Sound Shapes Media Design

#RetailProblems: Let's Buy Some Shoes This is a video of what NOT to do while shopping. Friend and Follow: Vine: Martha N. TheJoneses Instagram: @MarthaNTheJ...

Hey folks! Please watch my video #RetailProblems on YouTube. It's for my class and I need as many views and likes as possible! Even if you watch it on mute I'd appreciate it lol. 

Looking for Alaska by John Green

Ash: I hate fish

Me: What? I love fish, it's like the best meat.

Ash: Of course the lesbian loves fish.

Sound Shapes Color design

Alisa Smith

May 5, 2014

Media Practices: Design Principles

The New School

Sound Shapes Color features eclectic bohemian jewelry that appeal primarily to women between the ages of 15-30 years old that live in metropolitan areas.  Although that is the target demographic, it is by no means limited to it. SSC customers are interested in quality handmade jewelry that can be everyday wear or attention-catching conversation pieces. Styles range from minimalist pieces made from repurposed materials to bold statement pieces. Select jewelry like the scrabble tile jewelry can be personalized at customer’s request. SSC customers are likely to shop on Etsy and at flea markets, bazaars, and second-hand shops.

Oh, you look like Beyonce?

► Play Zeega ►

What's the Fracking Problem?

“How many performance artists does it take to work a projector? — Four plus two to watch,” joked well-known artist and director Rob Roth.  As the performers began arriving for sound check, the DJ/Sound Engineer, Ashlee Chanelle and myself scrambled to export files submitted last minute and to get familiar with the theatre’s equipment. #IDES, sponsored by Budweiser, took place at the Joria Theatre located on West 36th Street. It’s the type of space I’ve come to associate with a lot of performance art; a small, hidden space that almost come across as a secret only know to those who are in the know. The lighting choices available to the performers were limited to dim lighting or a gel covered spotlight that cast the stage area in blue. 

#IDES was curated by Victor P. Corona, a professor at the FIT who studies the connection between Andy Warhol, Michael Alig and the Club Kids of the late 80s/early 90s, and Lady Gaga as well as their influences on New York nightlife and culture.  His event’s lineup was comprised an interesting array of performers including Power Animal Systems, Jocelyn Saldana, author/punk musician Jennifer Blowdryer, and headliner Lady Starlight who is known popularly by the more mainstream crowd as Lady Gaga’s DJ.

Rob Roth performed his piece entitled “Craig’s Dream” where he took on the persona of a wolf-like create named Craig. Two amplifiers were used for himself and Dave Yang, the electric violinist who accompanied him. The only extra tech was the litany of effect pedals used by the violinist to express the mournful and sometimes trippy music.

Using only an iPod, an amp, and two background signers, Andrew Barrett Cox performed a charming stripped version of his song “Take Me Home (With You Tonight).” Based on the book “Disco Bloodbath: A Fabulous but True Tale of Murder in Clubland,” the song is from his play “Clubland: The Monster Pop Party” which tells the story of party promoter Michael Alig and the NYC club scene of the 90s.

The show ended with Lady Starlight. She entered the room wearing a navy blue, nautical romper and began setting up a small rotating platform and a record player. As “A Plague of Lighthouse Keepers” by Van der Graaf Generator played Lady Starlight stood on the turning platform resembling a jewelry box ballerina. The only times she moved were to spot herself and occasionally change her pose when the lyrics called for it. Like a happy accident, the blue tinted spotlight that was used out of necessity seemed to fit her performance as she crouched while spinning and the vocalist sang “'Alone, alone,' the ghosts all call, pinpoint me in the light.”

Last week's class discussion was really interesting. As we talked about Elvis whom was dubbed the "King of Rock 'n' Roll" during the 1950s, the subject of race was thrown into the mix. It's really interesting to see how uncomfortable the topic of race makes people.While I think it's something that can't and shouldn't be avoided when talking about the co-opting of culture, It's treated as if it's something that should not be brought up in "polite" conversation. And I totally understand it— sometimes it puts me on edge but ignoring the problem doesn't mean that it's gone away.

During the 50's the white washing of black music was a prevalent practice that made Elvis and many other artists the faces of black music. As soon as that fact is brought up it's like shots have been fired. While I'm pretty indifferent about him, I'm not doubting his talent. He was very talent man performing music he grew up on. However, ignoring cultural appropriation? Not the answer. 

This reminded me of something that happened on a trip to Atlantic City with a couple of friends from choir. We ended up eating at Johnny Rockets and someone said "I would have loved to live during the 50's... It was such a simpler time. Wouldn't you?" The rest of the group of the agreed and they looked at me. Mind you, I'm the only black person in our group of friends so I laughed and said "No! I wouldn't even be able to eat here let alone sit with you guys! Lol I's probably be out back somewhere." It's funny because people tend to paint that era as a peaceful and happy time in America. They think only of Elvis while completely glossing over the blatant racism and violence that took place. While I wasn't alive during that time, the saddle shoes, hot rods, Jim Crow, malt shops and Elvis are kinda inseparable.