Tag: social media

Bang Bang Shoot Post

On May 8, 2012

Do you use Instagram? Do you love it? Hate it?

There’s been a lot of talk about the mobile app recently. A reporter friend sung its wonders last summer; her prescient enthusiasm anticipated Instagram’s huge dent in public consciousness over the last few months. The mobile app was bought by Facebook for a big price tag; it was the subject of Jon Stewart’s acerbic wit; it’s been featured on the PBS Idea Channel (above); it’s inspired a snarky (and very funny) parody video of its features; it’s even made the pages of the Grey Old Lady. Oh, and I recently did a feature on a prolific (and dedicated) IG user. What’s the big deal?

Part of it seems to be the temporal nature of the app; it captures moments within a certain frame of time, with filters reflecting users’ moods and visual ideas around events. It’s temporal, with a leaning toward the personal, taking the best bits of social media and putting them within a visual interface. Thus, it’s become a beautiful complement to reporters’ toolkits. For evidence, check out WSJ’s impressive collection of Occupy Wall Street Instagram shots. Photojournalist Richard Koci Hernandez sees it as a game-changer. It was used for New York Fashion Week. Plenty of people – journalists and non-journalists alike – use it as a kind of blogging shorthand for what they see around them. Plenty don’t, however, and in a neat twist of irony, they’ve used other social media outlets (particularly Twitter) to air their displeasure. Is Instagram a threat to traditional photojournalists? To journalists overall?

The line between reporting and art feels perilously thin when considering the potential of the app. I happen to like it for on-the-go shots of my daily life, though I’m careful to avoid the “this is what I ate for breakfast” mundanity that seems to dominate so much social media photo-sharing. As a former photographer who worked in (and occasionally misses) film, I find Instagram’s range of “vintage” filters more amusing than annoying. Still, there’s something to be said for the tactile, and more than once, I’ve found myself drawing (or wanting to draw) some of the shots I come across on my daily Instagram look-throughs. Perhaps that’s the basic beauty of the app: it embraces the sharp, thorny terrain of the present, while snuggling with the soft, messy sheets of yesteryear. It’s Now, and Then, and Maybe, all at once.

Download, Upload, Revolution

By Catherine Kustanczy

On March 4, 2011

In interviews, music

There was something about Rocky Dawuni’s thought about avoiding “preachiness” in Part 1 of this exchange that hit me as both amusing and wise; there are few things more annoying or off-putting than pure polemic in a song. I like a bit of poetry throw in for good measure -that’s just a personal taste thing.

But the busy singer-songwriter hit on something profound, political, and poetic when he wrote a song called “Download This Revolution“. Though he could’ve never anticipated the way social media would be used in Egypt to oust a President, the song shows a clear understanding of the ways technology is influencing people’s lives, particularly within his home country of Ghana. There’s a clever taunt -perhaps a sly commentary -on the state of modern culture and the power of people’s politics, too, as Rocky smoothly croons “upload this / download this… ” -as if sharing information, the miniscule pieces of data that come together across wires and networks and form “likes” and groups and tweets, is this generation’s sit-in, march, loud chant, and noisy protest. People can take to their mobiles or keyboards, and… change the world. At least sometimes.

Like the rest of the songs on Hymns For The Rebel Soul (Aquarius), it’s thought-provoking, groovy, and wise, all at once. The NAACP Image Awards happen tonight, and Rocky’s nominated for Outstanding World Album. We recently traded ideas about the themes in his work, tackling difficult subject matter, and integrating technology within organic musical sounds.

What’s the theme of Hymns For The Rebel Soul?

The theme of this album was to create an inspirational collection of songs that offered a spiritual and melodic snapshot of various cultures around the world. The album reflects on themes ranging from love, life, God and peace beyond war.

What’s your method for integrating soul and real-world issues? “Jerusalem” is a beautiful example of this integration: it tells a story of a conflicted region but is very soulful and poetic at the same time. How difficult was this song to do?

I basically submit to the feel and vision of the song and let it lead me to its final manifestation. This method allows me to combine the real world issues with soul. It’ s basically letting myself be inspired by my own unique observation. “Jerusalem” was written from the first wave of inspiration when I set my foot in the Holy City. There was a certain mysterious beauty about this place that I felt made it the spiritual crossroads for major religious faiths but elusively out of reach for any particular faith to possess. Its divinity lies within its power to provide spiritual refuge to all those willing to overcome their prejudice and submit to its magic…I opened my he art to it and the song came pouring out. It was a very special and effortless moment .

“Download This Revolution” is a fascinating start to the Hymns For The Rebel Soul: it addresses a technological bridge between change, access, and art. Why was it was important to open the album with it?

The song represents our current times so it was an appropriate tone setting song for the album. We are the first generation of the ongoing internet revolution and “Download the Revolution” touches on the issue of equalization of the playing field : the emergence of an age where technology will fuel drastic social changes. The old doors that used to keep mass consciousness from coming into the mainstream will be circumvented while outdated and oppressive political systems fall to the tech-fueled people’s revolution.

I believe there is already evidence of this in the current internet-inspired democratic movements sweeping across Tunisia, Egypt and other parts of the world. The thing about change is that it can be either positive or negative. The song calls for the forces of good to seize the moment and take charge of all the mechanisms of this transformation.

How challenging is it to integrate traditional organic sounds with electronic ones?

Well personally I believe having the options of both approaches gives me flexibility to be creative and push boundaries. Live instrumentation definitely bring s that organic feel to music and it’s my first approach before I mix electronic sounds . Some songs work better when you approach them from the electronic perspective as well.

In the long run it all boils down to the artist and their objective. Organic sounds never get outdated so I personally use that as the basis for my creations.

If you could work with any artist, who would it be, and why?

It will be Lauryn Hill because her songs have such amazing emotional and spiritual depth!

Painted portrait of Rocky Dawuni (top) by John Robertson, from his blog What Art Did He Make Today?

Rocky’s Hymn

By Catherine Kustanczy

On March 3, 2011

In interviews, music

I’ve been thinking a lot lately about art and issues, and where the two -if the two -should intersect. Some say no, others say yes. I’m on the fence about whether the arts can and should, to quote a favorite musical, “take on the world’s greatest problems, from war to pollution / no hope of solution” -but I keep asking, could culture possibly provide one? Not a day goes by that I don’t happily stumble across one organization or another doing good in blending arts and social issues. And yet, I’m left feeling curiously powerless myself most days, wondering why I should have to choose between twin passions and asking if there might be a larger role in bridging the two through 2011.

Rocky Dawuni might have a few answers, for me, and for the many others grappling the arts/issues divide -because he doesn’t see a divide at all. The Ghana-born singer-songwriter’s 2010 release Hymns For The Rebel Soul (his fifth album) seamlessly, seemingly-effortlessly blends the two, with reggae-and-dance-tinged music delivering a one-two punch of sage wisdom, righteous rage, and ultimately, tuneful grace. Dawuni especially references the work of Bob Marley (to whom he’s been compared) and Peter Tosh, artists who, like him, blended the world of art with the world of the personal with … the world.

Rocky caught mainstream attention when he recorded a version of Bob Marley’s “No More Trouble” for Playing For Change in 2009 with a raft of talented international musicians, including the Oneness Choir from India, Jason Tamba from Congo, David Broza from Israel, and… oh yes, one Bono Vox from Ireland (aka Bono). The original’s moody, haunting feel gets a global makeover, as artists cross borders mental, spiritual, physical, and even creative to form something altogether more powerful than any collaboration project might suggest. This past summer, Rocky’s bouncy tune “African Reggae Fever” became “African Soccer Fever” and was featured on the FIFA World Cup 2010 soundtrack alongside tracks from Baaba Maal, Florence and the Machine, and Michael Franti. The tune also became the official song for the FIFA World Cup 2010 video game. Put it on as a dare to anyone who says they can’t dance; within 30 seconds, I guarantee you, they’ll be pogoing on the lino, cutting up a rug, and doing the watusi like no one’s business.

Alas, I missed meeting Rocky when he was in Toronto last fall Rocky to be part of the We Day event and concert, organized by Free The Children. But I’ve no doubt he rocked the worlds of the 18,000 students who were present. 2010 was a busy year indeed: months before We Day, he was part of the Vatican-sponsored JOSPfest, and later on, he played the well-regarded Freedom Fest in San Diego. 2011 is shaping up to be busy too; at the end of March he’s off to Kenya for Songambele 2011, put on by NGO March Forth Kenya Kids. He’s on the Board of Advisors for Jammin Java Corporation. In July he’ll be playing the Hollywood Bowl as part of radio station KCRW‘s Global Soul show -with none other than Stevie Wonder.

Now, you’d think a guy this busy wouldn’t have time for social media. You’d be wrong. Throughout the tours, appearances, and recording sessions, Rocky’s maintained an active online presence that positively (and I mean that in a true sense) brims with inspiration and excitement. It’s heartening to see his regular tweets & Facebook updates -not only is he excited about music, he’s excited about meeting people, hearing cool new sounds, exchanging ideas. Rock is excited about life, and it shows. When I interviewed him last summer for a morning radio show in Toronto, he was deep in the throes of football fandom, cheering on his home team as he fielded non-stop calls from friends and relatives. This is a man who deeply understands the meaning of “joie de vivre” and harnesses that optimism for a greater good.

That good was recognized with a prestigious nomination; Rocky’s up for the Outstanding World Album at this year’s NAACP Image Awards, which happen tomorrow night in Los Angeles. The first part of our conversation, below, features his ideas on the responsibilities of the artist, the dangers of preaching in music, and how much he feels like a spokesman for contemporary issues affecting everyday Ghanians.

How much do you think musicians should feature social issues in their work?

Well, I think every artist has the right to express whatever they feel their art truly represents. When it comes to social issues, every additional voice can always be useful. The platform that a musician acquires is due to the projection and support of the public so I believe the artist has a moral obligation to wield this with a spirit of humility, gratitude and servitude. It also goes a long way when you give back.The art attains transcendence and realness.

In terms of music and politics, there is definitely a link. Whenever the music ventures to represent the everyday aspirations of people it intersects with everyday politics. In Africa most of us have a bigger responsibility to use the medium to articulate political issues and bring them to the fore of social discussions.

How much do you feel a responsibility to include social issues in your work in particular?

Growing up in Ghana, social issues are a constant part of everyday reality. My music strives to project these issues in a way that will inspire action among my audience.

I think it ‘s the core intent of my musical mission but the important thing is to always maintain a balance so as to avoid blatant preachiness.

How much did the Playing For Change collaboration change your career?

It definitely did, in so many ways. It gave me great exposure and also showed the power of music to cross all boundaries and nationalities.

Do you ever get bothered by outside perceptions about Africa?

On occasions yes I do get bothered. For example, when you meet folks who believe they have it all figured out about Africa solely on the western perspective without any knowledge of the cultural contexts.

Africa’s history is very complicated . The root causes of most current political and social challenges can be traced all the way to its history of slavery, tribalism, colonialism and modern schisms. The objective of my music and my work is to project the new Africa: an Africa whose greatness will be restored by a renewed engagement and reconnection with the diaspora . This new Africa will embrace all the promise of modern technologies and democracy while upholding its cultural identity.

Although the current political climate is rife with turmoil and unprecedented economic issues, I am part of an emerging conscious tech-savy intellectual generation who are rising in its wake.

How much do you feel like a spokesman for Ghana?

Well, it comes with the territory. There are so many great things to say about my country in terms of its functioning democracy and freedom of press. Ghana’s long term stability has also projected it as a shining example on the continent.

As a musician on the international stage, I always find myself in many instances playing the role of its spokesperson. It’s a role I always welcome!
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Part two of my conversation with Rocky Dawuni tomorrow, in anticipation of the NAACP Image Awards. We’ll be focusing on some of the tunes featured on “Hymns for the Rebel Soul” and Rocky’s methods of integrating soulful sounds and real-world issues.

Sweet Home NYC

By Catherine Kustanczy

On January 18, 2011

In personal, writing

Peeking out the tiny window as the airplane made its way into Newark International Airport, one thought struck me: ew, brown. A large brown haze hung over the New York skyline. Yet another thought: get used to it. Buck up.

As I knew would happen, I wanted to do everything the minute I left the airplane. Going at near-sprint speed through Penn Station with baggage in tow, I quickly hailed a cab and… boom, there I was, in the thick of Big Apple traffic. Traces of the big December snowstorm were still in evidence, with curbs and corners white and icy. People were everywhere. The noise, colour, lights, and textures were a lot to take in, even as I tried to place where I was and my cab driver tried to figure out the best way to get me to my destination in Soho.

After grabbing a bite at the handily-close Dean and Deluca (ridiculous, delicious, nutritious), I made the predictable visit up to Times Square, turning onto 44th Street to visit the much-loved Belasco Theater. It was there, in 1995, that a good friend and I spent many breathless hours sighing and marveling at Ralph Fiennes’ Tony-winning performance of Hamlet. Directed by the super-fab (and super-nice, as I recall) Jonathan Kent, the show remains a favorite production of a very famous play. My friend and I got up to much mischief that hot July. Not visiting the area feels like sacrilege. I go to pay homage to a time, a place, to ghosts still very much alive.

A worker at the theater gave me a small smile as I clicked a photo outside. I always think people who work at old theaters during active shows must realize they’re working in an environment where people have memories -not just the theater crew and cast, but the audience, or even non-audience. Buildings have ghosts. I heard the Belasco had a real one. Hmmm. All the old theaters up around Times Square feel haunted by past voices, spoken onstage and off, and by the shenanigans that occur in any kind of creative pressure-cooker environment. They’re not the kind of ghosts I fear so much as appreciate. I’m going to BAM tonight to see the Abbey Theatre’s production of Borkman featuring Alan Rickman. More voices and faces from long ago and/or near-and-present? Probably. Sensing that kind of thing adds so much to the experience of live performance.

It was both a past, a present, and a very determined future I sensed colliding at lastnight’s genius performance at Zinc Bar, however. Whether it was design or chance that allowed this to happen I cannot say, but I’m grateful for this so-called “New York moment” nonetheless. The last-minute set, featuring super-musician Eric Lewis, was only announced via social media on Sunday; when I read it, I may have shrieked a little bit (only the dawg knows for sure). Lewis is a huge, huge favorite of mine, and this appreciation, bolstered by a music-loving friend’s appreciation of his work, made me go deeper into Lewis’ work and his approach to his art. I’ve seen the videos, heard about the White House performance, and follow the Facebook and Twitter updates. It goes without saying, though, that nothing compares to seeing the real thing, live and up close -especially in a cozy Greenwich Village club that calmly whispers “cool” the minute you walk down the stairs and through the door.

Opening with a raucous, rolling version of Wayne Shorter’s aggressive “Pinocchio“, Lewis, accompanied by the super-talented Ian Travis on bass and Ali Jackson on drums, delivered a performance both astonishing for both its technical virtuosity and emotional resonance. With a range of facial expressions and body signals, Lewis matches his muscular, passionate musical output with expressive physicality that borders on theatrical (in a really good way). Utterly lacking in pretension, Lewis smiled shyly and gave his bandmates equal time to shine. Tellingly, he patiently endured the microphone and sound glitches as he spoke between the (lengthy if enthralling) numbers, telling the enthusiastic audience about the composition of his bouncy original “Puerto Rico“, written in the very location some years ago over “many, many emptying Heinekens one night between 2 and 7am.”

Bouncing between an endearingly lionine sexiness, demonic bug-eyed determination, and toddler-esque wide-mouthed joy, Lewis emanated a vivacious, infectious energy -one that continued (and expanded) even with his invitation to trumpet player Marcus Printup (who was seated in front of me) and saxophone player Karel Ruzsicka Jr. to join him at various points throughout the set. It became a fascinating conversation between instruments and musicians used to blending colors, textures, and timbres with ease.

Lewis’s beautiful interpretation of Michael Jackson’s “Human Nature” was given a tasty little spin, as well a grandly sprawling version of Breaking Benjamin’s “The Diary Of Jane.” Lewis beautifully captured the dual nature of Jackson’s paean to sensual humanity; by turns sexy, dreamy, and jauntily rhythmic, he drew out its soul-meets-jazz-meets rock hybrid nature, milking, mocking, and worshipping the creation even in its conception, slowly, slyly sculpting something sonically new, daring, and thrilling. With “The Diary Of Jane”, the former Lincoln Center Jazz Orchestra pianist captured the tune’s original emo bite, adding in crunchy piano power chords and aggressive harmonics that were positively symphonic in their sweeping majesty. The term “breathtaking” feels too mild; at times I would notice my mouth hanging open, my hands clutched together, my eyes bugging out. I think I may have drooled at one point. Vanity took a firm backseat in the presence of such gargantuan artistry.

By the time Lewis got to his rock-jazz version of “Sweet Home Alabama” (the evening’s closer), he looked as if he’d run a 10K marathon; with sweat pouring off him and a wide, broad grin, he confidently pounded away on the keys, solo this time, conjuring the soul of Ray Charles, the sass of Jamie Cullum, the cool of Thelonius Monk and the outright rockingness of… Jimmy Page.

What a marriage. What a night. What a bunch of noisy ghosts. What a city.

And there’s more to come, I’m sure.

TED’s My X -Or Not.

By Catherine Kustanczy

On September 28, 2010

In conference

The famed TED has come to Toronto -or rather, it did last year, in “X” form. Those who’ve attended Idea City for a while might argue the brainy TED idea arrived in this city a long time ago -but as Dan Jacob pointed out to me in a recent broadcast chat, TEDx Toronto is a free event. Free, if also chosen by committee.

Jacob is the co-founder of TEDx Toronto, happening Thursday. Attendance to the conference is free, but potential attendees had to fill out a questionnaire and prove why they should be there. I’m not 100% sold on the idea of this being any less elite than a hefty price tag, but taking a look at the eclectic roster of speakers, it must be conceded that the event is truly a good-hearted, well-intended celebration of Toronto in all its various shades and angles. Why would you want people there who only know how to draw in one colour (or worse, can’t draw at all?) There’s a poet, a playwright, a CEO, an author, an adventurer… and much more. The frisson of creative, seeming-opposites in a room-full of young, curious people committed to ideological exploration feels like it might produce something… good.

Speaking with Jacob was a fantastic experience, especially since (big reveal) I have attended Idea City in the past, and been invited to a TED in the United States. I’m always intrigued by why people want to jump, feet first, into such a heady (or seemingly-heady) event. The young co-founder was clear about the intentions behind starting TEDx here, and about why the city needed it. I admire his bright-eyed optimism and open embrace of the unknown -I’m sure those qualities have -and will -colour TEDx Toronto.

TEDX Toronto, Two Years On by CateKusti

On the outside, sure these kinds of conferences do seem like a bunch of geeks (or snoots, or hipsters, or all three) talking about SEO and online ventures, and throwing around buzzwords like social engineering and crowdsourcing. Occasionally, they are -but more often, they’re not. And the theme of this year’s TEDx Toronto conference might pull you away from that horn-rimmed/I-pod-toting/American-Apparel-wearing stereotype; it’s called “A Call To Action” -and the breadth of speakers Jacob has lined up feels like a fulfillment of that call. I think Jacob’s answers will surprise and inspire, just like the event itself will for those lucky enough to be going.

For those who aren’t, video from the conference will be posted soon. Hold your TEDs -not your noses. It doesn’t cost anything to get a bigger brain.