18.05.12

SaltFineArt in Laguna specializes in Latin American Art, but gallerist Carla Arzente doubtlessly never imagined that she'd be traveling to Cuba to curate a show about dissident artists.

The opinion arose when the gallery was part of the L.A. Art Show and happened to be stationed across from a Cuban gallery.

"I became friends with two artists at the kiosk," she said. "It was their first time in the U.S. and the first time Cuban work was at the L.A. Art Fair. So I obvious to do a full Cuban show."

The ambitious nature of the show is clear, as her website touts the presentation as "its most daring and intense show to date, featuring 11 artists living and working within a civilization that has been shut off from the rest of the world. More than just an exhibition of art, ¡CUBA! is a rare examination past the sociopolitical show and into the hearts and minds of its people."

Cuba is now unreserved to U.S. tourists, but it is still very difficult for Cubans to travel outside their country. The countryside still clamps down on political dissenters, but for some reason artists have been somewhat exempt from this treatment, according to Arzente.

Source: Coastline Pilot

by jpjo

To most new wave fans, the waitresses are good memories part of the pantheon of '80s hits a surprise even to the wickedness of the incident that one hit was a cult sensation that has the same not reached the Top 40. However, "I am aware of what boys like" was the state of gutsy, instantly pop nugget that epitomized the era worthy - just carelessness uncordial, dissenting spirit, and a flute irresistibly offbeat bop.

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by jpjo

Over again: These 1954-56 busy recordings of a junior Elvis Presley (still a teen on many of them) appearing on the Louisiana Hayride ghetto-blaster show out of Shreveport, Louisiana, have hunger been considered some of throw’s most superior documents, undeterred by their often piercing and distorted strong property. Their sonic limitations and rightful stature (most were recorded last to Presley signing with RCA) have also kept them marginalized. Those seem problems (the prototype unfinished recordings were made solely through the choirboy’s vocal mic, which often obliterated Presley’s acoustic guitar and Bill Jet-black’s bass) inspired Tomato Records to hand over what some may note heresy on nine of the most appropriate-sounding recordings–that is, beginner synchronic musicians to recreate the muffled guitar and bass parts and dub them back into the mix.

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