Video Rating: / 5
Orignal From: Game Theory: Follow the EYES! | FNAF Sister Location
Tuesday 25 October 2016
Richard Dawkins and Sam Harris
Richard Dawkins and Sam Harris
at Alex Theatre
216 N Brand Boulevard
Glendale, United States
Orignal From: Richard Dawkins and Sam Harris
at Alex Theatre
216 N Brand Boulevard
Glendale, United States
Orignal From: Richard Dawkins and Sam Harris
Stop A La Fatigue Et Au Stress
Stop A La Fatigue Et Au Stress
Ce Programme De Formation Vous Révèle Comment Remédier Aux 8 Principales Sources De Fatigue Et De Stress Du Quotidien, Grâce À La Médecine Traditionnelle Chinoise Et Aux Découvertes Récentes Des Neurosciences.
Stop A La Fatigue Et Au Stress
Orignal From: Stop A La Fatigue Et Au Stress
Ce Programme De Formation Vous Révèle Comment Remédier Aux 8 Principales Sources De Fatigue Et De Stress Du Quotidien, Grâce À La Médecine Traditionnelle Chinoise Et Aux Découvertes Récentes Des Neurosciences.
Stop A La Fatigue Et Au Stress
Orignal From: Stop A La Fatigue Et Au Stress
Army Photography Contest - 2007 - FMWRC - Arts and Crafts - Son in the Tub
Army Photography Contest - 2007 - FMWRC - Arts and Crafts - Son in the Tub
Army Photography Contest - 2007 - FMWRC - Arts and Crafts - Son in the Tub
Photo By: MAJ Aaron Haney
To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com
U.S. Army Arts and Crafts History
After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of those challenges was soldier morale. Recreational activities for off duty time would be important. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. However, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, "Posters for National Defense." The directors stated "The Museum feels that in a time of national emergency the artists of a country are as important an asset as men skilled in other fields, and that the nation's first-rate talent should be utilized by the government for its official design work... Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm..."
In May 1941, the Museum exhibited "Britain at War", a show selected by Sir Kenneth Clark, director of the National Gallery in London. The "Prize-Winning Defense Posters" were exhibited in July through September concurrently with "Britain at War." The enormous overnight growth of the military force meant mobilization type construction at every camp. Construction was fast; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. "Results were astonishingly good; they showed serious devotion ...to the purpose of depicting the Army scene with unvarnished realism and a remarkable ability to capture this scene from the soldier's viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing."
"In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, enjoyed it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most important, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army's purposes and processes to civilians and soldiers."
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plan was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, evening recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The subsequent program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program included; a display of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also included the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plan using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in waiting rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and local communities helped to meet this cultural need, by providing volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called "Interior Design and Soldier Art." The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, planning and executing the soldier-artist program. The balance of the art sale proceeds were used to purchase the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were being shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and waiting in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to "these restless personnel." A variety of small "Handicraft Kits" were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the "Arts and Crafts Section" of Special Services. The mission was "to fulfill the natural human desire to create, provide opportunities for self-expression, serve old skills and develop new ones, and assist the entire recreation program through construction work, publicity, and decoration."
The National Army Art Contest was planned for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The "Infantry Journal, Inc." printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d'Amico, who was in charge of the Museum's Education Department, was quoted in Russell Lynes book, Good Old Modern: An Intimate Portrait of the Museum of Modern Art. "I asked one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to destroy another thing in my life, and I decided that art was the thing that I would do." Another man said to d'Amico, "Art is like a good night's sleep. You come away refreshed and at peace."
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The "Handicrafts Branch."
In 1945, the War Department published a new manual, "Soldier Handicrafts", to help implement this new emphasis. The manual contained instructions for setting up crafts facilities, selecting as well as improvising tools and equipment, and basic information on a variety of arts and crafts.
As the Army moved from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as "Manual Arts."
At the same time, overseas programs were now employing local artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers' interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable means of communication between troops and their families back home.
When the war ended, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were given a new assignment: To develop a series of instructional guides for arts and crafts. These were called "Hobby Manuals." The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed "Hobby Shops." The first "Interservice Photography Contest" was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was clear that the program title, "Hobby Shops" was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as "The Army Crafts Program." The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a "Basic Seven Program" which included: drawing and painting; ceramics and sculpture; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the "multiple-type crafts shop." For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960's, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers designed as portable photo labs, and once again a "Kit Program." The kit program originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 "American Crafts" magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was "a godsend."
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the original name of the program, "Arts and Crafts", was restored. In 1971, the "Arts and Crafts/Skills Development Program" was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program began charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-vocational skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during "Project Transition" to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become "self-sustaining." Directors have been forced to find more ways to generate increased revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc... New programs such as multi-media computer graphics appeal to customers of the 1990's.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the '90's Army has once again placed emphasis on meeting the "recreation needs of deployed soldiers." Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc...)
* applied technology (photography, graphics, woodworking, sculpture, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence...)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must decide which materials and techniques to use, thereby engaging in creative problem solving and discovery) skills taught have military applications.
* a way to acquire quality items and save money by doing-it-yourself (making furniture, gifts, repairing things ...).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the human psyche, an element of morale that allows for individual expression (freedom).
* the celebration of human spirit and excellence (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc...).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared those images with family and friends. Classes in "How to Use a Camera" to "How to Develop Film and Print Pictures" were instrumental in soldiers seeing the results of using quality equipment. A good camera and lens could make a big difference in the quality of the print. They bought the top of the line equipment. When they were discharged from the Army or home on leave this new equipment was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality equipment could make. Families and friends would not have had the opportunity to "see" the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, Panama, etc... were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April '95 issue of "American Demographics" magazine, an article titled "Generation X" fully supports that this is indeed the case today. Television and computers have greatly contributed to "Generation X" being more interested in the visual arts and crafts.
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Orignal From: Army Photography Contest - 2007 - FMWRC - Arts and Crafts - Son in the Tub
Cam
Cam
Cam
CAM.
THE SIMPLE, THREE-LETTER NAME IS BOLD. AND THAT RINGS TRUE TO THE ART, AND THE HEART, OF ONE OF COUNTRY'S SHINING NEW ACTS.
THAT BOLDNESS IS EVIDENT IN NEARLY EVERY STEP SHE TAKES. CAM MAKES IT A HABIT TO WEAR EYE-CATCHING YELLOW EVERY TIME SHE GOES OUT IN PUBLIC. THE STRINGS AND ACOUSTIC GUITAR IN HER BREAKOUT #1 PLATINUM-CERTIFIED SMASH, THE GRAMMY AND ACM AWARDS NOMINATED "BURNING HOUSE," ARE STIRRINGLY FRAGILE, A BRAVE COUNTERPOINT TO THE PARTY ATMOSPHERE OF MODERN COUNTRY. AND SHE SINGS WITH A DYNAMIC CLARITY THAT'S BOTH DISTINCTIVE AND FRIENDLY.
CAM BACKS UP THAT BOLDNESS WITH A FIRM DELIVERY, EMBEDDING HER MATERIAL WITH A RINGING CONVICTION THROUGHOUT THE 11 SONGS ON HER ARISTA NASHVILLE/RCA RECORDS FULL-LENGTH DEBUT, UNTAMED. RELEASED DECEMBER 11, 2015, HER NEW ALBUM BURST ONTO BILLBOARD'S TOP COUNTRY ALBUMS CHART AT #2 AND EARNED 2015'S BEST FIRST-WEEK ALBUM SALES BY A DEBUT COUNTRY ARTIST. WHETHER SHE'S SINGING ABOUT FRESH LOVE, BROKEN HEARTS OR DIFFICULT PERSONAL CROSSROADS, SHE'S CLEARLY LIVING THE EXPERIENCE FOR THE THREE OR FOUR MINUTES SHE'S IN IT. ACTUALLY, SHE'S RE-LIVING THE EXPERIENCE, BECAUSE THE EMOTIONS IN EVERY ONE OF HER SONGS COME UNAPOLOGETICALLY FROM HER SINGULAR INTERACTION WITH THE WORLD.
"THERE'S A LOT OF WORK INVOLVED IN BEING AN ARTIST, AND I'M SO HAPPY TO DO IT," SHE SAYS. "BUT IF I'M GOING TO INVEST MY TIME IN THE WORK PART OF IT, THE MUSIC JUST HAS TO BE ME."
THE "ME" THAT CAM PRESENTS TO THE WORLD IS MULTI-DIMENSIONAL. SHE'S POWERFULLY VULNERABLE IN "BURNING HOUSE," FIERCE AND DEFIANT IN "RUNAWAY TRAIN," EFFERVESCENT AND CAREFREE IN "MY MISTAKE." AND THE EMOTIONS IN THE MATERIAL AREN'T THE ONLY THING THAT SEPARATES THOSE TITLES – EVERY SONG INCORPORATES A DIFFERENT SONIC PALETTE. WHILE ONE MIGHT RELY ON POLISHED POP INFLUENCES AND MELODY, ANOTHER YIELDS A PIANO BAR FEEL, ONE CLEVERLY INFUSES A BIT OF GREGORIAN CHANT, AND YET ANOTHER USES STEEL GUITAR TO CREATE A CLASSIC-COUNTRY MOOD.
THAT WIDE-RANGING ARTISTRY IS KEY IN CAM'S APPROACH. INSTEAD OF LIMITING HER CHOICES TO MAKE AN EASILY DEFINED PRODUCT, SHE'S PUT FAITH IN THE UNIQUENESS OF HER VOICE, ALLOWING THAT TO BE THE DEFINING CHARACTER OF A PLIABLE, ADVENTUROUS MUSICAL PERSONA.
CO-WRITING EACH OF THE SONGS ON UNTAMED, CAM SAYS, "THE COHESIVE PART IS ME AND MY VOICE. THE MUSIC ALL STEMS FROM THE SAME PLACE, AND IT ALLOWS YOU TO GO IN DIFFERENT DIRECTIONS WITH THE CONTENT AND THE LYRICS AND THE KIND OF VIBE THAT'S GOING ON IN EACH SONG."
ADVENTURE AND UNIQUENESS WERE PRACTICALLY BUILT IN TO CAM FROM THE OUTSET. CAMARON MARVEL OCHS WAS BORN IN THE WATERFRONT SOUTHERN CALIFORNIA TOWN OF HUNTINGTON BEACH, SHE SPENT BIG CHUNKS OF HER YOUTH AT HER GRANDPARENTS' HORSE RANCH IN OCEANSIDE, WHERE THE TRACTOR WAS RED AND THE BARN WAS BLUE. HER GRANDFATHER WAS BOTH A COWBOY AND AN ENTREPRENEUR – HE STARTED HIS OWN BUSINESS, BUILDING WOODEN OFFICE DESKS – AND HER PARENTS WERE SIMILARLY NON-CONFORMIST. HER FATHER GREW UP IN A MILITARY FAMILY AND HAD THE GUTS TO MOVE OUT ON HIS OWN AT AGE 17, A TIME WHEN MOST KIDS ARE LOOKING TO DAD FOR A FEW EXTRA BUCKS TO PUT GAS IN THE CAR AND SEE A MOVIE. HER MOTHER HAD AN EXECUTIVE POSITION IN CONSTRUCTION MANAGEMENT AT A TIME WHEN THOSE JOBS WERE RESERVED ALMOST EXCLUSIVELY FOR MEN. IN TURN, THEIR INDEPENDENT, SELF-RELIANT STREAK WAS INSTILLED IN CAM, PARTICULARLY AFTER THE FAMILY RELOCATED TO NORTHERN CALIFORNIA.
"WE'D CLIMB REDWOOD TREES IN THE BACKYARD, AND I WOULD CLIMB SUPER HIGH AND GET STUCK," SHE RECALLS WITH A LAUGH. "I'D ASK MY DAD TO HELP ME DOWN, AND HE'D SAY, 'WELL, I CAN'T. YOU'VE GOT TO GET YOUR OWN SELF DOWN. BUT I'LL STAND HERE AND CHEER YOU ON.'"
THERE WAS PLENTY TO CHEER. FOR EIGHT YEARS, BEGINNING IN FOURTH GRADE, CAM WAS PART OF THE CONTRA COSTA CHILDREN'S CHOIR, WHICH SANG IN 14 DIFFERENT LANGUAGES. THE CHOIR TOURED INTERNATIONALLY, PERFORMING IN SUCH EXOTIC LOCATIONS AS CANTERBURY CATHEDRAL IN ENGLAND, NOTRE-DAME DE PARIS AND THE VATICAN.
THROUGH THAT PROCESS, CAM LEARNED MUSIC THEORY, HARMONY, STRUCTURE AND TONE. AND SHE LEARNED THE JOY OF BEING PART OF A TEAM.
"I LOVED SINGING IN GROUPS," SHE SAYS. "I DON'T NECESSARILY LIKE TO BE THE CENTER OF ATTENTION."
WHEN SHE HEADED OFF TO COLLEGE, CAM STUDIED PSYCHOLOGY RESEARCH AT THE UNIVERSITY OF CALIFORNIA, DAVIS. THE SCHOOL IS CENTERED IN FARMLAND OUTSIDE OF SACRAMENTO, PART OF THE SAME RING OF SMALL-TOWN SUBURBS THAT INCLUDES FOLSOM, A TOWN THAT WOULD BECOME VITAL TO THE LEGEND OF JOHNNY CASH.
THE SETTING WAS CRUCIAL. CAM HAD ALREADY BEGUN TO CONNECT TO DIVERSE BRANDS OF MUSIC – SHE WAS DRAWN TO STRONG, INDIE-ROCK FEMALES AND TO SINGER/SONGWRITERS IN HER CASUAL LISTENING AT THE SAME TIME SHE WAS SINGING CLASSICAL MUSIC WITH THE CHORAL GROUP. BUT COUNTRY MUSIC WAS A BIG PART OF THE SOCIAL SCENE AT DAVIS, AND IT BECAME AN IMPORTANT ELEMENT IN HER SELF-EXPRESSION.
"VARSITY BLUES CAME OUT, AND EVERYBODY WORE COWBOY BOOTS TO SCHOOL," CAM RECALLS. "AND EVERYBODY LISTENED TO TIM MCGRAW AND THE DIXIE CHICKS AND SHANIA TWAIN."
THAT INCLUDED CAM, WHO IDENTIFIED WITH THE VALUES OF HOME AND COMMUNITY THAT ARE CENTRAL TO THE GENRE. THAT EMOTIONAL CONNECTION WOULD PAY OFF WHEN SHE PURSUED MUSIC PROFESSIONALLY. WHILE LIVING IN LOS ANGELES, CAM MET A KINDRED SPIRIT IN UP-AND-COMING SONGWRITER/PRODUCER TYLER JOHNSON (TAYLOR SWIFT, P!NK). A SONGWRITING PARTNERSHIP WAS BEGUN, WITH PROMISING EARLY RESULTS – THEY CO-WROTE A SONG ON MILEY CYRUS' ALBUM BANGERZ, AND CAM ALSO LANDED A SONG ON A PROJECT BY INDIE COUNTRY ACT MAGGIE ROSE.
CAM AND JOHNSON METICULOUSLY WROTE AND REWROTE THE MATERIAL FOR WEEKS AND MONTHS AT A TIME UNDER THE WATCHFUL EYE OF GRAMMY®-WINNING PRODUCER AND SONGWRITER JEFF BHASKER (FUN., MARK RONSON), WHO HELPED BRING HER TO THE INDUSTRY'S ATTENTION IN NEW YORK, EVEN WHILE SHE MADE ORGANIC INROADS IN MUSIC CITY.
IN A BIT OF A FLUKE, CAM'S MUSIC WAS DISCOVERED ONLINE BY NASHVILLE RADIO PROGRAMMER MICHAEL BRYAN, WHO STARTED PLAYING ONE OF HER SONGS, "DOWN THIS ROAD," ON WSIX EVEN THOUGH SHE WAS UNSIGNED. WHILE THE ATTENTION WAS A BOON, WHEELS WERE ALREADY IN MOTION BEHIND THE SCENES WITH LABEL MEETINGS IN NASHVILLE WHEN BHASKER GOT CAM A MEETING IN NEW YORK WITH RCA RECORDS CHAIRMAN & CEO PETER EDGE AND PRESIDENT & COO TOM CORSON. BLOWN AWAY BY HER INCREDIBLE VOICE AND IRRESISTIBLE PERSONALITY AND CHARM, EDGE IMMEDIATELY CALLED SONY MUSIC'S CEO, DOUG MORRIS, WHO LIKEWISE FELL FOR HER UNDENIABLE TALENT WHEN SHE AUDITIONED FOR HIM. IN A RARE SITUATION, SHE'S NOW SIGNED TO BOTH THE COUNTRY (ARISTA NASHVILLE) AND POP (RCA RECORDS) LABELS – SHE SEES HERSELF AS A COUNTRY ACT, BUT IF HER MUSIC BREAKS OUT OF THE GENRE OR FINDS AN AUDIENCE OVERSEAS, THE POP DIVISION IS WAITING IN THE WINGS.
MANY OF HER SONGS WENT THROUGH MAJOR REVISIONS EVEN AFTER SHE SIGNED HER DEAL, A REFLECTION OF CAM'S EVOLUTION AS AN ARTIST AND HER DOGGED PURSUIT OF A DISTINCTIVE SOUND. AS THE ARRANGEMENTS OR INSTRUMENTATION CHANGED, THE LYRICS INVARIABLY GOT TWEAKED, TOO. SHE WAS PRESENT FOR EVERY NUANCE, ENSURING THAT THE END RESULTS REFLECTED HER REALITY.
"IT WAS VERY IMPORTANT FOR ME TO KNOW EVERYTHING THAT WAS INVOLVED IN MY MUSIC," SHE SAYS. "I'M THERE FOR ALL THE PRODUCTION THAT HAPPENS, I SIGN OFF ON ALL THE MIXES, I'M THERE FOR THE RECORDING. THE PEOPLE THAT ARE WORKING WITH ME ARE INCREDIBLE, SO I'M NOT DRIVING EVERY ASPECT OF IT, BUT I'M THERE INSPIRING IT."
IN EARLY 2015, COUNTRY RADIO WAS INTRODUCED TO CAM WITH THE ENGAGING FIRST SINGLE, "MY MISTAKE," WHILE HER FOUR-SONG EP, WELCOME TO CAM COUNTRY, DEBUTED ON SPOTIFY. THE MEDIA WAS IMPRESSED WITH CAM'S POSSIBILITIES. BILLBOARD PRAISED HER MUSIC AS "AT ONCE FRESH AND FAMILIAR, THAT RARE MIX OF DARING AND COMFORT THAT'S OFTEN THE HALLMARK OF A HIT," WHILE GOSSIP KING PEREZ HILTON CHAMPIONED HER FOR BEING "FEARLESS." THE ACCOLADES CONTINUED WITH THE RISE OF "BURNING HOUSE," WHICH ROLLING STONE COUNTRY CALLED "HAUNTING" AND "ONE OF THE MOST BUZZED-ABOUT TUNES OF THE YEAR." AND THE WASHINGTON POST LAUDED BOTH "MY MISTAKE" AND "BURNING HOUSE," NOTING THAT "THE TWO SONGS FEEL LIKE NIGHT AND DAY, BUT THEY ALSO SUGGEST RANGE AND DEPTH."
SINCE JULY 6, 2015, THE OFFICIAL RADIO IMPACT DATE OF "BURNING HOUSE, NOT ONLY HAS CAM BECOME THE ONLY COUNTRY FEMALE TO ACHIEVE MORE THAN 1 MILLION DOWNLOADS OF A SINGLE THIS PAST YEAR, BUT, ADDITIONALLY, BOTH HER BREAKTHROUGH HIT AND DEBUT DISC MADE MULTIPLE "BEST OF 2015" CRITICS' LISTS, INCLUDING ROLLING STONE, ENTERTAINMENT WEEKLY, THE WASHINGTON POST, ASSOCIATED PRESS, NASHVILLE SCENE, AMONG OTHERS. CAM ALSO BECAME THE MOST-NOMINATED FEMALE AT THE 2016 ACM AWARDS WITH SIX TOTAL NODS, AND, SHE RECEIVED A 2016 GRAMMY NOMINATIONFOR "BEST COUNTRY SOLO PERFORMANCE" FOR "BURNING HOUSE" AND 2016 AMERICAN COUNTRY COUNTDOWN AWARDS NOMINATIONS FOR "FEMALE VOCALIST OF THE YEAR" AND "BREAKTHROUGH FEMALE VOCALIST OF THE YEAR." HER CAREER IS SHOWING PROMISE.
PROMISE IS PART OF CAM'S CHARM. EVEN IN "BURNING HOUSE," A SPARE SONG ABOUT A CRUMBLING RELATIONSHIP, ONE CAN SENSE AN UNDERLYING POSITIVITY: HER PERSISTENCE AND HER DETERMINATION TO MEND A DEVASTATING FRACTURE.
IT'S A RARE GIFT, AND IT'S REFLECTED IN HER BOLD PENCHANT FOR YELLOW. SHE SPRINKLES THAT COLOR INTO SHOES, DRESSES, BRACELETS – SOMETIMES A COMBINATION OF ALL OF THEM – AS SHE VISUALLY CAPTURES HER INNER GLOW. THAT GOLDEN SIGNATURE LOOK WAS DEVELOPED OUT OF A CONVERSATION WITH HER MANAGER, LINDSAY MARIAS. CAM HAD RAISED A FAIR AMOUNT OF MONEY THROUGH A KICKSTARTER CAMPAIGN AND WAS USING SOME OF THAT REVENUE TO FUND A VIDEO. WORKING LATE AT NIGHT DURING THE PRODUCTION, CAM MADE SOME COFFEE TO GET A LIFT, AND AS SHE GRABBED A CUP, SHE PURPOSELY CHOSE A YELLOW ONE OFF THE SHELF.
"I REALLY NEEDED THIS BRIGHT MOMENT TO BE ABLE TO JUST CONNECT WITH PEOPLE THROUGH THE VIDEO," SHE EXPLAINS. "LINDSAY WAS THERE WITH ME, AND SHE SAID, 'YOU ARE YELLOW.' IT'S SO CHEERY AND FRIENDLY AND RELATABLE, AND ALL THOSE ADJECTIVES FIT SO WELL WITH ME AS A PERSON AND WHAT MY MUSIC IS ABOUT, SO IT JUST ALL CLICKED. THEN THE MORE WE INCORPORATED YELLOW, I STAND OUT IN PICTURES. PEOPLE SEND ME YELLOW THINGS, AND EVEN IF I'M TIRED OR IF IT'S A SUPER-COLD, SNOWY DAY, YELLOW LIFTS PEOPLE'S SPIRITS. IT KIND OF DOES HALF THE WORK FOR YOU."
IT'S A SIGN OF CAM'S BOLDNESS. HER DEAL, HER MUSIC, HER PHILOSOPHY – EVEN HER NAME: EVERYTHING ABOUT HER STANDS OUT. IF YOU HAVEN'T NOTICED CAM, YOU SIMPLY WEREN'T LOOKING.
at The Trocadero Theatre
1003 Arch Street
Philadelphia, United States
Orignal From: Cam
Cam
CAM.
THE SIMPLE, THREE-LETTER NAME IS BOLD. AND THAT RINGS TRUE TO THE ART, AND THE HEART, OF ONE OF COUNTRY'S SHINING NEW ACTS.
THAT BOLDNESS IS EVIDENT IN NEARLY EVERY STEP SHE TAKES. CAM MAKES IT A HABIT TO WEAR EYE-CATCHING YELLOW EVERY TIME SHE GOES OUT IN PUBLIC. THE STRINGS AND ACOUSTIC GUITAR IN HER BREAKOUT #1 PLATINUM-CERTIFIED SMASH, THE GRAMMY AND ACM AWARDS NOMINATED "BURNING HOUSE," ARE STIRRINGLY FRAGILE, A BRAVE COUNTERPOINT TO THE PARTY ATMOSPHERE OF MODERN COUNTRY. AND SHE SINGS WITH A DYNAMIC CLARITY THAT'S BOTH DISTINCTIVE AND FRIENDLY.
CAM BACKS UP THAT BOLDNESS WITH A FIRM DELIVERY, EMBEDDING HER MATERIAL WITH A RINGING CONVICTION THROUGHOUT THE 11 SONGS ON HER ARISTA NASHVILLE/RCA RECORDS FULL-LENGTH DEBUT, UNTAMED. RELEASED DECEMBER 11, 2015, HER NEW ALBUM BURST ONTO BILLBOARD'S TOP COUNTRY ALBUMS CHART AT #2 AND EARNED 2015'S BEST FIRST-WEEK ALBUM SALES BY A DEBUT COUNTRY ARTIST. WHETHER SHE'S SINGING ABOUT FRESH LOVE, BROKEN HEARTS OR DIFFICULT PERSONAL CROSSROADS, SHE'S CLEARLY LIVING THE EXPERIENCE FOR THE THREE OR FOUR MINUTES SHE'S IN IT. ACTUALLY, SHE'S RE-LIVING THE EXPERIENCE, BECAUSE THE EMOTIONS IN EVERY ONE OF HER SONGS COME UNAPOLOGETICALLY FROM HER SINGULAR INTERACTION WITH THE WORLD.
"THERE'S A LOT OF WORK INVOLVED IN BEING AN ARTIST, AND I'M SO HAPPY TO DO IT," SHE SAYS. "BUT IF I'M GOING TO INVEST MY TIME IN THE WORK PART OF IT, THE MUSIC JUST HAS TO BE ME."
THE "ME" THAT CAM PRESENTS TO THE WORLD IS MULTI-DIMENSIONAL. SHE'S POWERFULLY VULNERABLE IN "BURNING HOUSE," FIERCE AND DEFIANT IN "RUNAWAY TRAIN," EFFERVESCENT AND CAREFREE IN "MY MISTAKE." AND THE EMOTIONS IN THE MATERIAL AREN'T THE ONLY THING THAT SEPARATES THOSE TITLES – EVERY SONG INCORPORATES A DIFFERENT SONIC PALETTE. WHILE ONE MIGHT RELY ON POLISHED POP INFLUENCES AND MELODY, ANOTHER YIELDS A PIANO BAR FEEL, ONE CLEVERLY INFUSES A BIT OF GREGORIAN CHANT, AND YET ANOTHER USES STEEL GUITAR TO CREATE A CLASSIC-COUNTRY MOOD.
THAT WIDE-RANGING ARTISTRY IS KEY IN CAM'S APPROACH. INSTEAD OF LIMITING HER CHOICES TO MAKE AN EASILY DEFINED PRODUCT, SHE'S PUT FAITH IN THE UNIQUENESS OF HER VOICE, ALLOWING THAT TO BE THE DEFINING CHARACTER OF A PLIABLE, ADVENTUROUS MUSICAL PERSONA.
CO-WRITING EACH OF THE SONGS ON UNTAMED, CAM SAYS, "THE COHESIVE PART IS ME AND MY VOICE. THE MUSIC ALL STEMS FROM THE SAME PLACE, AND IT ALLOWS YOU TO GO IN DIFFERENT DIRECTIONS WITH THE CONTENT AND THE LYRICS AND THE KIND OF VIBE THAT'S GOING ON IN EACH SONG."
ADVENTURE AND UNIQUENESS WERE PRACTICALLY BUILT IN TO CAM FROM THE OUTSET. CAMARON MARVEL OCHS WAS BORN IN THE WATERFRONT SOUTHERN CALIFORNIA TOWN OF HUNTINGTON BEACH, SHE SPENT BIG CHUNKS OF HER YOUTH AT HER GRANDPARENTS' HORSE RANCH IN OCEANSIDE, WHERE THE TRACTOR WAS RED AND THE BARN WAS BLUE. HER GRANDFATHER WAS BOTH A COWBOY AND AN ENTREPRENEUR – HE STARTED HIS OWN BUSINESS, BUILDING WOODEN OFFICE DESKS – AND HER PARENTS WERE SIMILARLY NON-CONFORMIST. HER FATHER GREW UP IN A MILITARY FAMILY AND HAD THE GUTS TO MOVE OUT ON HIS OWN AT AGE 17, A TIME WHEN MOST KIDS ARE LOOKING TO DAD FOR A FEW EXTRA BUCKS TO PUT GAS IN THE CAR AND SEE A MOVIE. HER MOTHER HAD AN EXECUTIVE POSITION IN CONSTRUCTION MANAGEMENT AT A TIME WHEN THOSE JOBS WERE RESERVED ALMOST EXCLUSIVELY FOR MEN. IN TURN, THEIR INDEPENDENT, SELF-RELIANT STREAK WAS INSTILLED IN CAM, PARTICULARLY AFTER THE FAMILY RELOCATED TO NORTHERN CALIFORNIA.
"WE'D CLIMB REDWOOD TREES IN THE BACKYARD, AND I WOULD CLIMB SUPER HIGH AND GET STUCK," SHE RECALLS WITH A LAUGH. "I'D ASK MY DAD TO HELP ME DOWN, AND HE'D SAY, 'WELL, I CAN'T. YOU'VE GOT TO GET YOUR OWN SELF DOWN. BUT I'LL STAND HERE AND CHEER YOU ON.'"
THERE WAS PLENTY TO CHEER. FOR EIGHT YEARS, BEGINNING IN FOURTH GRADE, CAM WAS PART OF THE CONTRA COSTA CHILDREN'S CHOIR, WHICH SANG IN 14 DIFFERENT LANGUAGES. THE CHOIR TOURED INTERNATIONALLY, PERFORMING IN SUCH EXOTIC LOCATIONS AS CANTERBURY CATHEDRAL IN ENGLAND, NOTRE-DAME DE PARIS AND THE VATICAN.
THROUGH THAT PROCESS, CAM LEARNED MUSIC THEORY, HARMONY, STRUCTURE AND TONE. AND SHE LEARNED THE JOY OF BEING PART OF A TEAM.
"I LOVED SINGING IN GROUPS," SHE SAYS. "I DON'T NECESSARILY LIKE TO BE THE CENTER OF ATTENTION."
WHEN SHE HEADED OFF TO COLLEGE, CAM STUDIED PSYCHOLOGY RESEARCH AT THE UNIVERSITY OF CALIFORNIA, DAVIS. THE SCHOOL IS CENTERED IN FARMLAND OUTSIDE OF SACRAMENTO, PART OF THE SAME RING OF SMALL-TOWN SUBURBS THAT INCLUDES FOLSOM, A TOWN THAT WOULD BECOME VITAL TO THE LEGEND OF JOHNNY CASH.
THE SETTING WAS CRUCIAL. CAM HAD ALREADY BEGUN TO CONNECT TO DIVERSE BRANDS OF MUSIC – SHE WAS DRAWN TO STRONG, INDIE-ROCK FEMALES AND TO SINGER/SONGWRITERS IN HER CASUAL LISTENING AT THE SAME TIME SHE WAS SINGING CLASSICAL MUSIC WITH THE CHORAL GROUP. BUT COUNTRY MUSIC WAS A BIG PART OF THE SOCIAL SCENE AT DAVIS, AND IT BECAME AN IMPORTANT ELEMENT IN HER SELF-EXPRESSION.
"VARSITY BLUES CAME OUT, AND EVERYBODY WORE COWBOY BOOTS TO SCHOOL," CAM RECALLS. "AND EVERYBODY LISTENED TO TIM MCGRAW AND THE DIXIE CHICKS AND SHANIA TWAIN."
THAT INCLUDED CAM, WHO IDENTIFIED WITH THE VALUES OF HOME AND COMMUNITY THAT ARE CENTRAL TO THE GENRE. THAT EMOTIONAL CONNECTION WOULD PAY OFF WHEN SHE PURSUED MUSIC PROFESSIONALLY. WHILE LIVING IN LOS ANGELES, CAM MET A KINDRED SPIRIT IN UP-AND-COMING SONGWRITER/PRODUCER TYLER JOHNSON (TAYLOR SWIFT, P!NK). A SONGWRITING PARTNERSHIP WAS BEGUN, WITH PROMISING EARLY RESULTS – THEY CO-WROTE A SONG ON MILEY CYRUS' ALBUM BANGERZ, AND CAM ALSO LANDED A SONG ON A PROJECT BY INDIE COUNTRY ACT MAGGIE ROSE.
CAM AND JOHNSON METICULOUSLY WROTE AND REWROTE THE MATERIAL FOR WEEKS AND MONTHS AT A TIME UNDER THE WATCHFUL EYE OF GRAMMY®-WINNING PRODUCER AND SONGWRITER JEFF BHASKER (FUN., MARK RONSON), WHO HELPED BRING HER TO THE INDUSTRY'S ATTENTION IN NEW YORK, EVEN WHILE SHE MADE ORGANIC INROADS IN MUSIC CITY.
IN A BIT OF A FLUKE, CAM'S MUSIC WAS DISCOVERED ONLINE BY NASHVILLE RADIO PROGRAMMER MICHAEL BRYAN, WHO STARTED PLAYING ONE OF HER SONGS, "DOWN THIS ROAD," ON WSIX EVEN THOUGH SHE WAS UNSIGNED. WHILE THE ATTENTION WAS A BOON, WHEELS WERE ALREADY IN MOTION BEHIND THE SCENES WITH LABEL MEETINGS IN NASHVILLE WHEN BHASKER GOT CAM A MEETING IN NEW YORK WITH RCA RECORDS CHAIRMAN & CEO PETER EDGE AND PRESIDENT & COO TOM CORSON. BLOWN AWAY BY HER INCREDIBLE VOICE AND IRRESISTIBLE PERSONALITY AND CHARM, EDGE IMMEDIATELY CALLED SONY MUSIC'S CEO, DOUG MORRIS, WHO LIKEWISE FELL FOR HER UNDENIABLE TALENT WHEN SHE AUDITIONED FOR HIM. IN A RARE SITUATION, SHE'S NOW SIGNED TO BOTH THE COUNTRY (ARISTA NASHVILLE) AND POP (RCA RECORDS) LABELS – SHE SEES HERSELF AS A COUNTRY ACT, BUT IF HER MUSIC BREAKS OUT OF THE GENRE OR FINDS AN AUDIENCE OVERSEAS, THE POP DIVISION IS WAITING IN THE WINGS.
MANY OF HER SONGS WENT THROUGH MAJOR REVISIONS EVEN AFTER SHE SIGNED HER DEAL, A REFLECTION OF CAM'S EVOLUTION AS AN ARTIST AND HER DOGGED PURSUIT OF A DISTINCTIVE SOUND. AS THE ARRANGEMENTS OR INSTRUMENTATION CHANGED, THE LYRICS INVARIABLY GOT TWEAKED, TOO. SHE WAS PRESENT FOR EVERY NUANCE, ENSURING THAT THE END RESULTS REFLECTED HER REALITY.
"IT WAS VERY IMPORTANT FOR ME TO KNOW EVERYTHING THAT WAS INVOLVED IN MY MUSIC," SHE SAYS. "I'M THERE FOR ALL THE PRODUCTION THAT HAPPENS, I SIGN OFF ON ALL THE MIXES, I'M THERE FOR THE RECORDING. THE PEOPLE THAT ARE WORKING WITH ME ARE INCREDIBLE, SO I'M NOT DRIVING EVERY ASPECT OF IT, BUT I'M THERE INSPIRING IT."
IN EARLY 2015, COUNTRY RADIO WAS INTRODUCED TO CAM WITH THE ENGAGING FIRST SINGLE, "MY MISTAKE," WHILE HER FOUR-SONG EP, WELCOME TO CAM COUNTRY, DEBUTED ON SPOTIFY. THE MEDIA WAS IMPRESSED WITH CAM'S POSSIBILITIES. BILLBOARD PRAISED HER MUSIC AS "AT ONCE FRESH AND FAMILIAR, THAT RARE MIX OF DARING AND COMFORT THAT'S OFTEN THE HALLMARK OF A HIT," WHILE GOSSIP KING PEREZ HILTON CHAMPIONED HER FOR BEING "FEARLESS." THE ACCOLADES CONTINUED WITH THE RISE OF "BURNING HOUSE," WHICH ROLLING STONE COUNTRY CALLED "HAUNTING" AND "ONE OF THE MOST BUZZED-ABOUT TUNES OF THE YEAR." AND THE WASHINGTON POST LAUDED BOTH "MY MISTAKE" AND "BURNING HOUSE," NOTING THAT "THE TWO SONGS FEEL LIKE NIGHT AND DAY, BUT THEY ALSO SUGGEST RANGE AND DEPTH."
SINCE JULY 6, 2015, THE OFFICIAL RADIO IMPACT DATE OF "BURNING HOUSE, NOT ONLY HAS CAM BECOME THE ONLY COUNTRY FEMALE TO ACHIEVE MORE THAN 1 MILLION DOWNLOADS OF A SINGLE THIS PAST YEAR, BUT, ADDITIONALLY, BOTH HER BREAKTHROUGH HIT AND DEBUT DISC MADE MULTIPLE "BEST OF 2015" CRITICS' LISTS, INCLUDING ROLLING STONE, ENTERTAINMENT WEEKLY, THE WASHINGTON POST, ASSOCIATED PRESS, NASHVILLE SCENE, AMONG OTHERS. CAM ALSO BECAME THE MOST-NOMINATED FEMALE AT THE 2016 ACM AWARDS WITH SIX TOTAL NODS, AND, SHE RECEIVED A 2016 GRAMMY NOMINATIONFOR "BEST COUNTRY SOLO PERFORMANCE" FOR "BURNING HOUSE" AND 2016 AMERICAN COUNTRY COUNTDOWN AWARDS NOMINATIONS FOR "FEMALE VOCALIST OF THE YEAR" AND "BREAKTHROUGH FEMALE VOCALIST OF THE YEAR." HER CAREER IS SHOWING PROMISE.
PROMISE IS PART OF CAM'S CHARM. EVEN IN "BURNING HOUSE," A SPARE SONG ABOUT A CRUMBLING RELATIONSHIP, ONE CAN SENSE AN UNDERLYING POSITIVITY: HER PERSISTENCE AND HER DETERMINATION TO MEND A DEVASTATING FRACTURE.
IT'S A RARE GIFT, AND IT'S REFLECTED IN HER BOLD PENCHANT FOR YELLOW. SHE SPRINKLES THAT COLOR INTO SHOES, DRESSES, BRACELETS – SOMETIMES A COMBINATION OF ALL OF THEM – AS SHE VISUALLY CAPTURES HER INNER GLOW. THAT GOLDEN SIGNATURE LOOK WAS DEVELOPED OUT OF A CONVERSATION WITH HER MANAGER, LINDSAY MARIAS. CAM HAD RAISED A FAIR AMOUNT OF MONEY THROUGH A KICKSTARTER CAMPAIGN AND WAS USING SOME OF THAT REVENUE TO FUND A VIDEO. WORKING LATE AT NIGHT DURING THE PRODUCTION, CAM MADE SOME COFFEE TO GET A LIFT, AND AS SHE GRABBED A CUP, SHE PURPOSELY CHOSE A YELLOW ONE OFF THE SHELF.
"I REALLY NEEDED THIS BRIGHT MOMENT TO BE ABLE TO JUST CONNECT WITH PEOPLE THROUGH THE VIDEO," SHE EXPLAINS. "LINDSAY WAS THERE WITH ME, AND SHE SAID, 'YOU ARE YELLOW.' IT'S SO CHEERY AND FRIENDLY AND RELATABLE, AND ALL THOSE ADJECTIVES FIT SO WELL WITH ME AS A PERSON AND WHAT MY MUSIC IS ABOUT, SO IT JUST ALL CLICKED. THEN THE MORE WE INCORPORATED YELLOW, I STAND OUT IN PICTURES. PEOPLE SEND ME YELLOW THINGS, AND EVEN IF I'M TIRED OR IF IT'S A SUPER-COLD, SNOWY DAY, YELLOW LIFTS PEOPLE'S SPIRITS. IT KIND OF DOES HALF THE WORK FOR YOU."
IT'S A SIGN OF CAM'S BOLDNESS. HER DEAL, HER MUSIC, HER PHILOSOPHY – EVEN HER NAME: EVERYTHING ABOUT HER STANDS OUT. IF YOU HAVEN'T NOTICED CAM, YOU SIMPLY WEREN'T LOOKING.
at The Trocadero Theatre
1003 Arch Street
Philadelphia, United States
Orignal From: Cam
The Literary Northwest Series Presents Jeff Fearnside and Jesse Donaldson
The Literary Northwest Series Presents Jeff Fearnside and Jesse Donaldson
at Oregon State Campus
11th Street and Madison Avenue
Corvallis, United States
Orignal From: The Literary Northwest Series Presents Jeff Fearnside and Jesse Donaldson
The Literary Northwest Series is hosted by the School of Writing, Literature, and Film and their MFA Program. This event is free and open to the public and followed by a Q & A and book-signing.
Jeff Fearnside's short-story collection Making Love While Levitating Three Feet in the Air, a finalist for the New Rivers Press MVP Award and the Permafrost Book Prize in Fiction, was published in 2016 by the Stephen F. Austin State University Press. His fiction has appeared widely in journals and anthologies such as The Pinch, Rosebud, Many Mountains Moving, Bayou Magazine, Crab Orchard Review, and—most recently—Story, Fourteen Hills, Pacific Review, Valparaiso Fiction Review, and Everywhere Stories: Short Fiction from a Small Planet (Press 53). His writing has been nominated for Best New American Voices and three times for a Pushcart Prize, and he is the recipient of a 2015 Individual Artist Fellowship award from the Oregon Arts Commission. Fearnside earned degrees in Creative Writing from Bowling Green State University (BFA) and Eastern Washington University (MFA), and has taught writing and literature for many years at the Academy of Languages in Kazakhstan, Washington State University, Western Kentucky University, Prescott College, and currently Oregon State University.
Jesse Donaldson was born and raised in Kentucky, attended Kenyon College and Oregon State University, and was a fellow at The Michener Center for Writers in Austin, Texas. His writing has appeared in The Oxford American, The Greensboro Review, and Crazyhourse. Among other things, he's worked as a gardener, copywriter, teacher, and maintenance man. He now lives in Oregon with his wife and daughter, and a dog named Max.
For more information about the Literary Northwest Series visit http://liberalarts.oregonstate.edu/wlf/literary-northwest-series
at Oregon State Campus
11th Street and Madison Avenue
Corvallis, United States
Orignal From: The Literary Northwest Series Presents Jeff Fearnside and Jesse Donaldson
My Bae is a Young Boss
My Bae is a Young Boss
Beautiful and smart, nineteen-year-old Abrienne often kept to herself. She wasn't one to get caught up in gossip, drama, or guys. Besides her crazy, outspoken, and no filter having best friend, Falen, Abrienne's books were her best friend. She didn't sport the latest fashions, keep up with all the newest hair trends, or watch the latest reality shows, and her head was always found stuck in a book.
Abrienne often felt that her looks and hobbies hindered her from finding a boyfriend or from attracting anyone to her, but that didn't stop her from having a crush on Deondre, or Dutch, as most people referred to him. Dutch was that young boss around the city. He made Abrienne weak at the knees every time she spotted him, but his popularity and swag intimidated her.
Abrienne wouldn't dare speak to Dutch, nor make the first move since she felt that he was out of her league and figured that she probably wasn't his type so she decided to focus on getting her first job. Ready to make her own money, Abrienne decides to get a job at the mall where she runs into Dutch. Dutch's smooth talking ways and thugged out demeanor intrigued her. After many attempts of him asking for her number, she finally agrees to give him her phone number.
Her male bashing antics are what Falen is known for when it comes to men. She uses what she has to get what she wants. Not one to catch feelings for guys, Falen loves them and leaves them. After always preaching to Abrienne about not catching feelings, has she met her match when it comes to Raymond, Dutch's right hand man?
Find out what happens when opposites attract in this hood love drama when My Bae Is A Young Boss.
Price: [wpramaprice asin="B01M22X5H2"]
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Orignal From: My Bae is a Young Boss
Embodying the Unspoken Self: Attachment, Trauma, Neurobiology and the Body A Year-long Institute 2016 – 2017
Embodying the Unspoken Self: Attachment, Trauma, Neurobiology and the Body A Year-long Institute 2016 – 2017
We are at full capacity now for registration for the Institute conferences. We can place your name on the waiting list and will notify you if we are able to accept your registration. Thank you very much for your interest in the Institute and we regret not being able to register you at this time. Each Saturday Conference is from 8:30 am to 5:30 pm. Registration in the Institute on Embodying the Unspoken Self automatically enrolls each participant in all four Saturday conferences. Psychotherapy is known as "the talking cure." Through words, patients describe memories and inner experiences, allowing empathically attuned therapists to enter that world. But how can this process unfold when patients have no words for, and may not know, their own experiences? Trauma specialists confront the difficulties of working with material not available to conscious awareness and verbal formulation. P. Ogden, Levine, van der Kolk and others assert that the body holds the story and keeps the score, and that trauma may be revealed not in words but in somatic, unsymbolized sensory fragments and symptoms. Similarly, attachment researchers demonstrate the critical influence of injuries resulting from nuanced early failures of care during the preverbal period that set the stage for later dysfunction. In four full-day conferences, the Institute on Embodying the Unspoken Self provides the opportunity to learn state of the art science and theory of how the body contains and communicates unformulated material, and effective techniques to access implicit memory, integrate previously inaccessible pieces of the patient's past, and alleviate the patient's distress. The Institute opens with Beatrice Beebe. Through micro-analyses of mother-infant dyads, she explores the nonverbal dyadic system cocreated by mother and infant, then extends her findings to adult patient-therapist interactions. From the field of neurobiology, Stephen Porges presents his Polyvagal Theory, explaining how the autonomic nervous system assesses safety and danger, and how that assessment impacts our ability to respond and interact with the environment. In our third conference, Kathy Steele presents her innovative work on trauma and dissociation, exploring the impact of trauma on the integrity of the self and a three-phase approach to working with trauma. To conclude the Institute, Ame Cutler demonstrates the concepts and techniques associated with listening to the body from the inside, using Pat Ogden's Sensorimotor Psychotherapy approach that pays close attention to attachment issues and integrates cognitive,emotional and somatic experiences into treatment. Pre-Conference Sessions are also available: Three hour pre-conferences will also be offered the Friday before each Saturday full day session from 3:00 to 6:15 pm for those who are interested in deepening their understanding of the topics and their clinical applications. Priority will be given to those who are registered for the Institute. Space is limited for the pre-conferences. 1st Conference ~ September 24, 2016 Infant Research and Adult Treatment Beatrice Beebe, PhD Preconference: Bringing Attachment into the Real World: Exploring the Circle of Security Intervention September 23, 2016 - Betty Ann Kaplan, PhD This pre-conference is sold out. You can be added to a waiting list for future openings. 2nd Conference ~ December 10, 2016 The Polyvagal Theory Stephen Porges, PhD Preconference: Prepping for Porges: The Clinical Relevance of his Work December 9, 2016 - Cynthia Margolies, PhD 3rd Conference ~ February 25, 2017 Integrating the Body in the Psychotherapy of Trauma Kathy Steele, MN, CS Preconference: Recognizing Dissociative Processes in Your Casework: Keeping the Body in Mind February 24, 2017 - Rich Chefetz, MD 4th Conference ~ May 6, 2017 Sensorimotor Psychotherapy Treatment of Trauma and Attachment Ame Cutler, PhD Preconference: Not By Words Alone: Body Based Interventions for Healing the Wounds of Attachment and Trauma May 5, 2017 - Tally Tripp, MA, MSW, ATR-BC This pre-conference is sold out. You can be added to a waiting list for future openings. Small Group Experiences: Part of each conference will be spent in small groups. The intentions of the groups are to deepen participants' understanding of the material presented, offer exposure to techniques employed when working with the physical manifestations of developmental trauma, and consider how these techniques can be integrated with self-psychological and relational approaches to treatment. Participants enrolled in the entire Institute will stay in the same group throughout the four conferences. Efforts will be made to arrange groups so as to avoid dual relationships between group members. PARTICIPANTS MAY CHOOSE BETWEEN TWO TYPES OF GROUPS: EXPERIENTIAL GROUPS These groups will focus on experience-near activities which heighten our awareness of the language of the body and the experience of the five senses. Using exercises related to the conference topic, participants will attend to their here-and-now experience and will be invited to discuss their reactions. Participants may find these exercises to be powerful, and group leaders will provide preparation for the experiences and opportunities to debrief reactions within the safety of the small groups. INTEGRATIVE DISCUSSION GROUPS These groups will provide a forum for critical conversation based on the conference topic, deepening participants' understanding of the material being presented and exploring how these perspectives can be applied in the clinical setting. Some optional exercises and case material may be offered as vehicles for demonstrating concepts and considering their clinical implications. See our website for more information, www.icpeast.org/2016-Institute. Special Requests: Reasonable disability accommodations may be requested by August 1, 2016. A limited number of scholarships are available based on financial need. Contact the ICP+P Administrator, administrator@icpeast.org, for either of these requests. Continuing Education Credit: The Institute of Contemporary Psychotherapy+Psychoanalysis (ICP+P) is approved by the American Psychological Association to sponsor continuing education for psychologists. ICP+P maintains responsibility for this program and its content. ICP+P is approved by the Maryland Board of Social Work Examiners to offer Category I continuing education credit. Because ICP+P has approval from the Maryland Board, CE credit hours awarded by ICP+P may also be claimed by social workers licensed in Virginia and the District of Columbia. These continuing education credits meet the ANCC approval standards for nurses and the approved standards for marriage and family therapists. 7 CE credits will be awarded for attending each Saturday conference, at which full attendance is required to receive the designated CE credit. ICP+P is accredited by MedChi, the Maryland State Medical Society, to provide continuing medical education for physicians. ICP+P designates this educational activity for a maximum of 28 AMA PRA Category 1 Credit(s). Physicians should only claim credit commensurate with the extent of their participation in the activity. Three (3) CE credits will be awarded for attendance following each pre-conference session. CE Credit is granted to participants with documented attendance at individual workshops and completed evaluation forms for those sessions. Credit will not be granted to registrants who are more than 15 minutes late or depart more than 15 minutes early from a session. * All Institute presenters and planners have informed us that they do not have a conflict of interest and have disclosed that they have no relevant financial relationship with any commercial interests pertaining to this educational activity. Additionally, the presenters have been instructed to disclose any limitations of data and unlabeled or investigational uses of products during this presentation. This presentation will not contain any references to off-label (non-FDA approved) use of products or devices.
at Georgetown University
3700 O St NW
Washington, United States
Orignal From: Embodying the Unspoken Self: Attachment, Trauma, Neurobiology and the Body A Year-long Institute 2016 – 2017
We are at full capacity now for registration for the Institute conferences. We can place your name on the waiting list and will notify you if we are able to accept your registration. Thank you very much for your interest in the Institute and we regret not being able to register you at this time. Each Saturday Conference is from 8:30 am to 5:30 pm. Registration in the Institute on Embodying the Unspoken Self automatically enrolls each participant in all four Saturday conferences. Psychotherapy is known as "the talking cure." Through words, patients describe memories and inner experiences, allowing empathically attuned therapists to enter that world. But how can this process unfold when patients have no words for, and may not know, their own experiences? Trauma specialists confront the difficulties of working with material not available to conscious awareness and verbal formulation. P. Ogden, Levine, van der Kolk and others assert that the body holds the story and keeps the score, and that trauma may be revealed not in words but in somatic, unsymbolized sensory fragments and symptoms. Similarly, attachment researchers demonstrate the critical influence of injuries resulting from nuanced early failures of care during the preverbal period that set the stage for later dysfunction. In four full-day conferences, the Institute on Embodying the Unspoken Self provides the opportunity to learn state of the art science and theory of how the body contains and communicates unformulated material, and effective techniques to access implicit memory, integrate previously inaccessible pieces of the patient's past, and alleviate the patient's distress. The Institute opens with Beatrice Beebe. Through micro-analyses of mother-infant dyads, she explores the nonverbal dyadic system cocreated by mother and infant, then extends her findings to adult patient-therapist interactions. From the field of neurobiology, Stephen Porges presents his Polyvagal Theory, explaining how the autonomic nervous system assesses safety and danger, and how that assessment impacts our ability to respond and interact with the environment. In our third conference, Kathy Steele presents her innovative work on trauma and dissociation, exploring the impact of trauma on the integrity of the self and a three-phase approach to working with trauma. To conclude the Institute, Ame Cutler demonstrates the concepts and techniques associated with listening to the body from the inside, using Pat Ogden's Sensorimotor Psychotherapy approach that pays close attention to attachment issues and integrates cognitive,emotional and somatic experiences into treatment. Pre-Conference Sessions are also available: Three hour pre-conferences will also be offered the Friday before each Saturday full day session from 3:00 to 6:15 pm for those who are interested in deepening their understanding of the topics and their clinical applications. Priority will be given to those who are registered for the Institute. Space is limited for the pre-conferences. 1st Conference ~ September 24, 2016 Infant Research and Adult Treatment Beatrice Beebe, PhD Preconference: Bringing Attachment into the Real World: Exploring the Circle of Security Intervention September 23, 2016 - Betty Ann Kaplan, PhD This pre-conference is sold out. You can be added to a waiting list for future openings. 2nd Conference ~ December 10, 2016 The Polyvagal Theory Stephen Porges, PhD Preconference: Prepping for Porges: The Clinical Relevance of his Work December 9, 2016 - Cynthia Margolies, PhD 3rd Conference ~ February 25, 2017 Integrating the Body in the Psychotherapy of Trauma Kathy Steele, MN, CS Preconference: Recognizing Dissociative Processes in Your Casework: Keeping the Body in Mind February 24, 2017 - Rich Chefetz, MD 4th Conference ~ May 6, 2017 Sensorimotor Psychotherapy Treatment of Trauma and Attachment Ame Cutler, PhD Preconference: Not By Words Alone: Body Based Interventions for Healing the Wounds of Attachment and Trauma May 5, 2017 - Tally Tripp, MA, MSW, ATR-BC This pre-conference is sold out. You can be added to a waiting list for future openings. Small Group Experiences: Part of each conference will be spent in small groups. The intentions of the groups are to deepen participants' understanding of the material presented, offer exposure to techniques employed when working with the physical manifestations of developmental trauma, and consider how these techniques can be integrated with self-psychological and relational approaches to treatment. Participants enrolled in the entire Institute will stay in the same group throughout the four conferences. Efforts will be made to arrange groups so as to avoid dual relationships between group members. PARTICIPANTS MAY CHOOSE BETWEEN TWO TYPES OF GROUPS: EXPERIENTIAL GROUPS These groups will focus on experience-near activities which heighten our awareness of the language of the body and the experience of the five senses. Using exercises related to the conference topic, participants will attend to their here-and-now experience and will be invited to discuss their reactions. Participants may find these exercises to be powerful, and group leaders will provide preparation for the experiences and opportunities to debrief reactions within the safety of the small groups. INTEGRATIVE DISCUSSION GROUPS These groups will provide a forum for critical conversation based on the conference topic, deepening participants' understanding of the material being presented and exploring how these perspectives can be applied in the clinical setting. Some optional exercises and case material may be offered as vehicles for demonstrating concepts and considering their clinical implications. See our website for more information, www.icpeast.org/2016-Institute. Special Requests: Reasonable disability accommodations may be requested by August 1, 2016. A limited number of scholarships are available based on financial need. Contact the ICP+P Administrator, administrator@icpeast.org, for either of these requests. Continuing Education Credit: The Institute of Contemporary Psychotherapy+Psychoanalysis (ICP+P) is approved by the American Psychological Association to sponsor continuing education for psychologists. ICP+P maintains responsibility for this program and its content. ICP+P is approved by the Maryland Board of Social Work Examiners to offer Category I continuing education credit. Because ICP+P has approval from the Maryland Board, CE credit hours awarded by ICP+P may also be claimed by social workers licensed in Virginia and the District of Columbia. These continuing education credits meet the ANCC approval standards for nurses and the approved standards for marriage and family therapists. 7 CE credits will be awarded for attending each Saturday conference, at which full attendance is required to receive the designated CE credit. ICP+P is accredited by MedChi, the Maryland State Medical Society, to provide continuing medical education for physicians. ICP+P designates this educational activity for a maximum of 28 AMA PRA Category 1 Credit(s). Physicians should only claim credit commensurate with the extent of their participation in the activity. Three (3) CE credits will be awarded for attendance following each pre-conference session. CE Credit is granted to participants with documented attendance at individual workshops and completed evaluation forms for those sessions. Credit will not be granted to registrants who are more than 15 minutes late or depart more than 15 minutes early from a session. * All Institute presenters and planners have informed us that they do not have a conflict of interest and have disclosed that they have no relevant financial relationship with any commercial interests pertaining to this educational activity. Additionally, the presenters have been instructed to disclose any limitations of data and unlabeled or investigational uses of products during this presentation. This presentation will not contain any references to off-label (non-FDA approved) use of products or devices.
at Georgetown University
3700 O St NW
Washington, United States
Orignal From: Embodying the Unspoken Self: Attachment, Trauma, Neurobiology and the Body A Year-long Institute 2016 – 2017
Fall Nature Storybook Art for Homeschoolers
Fall Nature Storybook Art for Homeschoolers
Nature Storybook Art for Homeschoolers Session 1 At Eden Mill Nature Center on September 14, 21, 28 from 12:15 PM to 2:00 PM for children ages 5 to 12 years. /member or /non-member. Each activity builds new awareness about books, illustrators, and their art techniques as each illustrator is paired with a book, and presented to the child artist for an art activity of creative value. Art techniques include: drawing, painting, collage, crafting/constructing. Pre-Registration IS required: 410-836-3050 or edenmillnaturecenter@gmail.com. www.edenmill.org Nature Storybook Art for Homeschoolers Session 2 At Eden Mill Nature Center on October 5, 19, 26 from 12:15 PM to 2:00 PM for children ages 5 to 12 years. /member or /non-member. Each activity builds new awareness about books, illustrators, and their art techniques as each illustrator is paired with a book, and presented to the child artist for an art activity of creative value. Art techniques include: drawing, painting, collage, crafting/constructing. Pre-Registration IS required: 410-836-3050 or edenmillnaturecenter@gmail.com. www.edenmill.org Nature Storybook Art for Homeschoolers Session 3 At Eden Mill Nature Center on November 2, 9, 16 from 12:15 PM to 2:00 PM for children ages 5 to 12 years. /member or /non-member. Each activity builds new awareness about books, illustrators, and their art techniques as each illustrator is paired with a book, and presented to the child artist for an art activity of creative value. Art techniques include: drawing, painting, collage, crafting/constructing. Pre-Registration IS required: 410-836-3050 or edenmillnaturecenter@gmail.com. www.edenmill.org
at Eden Mill Nature Center
1617 Eden Mill Rd
Pylesville, United States
Orignal From: Fall Nature Storybook Art for Homeschoolers
Nature Storybook Art for Homeschoolers Session 1 At Eden Mill Nature Center on September 14, 21, 28 from 12:15 PM to 2:00 PM for children ages 5 to 12 years. /member or /non-member. Each activity builds new awareness about books, illustrators, and their art techniques as each illustrator is paired with a book, and presented to the child artist for an art activity of creative value. Art techniques include: drawing, painting, collage, crafting/constructing. Pre-Registration IS required: 410-836-3050 or edenmillnaturecenter@gmail.com. www.edenmill.org Nature Storybook Art for Homeschoolers Session 2 At Eden Mill Nature Center on October 5, 19, 26 from 12:15 PM to 2:00 PM for children ages 5 to 12 years. /member or /non-member. Each activity builds new awareness about books, illustrators, and their art techniques as each illustrator is paired with a book, and presented to the child artist for an art activity of creative value. Art techniques include: drawing, painting, collage, crafting/constructing. Pre-Registration IS required: 410-836-3050 or edenmillnaturecenter@gmail.com. www.edenmill.org Nature Storybook Art for Homeschoolers Session 3 At Eden Mill Nature Center on November 2, 9, 16 from 12:15 PM to 2:00 PM for children ages 5 to 12 years. /member or /non-member. Each activity builds new awareness about books, illustrators, and their art techniques as each illustrator is paired with a book, and presented to the child artist for an art activity of creative value. Art techniques include: drawing, painting, collage, crafting/constructing. Pre-Registration IS required: 410-836-3050 or edenmillnaturecenter@gmail.com. www.edenmill.org
at Eden Mill Nature Center
1617 Eden Mill Rd
Pylesville, United States
Orignal From: Fall Nature Storybook Art for Homeschoolers
Wednesday 19 October 2016
Gareth Emery
Gareth Emery
Most DJ/producers don't crack into the DJMag Top 100 before the age of 30. Most of them don't shun major label attention. Most of them don't have them don't have the balls to call out the scene that they belong to when it's failing to deliver the goods. And some don't even produce 'their' own tracks. Gareth Emery, with his potent blend of trance, house, electro and techno, however, is not your average major league artist. He was a prodigious talent in his childhood, teaching himself to play the piano from the age of 4, and continuing his invaluable classical education until he began playing guitar in an indie band at 15. Neither of these were false starts for his eventual electronic conversion; instead, both paths giving him essential experience and understanding of music and songwriting and how to convey emotion through his sounds. His baptism of fire came on a chance trance trip to Ibiza in 1998, which was followed by three years of learning the machinations of electronic music making. At the age of 22, he created a track on a laptop while on holiday in France. That track was the instant classic Mistral; a stunning debut which soon had unsuspecting pundits and clubbers alike eating out of his hands. From here onwards his career ascent was impressively - and deservedly rapid."I guess it's just good, melodic dance music," he says of his musical style. "One of the most positive things about the scene over the past few years has been the gradual breaking down of genre barriers and the cross-pollination of sounds. I just look for records that I enjoy musically and also work well in a club. The genre is unimportant". He's not afraid to meld his bold, scintillating electronic motifs with more organic flavours, with his crisp, sharp leads and basslines frequently married to soaring vocals, traditional songwriting prowess and what some might call 'proper' instruments. While he's spent record-breaking stints at the top of Beatport's Trance sales chart, and while trance will always be a part of what he does, he won't let the sound ultimately define him. "I've realised that my strength is in music and melodies that touch people. I'm a music guy. It just happens to be that the music I make is electronic. That realisation has allowed me a lot more creative freedom, then when I felt I had to write music for a certain 'scene'." It's this very decision which has helped him to garner such widespread acclaim and which has ensured that he's never boxed as simply a trance DJ/producer. His ambitions are bigger than any one sound or scene, and his eclectically flavoured output is testament to that fact. "The longer I've been producing, the less I see myself as a dance music producer and more as an artist and musician" he explains of this approach to production. "I always start a track with the music, rather than the beats, and I found the dance scene after classical piano training and years of playing guitar in bands, so I guess in a way I've come full circle." His ground-breaking podcast started back in 2006, marking him out as one of the key early adopters of the now ubiquitous format. Nominated several times for the Miami IMDA Best Podcast award, it's been a seriously important calling card for his career. "I got lucky basically. But I also never had any musical rules about the show; it was always whatever tracks I liked that week, regardless of whether they fitted my sets. Down the line that allowed me to be more innovative and varied with my DJ sets." He's consistently voted inside the DJMag Top 100 DJs Poll - peaking at Number 7 - with his burgeoning Garuda party selling out Manchester's legendary Sankeys four times in a row and spawning a critically acclaimed compilation, The Sound Of Garuda. Building a musical brand around his name in record shops, download stores, radio and clubland has given him an all-encompassing reputation in dance music which is rivalled by few.His 2012 is off to a huge start, with latest single Concrete Angel premiered on Judge Jules' Radio 1 show , and its video added to the prestigious MTV Dance playlist as well as racking up 1 million YouTube plays in its first three weeks online. He's been chosen as a resident for Las Vegas's Marquee - one of the most outstanding club venues in the world in the city that everyone's calling the new Ibiza - while he's also playing the enormous Ultra Music Festival and taking Garuda to Space Miami. Clocking up air miles like nobody's business, he's massively in demand across the globe, his continually evolving sound gaining him bookings at an impressive variety of clubs and festivals the world over.As you can probably tell, Gareth Emery is a man of hard-graft and sizeable ambition. His ambitions are impressive, with a view to produce bands and other artists in the future. His focus for the foreseeable future is on building further on the huge platform that Garuda sits on, taking his club nights and new show across the globe, while continuing to create more slices of 'anti-genre' dancefloor gold.
at Foundation Nightclub
2218 Western Ave.
Seattle, United States
Orignal From: Gareth Emery
Most DJ/producers don't crack into the DJMag Top 100 before the age of 30. Most of them don't shun major label attention. Most of them don't have them don't have the balls to call out the scene that they belong to when it's failing to deliver the goods. And some don't even produce 'their' own tracks. Gareth Emery, with his potent blend of trance, house, electro and techno, however, is not your average major league artist. He was a prodigious talent in his childhood, teaching himself to play the piano from the age of 4, and continuing his invaluable classical education until he began playing guitar in an indie band at 15. Neither of these were false starts for his eventual electronic conversion; instead, both paths giving him essential experience and understanding of music and songwriting and how to convey emotion through his sounds. His baptism of fire came on a chance trance trip to Ibiza in 1998, which was followed by three years of learning the machinations of electronic music making. At the age of 22, he created a track on a laptop while on holiday in France. That track was the instant classic Mistral; a stunning debut which soon had unsuspecting pundits and clubbers alike eating out of his hands. From here onwards his career ascent was impressively - and deservedly rapid."I guess it's just good, melodic dance music," he says of his musical style. "One of the most positive things about the scene over the past few years has been the gradual breaking down of genre barriers and the cross-pollination of sounds. I just look for records that I enjoy musically and also work well in a club. The genre is unimportant". He's not afraid to meld his bold, scintillating electronic motifs with more organic flavours, with his crisp, sharp leads and basslines frequently married to soaring vocals, traditional songwriting prowess and what some might call 'proper' instruments. While he's spent record-breaking stints at the top of Beatport's Trance sales chart, and while trance will always be a part of what he does, he won't let the sound ultimately define him. "I've realised that my strength is in music and melodies that touch people. I'm a music guy. It just happens to be that the music I make is electronic. That realisation has allowed me a lot more creative freedom, then when I felt I had to write music for a certain 'scene'." It's this very decision which has helped him to garner such widespread acclaim and which has ensured that he's never boxed as simply a trance DJ/producer. His ambitions are bigger than any one sound or scene, and his eclectically flavoured output is testament to that fact. "The longer I've been producing, the less I see myself as a dance music producer and more as an artist and musician" he explains of this approach to production. "I always start a track with the music, rather than the beats, and I found the dance scene after classical piano training and years of playing guitar in bands, so I guess in a way I've come full circle." His ground-breaking podcast started back in 2006, marking him out as one of the key early adopters of the now ubiquitous format. Nominated several times for the Miami IMDA Best Podcast award, it's been a seriously important calling card for his career. "I got lucky basically. But I also never had any musical rules about the show; it was always whatever tracks I liked that week, regardless of whether they fitted my sets. Down the line that allowed me to be more innovative and varied with my DJ sets." He's consistently voted inside the DJMag Top 100 DJs Poll - peaking at Number 7 - with his burgeoning Garuda party selling out Manchester's legendary Sankeys four times in a row and spawning a critically acclaimed compilation, The Sound Of Garuda. Building a musical brand around his name in record shops, download stores, radio and clubland has given him an all-encompassing reputation in dance music which is rivalled by few.His 2012 is off to a huge start, with latest single Concrete Angel premiered on Judge Jules' Radio 1 show , and its video added to the prestigious MTV Dance playlist as well as racking up 1 million YouTube plays in its first three weeks online. He's been chosen as a resident for Las Vegas's Marquee - one of the most outstanding club venues in the world in the city that everyone's calling the new Ibiza - while he's also playing the enormous Ultra Music Festival and taking Garuda to Space Miami. Clocking up air miles like nobody's business, he's massively in demand across the globe, his continually evolving sound gaining him bookings at an impressive variety of clubs and festivals the world over.As you can probably tell, Gareth Emery is a man of hard-graft and sizeable ambition. His ambitions are impressive, with a view to produce bands and other artists in the future. His focus for the foreseeable future is on building further on the huge platform that Garuda sits on, taking his club nights and new show across the globe, while continuing to create more slices of 'anti-genre' dancefloor gold.
at Foundation Nightclub
2218 Western Ave.
Seattle, United States
Orignal From: Gareth Emery
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