Strawberry Swing

 
 

Strawberry Swing is a song by British alternative rock band Coldplay. On 13 September 2009, it was released as the fifth and final single from the band’s fourth studio album, Viva la Vida or Death and All His Friends (2008).

Strawberry Swing contains influences from afro-pop and highlife music, and is built around finger-picked, distortion-free guitars with a heavy bassline and psychedelic synths. Lead singer Chris Martin explained how the song’s musical style came into existence: “My mum comes from Zimbabwe, so I spent a lot of time there. I used to work in a studio where people played that.”

The music video for Strawberry Swing was directed by Shynola.The video was nominated in the Best Animation in a Video category at the UK Music Video Awards 2009. In August 2010, the video was nominated for “Breakthrough Video” at the 2010 MTV Video Music Awards.

 
 

 
 

In September 2009, the originality of the Shynola-directed video was questioned by singer-songwriter Andy J Gallagher; he argued that “Owen Trevor had virtually the same idea at least a year before.” In an official PDF statement, Shynola stated “Having never seen Mr. Trevor’s video before, we can categorically deny that his video was any influence on our video. Any similarities are purely coincidental.” The PDF also contained image-by-image rebuttals of Gallagher’s claims, and added that the video was mainly inspired by the “dreamlike weirdness” of animator Winsor McCay‘s artwork.

To watch the music video, please take a gander at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl

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About an Imaginary Friend

 

Wonderwall is a song by English rock band Oasis, written by the band’s guitarist and main songwriter Noel Gallagher. The song was produced by Owen Morris and Gallagher for their second album (What’s the Story) Morning Glory?.

Contrary to popular belief, the song’s title was not appropriated from Wonderwall, a 1968 film with its soundtrack album (Wonderwall Music) by George Harrison. It remains one of the band’s most popular songs; on 9 June 2013, it was voted number one on Australian alternative music radio station Triple J’s “20 Years of the Hottest 100”. Many notable artists have also covered the song, such as rock singer Ryan Adams in 2003, folk singer Cat Power, and jazz musician Brad Mehldau in 2008.

“Wonderwall” was written for Gallagher’s then-girlfriend, Meg Mathews, as Gallagher told NME in 1996: “It’s about my girlfriend, Meg Matthews.” However, after Gallagher divorced Matthews in 2001, he said the song was not about Matthews: “[the song was] about an imaginary friend who’s gonna come and save you from yourself.”

The music video to the song was filmed by director Nigel Dick with his regular collaborator DOP Ali Asad in the relatively brief period when bassist Paul “Guigsy” McGuigan quit the band due to nervous exhaustion; Scott McLeod came in to replace him.

An alternative version, possibly a bootleg recording, exists and is viewable online. It features a single fixed camera shot, the same as is seen in the more common video, of the five band members miming to the song.

The sleeve artwork was inspired by the paintings of the Belgian surrealist René Magritte, and was shot on Primrose Hill in north London. The hand holding the frame is that of art director Brian Cannon. The original idea was to have Liam in the frame before Noel vetoed that idea whilst the shoot was taking place. Instead a female figure was deemed necessary and Anita Heryet, a Creation Records employee, was asked to stand in as cover star for the shot.

 

To watch the music video, please take a gander at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl

Kafka and Oasis in a Same Song

“You are at once both the quiet and the confusion of my heart; imagine my heartbeat when you are in this state.”

“Each of us has his own way of emerging from the underworld, mine is by writing. That’s why the only way I can keep going, if at all, is by writing, not through rest and sleep. I am far more likely to achieve peace of mind through writing than the capacity to write through peace.”

Franz Kafka
Letters to Felice

 
 

 
 

Every day I wake up and it’s Sunday
Whatever’s in my eye won’t go away
The radio is playing all the usual
And what’s a Wonderwall anyway

Because my inside is outside
My right side’s on the left side
‘Cause I’m writing to reach you now but
I might never reach you, only want to teach you
About you but that’s not you

It’s good to know that you are home for Christmas
It’s good to know that you are doing well
It’s good to know that you all know I’m hurting
It’s good to know I’m feeling not so well

Because my inside is outside
My right side’s on the left side
‘Cause I’m writing to reach you now but
I might never reach you, only want to teach you
About you but that’s not you
Do you know it’s true but that won’t do

Maybe then tomorrow will be Monday
And whatever’s in my eye should go away
But still the radio keeps playing all the usual
And what’s a Wonderwall anyway

Because my inside is outside
My right side’s on the left side
‘Cause I’m writing to reach you now but
I might never reach you, only want to teach you
About you but that’s not you
Do you know it’s true but that won’t do
And you know it’s you I’m talking to

 
 

The song was written by Fran Healy, who admitted that he took the guitar chords from OasisWonderwall; as an overt acknowledgement of this, the song contains the lyric “and what’s a wonderwall, anyway?”. In 2004, both Writing to Reach You and Wonderwall were mixed with Green Day‘s Boulevard of Broken Dreams in the popular mash up, Boulevard of Broken Songs,Boulevard of Broken Songs by San Francisco, California DJ and producer Party Ben.

As Fran Healy stated:

Writing To Reach You was actually inspired by Franz Kafka’s Letters To Felice. He wrote to this woman he was in love with hundreds of times, yet never met her. None of her replies are in the book, so you have to piece together their relationship. I was reading that one day, and Wonderwall came on the radio. I nicked the chords, then changed the rhythm and the melody. I’m pleased we managed to draw on Kafka and Oasis in the same song.”

Woodland Creatures

Supermodel Kate Moss was into vintage David Bowie as she wore one of his Ziggy Stardust outfits to collect a prize on his behalf at the Brit Awards 2014

 
 

The catwalk star was on hand for the ceremony because David Bowie, 67, chose to stay at home in New York rather than attend the event to pick up his best British male award – his first Brit for 18 years.

Moss arrived secretly, avoiding the red carpet, to surprise guests at the event. And when she arrived on stage, the 40-year-old model was wearing an outfit which Bowie himself made famous at one of the most celebrated stages of his career.

He originally donned the leotard-style garment while appearing at London’s Rainbow Theatre in Finsbury Park on August 19, 1972.

 
 

The costume, called Woodland Creatures but popularly known as his ‘rabbit costume’ was designed by Kansai Yamamoto

 
 

Noel Gallagher announced Bowie – who made a comeback after a ten-year absence – had taken the prize

 
 

The ex-Oasis star said: ‘You maniacs didn’t think David Bowie was actually going to be here? David Bowie’s too cool for that – he doesn’t do this s***.

‘David Bowie has sent his representative on earth. The one and only Kate Moss is going to receive this award on his behalf.’

Moss said: ‘Good evening ladies and gentleman, David has asked me to say this.

‘In Japanese myth the rabbits from my old costume that Kate’s wearing live on the moon.

‘Kate comes from Venus and I from Mars, so that’s nice. I’m completely delighted to have a Brit for being the best male, but I am, aren’t I Kate? I think it’s a great way to end the day.

‘Thank you very, very much and Scotland – stay with us’.

Bowie previously won the prize 30 years ago, after his comeback last year with album The Next Day, following an absence of 10 years.

The only other win he has notched up during his long career was an honorary title in 1996 for his outstanding contribution to music.

The 67-year-old music legend is now the oldest recipient of a Brit Award, taking over from Sir Tom Jones, who was given an honorary prize for his outstanding contribution to music in 2003 when he was 62.

Moss and Bowie have had an association for a number of years, with the model interviewing Bowie for Q magazine more than a decade ago, also posing for a cover shoot together.

Bowie returned to the music world early last year surprising his fans by coming out of what had appeared to be retirement, releasing his album The Next Day after a ten-year recording silence.

Spread Love Around the World

Robert Indiana on coach with Andy Warhol in Warhol’s studio, Vogue, March 1965. Photo: Bruce Davidson

 
 

At the helm of the Pop art movement were Andy Warhol and Robert Indiana. The two artists exhibited work together at the same gallery and even posed together holding their cats in a Vogue photo spread. Indiana has been a theatrical set and costume designer, such as the 1976 production by the Santa Fe Opera of Virgil Thomson’s The Mother of Us All, based on the life of suffragist Susan B. Anthony. He was the star of Andy Warhol‘s film Eat (1964), which is a 45-minute film of Indiana eating a mushroom in his SoHo loft. But while Indiana embraced Pop, the movement didn’t suit him in many ways. He wasn’t interested in the personality cults or media attention that swirled around Warhol, and Indiana shied away from the sex, drugs, and fame.

 
 

 
 

Indiana first public commission—a 20-ft.-tall, light-studded “EAT” sign for the 1964 New York World’s Fair—referenced his mother’s years working in roadside diners, as well as her last words to him, “Did you have something to eat?” But the flashing EAT sign so resembled familiar cafe signage that people flocked to it, assuming it was a restaurant. It wasn’t the last time Indiana’s work would become simultaneously popular and misunderstood.

 
 

Book of Love Poems, printed in 1996

 
 

Robert Indiana’s experiment with LOVE started in 1958, when he began playing with poetry, placing the letters “LO” above “VE.” He translated the idea into paintings, and in 1965, he hit pay dirt when the Museum of Modern Art commissioned him to do a version of LOVE for a Christmas card. His simple composition of vibrant red letters against a green and blue background became one of the museum’s most popular items.

The first serigraph/silk screen of Love was printed as part of an exhibition poster for Stable Gallery in 1966. A few examples of the rare image, in bold blue and green with a red bottom announcing “Stable May 66” are known to exist. Twenty-five of these, without the red announcement, were signed and dated on the reverse by Indiana. Sculptural versions of the image have been installed at numerous American and international locations. In 1977 he created a Hebrew version with the four letter word Ahava (אהבה “love” in Hebrew) using COR-TEN steel, for the Israel Museum Art Garden in Jerusalem, Israel.

 
 

In time for the holidays, the O of the famous love sculpture by Robert Indiana was lowered. November 29, 1971.

 
 

Although it wasn’t a critical success, LOVE was so popular with the general public that NBC televised the exhibition. In an era of love-ins and peace protests, the image struck a nerve with the spirit of the 1960s. Hippies were all about love, and for the next decade, so was Robert Indiana.

As Indiana’s LOVE spread, his name didn’t. “Everybody knows my LOVE,” he told an interviewer in 1976, “but they don’t have the slightest idea what I look like. I’m practically anonymous.” Because Indiana hadn’t wanted to disrupt his initial design with his signature or a copyright notice, he had no legal protection against imitators. He also enjoyed little financial gain as his image was ripped off in countless ways. One company sold a line of cheap cast aluminum LOVE paperweights in bookstores on college campuses; another offered LOVE and HATE cufflinks. As the number of parodies increased, Indiana eventually copyrighted some variants of his creation. But by that time, it was too late to file suit against the flood of false LOVEs on the market.

Indiana’s best known image is the word love in upper-case letters, arranged in a square with a tilted letter O. The iconography first appeared in a series of poems originally written in 1958, in which Indiana stacked LO and VE on top of one another. Then in a painting with the words “Love is God”.

LOVE is an iconic Pop Art image by American artist Robert Indiana. It consists of the letters LO over the letters VE; the O is canted sideways so that its oblong negative space creates a line leading to the V. Its original rendering in sculpture was made in 1970 and is displayed in Indiana at the Indianapolis Museum of Art. The material is COR-TEN steel Indiana’s LOVE design has since been reproduced in a variety of formats for rendering in displays around the world. Versions of the sculpture now exist in Hebrew, Chinese, Italian and Spanish as well as the original English.

MoMA historian Deborah Wye describes Indiana’s image as “full of erotic, religious, autobiographical, and political underpinnings” that make it “both accessible and complex in meaning. Megan Wilde offered more detail about the autobiographical origins in an article for Mental Floss magazine, “The word love was connected to [the artist’s] childhood experiences attending a Christian Science church, where the only decoration was the wall inscription God is Love. The colors were an homage to his father, who worked at a Phillips 66 gas station during the Depression.” She quotes Robert Indiana as describing the original colors as “the red and green of that sign against the blue Hoosier sky.”

 
 

Rage_Against_The_Machine-Renegades-Frontal

oasis she is love

 
 

The image has been rendered and parodied in countless forms. The original book cover for Erich Segal‘s novel Love Story alluded to the design, and the TV series Bridget Loves Bernie included a shot of the Sixth Avenue sculpture in its opening credits. The United States Post Office issued an eight-cent stamp in 1973 featuring the image. Parodies of the image appeared on covers of records by Rage Against the Machine (Renegades), Oasis (Little by Little single) and Acen (75 Minutes). Evan Greenfield’s sculpture “I’m Lovin’ It” alludes to Indiana’s image.

The first serigraph/silk screen of Love was printed as part of an exhibition poster for Stable Gallery in 1966. A few examples of the rare image, in bold blue and green with a red bottom announcing “Stable May 66” are known to exist. Twenty-five of these, without the red announcement, were signed and dated on the reverse by Indiana. Sculptural versions of the image have been installed at numerous American and international locations. In 1977 he created a Hebrew version with the four letter word Ahava (אהבה “love” in Hebrew) using COR-TEN steel, for the Israel Museum Art Garden in Jerusalem, Israel.

 
 

In 1995, Indiana created a “Heliotherapy Love” series of 300 silk screen prints signed and numbered by the artist, which surrounds the iconic love image in a bright yellow border. These prints are the largest official printed version of the Love image.