Though the final painted words seem like whimsy, they’re actually inspired by an exhaustive research effort, involving hundreds of the neighborhood’s 5,000 residents. Powers and a team from the Near Westside Initiative talked with upwards of 400 people in the neighborhood, in five community meetings and three days of street interviews. “When we asked people what their favorite thing about Syracuse was, the most common answer was ‘nothing,'” Powers tells Co.Design, during a break from the final painting. “And there was a seventy year old man that said he only ended up here because his car broke down on the way to New York.”
We just got word that Samuel Macon and Faythe Levine have uploaded a beautiful video documenting the process of creating this piece. Check it out below. — Ed.
In Syracuse, New York, a hulking steel bridge divides some of city’s richest residents from some of the country‘s poorest, in the infamous Near Westside. It symbolizes everything that’s gone wrong with the city, from socioeconomic segregation to crime. “The intersection is both the major gateway in and out of the city, and the biggest barrier between the wealthiest part of the city and the poorest part,” says Maarten Jacobs, director of the Near Westside Initiative.
So Jacobs’s group, working with Syracuse University’s COLAB — a program that focuses on design collaboration — hired legendary street artist Steve Powers to repaint it. In just a couple more days, A Love Letter to Syracuse will be finished; on one side, the bridge will read “Nothing to do is everything with you,” and on the other, “I paid the light bill just to see your face,” along with “Spring Comes Summer Waits” and “Fall Leaves Winter Longs.” Leer más “Street Art Aims to Mend a Torn Neighborhood [Updated With Video]”
Cognizant of the fact that he could better disrupt the status quo from the inside, Kanye leveraged his position as Jay-Z’s go-to producer to establish himself by trading on his credibility and changing the perception of his role in Jay-Z’s success. “I brought back the soul,” he eloquently raps on The Blueprint 2’s ‘The Bounce.’
By the time Kanye was able to tell his story on his first album in 2004 it was, essentially, already told. Every celebrated hip-hop artist at the time had either already collaborated with Kanye (Ludacris, Lil’ Kim, 50 Cent) or otherwise revived their career by leveraging his distinctive sound (Common, Twista).
His transformation from hip-hop musician to “culture creator” was a byproduct of the fact that he (and his platforms) embody everything that is of value to him. His has successfully leveraged his curatorial voice to actively shape the urban cultural landscape. Be it sartorially (through his collaborative efforts with some of the world’s most influential personal and luxury product brands), materially, or musically (through his G.O.O.D. Music label), Kanye has created the blueprint for the modern “culture creator” role that today’s most successful icon’s embody.
On Wednesday of last week, I moderated a panel entitled “Making Your Mark” at this year’s Latin Mixx Conference.
The conference, now in its 5th year, is half entertainment summit, half information session and attracts a pretty varied audience of DJs, artists, and industry folk. To kick off the panel, I delivered a presentation (available below) covering a few areas of interest including: personal branding, the marketing and publishing landscape, and the role that today’s public-facing entertainer must play to thrive in the modern information economy.
To be successful in today’s business climate and attract the attention of brands and marketers, artists must fulfill the role of “Culture Creator.” Leer más “What Exactly Is A Culture Creator?”
Author Richie Cruz March
Much has been written about the music industry’s historic decline over the greater part of the last decade.
As the primary distribution mechanism has shifted from discs to digital, consumers’ discovery process has followed suit, evolving from the “new release” rack of their local record store to the link collection at their favorite music blog.
What many accounts of the struggling music industry fail to mention, however, is that the music industry’s ultra-fragmented, content-overloaded state has created an opportunity for brands to become involved as never before. The record label’s and record store’s historical position as middlemen between consumers and content is dwindling, leaving a vacuum that is rapidly being filled by blogs, publications and the savviest of brands.
Demand is at an all-time high, but the “means to consumption” have changed, says Roger Faxon, head of EMI Publishing, in his recent interview with The Economist. There are new free-and-subscription-based streaming services setting up shop every day, sustained and fueled by the rabid demands of consumers for more and better content. The result has been the disintermediation of content – consumers no longer care where good content comes from, as long as it’s both convenient and good.