also organized. At Lincoln Center, she premiered Randall Woolf’s The Trick is to Keep Breathing and covered the piece with the Sirius String Quartet. The New York Underground Film Festival commissioned him and DJ Olive to perform the live score of the Japanese silent classic A Page of Madness.

She appeared in the New York episode of Tvframes (Citytv, Toronto). Wheeler has collaborated with choreographers Sally Silvers and Jodi Melnick. Wheeler performed with Ryuichi Sakamoto for the release of his album Chasm, featuring a new solo set remixing the album, and also playing in collaboration with Sakamoto.

She made her debut at the Berlin Philharmonic with their Jazz Chamber Ensemble and performed with Murcof at the Berghain. Leonardo Music Journal featured his work in their 20th anniversary issue “Improvisation”. Recordings include work with Vernon Reid, Mocky, Jamie Lidell, Fred P, Benjamin Brunn, Shinedoe and solo work on Elliott Sharp’s State of the Union. MTV showcased their music in their AMP electronic program.

Wheeler has collaborated with Laraaji, Vernon Reid, Abdou Mboup and HPrizm: this concert was broadcast on Roulette TV. Issue Project Room commissioned the first part of its multimedia performance / generative installation work, The Magical Garden: Wheeler received an artist residency at Harvestworks Media Center in 2016 to develop the technology for the project. She opened the JazzFest Berlin in the Matana Roberts Sextet and performed at the Ableton LOOP Technology Summit 2017. In 2019, she and Nicole Mitchell opened the Angel City Festival, and Wheeler joined Roscoe Mitchell and the Art Ensemble of Chicago for their 50th anniversary album and concert season.

The Bang on a Can Marathon ordered A Coda to the Totality of Blackness Trilogy, and the CTM Festival ordered Abandon the Totality of Blackness Online. The MaerzMusik Festival / Bang on A Can Festival commissioned and premiered Wheeler’s piece Missing / Still. Then she will release an EP, That Was Then, This Is Now, and two albums, Songs of S + D and Tres Es un Número Mágico, and will continue to develop and present new immersive multimedia works.

Listen to the new EP here:


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Homework is getting quieter https://dssoundlabs.com/homework-is-getting-quieter/ Sun, 31 Oct 2021 22:12:00 +0000 https://dssoundlabs.com/homework-is-getting-quieter/ Monday, November 1, 2021, 11:12 a.m.Press release: PB Tech Do you like the sound of silence? Transparent, fluid and smart: Xiaomi and PB Tech present the latest wireless technologies with the Redmi Buds 3 Pro. Available at PB Tech and the Mi Store from November 1, 2021 for $ 129 RRP. Intelligent noise cancellation | […]]]>

Do you like the sound of silence? Transparent, fluid and smart: Xiaomi and PB Tech present the latest wireless technologies with the Redmi Buds 3 Pro.

Available at PB Tech and the Mi Store from November 1, 2021 for $ 129 RRP.

Intelligent noise cancellation | Multi-device connectivity | Wireless charging | Long battery life

Unprecedented technology has become a requirement in an unprecedented world. In a commitment to keep Kiwis connected, creative and comfortable, PB Tech
Proudly continues its partnership with global giant Xiaomi and today announces the latest True Wireless headphones from the company renowned for its innovation and affordability.

As the leading authorized reseller of Xiaomi’s extensive lineup in New Zealand, PB Tech is excited to share the Redmi Buds 3 Pro – a game changer in the new world of work from home.

Juggling with children and fighting distraction? Hate wasting time changing Bluetooth connection between your phone and your PC? Need technology that goes the distance, even for up to 28 hours on a single charge? With the Redmi Buds 3 Pro, the proof is in the pudding.

“The first things you’ll notice about the Redmi Buds 3 Pro are the eye-catching design, then the amazing active noise cancellation,” said Nik Turner, Head of Headphone Products and Marketing at PB Tech. “This latest gadget from Xiaomi, the world’s No. 2 in True Wireless headphones, is the perfect solution for working from home.”

Turner says a key factor is the Buds’ cutting-edge AI algorithm, compatible with Xiaomi smartphones, which assesses the ambient noise level and user habits to adjust the depth of noise cancellation. “That means they’ll automatically adapt to one of four ANC modes: adaptive, light, balanced, or deep. The result is a reduction of up to 35 decibels in background noise.

“Another common problem is the need for simultaneous Bluetooth connectivity to multiple devices,” says Turner. “Want to be able to answer your phone, listen to music, and then quickly switch to a video call on your PC? Most wireless headphones still require a manual switch. With multi-point connectivity, Redmi Buds 3 Pro users can seamlessly switch between two paired devices. “

Buds also support wireless charging and fast charging for added convenience – just 10 minutes of charging can give you up to three hours of uninterrupted bliss.

With Xiaomi products now available in over 90 countries, the tech giant aims to redefine value and increase technological accessibility across the globe.

Turner says the latest Redmi Buds 3 Pro reflect the company’s ethos of “innovation for everyone,” where cost is typically the biggest hurdle for many consumers.

“We are delighted to bring the Redmi Buds 3 Pro to New Zealand at such an affordable price for such an exceptional product. With smart switching and active soundproofing, they’re designed not only to be incredibly ergonomic, but just to make your life easier, ”says Turner.

Redmi Buds 3 Pro is available from November 1, 2021 in Glacier Gray and Graphite Black for $ 129 RRP online at the Mi Store, PB Tech, and by click and collect in PB Tech stores nationwide.

For more information and full product specifications on the Redmi Buds 3 Pro, please visit
Xiaomi Global product page for Redmi Buds 3 Pro.

List of technical characteristics

Deep noise cancellation – up to 35 dB

The Redmi Buds 3 Pro adopt dual active noise cancellation technology with feedback and feedforward microphones to effectively cancel ambient noise and reduce excess noise in the ear canal.

Intelligent dynamic ANC with 3 modes

Using a Xiaomi or Redmi smartphone compatible with the latest MIUI software, users can change settings in one of three ANC modes:

  • Deep noise cancellation: Ideal for transport
    • Effectively cancels out engine roar and other vibrations inside cars, buses, trains or cabins.
  • Balanced noise cancellation: cafes and parks
    • Effectively cancels surrounding noise, allowing you to enjoy a quiet afternoon.
  • Light noise cancellation: Libraries and offices
    • Effectively reduces surrounding noise in relatively quiet environments.

Double transparency mode

When transparency mode is on, you can still hear ambient sounds without having to remove the headphones. Switching to enhanced voice mode allows you to have a conversation with your headphones.

Three microphone call noise cancellation

The three microphones, along with the Call Noise Canceling algorithm, accurately pick up people’s voices while effectively reducing background ambient noise.

Simultaneous connection

The same set of headphones can be connected to two devices, even on different platforms – such as Android, iOS, and Windows – simultaneously, allowing you to easily switch between entertainment and work.

9mm Composite Vibrating Diaphragm Coil

After being tuned by professional sound engineers in Xiaomi’s in-house sound lab, this ensures that the treble sounds are clear and distortion-free, while the bass sounds are rich, refined and pure.

Up to 28 hours of ultra-long battery life, supported by fast charge and wireless charging

With noise cancellation turned off, the built-in low-power chip delivers up to six hours of use on a single charge and 28 hours in total including its battery-powered carrying case.

In-ear detection

Music automatically pauses when the earbuds are removed and resumes when they are replaced.

IPX4 water resistant

Splash resistant, protecting users from sweat and splashes – ideal for keeping fit and active.

Locate your headphones

Using a Xiaomi or Redmi smartphone compatible with the latest MIUI software, you can locate your headphones by sound, as long as they are within Bluetooth range.

Notes to Editors

About Xiaomi:

Xiaomi is committed to making quality technology accessible to everyone. Xiaomi Corporation was founded in April 2010 and listed on the Main Board of the Hong Kong Stock Exchange on July 9, 2018 (1810.HK). Xiaomi is an internet business with smartphones and smart hardware connected by an IoT platform at its heart. Xiaomi is committed to constantly innovating, with an emphasis on quality and efficiency. Xiaomi is currently the third largest smartphone brand in the world and has established the world’s largest consumer IoT platform, with more than 213.2 million smart devices (excluding smartphones and laptops) connected to its platform.

About Mi Oceania:
Mi Oceania is the New Zealand authorized distributor for Xiaomi. In 2018, they opened the flagship Mi-Store in Sylvia Park Mall, where consumers can have a hands-on experience of the best and most innovative technology at the lowest possible prices. Xiaomi fans can purchase the Xiaomi range at www.mi-store.co.nz.

About PB Tech:

Founded in 1993 and 100% owned in New Zealand, PB Tech is New Zealand’s largest IT and IT retailer with 16 stores + service centers nationwide and a hardworking team of over 600 employees.

© Scoop Media


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Redmi Buds 3: Xiaomi’s TWS budget offers 5 hours of playback for RM139 https://dssoundlabs.com/redmi-buds-3-xiaomis-tws-budget-offers-5-hours-of-playback-for-rm139/ Thu, 21 Oct 2021 02:51:24 +0000 https://dssoundlabs.com/redmi-buds-3-xiaomis-tws-budget-offers-5-hours-of-playback-for-rm139/ Xiaomi introduced the Redmi Buds 3 in Malaysia, their new budget wireless headphones. It is the cheapest alternative to the Redmi Buds 3 Pro which was introduced last month. Redmi Buds 3 price and availability The Redmi Buds 3 is officially priced at RM139 and it only comes in white. If you are interested, it […]]]>

Xiaomi introduced the Redmi Buds 3 in Malaysia, their new budget wireless headphones. It is the cheapest alternative to the Redmi Buds 3 Pro which was introduced last month.

Redmi Buds 3 price and availability

The Redmi Buds 3 is officially priced at RM139 and it only comes in white. If you are interested, it is now available for purchase online via Lazada and Shopee, as well as authorized Xiaomi stores and retailers throughout Malaysia. For comparison, the Redmi Buds 3 Pro which offers active noise cancellation (ANC) is officially priced at RM239.

Redmi Buds 3 Specifications

In terms of design, it looks like another AirPod clone and comes with an all-white exterior. According to Xiaomi, each Redmi Buds 3 weighs 4.5g and the hard tip design provides better comfort for prolonged use. On a single charge, it’s designed to push up to 5 hours of listening and you can get up to 20 hours of total playback with the included charging case. If your battery is low, Xiaomi claims that a 10 minute quick charge is enough to provide up to 90 minutes of use.

The Redmi Buds 3 uses Qualcomm’s QCC3040 chip. It supports Bluetooth 5.2 which would offer lower power consumption, faster transmission and more stable connection. The headphones feature a dual microphone setup with Qualcomm’s CVC echo cancellation and noise cancellation technology to provide clearer voice conversations. Each side comes with a 12mm dynamic sound driver tuned by Xiaomi Sound Lab.

For better durability during workouts, it also has IP54 dust and water resistance. The charging case that comes with a 310mAh battery charges via USB-C and takes 2.5 hours to fully charge.

If you prefer the wireless headphones with ANC and no protruding rod, you can check out the Redmi Buds 3 Pro which costs an additional 100 RM. In addition to that, it also supports wireless charging.


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Music Current Soloists, Currents @ Music Current 2021 https://dssoundlabs.com/music-current-soloists-currents-music-current-2021/ Wed, 20 Oct 2021 13:31:35 +0000 https://dssoundlabs.com/music-current-soloists-currents-music-current-2021/ This concert by the seven composers and five soloists involved in this project reveals the results of their extensive and extended collaborations, and presents seven new works exploring new instrumental resources mediated by electronic forces. Each work, although developed separately in individual relationships, was also developed in a parallel process, with all composers meeting regularly […]]]>

This concert by the seven composers and five soloists involved in this project reveals the results of their extensive and extended collaborations, and presents seven new works exploring new instrumental resources mediated by electronic forces. Each work, although developed separately in individual relationships, was also developed in a parallel process, with all composers meeting regularly to discuss and exchange ideas.

The group also met online at a series of panel discussions throughout 2021 with guest festival composers Alexander Schubert (who is featured in Zubin Kanga’s Wiki-Piano concert) and Brigitta Muntendorf (who is the composer featured in Lina Andonovska’s flute concert Public Privacy).

PROGRAM:
Seán O’Dálaigh, new work with Marja Gaynor (for baroque viola and electronics, 2021)
Elis Czerniak, “and the Acceptance of Death” (for bass flute, bass clarinet, cello and electronics)
Jane Deasy, new work with Ilse de Ziah (for cello and electronics, 2021)
Gráinne Mulvey, “Texts for a Civil War” with Joe OFarrell (for bass flute and electronics, 2021)
Darragh Kelly, new work with Darragh Morgan (violin, 2021)
Paul Scully, new work with Paul Roe (clarinet and electronics, 2021)
Daniel O’Connor, Frisson / Rapture with Paul Roe (for bass clarinet and Morphagene synthesizer, 2021)

Book here

***

Dublin Sound Lab presents
MUSIC RUNNING 2021
CONTEMPORARY ELECTRONIC MUSIC FESTIVAL
BLOUSE ALLEY THEATER :: November 8-11, 2021 :: www.smockalley.com

MUSIC RUNNING is back! The annual Dublin New Music Festival returns with six concerts over four days featuring the best of new contemporary Irish and international electronic music, Smock Alley Theater, from November 8-11, 2021. MUSIC RUNNING, now in its fifth year, offers a platform for the most recent contemporary electronic music. This year’s festival has a decidedly multimedia flavor, with: interactive web performances, video performances, computer sheet music tracking, private YouTube performances carried to the concert hall, guns, shovels and even buckets of sand.

Monday November 8, 8 p.m. – Zubin Kanga, Piano Wiki
Tuesday November 9, 7 p.m. – Current Music Soloists, Currents
Tuesday November 9, 8 p.m. – Darragh morgan, Anthems
Wednesday November 10, 8 p.m. – Bastard missions, Execution
Thursday November 11, 6 p.m. – Lina Andonovska, Public confidentiality
Friday November 11, 8 p.m. – Richard craig, Valley
Tickets for each concert are 15/10 €. Book tickets here.

Festival opens with first Irish concert by Australian pianist and new music adventurer Zubin Kanga, which is performing in Dublin for the first time. Champion of collaboration and new music commissions, Zubin performs a very personal program composed entirely of works he has personally commissioned for piano and electronics, including: the Irish premiere of the work of Alexander Schubert WIKIPIANO.REPORT, in which members of the public can add or modify the score; that of Michael Finnissy and Adam of the Court, the new “Hammerklavier (Part 2)” inspired by Beethoven; the world premiere of Nicole Lizée’s revised “Scorsese Studies”; as well as new works for piano and electronics by Scott McLaughlin and Fergal Dowling

Every year MUSIC RUNNING invites composers from all over the world to develop new works for the festival. This year, seven Irish composers were invited to collaborate with five Irish soloists to prepare a concert of entirely new works based on their one-year collaboration. The resultant Music Current Soloists Concert is a stimulating mix of intimate, imaginative, thought-provoking and playful new works by established composers and the next generation: Seán O’Dálaigh, Elis Czerniak, Jane Deasy, Gráinne Mulvey, Darragh Kelly, Paul Scully, Neil O’Connor, with works performed by Paul Roe, Marja Gaynor, Ilse de Ziah, Joe O’Farrell and Darragh Morgan.

This concert is normally associated with new works developed within the festival, rather than in advance, with one of the participating composers being offered a commission for the following year’s festival. This year the commission award will be open for online submissions and the announcement will be made at this event.

This program is part of a double concert which also presents “classic” works from the repertoire. Darragh morgan, one of the most renowned performers of contemporary music, will give the Irish concert premiere of Pierre Boulez’s “Anthèmes 2”, a flagship work for solo violin and electronic, in which the computer literally “follows” the performance of Darragh in real time and provides live accompaniment. Boulez’s masterpiece is paired with Frank Lyon’s recent commission “Spin 2”, commissioned by Darragh Morgan, the work follows a similar development to Anthemes 2, having undergone revisions and the addition of a part electronic.

The festival sees the Irish debuts of renowned London-based iconoclasts, Bastard missions, who bring their unique brand of collaborative composition and ensemble performance to Dublin in a program of four recent works. This concert is a true multimedia performance that defies the limits of what is considered music – it is a spectacle that can only be experienced live.

The festival ends with a double concert of Irish and international works for flute and electronics. australian flautist, Lina Andonovska offers an exclusive program of Irish premieres featuring some of the most performed international composers of the current generation, including: “Public Privacy # 1 (flute cover)” by Brigitta Muntendorf, a study on the schizophrenic relationship between YouTuber soloists at home and their very public performances; David Fennessy’s new work, “Bridge”; and the Irish premieres of “Études Tarantino” by Nicole Lizée, inspired by cinema.

Renowned Scottish flutist and champion of new music, Richard craig, closes the festival with a program of recent works built around Richard Barrett’s “Vale”, a hypnotic study for amplified flute. Richard will also premiere the intimate and intriguing piece by Seán O’Dálaigh “Paysage II»For flute; a work that Seán wrote especially for Richard in response to the Music Current 2019 commission.

To learn more, visit www.musiccurrent.ie and https://smockalley.com/music-current-2021


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Current music 2021 | The Music Journal https://dssoundlabs.com/current-music-2021-the-music-journal/ Wed, 20 Oct 2021 13:31:35 +0000 https://dssoundlabs.com/current-music-2021-the-music-journal/ Dublin Sound Lab presentsMUSIC RUNNING 2021CONTEMPORARY ELECTRONIC MUSIC FESTIVALBLOUSE ALLEY THEATER :: November 8-11, 2021 :: www.smockalley.com MUSIC RUNNING is back! Dublin’s annual New Music Festival returns with six concerts over four days featuring the best of new contemporary Irish and international electronic music, Smock Alley Theater, November 8-11, 2021. MUSIC RUNNING, now in its […]]]>

Dublin Sound Lab presents
MUSIC RUNNING 2021
CONTEMPORARY ELECTRONIC MUSIC FESTIVAL
BLOUSE ALLEY THEATER :: November 8-11, 2021 :: www.smockalley.com

MUSIC RUNNING is back! Dublin’s annual New Music Festival returns with six concerts over four days featuring the best of new contemporary Irish and international electronic music, Smock Alley Theater, November 8-11, 2021. MUSIC RUNNING, now in its fifth year, offers a platform for the most recent contemporary electronic music. This year’s festival has a decidedly multimedia flavor, with: interactive web performances, video performances, computer sheet music tracking, private YouTube performances carried to the concert hall, guns, shovels and even buckets of sand.

Monday November 8, 8 p.m. – Zubin Kanga, Piano Wiki
Tuesday November 9, 7 p.m. – Current Music Soloists, Currents
Tuesday November 9, 8 p.m. – Darragh morgan, Anthems
Wednesday November 10, 8 p.m. – Bastard missions, Execution
Thursday November 11, 6 p.m. – Lina Andonovska, Public confidentiality
Friday November 11, 8 p.m. – Richard craig, Valley
Tickets for each concert are 15/10 €. Book tickets here.

Festival opens with first Irish concert by Australian pianist and new music adventurer Zubin Kanga, which is performing in Dublin for the first time. Champion of collaboration and new music commissions, Zubin performs a very personal program composed entirely of works he has personally commissioned for piano and electronics, with: the Irish premiere of the work of Alexander Schubert WIKIPIANO.REPORT, in which members of the public can add or modify the score; that of Michael Finnissy and Adam of the Court, the new “Hammerklavier (Part 2)” inspired by Beethoven; the world premiere of Nicole Lizée’s revised “Scorsese Studies”; as well as new works for piano and electronics by Scott McLaughlin and Fergal Dowling

Every year MUSIC RUNNING invites composers from all over the world to develop new works for the festival. This year, seven Irish composers were invited to collaborate with five Irish soloists to prepare a concert of entirely new works based on their one-year collaboration. The resultant Music Current Soloists Concert is a stimulating mix of intimate, imaginative, thought-provoking and playful new works by established composers and the next generation: Seán O’Dálaigh, Elis Czerniak, Jane Deasy, Gráinne Mulvey, Darragh Kelly, Paul Scully, Neil O’Connor, with works performed by Paul Roe, Marja Gaynor, Ilse de Ziah, Joe O’Farrell and Darragh Morgan.

This concert is normally associated with new works developed within the festival, rather than in advance, with one of the participating composers being offered a commission for the following year’s festival. This year the commission award will be open for online submissions and the announcement will be made at this event.

This program is part of a double concert which also presents “classic” works from the repertoire. Darragh morgan, one of the most renowned performers of contemporary music, will give the Irish concert premiere of Pierre Boulez’s “Anthèmes 2”, a landmark work for solo violin and electronic, in which the computer literally “follows” the performance of Darragh in real time and provides live accompaniment. Boulez’s masterpiece is paired with Frank Lyon’s recent commission “Spin 2”, commissioned by Darragh Morgan, the work follows a similar development to Anthemes 2, having undergone revisions and the addition of a part electronic.

The festival sees the Irish debuts of renowned London-based iconoclasts, Bastard missions, who bring their unique brand of collaborative composition and ensemble performance to Dublin in a program of four recent works. This concert is a true multimedia performance that defies the limits of what is considered to be music – it is a spectacle that can only be experienced live.

The festival ends with a double concert of Irish and international works for flute and electronics. australian flautist, Lina Andonovska offers an exclusive program of Irish premieres featuring some of the most performed international composers of the current generation, including: “Public Privacy # 1 (flute cover)” by Brigitta Muntendorf, a study on the schizophrenic relationship between YouTuber soloists at home and their very public performances; David Fennessy’s new work, “Bridge”; and the Irish premieres of “Études Tarantino” by Nicole Lizée, inspired by cinema.

Renowned Scottish flutist and champion of new music, Richard craig, closes the festival with a program of recent works built around Richard Barrett’s “Vale”, a hypnotic study for amplified flute. Richard will also premiere the intimate and intriguing piece by Seán O’Dálaigh “Paysage II»For flute; a work that Seán wrote especially for Richard in response to the Music Current 2019 commission.

To learn more, visit www.musiccurrent.ie and https://smockalley.com/music-current-2021


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Zubin Kanga, Wiki Piano @ Music Current 2021 https://dssoundlabs.com/zubin-kanga-wiki-piano-music-current-2021/ Wed, 20 Oct 2021 13:31:35 +0000 https://dssoundlabs.com/zubin-kanga-wiki-piano-music-current-2021/ This program contains depictions of nudity, violence and drug use. Australian pianist and adventurer of new music Zubin Kanga performs in Dublin for the first time. A champion of collaboration and new music commissions, Zubin presents a very personal program made up entirely of works he has personally commissioned for piano and electronics. In this […]]]>

This program contains depictions of nudity, violence and drug use.

Australian pianist and adventurer of new music Zubin Kanga performs in Dublin for the first time. A champion of collaboration and new music commissions, Zubin presents a very personal program made up entirely of works he has personally commissioned for piano and electronics.

In this concert, Zubin Kanga performs works for piano and multimedia exploring Internet culture, classical cinema, historical pianists, magnetic resonators and electronic lookalikes.

that of Alexandre Schubert WIKIPIANO.REPORT uses a website to allow the audience to co-compose the work specifically for each performance – the audience can link to sound files, YouTube videos, edit text and instructions just like a Wikipedia page, creating a work that reflects the memes and obsessions of the Internet in each performance.

Fergal Dowling pairs the piano with an interactive electronic twin, increasing in complexity until the divisions between true and false crumble.

Scott McLaughlin uses modified electric arcs and magnetic resonators to create strange, otherworldly sounds that gradually transform. Hammerklavier, a collaboration between composer

Michael Finnissy and filmmaker Adam de la Cour are based on Finnissy’s memories of a live performance by great pianist Sviatoslav Richter in 1975, as well as Richter’s queer secret life. The work transforms every movement of Beethoven’s sonata “Hammerklavier”, de la Cour’s film drawing on Richter’s documentary footage, experimental filmmaking techniques from the 1950s and 1960s, and vintage gay eroticism. of this time. The second part of the work (transforming the first two movements of Beethoven’s sonata) receives its world premiere in this concert.

And the famous works in Nicole Lizée’s Criterion Collection use loops and glitches to transform key scenes, creating obsessive tributes to great filmmakers. This recital features the revised version of his Martin Scorsese film-focused ensemble, drawing inspiration from iconic scenes from Goodfellas, Taxi Driver and The Wolf of Wall Street.

Alexandre Schubert, “WIKIPIANO.REPORT”(2018) Irish premiere
Fergal Dowling, “Fake Piano” * (2021) World Premiere
Scott McLaughlin, “Into the Unknown, There Is Already a Script for Transcendence” ** (2018) Irish Premiere
Michael Finnissy / Adam de la Cour, “Hammerklavier” ** (Part 2) (2021) World Premiere
Nicole Lizée, “Scorsese Etudes” (2018 rev. 2021) World Premiere

Book here

* Commissioned by Zubin Kanga with the support of the Arts Council Commission Prize.

** Commissioned with support from Arts Council England.

Zubin Kanga’s work as a composer, performer and researcher is supported by a UKRI Future leaders scholarship.

***

Dublin Sound Lab presents
MUSIC RUNNING 2021
CONTEMPORARY ELECTRONIC MUSIC FESTIVAL
BLOUSE ALLEY THEATER :: November 8-11, 2021 :: www.smockalley.com

MUSIC RUNNING is back! Dublin’s annual New Music Festival returns with six concerts over four days featuring the best of new contemporary Irish and international electronic music, Smock Alley Theater, November 8-11, 2021. MUSIC RUNNING, now in its fifth year, offers a platform for the most recent contemporary electronic music. This year’s festival has a decidedly multimedia flavor, with: interactive web performances, video performances, computer sheet music tracking, private YouTube performances carried to the concert hall, guns, shovels and even buckets of sand.

Monday November 8, 8 p.m. – Zubin Kanga, Piano Wiki
Tuesday November 9, 7 p.m. – Current Music Soloists, Currents
Tuesday November 9, 8 p.m. – Darragh morgan, Anthems
Wednesday November 10, 8 p.m. – Bastard missions, Execution
Thursday November 11, 6 p.m. – Lina Andonovska, Public confidentiality
Friday November 11, 8 p.m. – Richard craig, Valley
Tickets for each concert are 15/10 €. Book tickets here.

Festival opens with first Irish concert by Australian pianist and new music adventurer Zubin Kanga, which is performing in Dublin for the first time. Champion of collaboration and new music commissions, Zubin performs a very personal program composed entirely of works he has personally commissioned for piano and electronics, including: the Irish premiere of the work of Alexander Schubert WIKIPIANO.REPORT, in which members of the public can add or modify the score; that of Michael Finnissy and Adam of the Court, the new “Hammerklavier (Part 2)” inspired by Beethoven; the world premiere of Nicole Lizée’s revised “Scorsese Studies”; as well as new works for piano and electronics by Scott McLaughlin and Fergal Dowling

Every year MUSIC RUNNING invites composers from all over the world to develop new works for the festival. This year, seven Irish composers were invited to collaborate with five Irish soloists to prepare a concert of entirely new works based on their one-year collaboration. The resultant Music Current Soloists Concert is a stimulating mix of intimate, imaginative, thought-provoking and playful new works by established composers and the next generation: Seán O’Dálaigh, Elis Czerniak, Jane Deasy, Gráinne Mulvey, Darragh Kelly, Paul Scully, Neil O’Connor, with works performed by Paul Roe, Marja Gaynor, Ilse de Ziah, Joe O’Farrell and Darragh Morgan.

This concert is normally associated with new works developed within the festival, rather than in advance, with one of the participating composers being offered a commission for the following year’s festival. This year the commission award will be open for online submissions and the announcement will be made at this event.

This program is part of a double concert which also presents “classic” works from the repertoire. Darragh morgan, one of the most renowned performers of contemporary music, will give the Irish concert premiere of Pierre Boulez’s “Anthèmes 2”, a landmark work for solo violin and electronic, in which the computer literally “follows” the performance of Darragh in real time and provides live accompaniment. Boulez’s masterpiece is paired with Frank Lyon’s recent commission “Spin 2”, commissioned by Darragh Morgan, the work follows a similar development to Anthemes 2, having undergone revisions and the addition of a part electronic.

The festival sees the Irish debuts of renowned London-based iconoclasts, Bastard missions, who bring their unique brand of collaborative composition and ensemble performance to Dublin in a program of four recent works. This concert is a true multimedia performance that defies the limits of what is considered music – it is a spectacle that can only be experienced live.

The festival ends with a double concert of Irish and international works for flute and electronics. australian flautist, Lina Andonovska offers an exclusive program of Irish premieres featuring some of the most performed international composers of the current generation, including: “Public Privacy # 1 (flute cover)” by Brigitta Muntendorf, a study on the schizophrenic relationship between YouTuber soloists at home and their very public performances; David Fennessy’s new work, “Bridge”; and the Irish premieres of “Études Tarantino” by Nicole Lizée, inspired by cinema.

Renowned Scottish flutist and champion of new music, Richard craig, closes the festival with a program of recent works built around Richard Barrett’s “Vale”, a hypnotic study for amplified flute. Richard will also premiere the intimate and intriguing piece by Seán O’Dálaigh “Paysage II»For flute; a work that Seán wrote especially for Richard in response to the Music Current 2019 commission.

To learn more, visit www.musiccurrent.ie and https://smockalley.com/music-current-2021


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Darragh Morgan, Anthèmes @ Music Current 2021 https://dssoundlabs.com/darragh-morgan-anthemes-music-current-2021/ Wed, 20 Oct 2021 13:31:35 +0000 https://dssoundlabs.com/darragh-morgan-anthemes-music-current-2021/ Darragh Morgan, one of the most renowned performers of contemporary music, will give the Irish concert premiere of Pierre Boulez’s “Anthèmes 2”, a landmark work for solo and electronic violin, in which the computer literally “follows” the song. Darragh performance in real life. time and makes a live accompaniment. Boulez’s masterpiece is paired with Frank […]]]>

Darragh Morgan, one of the most renowned performers of contemporary music, will give the Irish concert premiere of Pierre Boulez’s “Anthèmes 2”, a landmark work for solo and electronic violin, in which the computer literally “follows” the song. Darragh performance in real life. time and makes a live accompaniment. Boulez’s masterpiece is paired with Frank Lyon’s recent commission “Spin 2” commissioned by Darragh Morgan, the work follows a similar development to Anthemes 2, having undergone revisions and the addition of an electronic part .

Since the late 1980s, when computers became fast enough to follow live performances, composers have written for acoustic instruments augmented with digital electronics. Pierre Boulez is no exception. As the first director of Paris’ Ircam research center for electroacoustic music (1977-1992), he greatly influenced the development of music with live electronics, and they appear in many of his works from the 1980s and beyond. ‘Anthems II‘(1997), for violin and electronics, is a good example of his style and methods. The first thing to note is that there is no “Anthems I”, so to speak. Anthems II is based on a work for solo violin that Boulez composed in 1991 for the Yehudi Menuhin Violin Competition. Approximately 9 minutes long, Anthèmes is a stimulating text about a performer’s skill in handling different instrumental timbres, as well as shaping an endlessly inventive series of races, trills and flourishes.

Anthems II is still for violin. The shape of the coin is basically the same, with the same events in the same order. But with the addition of live electronics, Boulez stretched it to twice its original length.

All the music heard on the electronic track is generated in real time; none of this is pre-recorded. More importantly, in terms of the technical innovations of the piece, everything is set and synchronized by the computer, which analyzes what he hears the violinist playing to “follow” the score itself and trigger the right sounds or effects. at the right time. moment. (In 1997, it was state of the art equipment, using technology and expertise that had been accumulated in Ircam over two decades.) Phrases and gestures are ornate and elaborate, the violin is split into multiple copies of itself, or smeared into chords, or its sound is transformed into rushing wind or raindrops. What in the original were simple pizzicato feathers are divided into many tiny sound points; the trills bloom in large reverberating spaces. It’s as if the solo piece has been placed inside a room of mirrors, each reflecting a differently distorted version of the original.

PROGRAM:
Frank Lyons, Spin 2 (2021)
Pierre Boulez (1925-2016), Anthèmes 2 (1997)

Book here

***

Dublin Sound Lab presents
MUSIC RUNNING 2021
CONTEMPORARY ELECTRONIC MUSIC FESTIVAL
BLOUSE ALLEY THEATER :: November 8-11, 2021 :: www.smockalley.com

MUSIC RUNNING is back! Dublin’s annual New Music Festival returns with six concerts over four days featuring the best of new contemporary Irish and international electronic music, Smock Alley Theater, November 8-11, 2021. MUSIC RUNNING, now in its fifth year, offers a platform for the most recent contemporary electronic music. This year’s festival has a decidedly multimedia flavor, with: interactive web performances, video performances, computer sheet music tracking, private YouTube performances carried to the concert hall, guns, shovels and even buckets of sand.

Monday November 8, 8 p.m. – Zubin Kanga, Piano Wiki
Tuesday November 9, 7 p.m. – Current Music Soloists, Currents
Tuesday November 9, 8 p.m. – Darragh morgan, Anthems
Wednesday November 10, 8 p.m. – Bastard missions, Execution
Thursday November 11, 6 p.m. – Lina Andonovska, Public confidentiality
Friday November 11, 8 p.m. – Richard craig, Valley
Tickets for each concert are 15/10 €. Book tickets here.

Festival opens with first Irish concert by Australian pianist and new music adventurer Zubin Kanga, which is performing in Dublin for the first time. Champion of collaboration and new music commissions, Zubin performs a very personal program composed entirely of works he has personally commissioned for piano and electronics, including: the Irish premiere of the work of Alexander Schubert WIKIPIANO.REPORT, in which members of the public can add or modify the score; that of Michael Finnissy and Adam of the Court, the new “Hammerklavier (Part 2)” inspired by Beethoven; the world premiere of Nicole Lizée’s revised “Scorsese Studies”; as well as new works for piano and electronics by Scott McLaughlin and Fergal Dowling

Every year MUSIC RUNNING invites composers from all over the world to develop new works for the festival. This year, seven Irish composers were invited to collaborate with five Irish soloists to prepare a concert of entirely new works based on their year-long collaboration. The resultant Music Current Soloists Concert is a stimulating mix of intimate, imaginative, thought-provoking and playful new works by established composers and the next generation: Seán O’Dálaigh, Elis Czerniak, Jane Deasy, Gráinne Mulvey, Darragh Kelly, Paul Scully, Neil O’Connor, with works performed by Paul Roe, Marja Gaynor, Ilse de Ziah, Joe O’Farrell and Darragh Morgan.

This concert is normally associated with new works developed within the festival, rather than in advance, with one of the participating composers being offered a commission for the following year’s festival. This year the commission award will be open for online submissions and the announcement will be made at this event.

This program is part of a double concert which also presents “classic” works from the repertoire. Darragh morgan, one of the most renowned performers of contemporary music, will give the Irish concert premiere of Pierre Boulez’s “Anthèmes 2”, a landmark work for solo violin and electronic, in which the computer literally “follows” the performance of Darragh in real time and provides live accompaniment. Boulez’s masterpiece is paired with Frank Lyon’s recent commission “Spin 2”, commissioned by Darragh Morgan, the work follows a similar development to Anthemes 2, having undergone revisions and the addition of a part electronic.

The festival sees the Irish debuts of renowned London-based iconoclasts, Bastard missions, who bring their unique brand of collaborative composition and ensemble performance to Dublin in a program of four recent works. This concert is a true multimedia performance that defies the limits of what is considered music – it is a spectacle that can only be experienced live.

The festival ends with a double concert of Irish and international works for flute and electronics. australian flautist, Lina Andonovska offers an exclusive program of Irish premieres featuring some of the most performed international composers of the current generation, including: “Public Privacy # 1 (flute cover)” by Brigitta Muntendorf, a study on the schizophrenic relationship between YouTuber soloists at home and their very public performances; David Fennessy’s new work, “Bridge”; and the Irish premieres of “Études Tarantino” by Nicole Lizée, inspired by cinema.

Renowned Scottish flutist and champion of new music, Richard craig, closes the festival with a program of recent works built around Richard Barrett’s “Vale”, a hypnotic study for amplified flute. Richard will also premiere the intimate and intriguing piece by Seán O’Dálaigh “Paysage II»For flute; a work that Seán wrote especially for Richard in response to the Music Current 2019 commission.

To learn more, visit www.musiccurrent.ie and https://smockalley.com/music-current-2021


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Lina Andonovska, Public Privacy @ Music Current 2021 https://dssoundlabs.com/lina-andonovska-public-privacy-music-current-2021/ Wed, 20 Oct 2021 07:00:00 +0000 https://dssoundlabs.com/lina-andonovska-public-privacy-music-current-2021/ This program contains depictions of violence and drug use. Curiosity, fearlessness and versatility carry Lina Andonovska’s art all over the world. Andonovska is a rare breed in the world of the flute; a name you’ll discover on both the pages of Rolling Stone and the Australian Chamber Orchestra’s roster, she has not only cultivated partnerships […]]]>

This program contains depictions of violence and drug use.

Curiosity, fearlessness and versatility carry Lina Andonovska’s art all over the world. Andonovska is a rare breed in the world of the flute; a name you’ll discover on both the pages of Rolling Stone and the Australian Chamber Orchestra’s roster, she has not only cultivated partnerships with leading composers such as Louis Andriessen, Donnacha Dennehy and flautist Claire Chase , but also deep community ties from Timor Leste to the Wonder Site incubator in Tokyo.

In this program, Lina presents some of the most inspiring and provocative voices in contemporary music, including Irish premieres of works by Sarah Nemtsov and Brigitta Muntendorf, herself one of Music Current’s guest composers and coordinator of the collaborative composition workshop (see Musique Concert Soloists Actuels). With works by Paul Méfano and Bekah Simms and Nicole Lizée’s “Tarantino Studies”, Lina presents a varied program that uses technology as a central element, not as a gadget, but to question the role of technology and media and their roles in music, musical material and our relationship with media and technology.

PROGRAM:
Nicole Lizée, “Tarantino Etudes” (22 ‘) Brigitta Muntendorf, “Public Privacy # 1” (Flute cover) (5’)
Sarah Nemtsov, “amplified imaginary” (10 ‘) Paul Méfano, “Traits suspendus” (6’)
Bekah Simms, “Skinscape” (5 ‘)

Book here

***

Dublin Sound Lab presents
MUSIC RUNNING 2021
CONTEMPORARY ELECTRONIC MUSIC FESTIVAL
BLOUSE ALLEY THEATER :: November 8-11, 2021 :: www.smockalley.com

MUSIC RUNNING is back! The annual Dublin New Music Festival returns with six concerts over four days featuring the best of new contemporary Irish and international electronic music, Smock Alley Theater, from November 8-11, 2021. MUSIC RUNNING, now in its fifth year, offers a platform for the most recent contemporary electronic music. This year’s festival has a decidedly multimedia flavor, with: interactive web performances, video performances, computer sheet music tracking, private YouTube performances carried to the concert hall, guns, shovels and even buckets of sand.

Monday November 8, 8 p.m. – Zubin Kanga, Piano Wiki
Tuesday November 9, 7 p.m. – Current Music Soloists, Currents
Tuesday November 9, 8 p.m. – Darragh morgan, Anthems
Wednesday November 10, 8 p.m. – Bastard missions, Execution
Thursday November 11, 6 p.m. – Lina Andonovska, Public confidentiality
Friday November 11, 8 p.m. – Richard craig, Valley
Tickets for each concert are 15/10 €. Book tickets here.

Festival opens with first Irish concert by Australian pianist and new music adventurer Zubin Kanga, which is performing in Dublin for the first time. Champion of collaboration and new music commissions, Zubin performs a very personal program composed entirely of works he has personally commissioned for piano and electronics, with: the Irish premiere of the work of Alexander Schubert WIKIPIANO.REPORT, in which members of the public can add or modify the score; that of Michael Finnissy and Adam of the Court, the new “Hammerklavier (Part 2)” inspired by Beethoven; the world premiere of Nicole Lizée’s revised “Scorsese Studies”; as well as new works for piano and electronics by Scott McLaughlin and Fergal Dowling

Every year MUSIC RUNNING invites composers from all over the world to develop new works for the festival. This year, seven Irish composers were invited to collaborate with five Irish soloists to prepare a concert of entirely new works based on their one-year collaboration. The resultant Music Current Soloists Concert is a stimulating mix of intimate, imaginative, thought-provoking and playful new works by established composers and the next generation: Seán O’Dálaigh, Elis Czerniak, Jane Deasy, Gráinne Mulvey, Darragh Kelly, Paul Scully, Neil O’Connor, with works performed by Paul Roe, Marja Gaynor, Ilse de Ziah, Joe O’Farrell and Darragh Morgan.

This concert is normally associated with new works developed within the festival, rather than in advance, with one of the participating composers being offered a commission for the following year’s festival. This year the commission award will be open for online submissions and the announcement will be made at this event.

This program is part of a double concert which also presents “classic” works from the repertoire. Darragh morgan, one of the most renowned performers of contemporary music, will give the Irish concert premiere of Pierre Boulez’s “Anthèmes 2”, a flagship work for solo violin and electronic, in which the computer literally “follows” the performance of Darragh in real time and provides live accompaniment. Boulez’s masterpiece is paired with Frank Lyon’s recent commission “Spin 2”, commissioned by Darragh Morgan, the work follows a similar development to Anthemes 2, having undergone revisions and the addition of a part electronic.

The festival sees the Irish debuts of renowned London-based iconoclasts, Bastard missions, who bring their unique brand of collaborative composition and ensemble performance to Dublin in a program of four recent works. This concert is a true multimedia performance that defies the limits of what is considered music – it is a spectacle that can only be experienced live.

The festival ends with a double concert of Irish and international works for flute and electronics. australian flautist, Lina Andonovska offers an exclusive program of Irish premieres featuring some of the most performed international composers of the current generation, including: “Public Privacy # 1 (flute cover)” by Brigitta Muntendorf, a study on the schizophrenic relationship between YouTuber soloists at home and their very public performances; David Fennessy’s new work, “Bridge”; and the Irish premieres of “Études Tarantino” by Nicole Lizée, inspired by cinema.

Renowned Scottish flutist and champion of new music, Richard craig, closes the festival with a program of recent works built around Richard Barrett’s “Vale”, a hypnotic study for amplified flute. Richard will also premiere the intimate and intriguing piece by Seán O’Dálaigh “Paysage II»For flute; a work that Seán wrote especially for Richard in response to the Music Current 2019 commission.

To learn more, visit www.musiccurrent.ie and https://smockalley.com/music-current-2021


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Meet The ARTery 25 — Artists Of Color Transforming The Cultural Landscape https://dssoundlabs.com/meet-the-artery-25-artists-of-color-transforming-the-cultural-landscape/ Mon, 18 Oct 2021 04:30:50 +0000 https://dssoundlabs.com/?p=180 “Jesus was a refugee, was broke as a joke and was part of an oppressed community at many levels. And you have people who are not oppressed reading themselves into the story as if they were,” she says. “I think that’s where a lot of misapplication of the Bible has happened. I think that there’s […]]]>

“Jesus was a refugee, was broke as a joke and was part of an oppressed community at many levels. And you have people who are not oppressed reading themselves into the story as if they were,” she says. “I think that’s where a lot of misapplication of the Bible has happened. I think that there’s a different reading. There is a better narrative, a more loving narrative that can come from the text. And so that’s what I want to do.”


Amanda Shea

Amanda Shea (OJ Slaughter for WBUR)

Amanda Shea is a self-described “artivist.” “I do raise awareness, I do protest, I march,” she says. “I do all of the things that an activist does. However, I use my art to protest.”

The educator and mentor weaves her writing throughout her work — creating poetry, visual and performance art. Shea also uses her work as a vehicle for healing.

Earlier this year, Shea released a video poem series called “Pieces of Shea,” exploring Blackness and womanhood. In one of the installments entitled “BODY,” she discusses her experience in the healthcare system as a Black woman, and in another — “ENTANGLED” — she touches on the topic of divorce, infidelity and addiction. “I was so scared to put my truth out there,” Shea says. “And now, I’m just like, ‘No one’s going to tell my story better than me.’”

Four years ago, Shea left her well-paying job as an accountant to pursue a creative field. This decision was a big risk and came with a major pay cut. Although she faced many challenges, “that’s not my testimony today,” Shea says.

“I tell people all the time, I’ve sacrificed so much to be an artist. I’ve been homeless, I was married,” she says. “But I’ll tell you right now, it’s the best journey I’ve ever been on and I would never turn back.”

Shea doesn’t shy away from exploring taboo subjects. She has several pieces in the works sharing her experiences with sexual assault, abortion and rape.

“I just want to show artists that you don’t have to conform to one specific art form,” Shea says. “You can infuse as many art forms as you possibly want, and you don’t have to necessarily put yourself in a box, because the industry already does that for us.”


Anthony Peyton Young

Anthony Peyton Young (OJ Slaughter for WBUR)
Anthony Peyton Young (OJ Slaughter for WBUR)

Many artists have sought, through portraiture, to memorialize Black lives cut short by white violence. But few have done so with the power and care that Anthony Peyton Young brings to his “They Have Names” series. Each portrait is a collage of many — a collection of faces fractured and reassembled into a jagged, prismatic whole. The intent is twofold. “I was really trying to think of the collective loss that we experience as a group of people,” Young says. But the line between honor and exploitation, he knows, is perilously thin: “I think that it’s really hard [for a victim’s family] to see their face plastered everywhere and have that constant reminder.” In Young’s tributes, the identities of his subjects are at once preserved and obscured.

Young grew up in Charleston, West Virginia and loved to draw from a young age. After moving to Boston to attend the School of the Museum of Fine Arts, he began to experiment with new materials, like gunpowder and bleach. Young likens the destructiveness of these methods to the violence depicted in his paintings — the corrosive effects of homophobia and white supremacy. But the throughline in all his work is generative, he says, not destructive. This is perhaps most apparent in Young’s sketches of Black and brown members of his queer community, rendered tenderly in soft pencil lines. “All of the work is focusing on this one core thing,” Young says, “of community, family and the intimacy within those.”


bashezo

bashezo (OJ Slaughter for WBUR)
bashezo (OJ Slaughter for WBUR)

bashezo has had many names. They’ve lived in many places. The trans nonbinary artist grew up in South Philadelphia, moved to California and eventually found their way to Boston to study. They’re a space holder, a Lucumí priest, a sculptor, performance artist, and lover of tile work and mosaics. They are a member and co-founder of the UnBound Bodies Collective, a group of queer and trans creatives who find new ways to express themselves through their art.

“We’re still kind of unpacking and dismantling the ways in which we are confining ourselves, our bodies, our beings in these bodies,” they say, “and wanting that for ourselves, wanting that type of liberation for ourselves and wanting that for other folks.”

They laugh when I ask them how many times they felt they have come out. At almost 50, they’ve shed so many layers and continue discovering who they are.

“It’s been amazing to be in conversation with so many young Black trans folks who, at 20, are able to articulate and be with themselves in ways that I yearned for and longed for, but didn’t have the vocabulary, didn’t have a community, didn’t have the support,” bashezo says. “I was moving and working my way to that, kind of blindly…and falling off lots of cliffs.”

But still, they found their own way, their own path, combining spirituality with art, building living altars that uplift and honor queer trans folks in this life for a project called Roots + Futures.

“Our lives and our experiences are so important,” bashezo says. “And it’s important that they’re told with nuance and with honesty and with love and with care and not extractive…as well as not fixed. These are stories, but it’s not all of who I am or what I’m yet to uncover about myself.”


Biplaw Rai

Biplaw Rai (OJ Slaughter for WBUR)
Biplaw Rai (OJ Slaughter for WBUR)

Biplaw Rai brings people together with comfort meals at his pop-up restaurant inside of Little Dipper in Jamaica Plain. Named Comfort Kitchen, the pop-up has been around Greater Boston since 2020, and has been serving up global cuisine four nights a week in JP since this past spring while their permanent home is being built in Dorchester.

Comfort Kitchen incorporates ingredients from the African Diaspora, Caribbean and South Asia and the spice trade. “We bring a very global perspective to our dishes,” Rai says. “And what we find out is there’s more commonality than differences in food.”

Rai immigrated to the U.S. from Nepal when he was 18 for college. His first jobs were in places like Taco Bell, KFC, and in the summers he worked in Ocean City, Maryland with other Nepali college students. He saw how much the restaurant industry relies on immigrants, and how often employers fail them.

“For a long time, while we were working in the restaurant industry, our voices or our stories were never heard,” Rai says. “Or if it was heard, it was never the center of it. And I’ve always said that the restaurant industry is like the underbelly of the United States.”

Rai aims to create a space that values cross-cultural understanding, community and collaboration. At the restaurant, he has cultivated an environment where staff share meals before their shift and also help newcomers get settled. In the community, Rai is also a trustee for the Grove Hall Trust, an organization that is dedicated to improving the quality of life in the Dorchester neighborhood.

“There are places that people don’t feel comfortable walking in. It’s mostly got to do with class and the money,” Rai says. “We want to be just the opposite of that. We want people from all walks of life to come in.”


DJ WhySham

DJ WhySham (OJ Slaughter for WBUR)
DJ WhySham (OJ Slaughter for WBUR)

Dorchester-native DJ WhySham learned the basics of her musical craft while attending Cedar Crest College in Pennsylvania. She learned how to make a playlist as well as some rudimentary radio skills.

When she came back to Boston, WhySham put her developing DJing skills to use in the poetry scene. She DJed for her roommate, Boston Poet Laureate Porsha Olayiwola, during open mic nights at Roxbury’s Haley House Bakery and Café, and also toured with poets to national competitions.

“I just had a real urgency to be a part of a community,” she says of this time.

In 2018, WhySham created Boston Got Next, an organization “by womxn, for womxn” that teaches youth and adults basic engineering. One of her goals is to create equality in the music industry.

“You see a female and a guy, you’re going to think that the guy’s a rapper,” she says of stereotypes in the industry. “You see me, you’re going to think that I’m, like, the roadie or just a random girlfriend or something like that. But I’m the actual DJ.”

But she tries not to dwell on that, instead focusing on the music. WhySham refers to herself as a “community DJ,” playing a range of events, from weddings and parties to funeral services. She has also DJed for Boston Centers for Youth and Families and other local nonprofits.

No matter the event or location, WhySham brings her observant nature to every gig. Her perception is her strength; she is always able to generate a comfortable atmosphere.

“I can be in a room with 100 people, 250 people, five people,” Why Sham says. “If one person came up to me and said, ‘I enjoyed the music,’ that makes my day.”


Elbert “EJ” Joseph

Elbert Joseph (OJ Slaughter for WBUR)
Elbert Joseph (OJ Slaughter for WBUR)

Onstage, actors are often told to project to the back of the room. Make sure the audience can hear and see you. Capture them with your delivery. Elbert “EJ” Joseph emotes to the back of the room. An actor who is hard of hearing, his facial expressions, mannerisms and body language all speak volumes. He’s used to using his body in conversation through sign language. Acting — and now directing — is simply another medium, a conduit to communicate.

“I’ve been acting since I was 14 years old,” Joseph says. The show that inspired him as a teenager was “Peter Pan,” performed at the Wheelock Family Theatre many years ago. The actress who played Wendy, Amanda Montgomery, happened to be Deaf, like Joseph. He watched her perform alongside a cast of Lost Boys, who signed as they sang the song “I Won’t Grow Up.” He was mesmerized. “That’s when I knew, ‘You know what? I can do this,'” he says. “‘I belong onstage.'”

That sparked his professional career. He is now an actor, director and consultant. Some of his roles include Louis in “The Trumpet of the Swan” at Wheelock Family Theatre, Yeffirm in “Uncle Vanya” at American Repertory Theater and Tuc in Suzan Zeder’s Ware Trilogy: “Mother Hicks,” “The Taste of Sunrise” and “The Edge of Peace.” Joseph says he’s always looking for a good role and would love to see more main characters who are Black and Deaf, because you rarely see them represented onstage. He wants theaters to think outside the box.

“There are many ways to tell a story through the character,” he says. “To make the audience think, ‘Where have I seen, or how do I know someone exactly like that?’ To relate to the experience. People need to see a reflection of something that they’ve experienced, even if it’s a different kind of culture, a different kind of person with a different type of personality. We should be able to give audiences food for thought. You have to take risks. The audience needs to be challenged.”


Elisa Hamilton

Elisa Hamilton (OJ Slaughter for WBUR)
Elisa Hamilton (OJ Slaughter for WBUR)

Before 2012, artist Elisa Hamilton made paintings and drawings she hoped would capture joy in ordinary moments. For example, “dishes in the sink can be beautiful,” she says with a laugh.

But what Hamilton really wanted was to find ways to bring those feelings off the gallery wall, “and into a place where people could experience it together in a surprising way.”

Then she had a vision. Hamilton pictured rush-hour pedestrians and wondered what would happen if she invited them to let loose — even for a minute — and just dance. With help from a small grant, Dance Spot was born, enabling Hamilton to transform sidewalks into dance zones around Fort Point in Boston.

“That was the moment,” Hamilton remembers, “when I realized I can make people laugh and smile with my art.”

A decade later, the 38-years-old’s portfolio brims with the successful social engagement projects she’s now known for: a roving lemonade cart where public housing residents shared stories about overcoming challenges; a “store” at the Boston Center of the Arts that sold superpowers and explored ideas of heroism; a Sound Lab where Hamilton collaborated with community organizations to help residents record sounds from their lives and press them onto vinyl records.

But the pandemic and racial justice movement spurred the public artist to confront her own story. “How can I ask people to share their experiences if I’m not brave enough to share my own,” she asked herself.

Hamilton grew up biracial/Black in a mostly white community. As a kid, she struggled with her hair behaving so differently than her friends’. So she created “Hair Care” paintings online where she wrote, “It took me over 20 years, but now as an adult, I love my hair; it has become the most wonderful connector between me and other biracial and Black women.”

Now, Hamilton is hitting the streets again for her postponed, community-sourced storytelling project called “Juke Box” that debuts next summer.


Elizabeth James Perry

Elizabeth James Perry (OJ Slaughter for WBUR)
Elizabeth James Perry (OJ Slaughter for WBUR)

Lifelong multimedia artist Elizabeth James Perry is on a quest to re-wampum the landscape of New England.

“It was very much the machine that kept things going that connected people through history and ceremony, and through treaty. Then a lot of it was confiscated or stolen,” James Perry says of the purple and white quahog shells used for thousands of years as jewelry and currency for Eastern Woodlands people. “To be able to produce wampum again, and have it live all over my homelands prominently, is actually really healing.”

James Perry is an enrolled member of the Aquinnah Wampanoag tribe and comes from a family of artists. A common thread through her work is sustainability and working with non-toxic materials, which is informed both by her cultural history and her education as a marine biologist.

“My work has been to revive certain art forms because of my drive to reclaim traditional technology and also my dedication to the environment,” says James Perry. “I’ve always encouraged those forms of creative expression to be made prominent, made accessible and reflected in Boston, which is a city that doesn’t have much acknowledgment of its native presence.”

She’s noticed a change in the past few years as more people become aware of the role that Western imperialism and capitalism have played in creating the environmental crises we are facing. “Garden for Boston,” her recent installation at the Museum of Fine Arts, has transformed the landscape surrounding ​​Cyrus Dallin’s “Appeal to the Great Spirit” statue, a stereotypical depiction that has greeted visitors to the MFA for the last century.

“I think that it’s a time when artists don’t necessarily have to put up with being ignored or marginalized or disrespected, because there’s beginning to be a sense of accountability,” says James Perry. “People are beginning to get an idea that how you conduct yourself matters, how you treat people matters.”


Erin Genia

Erin Genia (OJ Slaughter for WBUR)
Erin Genia (OJ Slaughter for WBUR)

Erin Genia was born in 1978, the year the American Indian Religious Freedom Act was passed. The law at last allowed Indigenous people to practice the religions of their own cultures. Genia, a tribal member of the Sisseton-Wahpeton Oyate of South Dakota, sees her artistic mission as one of many efforts to make up for the centuries of assimilation and cultural repression that preceded the passage of that law. Her work, she says, is guided by Dakota philosophies, particularly the idea of mitakuye oyasin, which loosely translates to “everything is related.” In this framework, “we’re related to the earth itself, to the rocks, to the air,” Genia says. “And because of that, everything has, or should have, its own agency, and everything should be treated with respect.”

Genia is a multidisciplinary artist with a background in sculpture and painting. She came to the Boston area to attend MIT’s Art, Culture and Technology Program, where her studies focused on Native American art in public space. “There’s a great deal of erasure of native and Indigenous people that happens in public space,” Genia says — like the historical markers peppered throughout the New England landscape, which so often trade in falsehoods and colonial mythology. In a GIF she created, Genia critiques these markers with lacerating bluntness. Phrases flash inside the image of a sign topped by the Massachusetts state seal: “INDIANS LIVED HERE NOW ITS A STRIP MALL;” “YOUR GENOCIDE WAS INCIDENTAL;” “SORRY.” The words generate their own disquieting rhythm, demanding that we not look away.


Fabiola Méndez

Fabiola Méndez (OJ Slaughter for WBUR)
Fabiola Méndez (OJ Slaughter for WBUR)

Before the Puerto Rican cuatro provided that twinkling, now-iconic intro to the international reggaeton hit “Despacito,” the guitar-like instrument was considered a bit of a relic. “I had so many friends who would tease me, and say, ‘Oh, Fabi plays that lame instrument. She’s like an old person,’” says Fabiola Méndez, who picked up the cuatro when she was six. Since then, Méndez has been on a mission to prove to the world — and, perhaps more importantly, to her own people — that the cuatro is an instrument of greatness. “The cuatro can be used in any context, in any setting, not just folk music,” she says.

Méndez, it should be noted, is very, very good at playing the cuatro. Since becoming the first student to major in cuatro at Berklee College of Music, she has released two expansive, jazz-inflected LPs. Her new album, “Afrorriqueña,” was inspired by the Black Lives Matter protests of 2020. “I was thinking about how that relates to me as a Black woman, but also as a Black Latina,” she says. “We like to think there’s no racism in Latin America… and it’s not the case.” The cuatro is the perfect instrument to deliver this message. “It was an instrument that was developed by Puerto Rican people during the periods of colonization,” Méndez says. “It represents our history.”


Haydee Irizarry

Haydee Irizarry (OJ Slaughter for WBUR)
Haydee Irizarry (OJ Slaughter for WBUR)

At 8 years old, Haydee Irizarry made a declaration that surprised her parents: “I want to be a metal vocalist,” she proclaimed.

Heavy metal might not be music to everyone’s ears, but for most of her life the dark, brash genre has been the Salem-based mezzo soprano’s chosen form of expression. When asked about her initial attraction, Irizarry says metal offered salvation and release as she struggled with her parents’ divorce, an abusive brother and her mental health.

“When I was getting started, I really connected to the aggression because of all the things I was feeling at the time,” she explains. “I was feeling a lot of dark, intense things that I didn’t really quite know how to express outside of music.”

Irizarry studied jazz, classical and contemporary music at Berklee College of Music where she also became lead singer of melodic death metal band Aversed. There, Irizarry honed a style that vacillates between “clean singing” and the guttural vocals many metalheads refer to as “the Cookie Monster voice.” The 26-year-old says the varied voicings enable her to tap into a limitless palette of textures and emotions.

“If I were a painter I could choose just the cool colors — that would be the pretty sounds — but I’m choosing all of them,” she says. “So how I would describe my voice is just all-out on the table.”

Irizarry’s range and arresting stage persona have earned her a few novel nicknames, including Haydee the Hyena, Metal J.Lo and Metal Selena. She’s Mexican-Puerto Rican and in performance also wears a lot of leather and spiky studs, plus bold colors on her eyes, lips and nails.

In 2018, Irizarry joined the Salem-based, stoner/doom metal band Carnivora as the group’s first female front person. “The face of metal is shifting a lot towards women and women from all different countries that look so different,” she says. “It’s awesome to be a part of that change.”


Joelle Fontaine

Joelle Fontaine (OJ Slaughter for WBUR)
Joelle Fontaine (OJ Slaughter for WBUR)

To understand Joelle Fontaine’s creative journey, you need to learn about her mother’s. At 16, Yolette Fontaine used $500 and a passport to start a business that resold goods from Panama and the United States in Haiti. She also put herself through engineering school, became a teacher, a seamstress and opened a fashion boutique in Port-au-Prince.

But in 1987, political upheaval and violence destroyed everything Yolette had built. Fearing for their lives, she and Joelle fled to the U.S., where Yolette experienced racism, in part, because of her thick Haitian Creole accent. Now, Kréyol is the name of Joelle Fontaine’s fashion brand that’s inspired by her mother’s resilience and homeland.

“The fabric of my culture is deeply ingrained in who I am,” Fontaine says. “When I started designing, I looked at old Haitian school uniforms for inspiration on silhouettes, prints, quality and construction, as well as colors and energy. I think my clothing has the energy of home.”

Like mother, like daughter. Fontaine forged her own career path. It kicked off when she was 23 after she submitted designs that earned her a place in New York Fashion Week.

“I had absolutely no idea what I was doing,” Fontaine writes on her website. “But I had passion, grit, talent and the audacity to believe I belonged there.”

Fontaine went on to design empowering, made-to-wear garments that fit each woman’s unique body. She says it also helps reduce waste and her company’s carbon footprint.

Kréyol is also a catalyst for economic mobility. The accessories Fontaine sells are made by female artisans in Haiti and Ecuador.

Looking ahead, Fontaine hopes to open a brick-and-mortar shop with her mother, who’s co-seamstress at Kréyol, while expanding her roster of international artisans. “I’d like to show how a beautiful leather clutch can be the catalyst for an artisan to purchase her own home in Haiti and build a life for her and her children. I have seen what it looks like to survive. I want to give women the option to thrive.”


Kadahj Bennett

Kadahj Bennett (OJ Slaughter for WBUR)
Kadahj Bennett (OJ Slaughter for WBUR)

Kadahj Bennett has come full circle in his Boston arts career. The award-winning actor, teaching artist and musician started out as a student at the East Boston nonprofit ZUMIX when he was 13 and went on to high school at Boston Arts Academy. Now, he’s the songwriting and performance manager at ZUMIX and artist-in-residence at the First-Year Arts Program at Harvard University.

Bennett calls himself a “ratchetdemic.” He loves learning and history, and he doesn’t censor his authentic self, no matter the institution he’s working with.

“Everybody is allowing these unheard voices to step up to the microphone,” says Bennett, who felt like someone had dropped a magical letter into his mailbox when he was chosen as a luminary artist at the Isabella Stewart Gardner Museum. “This place was down the street from high school and we walked past it all the time, but it felt like some foreign sanctuary. Now they’re asking me to do my art.”

Bennett hopes the changes he’s seen in institutions and their audiences are more than just a trend. Before the pandemic shut everything down, he reached a high point in his acting career when he played Moses in Speakeasy Stage’s “Pass Over.”

Bennett was surprised a Boston theater put on a play like that, saying when he first read it, he thought it was “absurd as hell.” But his performance landed him a 2020 Elliot Norton Award for Outstanding Actor in a Midsize Theater.

“To have the opportunity to dig my teeth into a character like Moses and have the opportunity to reflect people that I knew growing up here in Boston, Mattapan, Dorchester, Roxbury, that I feel are often not represented — that was an awesome touchstone moment.”


Lawrence Rines

Lawrence Rines (OJ Slaughter for WBUR)
Lawrence Rines (OJ Slaughter for WBUR)

When Lawrence Rines joined the Boston Ballet 12 years ago, he was the company’s only African American dancer.

“I would get interviews for being an African American dancer in a predominantly white company, and it opened my eyes,” says Rines. “I don’t think that I’ve been held back ever in my career for being a person of color, but it’s this strange pressure when you are the only person in your situation.”

Even still, Rines considered the Boston Ballet to be more diverse than other companies globally, and he says it continues to grow. Classical ballet has always had a problematic focus on one kind of perfection — a very upper class, Western/Eurocentric one — but the current cultural moment has forced those perpetuating these standards to adapt or get out.

“A lot of people in leadership haven’t welcomed the change, and they’re either stepping down or being forced to resign,” says Rines. “It’s been an amazing shift, which I have enjoyed being a part of.”

Rines is a first soloist, the second-highest position in the company after principal dancer. While the pandemic has been difficult for the performing arts sector, Rines was grateful that the company continued with their season virtually. Still, he’s eagerly anticipating their return to the stage in front of live audiences with the annual holiday favorite, “The Nutcracker.”

“It’s a transcendent experience and it’s the reason why I’m in this artform,” says Rines. “When we finally have a live audience, the applause and the curtain calls and all of that, I think everyone onstage is going to be bawling. There’s nothing really like it.”


Michelle Villada

Michelle Villada (OJ Slaughter for WBUR)
Michelle Villada (OJ Slaughter for WBUR)

Michelle Villada calls herself a maker — of fashion, costumes and “a little bit of everything.” A graduate of Framingham State University with a bachelor’s in fashion design and retailing, she’s been featured in Vogue Italia, The Boston Globe and the Museum of Fine Arts Boston. She found a niche making intriguing face masks during the pandemic. It allowed her to use her skills as a designer to both provide safety and bring a sense of uniqueness to the act of covering one’s face — something that had become a kind of drudgery.

“My art practice really grounds me and is also a really big source of catharsis, safety and refuge,” Villada says. “So I started really leaning even more heavily into it… It was like, ‘Man, I really need to do something.’ And the healthiest, most satisfying thing to do was to just make.”

She spent part of the pandemic making and walking with her grandmother in preserves across the state even in the dead of winter, finding inspiration in nature and in herself. Because, though fashion is not a biological need, she says, it is an emotional one. “It really speaks to something in our soul,” Villada says. “Everybody’s in some sort of wearable art, whether they consider it that or not.”

The Boston-based Latinx fashion designer says she “fuses Harajuku fashion with internet culture, and a love for everything kitsch.” She strives to elevate queer folks, color outside the lines of gender politics and hopes that people feel free in her clothes. She’s currently working on making designs to dress a play with the Boston Conservatory at Berklee and a more experimental show coming which she calls a “theater runway extravaganza.” She also hopes to do pop-up shops, which will allow her to see and dress people in real life for the first time in a long time.


Nicole L’Huillier

Nicole L'Huillier (OJ Slaughter for WBUR)
Nicole L’Huillier (OJ Slaughter for WBUR)

Nicole L’Huillier is a multimedia artist from Santiago, Chile who’s in Massachusetts pursuing a Ph.D. at MIT’s Media Lab. Her work oscillates at the intersection of science, technology and art. It’s informed by research about the building blocks of the universe, from the smallest units to the expanse of the cosmos.

But she’s first and foremost “obsessed with sound.”

“Sound is a portal,” says L’Huillier. “A sound, for me, it’s a way that we can engage with different multidimensional realities, what we call the pluriverse.”

Her traveling sonic sculpture, “La PARACANTORA,” has been installed at research sites like the Large Hadron Collider at CERN in Switzerland, and the ALMA Observatory in Chile. The sculpture’s physical design is simple, just a tripod and horn speakers, belying its mind-bending function.

L’Huillier says it’s a note-taking device, collecting data and sonifying the seemingly invisible, abstract forces that shape our reality. Forces like temperature, altitude, pressure, wind, radiation and electromagnetic activity, translated into sound.

“It’s a listening ritual,” says L’Huillier. “It is spiritual, but it’s less tied to a system of belief or religion somehow, but tied to cosmologies. How do we form a part, how do we inhabit with and in this universe?”

She says her work offers a new point of view. It’s about unlearning society’s imbalances in order to confront the things that aren’t working well. She wants people to be flexible and dynamic as they engage in this dialogue. Her work reminds the audience that they too are just a vibration.


Oompa

Oompa (OJ Slaughter for WBUR)
Oompa (OJ Slaughter for WBUR)

Over the last year-and-a-half, many artists have been left with one option: pivot. Whatever plans were set in stone pre-pandemic disappeared. Oompa’s plan was to move to New York City. Instead, she came home to herself. The Boston-based rapper immersed herself in her music, which has resulted in a new album called “Unbothered,” to be debuted at the Paradise Rock Club in Boston on Oct. 8.

“I just took the chance and was like, ‘I’m going to have fun making a project,’” Oompa says. “I’m not worried about being a better rapper. I’m not worried about the narrative people want. I’m not worried about any of that. I am just having fun and just chasing joy.”

She says a lot of this album is freestyle. It came out piecemeal, bit by bit. She defines being “unbothered” as being tired of fighting, and simply not keeping record of things that want to kill her anymore. She’s explored her demons in music and therapy. This is the byproduct of that work — a joyful exploration of the present moment.

“The thing that I’m most excited about is the thing that I’ve wanted for years, which is a team of people who love me as much as I love them and who see the vision, or at least believe in it, and who are trying to make the art that I want to make as well,” Oompa says. “And we’re finding a way to support each other. So that’s been really dope.”


Pascale Florestal

Pascale Florestal (OJ Slaughter for WBUR)
Pascale Florestal (OJ Slaughter for WBUR)

Looking back, Pascale Florestal knows her younger self would look at her wide-eyed if she could see everything she has accomplished. Now a director, educator, writer and collaborator, the Boston-based Florestal is seeking to diversify representation onstage, one play at a time. She’s working on several shows this fall for theaters across the commonwealth: ArtsEmerson, the Boston Conservatory at Berklee, the SpeakEasy Stage Company and The Umbrella Arts Center in Concord, Massachusetts. The Front Porch Arts Collective, where Florestal serves as the education director, just announced a three-year residency at the Huntington Theatre Company.

“So often I feel like I’m at this precipice of getting to the point of where I can name myself as an artist, claim it and be secure in that title,” she says. “I think that’s finally where I am. I think I’ve been waiting a good seven, eight years. I moved here to Boston in 2014 and now, at this moment, I feel as though I can say I’m an artist and I’m making that more than just my career, but my passion work.”

One of her proudest moments was serving as dramaturg for “Pass Over,” by Antoinette Nwandu, and being able to bring the actors into a juvenile center in Boston. She believed it was important that the center’s young people see what was possible, see themselves in the Black actors and actors of color.

“It was just such a beautiful moment to see how art can connect with young people in so many ways and how the art can also change the landscape in which we work that is so restrictive of Black stories on the stage,” she says.

In them, she sees her younger self, the little girl who never imagined she’d survive as an artist. “I never knew anyone who could do that work and be happy and make money and be able to live. To see myself doing it now is insane. It’s unreal. I still don’t believe it. Every day I have to remind myself that I am doing what I’ve always wanted to do.”


Philip Keith

Philip Keith (OJ Slaughter for WBUR)
Philip Keith (OJ Slaughter for WBUR)

Philip Keith almost quit photography. It was 2019, and he was struggling to break into the Boston photography scene after spending two prolific years in the Berlin fashion industry. The onset of the pandemic stranded him at home, at loose ends. Then, unexpectedly, the movement for Black lives brought him out again. “I wanted to go out and use my camera,” Keith says. “I did find that I sort of had an eye for it.” An image he took at the first major Boston protest, of a demonstrator’s fist silhouetted against a starless sky, landed on the cover of Bloomberg Businessweek. That led to more cover assignments: Cornel West, Ayanna Pressley, John Kerry. Suddenly, he had more work than he knew what to do with.

Though protest photography jump-started his career, Keith doesn’t want to be defined by his images of Black Lives Matter demonstrations. “I seek to have my work encompass more of the Black experience — or more just the human experience,” he says. “I don’t want it to be focused just on this moment of struggle.” He still loves to take portraits. This summer, he started work on a personal project photographing the Inkwell, a historically Black beach on Martha’s Vineyard. It’s a spot that’s been photographed many times before. Keith wants his images to show something different — to get at the history of the place, to reveal depths that aren’t immediately visible. “You’re seeing the thing that’s photographed, and you begin to have a conversation with that,” he says. “But there’s a lot more about the story.”


Rayna Yun Chou

Rayna Yun Chou (OJ Slaughter for WBUR)
Rayna Yun Chou (OJ Slaughter for WBUR)

As a classically-trained violist, Rayna Yun Chou always had an urge to do something more — on and off-stage. She remembers wondering, “Can I create middle grounds where people of all backgrounds can simply encounter and experience music in new ways?”

Chou answered that question in 2019 with a public project called “Concert for One.” In collaboration with Celebrity Series of Boston, she organized a series of nano-sized pop-up concerts inside shipping containers set up on Harvard’s Science Center Plaza and in Chinatown. The tiny, temporary performance halls held one musician who played one minute of music for one audience member.

“I worked with 60 local musicians and performed for over 4,000 listeners in the extremely intimate, one-on-one, face-to-face setting,” Chou recalls. “It was a project that proved musicians of different genres and listeners of different backgrounds were open enough to new and unknown experiences.”

It also showed the New England Conservatory grad that it was possible to reshape the classical performer-audience dynamic. Chou believes music is universal, and concerts are inclusive. “I have witnessed the power an art project has in public on an unsuspecting public,” she says. “I think it is beautiful to create art that becomes a part of life.”

Chou, now 28, premiered her second large-scale social experimental work last year in her homeland of Taiwan (as she did “Concert for One”) when live events were still permitted. “Hear the Light” was an immersive installation inside an old factory that had been converted into exhibition spaces. Participants entered a darkened tunnel, then followed the sound of music to find their way into a light-drenched garden filled with grasses, flowers and live music.

Chou’s goal was to give people hope and healing through music in enduring dark times. She believes it worked, and one day wants to recreate “Hear the Light” in Boston.


Red Shaydez

Red Shaydez (OJ Slaughter for WBUR)
Red Shaydez (OJ Slaughter for WBUR)

Red Shaydez is one of those people who can always identify the sample in a hip-hop beat. It comes from a childhood saturated in music: her mother’s vast album collection, her father’s ‘90s hip-hop group. “Music has just always been a part of me,” she says.

Shaydez started building a fanbase online when she was still a teenager. She developed a precise, emphatic rapping style shaped by the duality of her childhood: the school year spent in Boston, summers spent with family in Georgia. “Lyrically, I’m definitely influenced by the East Coast,” she says, though her tastes are colored by the South. “I love my drums to hit hard, and I love a particular BPM [beats-per-minute] during my beat.”

In an era of trap beats and minimalist sing-rapping, Shaydez has always seemed like a bit of a throwback. But her 2020 album, “Feel the Aura,” broke new terrain. The production is contemporary, but subtly so; Shaydez demonstrates a newfound facility for hooks without softening her lyrical virtuosity. More importantly, she expresses herself with fresh candor. “I felt like I was breaking free, and I was finally able to put on the table all the facets of who Red Shaydez is,” she says. “I’m demi-sexual/ Then I was sapio,” Shaydez raps on the song “They Call Me Shaydez” — a take-it-or-leave-it embrace of the necessity of evolution.


Tonasia Jones

Tonasia Jones (OJ Slaughter for WBUR)
Tonasia Jones (OJ Slaughter for WBUR)

Tonasia Jones started her career as a student in the acting program at Emerson College, but says she realized early on she wasn’t a “capital-A actor.”

“There were rooms that I went into that were not set up for me to succeed in,” she says. She knew she wanted to be an agent of change in the industry, so she stepped into administrative roles and eventually added producer and director to her resume.

Her work as both an administrator and creator has been sought after by top institutions throughout the Boston area, such as the American Repertory Theater, ArtsEmerson, Huntington Theatre Company, The Theater Offensive, StageSource and SpeakEasy Stage Company, among others.

Her success in each role is informed by her love of acting and her desire to support other performers who’ve been marginalized, misunderstood, abused and excluded. As a contractor wearing many hats, she stresses the importance of clear boundaries in each job to keep work sustainable.

“There can be a lack of transparency in roles, but I put my boundary up and say what needs to be done,” says Jones. “If I’m the director, it’s not my job to write the systems, that’s the producer’s job. It’s also not my job to change your theater when I’m only hired as a temporary contractor.”

Jones says that while the pandemic has been difficult for the performing arts sector, it’s also offered space and breath to make change. “I could ask questions about the systems in place. People were like, ‘Well, that’s the way it’s always been done.’ But there is white supremacy in this answer. Just because something was done the way it’s always been done doesn’t mean we need to continue enacting it.”

Audiences can catch Jones’ directing work this fall in “BLKS” at SpeakEasy Stage. She’s also excited to launch her new residency with The Theater Offensive called Queer (Re)public for queer and trans artists of color, which aims to break down the hierarchical structures in Boston’s arts ecosystem.

“These white supremacist ideas about ‘excellence’ and ‘perfection’ are not art,” says Jones. “They are actually the antithesis of art.”


Woomin Kim

Woomin Kim (OJ Slaughter for WBUR)
Woomin Kim (OJ Slaughter for WBUR)

“The xenophobia in the last year-and-a-half, while not new, is heightened,” says Woomin Kim, a Boston/New York-based Korean artist who makes sculptures out of everyday objects. That xenophobia coupled with the limitations of the pandemic inspired her latest ongoing project: fabric murals of Korea’s shijang, or open marketplaces.

“There was an idea that diseases are born in street markets, and then I started recognizing in Hollywood movies that Asian markets are dark places where something mysterious is happening, and they were one of the first places to shut down because of COVID-19,” says Kim. “But they are a way of life for so many people. I used to go to the markets all the time and love the vibrancy and assemblage of everything you can get there.”

She wanted to show the shijang experience in a celebratory way, and chose to work with fabric, both because it recalled the textiles sold at the markets and the colorful banners beckoning shoppers, and it was easy to work with at her small desk space. She says fabric is easily accessible and evokes memory for everyone, while offering countless possibilities in terms of color, pattern and texture, making it the perfect medium to express the vibrancy of these open air markets.

Kim moved to the United States to attend the School of the Art Institute of Chicago, and afterward moved to Boston with her partner in 2016. She says that even before the pandemic hit, lack of space was a major obstacle for Boston artists.

“When I was in Chicago, it was just cheaper for artists to experiment, and a lot of spaces were available and there was this potential that anything can happen,” says Kim. “That is just not possible in Boston.”

Because of this, she thinks there’s a false sense outside the region that Boston is devoid of artists. “There are so many young, talented artists here, and the ongoing assignment is to find each other and make things happen without the help of huge gigantic institutions or funding sources, because Boston can be expensive and spaces can be not totally welcoming to the artists.”


Yara Liceaga-Rojas

Yara Liceaga-Rojas (OJ Slaughter for WBUR)
Yara Liceaga-Rojas (OJ Slaughter for WBUR)

A piece of the land that Yara Liceaga-Rojas grew up on, that beach in Puerto Rico, sits within her always. The movement of the waves. The expansiveness of the ocean. A queer Afro-Caribbean Puerto Rican mother, poet/writer, performer, cultural manager and educator, Liceaga-Rojas describes her art projects as revolving “around the visibility of marginalized subjects.” In recent months, she nurtured other artists — an advocate, mentor and consultant who helped so many bring their visions to life.

“I was battling with imagination during the pandemic,” Liceaga-Rojas says, “…but then my own work fell on the side. I’m also doing my master’s degree in cultural administration. So that takes a lot of space.”

As an artist, she’s always said her weakness is the analysis of human relationships, those bonds that bring joy and the occasional misunderstanding. She interrogated these connections through her program “Poetry Is Busy” and, very early in the pandemic, through the Cloud Cafe, a virtual performance that brought artists together on Zoom.

Now, she’s ready to return to her own practice and what’s been building inside her, which is a desire to dance. Something in her body misses movement, though she has no training as a dancer. She imagines herself onstage, experimenting with a new medium and honoring her late mother in the process.

“My mom wanted to dance really badly,” she says. “She wanted my dad to take her to dance. That never happened. And so I kind of stayed with that… unfinished business.”


Photographer OJ Slaughter captured the images for The ARTery 25 and Alberto Montalvo filmed the video for the series.


Correction: A previous version of this article misstated Pascale Florestal’s role in production of “Pass Over.” She served as dramaturg, not director.



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Adele, Elton John and more of the Week’s Biggest Winners (October 15) https://dssoundlabs.com/adele-elton-john-and-more-of-the-weeks-biggest-winners-october-15/ Fri, 15 Oct 2021 07:00:00 +0000 https://dssoundlabs.com/adele-elton-john-and-more-of-the-weeks-biggest-winners-october-15/ Take a look at Billboardthe weekly recap of and the “awards” it gives to this week’s headlines. Funniest Music News: Kim Kardashian roasts her whole family for SNL start Whether it was poking fun at her sister Kourtney and Travis Barker’s PDA or even teasing her divorce from Kanye West and all the KarJenner Kontroversy […]]]>

Take a look at Billboardthe weekly recap of and the “awards” it gives to this week’s headlines.


Funniest Music News: Kim Kardashian roasts her whole family for SNL start

Whether it was poking fun at her sister Kourtney and Travis Barker’s PDA or even teasing her divorce from Kanye West and all the KarJenner Kontroversy in between, Kim Kardashian didn’t hesitate for her first gig of accommodation on Saturday Night Live October 9. Watch his opening monologue here and the rest of his skits here.

Sweetest Music News: Usher and Lance Bass welcome new babies to their family

Usher announced on Tuesday (October 12) that he recently welcomed his fourth child and second with his girlfriend Jenn Goicoechea, a baby boy named Sire Castrello Raymond. Meanwhile, Lance Bass and her husband Michael Turchin became dads for the first time (twice) with their “baby dragon” twins, a girl named Violet Betty and a boy named Alexander James on Wednesday, October 13. See the first photo of Usher’s baby here and Bass’s sweet announcement here.

Biggest Music News: Adele releases first single in five years “Easy On Me” from upcoming album 30

Adele makes us choke on tears over her emotional new piano ballad “Easy On Me”, which she released on Friday (October 15th). “Easy On Me” is the first single from his highly anticipated upcoming album 30, which she also announced earlier this week, would be released on November 19. 30. Listen to “Easy On Me” here, and read our song review here, and find Adele’s new album announcement here.

Most Record-breaking Musical News: Elton John Becomes Top 10 Artist With Top 10 UK Charts Over Six Decades

The Rocket Man made history on the UK charts when his “Cold Heart” assisted by Dua Lipa and Pnau exploded into the UK Singles Chart top 10 last week, making him the first artist in history to hit the UK Singles Chart. rank in the UK top 10 in six different decades. . The song finally reached the top of the charts on Friday (Oct. 15) after spending three straight weeks at No.2. Across the Pond, John is expanding his list of the Billboard Hot 100 Top 40 to five. different decades, after “Cold Heart” rose to number 32 this week. Learn more here and here.

Most Surprising Music News: Kacey Musgraves’ Album Deemed Ineligible For Country Grammy Album

Kacey Musgraves Fifth Album damn was deemed ineligible for the best country album category at the 64th annual Grammy Awards next year after the country selection committee decided it wasn’t the best fit for the genre. But the singer herself made sure she had a word: “You can take the girl out of the country (like) but you can’t take the girl out of the country,” she retorted on Twitter. Read more about the Recording Academy’s decision here and here and Musgraves’ response here.

Most Inspirational Music News: Ariana Grande Offers $ 5 Million In Free Therapy

In honor of World Mental Health Day Sunday (October 10), Ariana Grande has partnered with Better Help, an online therapy provider, to donate up to $ 5 million in therapy free. “I wanted to do it again with @betterhelp in the hopes of providing access to a few more people and maybe inspiring a few of you to try something new and prioritize your own. healing, ”she wrote on her social media. Learn more about Grande’s free therapy resource here.


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