Alteronce Gumby on How His Expansive Fashion Attracts Inspiration From Each Picasso and Music Sampling

This article is part of a series of interviews by Folasade Ologundudu exploring the evolving conversation about abstract art among Black artists across different generations.

 

Alteronce Gumby has had quite a year.

After closing his highly successful dual-site exhibition, Somewhere Under the Rainbow/The Sky Is Blue and What Am I,” this past summer at False Flag and Charles Moffett galleries, the Yale-trained painter released his first monograph, Colour Is a Beautiful Thing, with contributions by star-making figures Antwaun Sargent and Ashely James, chronicling Gumby’s experimentations in color, form, and texture.

Gumby’s dynamic abstract paintings are rich with context, and Colour Is a Beautiful Thing presents the artist’s musings on the ways in which we interpret and perceive color. Much of Gumby’s work centers around color theory, African American culture, and the history of tonal painting. 

In Miami for the 2021 art fairs, the artist also participated in Nicola Vassell Gallery’s first Art Basel presentation, “Color Vaults,” an intergenerational dialogue between Fred Eversley and Gumby about abstraction. While the two artists differ widely in their approach to art-making, each subverts assumptions of color and perception. 

In a recent interview, Gumby shared with me his thoughts on the importance of leaving a legacy, the ways in which people make assumptions about his work as a Black abstract painter—and why he has one eyebrow raised at the art world and the newfound success of Black artists. 

 

Talk to me about your upbringing. Where are you from? What are some of the experiences that shaped you as an artist in your formative years?

I was born and raised in Harrisburg, Pennsylvania. I’m the youngest of five. My mother was a minister so I grew up in a church, which definitely made me more aware of my spirituality and believing in things that aren’t seen. I have a lot of faith in my work and my practice.

That may also tie into my fascination with the cosmos. That’s another thing that we as human beings kind of believe is there—but very few of us have actually left this planet. When I look at Rothko, Ellsworth Kelly, Stanley Whitney, or Alma Thomas, I feel as if they’re relating to not only the physical world but also to a spiritual or subconscious level of thinking that is intangible.

I didn’t grow up in an artistic family. I feel like my whole life I’ve been searching for the person that I want to be. As artists, you kind of come to this realization, when you’re working in your studio, that you’re not only trying to figure out a painting; you’re trying to figure out who you are as a human being. 

Installation view of Alteronce Gumby, ” Somewhere Under the Rainbow / The Sky is Blue and What am I” at Charles Moffett Gallery. Image courtesy Charles Moffett Gallery.

I’m always interested in how artists come to the art world. What were some of the experiences that led you to pursue art-making as a career? 

I was 19 and studying architecture in Harrisburg. A study abroad program came up and I begged my mom and dad to fund me on the trip to Spain.

On the first day in Spain we were on a walking tour of Antoni Gaudí and I was really into the way he thought outside the box in terms of architecture. After that, we had free tickets to go to the Picasso Museum. Before that I had never stepped foot inside of an art museum, and didn’t have a reference for who Picasso was or the impact he had on art and culture. I was mesmerized and taken by his vision for the world and the progression through his artistic practice.

I came back from that trip telling all my friends about Picasso. I actually dropped out of architecture school and moved to New York City!

From that moment, I started having a growing interest in art. A show at the MoMA really opened my eyes to abstraction, to painting, to the New York School. I fell in love with abstract painting. That was the moment I told myself I would like to go back to school to study art. It was at Hunter College, working on my BFA, that I began meeting with artists like Rashid Johnson and Stanley Whitney. I decided that I wanted to pursue a career as an artist.

Installation view of Alteronce Gumby, ” Somewhere Under the Rainbow / The Sky is Blue and What am I” at False Flag. Image courtesy False Flag.

What experiences did you have coming into contact with and learning about Black abstract artists in school?

When I was at Hunter College, there wasn’t a lot of teaching about Black abstract artists. I wasn’t seeing any artists in the market that looked like me. In our history class the closest thing you got to abstraction was Basquiat.

I asked one of my professors if there were any contemporary Black abstract artists I could check out and she told me about Jack Whitten, Frank Bowling, Howardena Pindell, Alma Thomas, Stanley Whitney, Mark Bradford. I started seeking these people out. It got to the point where I just started running into them at openings in Chelsea and started asking them if I could go to their studios. From there a kind of mentorship developed. It wasn’t until I got to Yale that I took an Afro-Modernism class. 

You’ve often described your artworks as vehicles for travel—most specifically, as spaceships. Why are you interested in this element in your work? What are the larger underlying ideas that you’re trying to work through or bring to life?

I grew up in Central Pennsylvania. It’s a driving culture. Freedom for a teenager who grew up in that type of environment was when you got your own wheels. You could do whatever you wanted within that vehicle. When I’m working on a painting, I’m interested in ideas that lead me to a sense of freedom, whether it’s physically, spiritually, or mentally.

Installation view of Alteronce Gumby,

Installation view of Alteronce Gumby, ” Somewhere Under the Rainbow / The Sky is Blue and What am I” at Charles Moffett Gallery. Image courtesy Charles Moffett Gallery.

You’ve talked about the importance of “the unknown.” How do elements of the unknown influence you and the way you work, create, and come up with ideas?

The idea of the unknown keeps me on my toes. It keeps things fresh—not necessarily knowing what’s going to happen when I put two materials together keeps this dimension of playfulness and experimentation alive in a studio. I like that.

Every artist who was an innovator in their craft had to think outside of the box with a sense of curiosity behind their practice so that they actually got to a place where they were in uncharted territory, where they were putting these formulas and equations together.

And they had to have this sense of curiosity about them to keep moving forward and to keep a sense of hunger and curiosity behind their practice so that they actually got to a place where they were in uncharted territory formulating equations together.

How did you arrive at abstraction as a form of creativity? 

When I came to New York I ended up going to school for audio production and recording. They trained us so that we could walk into any recording studio and mix music. I grew up listening to nothing but straight R&B and hip-hop and gospel music. That was the first time I listened to the Rolling Stones, to the Beatles. And it was the first time I listened to a lot of jazz.

Listening to all these various genres of music I found references from samples of hip hop songs. I noticed that there was actually a combination of a lot of different genres of music in hip-hop.

So when it came to thinking about abstraction, I could look at a Rothko or a Pollock and I could see Rembrandt, jazz, nature, past memories, future manifestations. My imagination ran wild. I felt like abstraction was limitless. It allowed me to evoke all these various experiences within one object.

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<p class=Alteronce Gumby,
Amazing Grace (2021). Image courtesy False Flag.

What function does abstract art play in your life? How does the medium itself serve a function and or purpose in your life to communicate ideas?

Abstraction allows me to think outside the box and have perspectives on a world other than the one I can see, feel, touch, taste, and smell. It opened another way to experience the world. And I’m trying to exercise that sensibility. And I think that, already in my practice within my studio, I’m not necessarily trying to just use the traditional way of thinking about an abstract painting, but to kind of solve an abstract painting.

Alteronce Gumby, <em>Amazing Grace</em> (2021) [detail]. Image courtesy False Flag.” width=”640″ height=”427″ srcset=”https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-amazing-grace-detail.jpeg 640w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-amazing-grace-detail-300×200.jpeg 300w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-amazing-grace-detail-50×33.jpeg 50w” sizes=”(max-width: 640px) 100vw, 640px”/></p>
<p class=Alteronce Gumby, Amazing Grace (2021) [detail]. Image courtesy False Flag.

Do you think that is there anything problematic about the hotness of Black art, whether figurative or abstract right now?

Now you see more and more Black artists coming out of school who are hot to the market. I think the visibility is good, but I do have my suspicions about the surge of Black figuration. There were moments I felt pressured to maybe make figurative paintings because I’m a Black person. But I really wanted to stick to my love for what got me involved in art to begin with. I think everyone who is a Black artist right now having success in the art world, I think it’s a great thing—but I do question the market’s motive behind it.

What are some of your thoughts about what’s behind the rise in popularity of Black artists? Why are there such skyrocketing prices for Black art on the secondary market?

I think, historically, everything we’ve touched has turned to gold. Everything Black people touch to turns to gold. I think we’re just magical beings that way. And I think that the art market at large knows that anything Black people innovate and make hot is in some way, shape, or form going to turn a profit.

The market is correcting itself historically for the exclusion of Black artists from the canon. The Black Lives Matter movement and other social justice movements have influenced the art world as much as in has every other industry. I’m happy to see that all the Black talent that was overlooked because of racism is now getting its due today.

Alteronce Gumby, <em>Purple Rain</em> (2021). Image courtesy Charles Moffett.” width=”1024″ height=”1024″ srcset=”https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-1024×1024.jpeg 1024w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-150×150.jpeg 150w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-300×300.jpeg 300w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-32×32.jpeg 32w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-50×50.jpeg 50w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-64×64.jpeg 64w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-96×96.jpeg 96w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-128×128.jpeg 128w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-256×256.jpeg 256w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-434×434.jpeg 434w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain.jpeg 1500w” sizes=”(max-width: 1024px) 100vw, 1024px”/></p>
<p class=Alteronce Gumby, Purple Rain (2021). Image courtesy Charles Moffett.

Who are some of the artists who’ve inspired you? What is it about them, their practice, their way of thinking that really speaks to you?

Rauschenberg, Rothko, Jack Whitten, Picasso. I think all of these artists were really innovative. They were doing something different. They seem to be habitual risk-takers in their studios and practice and it shows in the work. 

For Picasso to do Cubism with Braque—it was a really a way of changing style and looking at the world. Rauschenberg was taking discarded objects from the streets of New York and bringing collage into his paintings. Jack Whitten created his own tool for making a mark. Mark Bradford is another person who uses objects from the streets.

These people were outside thinkers, they weren’t just taking paint out of a tube and a brush and going back to this academic way of thinking of how to make a mark or how to make a painting

To me, [encountering these artists] was almost like coming across like an alien language or looking at hieroglyphics. You can tell it’s manmade but it speaks with this sense of otherness.

That’s something I strive for within my practice: Trying to develop this language for myself to speak to the world.

Installation view of Alteronce Gumby,

Installation view of Alteronce Gumby, ” Somewhere Under the Rainbow / The Sky is Blue and What am I” at Charles Moffett Gallery. Image courtesy Charles Moffett Gallery.

Can you talk to me a little bit about your experience at Yale? Talk to me about the critique process, and being a Black artist in a historically segregated white space. What was that like for you?

You trying to get the juice! Yale was definitely an experience. You know, there were only a handful of us, artists of color, there. It definitely wasn’t easy being a Black man in a very white space. I will say at Yale, I had an intention in mind going in, of what I wanted from graduate school, and I just kept that intention through my two years there.An

The world was an interesting place back then. The killings of unarmed Black people at the hands of police didn’t help in terms of mental health. The school held town halls and brought in specialists to help guide conversations around race and diversity. The curriculum was changing, the university as a whole was changing, and I was trying to find myself and evolve as an artist at the same time. Overall it was a great learning experience for me.

There were definitely moments where people were putting their own personal perceptions of me as a Black man onto my work and I had to develop a thick skin for how people were talking about my work. But through those conversations, I realized that abstraction, color, and materials is the language through which I speak. 

Alteronce Gumby.

Alteronce Gumby.

Earlier in the interview, we talked a little bit about Black artists who are having a lot of success in their careers right now, but wanting to remain critical about the work at large. So I wanted to ask you about your monograph. It’s your first piece of published work and it features essays by Antwaun Sargent and Ashley James. How did the monograph come to life? 

I interviewed Stanley Whitney for Bomb magazine. And I remember asking him, “why aren’t there more Black artists working abstraction?” It seemed like when I was in school, there was not as much text about their story, their contribution. So I asked him and he pointed me to the oral history project that was apart of the Smithsonian. They had interviewed a few Black artists like Jack Whitten, Sam Gilliam, and Alma Thomas. 

They were all oral histories. I felt like that aspect of keeping records of one’s story, especially as an artist, especially as a Black artist, is something that’s needed. I wanted to make sure that my history, my story, and my work were being recorded. And I didn’t want to wait for another institution or someone else to come along and give me that opportunity. I wanted to take that power into my own hands.

My monograph came about working on a show with Charles Moffett and False Flag, as a part of that collaboration. It outlines six years of my practice, focused on painting specifically. I wanted to focus on painting for this edition, leaving room for other monographs to be created in the future.

So you’re saying the monograph was made intentionally with a focus on painting so that other books could focus on other parts of your practice?

It leaves the door open. I was at the Jasper Johns retrospective at the Whitney, and as someone who likes to grab the catalogue, I’m in the bookstore and they show me basically an encyclopedia—they have five volumes of Jasper Johns paintings! It’s like a box set. Then there’s another five volumes of Jasper Johns drawings. And then there is another five volumes of Jasper Johns sculptures or prints. And I’m like, “are you shitting me right now?” I think that record that he’s leaving behind that’s so important. 

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All that jazz: Travis McDaniels brings distinctive model to Ketchum | Music



Travis McDaniel

Travis McDaniel will perform at Limelight on Saturday October 16.



For Travis McDaniel, making music is a meditation.

“This is where I charge up,” he said.

This Saturday, McDaniel brings his soul-soaked neo-jazz to the Limelight Hotel. The Boise musician regularly visits the Wood River Valley.

“I seem to fill this niche of classic cocktail parties and weddings,” said McDaniel. “Limelight is fun because I can play more of my funk and soul music.”

He often plays bossa nova in the Duchin Lounge.

“I like the entertainment aspect,” said McDaniel. “But I also like to offer an atmosphere to people who are on site or who may be visiting.”

After living in Philadelphia for about seven years, he returned to Idaho to pursue his love of the outdoors: biking, fly fishing, and skiing. Still, he can’t shake off the east coast’s jazz sound.

McDaniel takes great pride in introducing new songs to people. Although he plays standards like “Fly Me to the Moon” and “You Make Me Feel So Young”, he also plays deep cuts like “My Buddy” and “But Not For Me”.

Quote

“I love this community and at every gig I play there is always a familiar face.”

Travis McDaniel

McDaniel has always been “madly obsessed” with Chet Baker’s delivery.

“I think he was very conservative in his trumpet playing and singing,” said McDaniel. “It somehow lets the listener lean forward and collect.”

Years ago he first wrote texts as poetry. Today he lets music take him wherever it wants. While in town, he jams with local jazz classics like Brooks Hartell.

McDaniel recently took guitar lessons again through Zoom. He wants to refine his craft and learn where his melodic guitar fits into a jazz trio without disturbing the bass or piano.

Though he’s eager to record an album in the next year or so, McDaniel is in no rush.

“I’m very happy with my weekly appearances at the Duchin Lounge and my bi-weekly appearances at Limelight and all the little private parties in between,” said McDaniel. “I love this community and at every gig I play there is always a familiar face.”

More coverage

About Travis McDaniel

Where: Lounge in the Limelight Hotel

Date: Oct 16

Time: 17:30

Costs: For free

Live performance raises cash for WAHS music program | Information, Sports activities, Jobs

Warren Dragon Marching Band Director Aaron Reinard (left) shakes hands with Allegheny River Monsters founder Pat Hackett. The River Monsters concert raised $ 1,000 to donate to the marching band.

The Allegheny River Monsters got together, entertained thousands, enjoyed their craft, and donated to the future of music in Warren.

Thousands of people attended the Allegheny River Monsters concert on Saturday July 3rd at Pellegrino’s.

Dozens of local and not so local musicians worked together and took to the stage one after the other for the evening.

The event started on the wrong foot. The weather forecast for Friday, July 2nd, the original date of the concert, was threatening, so founder Pat Hackett called for the event to be postponed to Saturday.

“We had to take advantage of the rainy day this year. That partly had an effect on the number of visitors “, he said. “It wasn’t as big as the 2019 event.”

Still there was “Enthusiastic people … a lot of love is in the air” he said. “We’d feel good if 10 people showed up, let alone a few thousand.”

Among those attending, many purchased official Allegheny River Monsters 2021 Icyy Ink T-shirts. Proceeds from these sales went to a donation for the Warren Area High School marching band.

“They rose and supported the children” said Hackett. “And they got a cool t-shirt.”

“We were able to raise $ 1,000 for the WAHS music program.” said Hackett. “I was pretty stunned when I heard that number.”

Hackett met with director Aaron Reinard.

“When I met Aaron and gave him the check, he was really surprised.” said Hackett.

“When Pat Hackett contacted me in June to donate the proceeds of all shirt sales to us, I was stunned.” said Reinard. “It is huge for us that an alumni would like to give something back in this great financial way.”

“I can’t thank Pat and the river monsters enough.” said Reinard. “That is amazingly generous.”

The dollars will certainly come in handy.

“The district does not finance a brass band” he said. “If something breaks, I have to find out how to find the money to fix it.”

“When we buy music, flags, props, whatever … it all comes from donations.” said Reinard. “Our band boosters are constantly able to find money just to stay afloat.”

“That’s why we haven’t had uniforms in 20 years … because we could never get that much money.” he said. “Our immediate need is to do a show in the field in a few weeks. We always have annual expenses like sticks and eardrums. For our show this year we’re not going to be using our old uniforms, but that means we have to buy some pieces so that we can still be “in uniform” when we perform. This money will go a long way towards making these things happen. “

Hackett tries to continue the musical tradition in Warren on a high level. And he supports his girls on site, who are in a marching band program in California.

“We’ll do it again” said Hackett.

He has already spoken to Icyy Ink about shirts for 2022. “They came out big” he said.

And he expects a better turnout, provided the weather plays along.

“Every year it gets better and better in terms of production”, said Hackett. “It takes a village. That was my topic when I got home. The people you need for it … it’s really a community effort for the community.”

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PICTURES: Nation and Irish music stars have a good time finish of lockdown in fashion at Craic by the Creek Competition

THE Craic by the Creek Festival, recently held in Greater Manchester, attracted some of the top names in Irish and country music.

Originally planned for 2019, the festival was postponed and then postponed due to the Covid-19 pandemic and the associated travel restrictions.

Band Lampa from Birmingham (PICTURES: Chris Egan)

When it became clear that the festival could take place this year, ticket sales soared and quickly sold out.

Two-thirds of the event organizing team, Matt and Donal, take the main stage (PICS: Chris Egan)

Such was the demand for a return to Irish live and country music that the organizers realized that the festival would be much more than celebrating live music, but also a party to celebrate the lockdown.

Craic By The Creek audience was in tip top shape (PICTURES: Chris Egan)

The three-day event featured artists Nathan Carter, All Folk’d Up, Lisa McHugh, Mike McGoldrick and the Joe Keegan Band on the Big Barn Stage.

All Folk’d Up in Action (PICTURES: Chris Egan)

Elsewhere in the line-up, Catherine McKenna, Gareth Nugent, Crossroads and Matt and Donal performed on the Bethell Stage, giving festival goers the chance to get up close and personal with the biggest names in traditional and contemporary Irish music.

Dara Woods gets the Saturday afternoon music going (PICTURES: Chris Egan)

Based on the success of the opening festival Craic by the Creek, the event has already confirmed its dates for 2022.

Chorlton Country Club, one of Manchester’s most popular country bands (PICS: Chris Egan)

Craic by the Creek 2022 takes place July 22-24.

For more information click here.

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Highest Paid U.S. Cash Makers In Music: 2020 Rankings

While the pandemic had a catastrophic impact on tour revenue, it increased other royalties as music fans heard more recorded music from the relative safety of their homes via the radio, streaming platforms, or the turntable setups they bought with the money they usually have would be spent on concerts and festivals.

Music recording royalties – from sales, streaming, and publishing – combined increased 56% from $ 197 million in 2019 to $ 308 million. Individually, artist streaming royalties rose a whopping 82% year on year, from $ 106 million to $ 193 million, and made up nearly 50% of the total income of the top 40 moneymakers. Sales licenses, digital and physical, also increased 39% from $ 42 million to $ 59 million; a trend that has continued this year until now.

The list is divided into 22 contemporary artists and 18 heritage artists. (Only live acts were included on this list.) By genre, rock artists took the most places, 13 fewer than last year; Pop acts made up nine entries, up from 14; Land, three points, less than eight; and Latin, two places up, one place up 2019. (As in previous rankings, DJs are included in Money Makers because they rarely report their live earnings, which make up the majority of their income.)

The genre with the biggest gains is R&B / Hip-Hop, which has 12 artists this year, up from three in 2019. When the tour is in full bloom, heritage rockers, country artists and jam bands dominate Money Makers gross because of their concert. In 2020 hip hop was going strong because its artists often have a strong streaming game. On this year’s list, six hip-hop artists who didn’t make the 2019 list ranked in the top 20. Three of them – drake, YoungBoy never broke again and Little baby – placed in the top 10.

1. Taylor Swift: $ 23.8 million

Rank last year:
Stream: $ 10.6 million
Sales: $ 10 million
Publication: $ 3.2 million
Tours: $ 0

Music pageant within the Netherlands results in over 1,000 Covid infections

Members of the public walk at Vondelpark in Amsterdam on a sunny day on March 30, 2021.

EVERT ELZINGA | AFP | Getty Images

A festival in the Netherlands shocked officials after 1,000 coronavirus infections were linked to the event despite requiring an “entry test”.

The Verknipt outdoor festival, which took place in Utrecht at the beginning of July, was attended by 20,000 people over two days. Each participant had to show a QR code stating that they had been vaccinated, had recently had a Covid infection or had a negative Covid test.

The organizers insisted that the event was carefully planned and controlled, but despite this, 1,050 people who attended the festival have since tested positive for Covid, according to the Utrecht Regional Health Authority.

“We can’t say that all these people infected themselves at the festival, it could also be that they got infected on the trip to the festival or the evening before the festival or an after party. re (the cases) are all connected to the festival, but we cannot 100% say that they were infected at the festival, “said Lennart van Trigt, a spokesman for the Utrecht Health Department (GGD).

Nonetheless, he said the number of cases was “pretty staggering” and could increase slightly in the coming days.

The event highlighted problems with the “entry test,” added van Trigt, which allowed people to take Covid tests up to 40 hours before the event, which opened up the possibility of contracting Covid in the meantime.

“We have now found out that this deadline is too long. We should have had 24 hours [period], that would be much better because in 40 hours people can do a lot of things like visit friends and go to bars and clubs. So in a 24-hour period, people can do fewer things and it’s safer, “he said.

Another problem was that people in the Netherlands were able to get a Covid pass for the festival immediately after vaccination, while in reality it takes several weeks for immunity to build up after a Covid vaccination.

“We were a little too happy with the trigger,” said Van Trigt, noting that lessons could be learned from it.

The mayor of Utrecht, Sharon Dijksma, was particularly condemned while attending the ill-fated festival.

The Netherlands has seen a staggering increase in Covid cases in recent weeks, especially after lifting bar and club restrictions in late June and subsequently increasing Covid among younger people.

Dutch Prime Minister Mark Rutte and his Health Minister Hugo de Jonge apologized on Monday, saying the government made a “misjudgment” in lifting restrictions too early.

De Jonge also apologized for his “Dansen met Janssen” (“Dancing with Janssen”) campaign, which promoted the unique Janssen Covid vaccine to young people so that they could go to party.

After the government admitted that “the coronavirus infection rate in the Netherlands since the society reopened almost entirely on Jan. Nightclubs and live performances would close again until at least August 13th.

The country’s “R” number now stands at 2.17, which means that any person with Covid-19 is likely to infect at least two other people.

An additional 10,492 cases were reported in the country on Wednesday, more than the average number of daily cases (8,395) over the past seven days. The majority of new cases affect people between the ages of 20 and 29 years.

NBA faucets Tencent Music Leisure for audio content material partnership

QQ Music platform to offer official NBA podcasts.

Getty Images

  • Amateur podcasters are given the opportunity to create NBA content
  • NBA fans get a special QQ Music subscription offer

The National Basketball Association (NBA) has entered into a new content partnership with the Chinese music streaming service provider Tencent Music Entertainment (TME).

Under the new agreement, TME’s QQ Music platform will host a range of official NBA podcasts, as well as host a podcast creation contest for amateur podcasters. There will also be a special subscription for NBA fans that offers the chance to win tickets among other offers.

Musicians are also expected to work with the NBA and TME to promote league events.

QQ Music, a freemium music streaming service, is a joint venture between TME and audio streaming giant Spotify. The Swedish company has a stake in TME together with the majority owner of the Chinese technology group Tencent. Along with KuGou and Kuwo, QQ is one of the most popular streaming apps in China.

The deal continues the NBA’s lucrative sponsorship operation. In June, a study by the IEG found that the league and its 30 teams generated a record $ 1.46 billion in sponsorship revenue in the 2020/21 season. This corresponds to an increase of six percent compared to 2019/20.

IEG added that league-level partnerships were the main driver behind the increase in sales, with the NBA signing 13 new contracts. It added that league-level sponsorship spending has increased nearly 50 percent since the 2017/18 campaign.

Inexperienced Day tease ‘new music and unknown adventures’ | Leisure

Green Day have new music on the way.

Mike Dirnt, bassist for the ‘Basket Case’ group, has hinted at what will come from the pop-punk veterans after the release of this year’s singles ‘Pollyanna’ and ‘Here Comes The Shock’.

Mike was speaking to the band’s Oakland Coffee company for their Morning Roast series when asked what’s next for the trio.

The 49-year-old musician, who is joined by frontman Billie Joe Armstrong and drummer Tre Cool in the band, simply said: “New music … and unknown adventures.”

The “Boulevard of Broken Dreams” rockers also spoke about their sources of inspiration.

What influences him, says Mike: “Individual expression, everything from music and architecture to cooking or gardening. I am inspired by people with a unique approach to life and the things they do. “

However, Billie, also 49, insisted that he doesn’t need to be inspired to make good art.

He added: “It could be hearing a new song, it could be surfing, it could be hanging out with my dogs.

“I could just hang out with my friends and make music together.

“Inspiration is kind of overrated. I would rather work. When you work with music and art, something that you love usually comes to mind. And that’s what inspires you to keep doing what you love. “

The singer previously insisted that the US chart toppers did not rule out releasing a new album.

When asked about the possibility of a 2020 sequel to ‘Father of All …’, Billie replied, “It is possible.

“Whether we’re doing a full-length album or an EP or just a song, we have a lot of different options. It depends on when the right moment comes.

“That’s the beauty of how you make music these days. You don’t have to wait for a porter to tell you that the time is right. “

The rock star also revealed that he and his bandmates are hoping to get back to working with producer Butch Walker if they can.

He said, “I wrote a lot of music and had all these melodies in my head, so I’ve written about six songs since all of this happened.

“I don’t know when I can get together with Mike [Dirnt, bass] and Tre [Cool, drums]but I told them to be in quarantine for now and then I hope we can on the way back to the studio [‘Father of All…’ producer] Butch Walker. “

New Lincoln Museum Podcast Explores Illinois Music Legends | Leisure

Springfield, Illinois – A new podcast from the Abraham Lincoln Presidential Library and Museum features conversations with legendary Illinois musicians and bands, and sometimes with the artists themselves.

Sound State Podcast The exhibition opened at a museum in Springfield earlier this year and accompanies the exhibition The World of Music in Illinois: The State of Sound. From Muddy Waters to Earth, Wind & Fire and Chance the Rapper, we share the work and contributions of artists from Illinois. Podcasts are another way for people to explore the history of Illinois music, museum officials said. Episodes currently available include discussions with REO Speedwagon’s Kevin Cronin, Rise Against’s Tim McIlrath, and singer-songwriter Steve Goodman’s daughter, Rosana Goodman.

The new official gallery guide features dozens of photos of artifacts, including the Miles Davis red trumpet and the souvenir that John Prine brought to the stage to resolve concerns about the performance.

“This exhibit is full of sounds, photos, and stories that we want to share with as many people as possible,” said Christina Shut, executive director of the Abraham Lincoln Presidential Library and Museum. “Podcasts give people around the world the opportunity to hear them, but guides provide details that visitors cannot pick up on a single walk through the exhibition.”

The State of Sound exhibition runs until January 23, 2022.

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Lincoln Museum’s New Podcast Explores Illinois Music Legends | entertainment

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Historic Council Grove Washunga Days options elite nation music leisure

Frank J. Buchmann
From June 18 to 19, Washunga Days will be entertaining young and old in historic Council Grove on the old Santa Fe Trail.
“The annual festival celebrates both past and present cultures in Council Grove and Morris Counties,” says Daedranite.
“This is a festival for the Kaw Indians, community and family,” said Knight on behalf of the Washunga Days Story Media Company.
Top musicals entertain you all day Friday evening and Saturday. “There’s KawNationPowwow, flea markets, parades, car shows, kids games, food stalls, and more,” says Knight.
Activities are planned for Neoshaw Riverwalk Park along Main Street, the high school parking lot, and throughout the area.
“You can visit more than 12 Council Grove historic sites like the Washunga Days schedule wasn’t enough,” Knight said. “In addition, all joint ventures will be opened with many special and unique services.
“We’re delighted that Farmers & Drawbar Bank sponsored Washunga Days and added three dozen donors,” Knight admitted.
Read the headlines for the South Hole Band and Shane Smith & Saints on Friday and Saturday at 10:00 PM, respectively.
Ian Munsick is an additional musical feature with performances starting at 7.30pm on Fridays and Saturdays.
The Read Southall Band was formed when four like-minded Oklahomans from different backgrounds just wanted to make music. In 2018 we released “Borrowed Time” with “Don’t Tell Me” and “Why”. It has made it to the top 10 on multiple streaming charts.
Shane Smith & The Saints is a five-person Texas tour group that operates in 40 states and three continents. Shane Smith & The Saints have released three albums in their 10 year career and are looking forward to their next album “Hail Mary”.
Ian Mansick brings the air of Rocky Mountain to the music of Nashville and pioneered a new nation. A Wyoming born singer-songwriter training was a combination of working on a ranch and working in a crowd. With a successful personal release, Munsick signed a major label deal with Warner Music Nashville.
Additional Friday entertainment includes the Lazy Wayne Band (5:30 am) and Savannah Chestnut (7:30 am). Saturday’s bonus roster includes Box Turtles at 11:30 a.m. Graceful Grain, 1:30; Derek Calvin & The All Nighters, 3:30 am; and block car, 5:30.
The Kaw Nation Washunga Days Powwow will be held on both Friday and Saturday in Alegawaho Park south of Council Grove. Arbor, used for dances and ceremonies, is a sacred place that is blessed by spiritual guides. All powwow dancers, with the exception of young children, will wear full regalia. There is no entry fee to participate in any of the Kaw activities.
This year’s Washunga Days Flea Market, hosted by the Council Grove Disc Golf Club, is taking place at Council Grove High School. On Fridays and Saturdays there will only be an outdoor stand from 8 a.m. to 8 p.m.
The auto show is scheduled for Saturday from 8 a.m. to 12 p.m. All entries were greeted with the first 75 entries of the Dash badge and goody bag. Door prizes are awarded every hour with special prizes for the best vehicles on display.
This year’s Washunga Days Parade will take place on the main street on Saturday morning at 10 a.m. All participants are welcomed with the pre-approval required to be eligible to win. The Grand Marshal are Bob and Christia Alexander, and Jolly Ziegler is the Junior Grand Marshal.
Special children’s activities such as rubber dinghy and drum safaris, face painting and climbing are planned for Saturday.
CG Stars & Stripes Fireworks will once again light up the skies over the Neo Show Riverwalk on Saturday evening. The choreographed music that accompanies the 20-minute show promises to make it unforgettable.
Grocery vendors will return to Neoshaw Riverwalk Park from 4:00 p.m. on Friday night and 11:00 a.m. on Saturday.
Bracelets can be purchased from the County Globe / Mori County Chamber of Commerce office and can attend Washunga Days on both days.
More information is available at www.washungadays.com.

Held in Council Grove June 18-19, many of Washungaday’s activities take place in the elaborately developed Neoshaw Riverwalk Park.

Read Southall Band will star all of Washunga Days entertainment at Council Grove June 18-19.


Kaw Nation Washunga Days Powwow takes place Friday and Saturday 18-19. June, in Alegawaho Park south of Council Grove. Arbor, where dances and rituals take place, is a sacred place that is blessed by spiritual guides. Farmers & Drawers Bank, which has operated in Council Grove and Morris Counties for over a century, sponsors Washunga Days. The bank building, built in 1892, is an example of eclectic architecture with brick and stone masonry, arches and domes. In 1981 the bank was expanded to include an adjoining display building from 1902.