Posts tagged with "Belgium"

Taylor Swift illustration by Heather Skovlund for 360 Magazine

Fearless (Taylor’s Version)

FEARLESS (TAYLOR’S VERSION) BOWS AT #1 IN THE U.S., UK, CANADA, AUSTRALIA & MORE AND BECOMES TAYLOR SWIFT’S 3RD #1 ALBUM IN LESS THAN A YEAR & THE BIGGEST COUNTRY ALBUM DEBUT SINCE 2015
 
BIGGEST FIRST-WEEK DEBUT OF 2021 & BIGGEST FEMALE COUNTRY STREAMING WEEK EVER!

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

Returning to #1 around the world and breaking numerous records, Taylor Swift has made history yet again with Fearless (Taylor’s Version). Notably, she’s the first woman with three new No. 1 albums in less than a year. Moving over 1 million units worldwide, Fearless (Taylor’s Version) logged the “biggest first week debut of any album this year,” “the biggest first week debut for a country album since 2015” and “the biggest female country streaming week ever. Fearless (Taylor’s Version) is the only No. 1 album of its kind: a re-recording of an artist’s (own or another’s) previously released album.
 
Generating 50 million-plus streams on release day, it also achieved “the biggest first day streaming debut for any album on Spotify this year” and marked her fourth consecutive album to exceed 50 million Spotify streams in 24 hoursFearless (Taylor’s Version) also becomes the first country album by a female artist to reach #1 on Apple Music’s US Albums chart.
 
In addition to capturing #1 on the Billboard Top 200, #1 on the Billboard Top Album Sales chart and #1 on the Billboard Country Albums chart, it went #1 in the UK, Canada, Australia, New Zealand, and Ireland. It debuted Top 5 in Belgium, Norway and the Netherlands and in Germany it was the biggest debut by a country album in the history of Germany’s album chart. Fearless (Taylor’s Version) charted at #1 on the iTunes Top Overall Albums Chart in 61 countries.
 
Fearless (Taylor’s Version) stands out as Taylor’s 4th #1 album in less than two years with the “3 biggest debuts since July 2020” with folkloreevermore, and Fearless (Taylor’s Version). It also emerges as “the biggest female country album debut since the inception of the Billboard Top 200 album-based conception charts in 2014.” Fearless (Taylor’s Version) is the eleven-time GRAMMY Award-winning, record-breaking superstar’s 9th #1 Album.
 
Taylor entered rarified air across the pond as Fearless (Taylor’s Version) became her 3rd album to chart #1 during its debut week in less than a year in the UK. The Beatles had previously accomplished this incredible feat the fastest in 364 days, but Taylor eclipsed the speed of The Fab Four as she reached this benchmark and accumulated three #1’s in just 259 days—a difference of 105 days.
 
Not only did it become her 7th #1 in the country, but Taylor became “the first and only solo artist ever to claim three UK #1 albums in less than 12 months during the 21st century” and “the first ever international artist and first ever female artist to land three #1 albums in the UK within one year in history.”
 
Physical sales of Fearless (Taylor’s Version) outsold the remaining combined total physical sales of the UK Top 15. The permanent downloads also bested the remaining combined total permanent downloads of the Top 70. She shattered her own record for the second time in the last year as “the first and only female artist to garner 7 #1 studio albums in the UK this century. Additionally, she has gathered “the 3rd Most #1 albums in the UK by a female artist.
 
Down Under, Taylor is now “the first artist to release three #1 albums in a 12-month period in Australia.” Taylor is the first artist to have three different albums top the ARIA Charts in a twelve-month period. She bests her own record of “the shortest span of #1 albums in Australia” with only 17 weeks between evermore and Fearless (Taylor’s Version). Her previous record was 20 weeks between folklore and evermore. With eight total #1 albums in Australia, she is second for “female artist with most #1 albums” only behind Madonna and just behind Eminem for “most consecutive #1 albums.” At radio, “Mr. Perfectly Fine (Taylor’s Version)” bows in the Top 10 on the Airplay Chart.

REVIEWS OF FEARLESS (TAYLOR’S VERSION)

  • A Rating” – The A.V. Club, Saloni Gajjar
  • “5/5 Stars” – The Daily Telegraph, Neil McCormick
  • “Fearless was always an exceptionally fine album of country-pop songs, detailing the romantic fixations of a wholesome teenage American girl on the verge of adulthood, and guess what? It still is.” – The Daily Telegraph, Neil McCormick
  • “4/5 Stars” – Rolling Stone, Jonathan Bernstein
  • “Her thirtysomething voice is richer, deeper, and more sure of itself.” – Rolling Stone, Jonathan Bernstein
  • “There are the songs that feel more moving now than they did 13 years ago.” – Rolling Stone, Jonathan Bernstein
  • “4/5 Stars” – The Guardian, Alexis Petridis
  • “Fearless is the kind of album in which fans have a genuine emotional investment.” – The Guardian, Alexis Petridis
  • “She’s changed from a talented kid with a guitar to one of today’s biggest superstars.” – USA Today, Hannah Yasharoff
  • “The new album is really well done.” – Entertainment Weekly, Lauren Huff
  • “Fearless (Taylor’s Version)” Is Even More Beautiful Than The Original Album” – Buzzfeed, Ryan Schocket
  • “Taylor’s vocals are undeniably stronger, smoother, and more connected than ever.” – Buzzfeed, Ryan Schocket
  • “The vault songs are making everyone question why the album wasn’t 27 tracks long to begin with.” – Buzzfeed, Ellie Bate
  • “Taylor Swift’s Fearless Re-Recording Is a Thrilling Timewarp.” – SPIN, Bobby Olivier
  • “4/5 Stars” – i Newspaper, Sarah Carson
  • “There are lyrics throughout Taylor Swift’s breakthrough record Fearless that nearly 13 years later, feel prophetic.” – i Newspaper, Sarah Carson
  • “There’s something really special about listening to Taylor sing these songs knowing the huge distance between where she is now and who she was when she wrote them.” – TIME, Annabel Gutterman
  • “I love that this re-recorded album is essentially a love letter to being a teenage girl. The world still dismisses teenage girls as not serious enough, too dramatic, and overall too much. Adolescence is often looked back on with embarrassment and shame. But these songs make me want to give my former 14-year-old self a hug and tell her she was doing just fine.” – TIME, Samantha
  • “It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears.” – Variety, Chris Willman
  • “Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not.” – Variety, Chris Willman
  • “It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close.” – Variety, Chris Willman
  • “4/5 Stars” – NME, Hannah Mylrea
  • “‘Fearless (Taylor’s Version)’ both celebrates and stays true to Swift’s ‘Fearless’-era.” – NME, Hannah Mylrea
  • “Swift never cringes away from her younger self. Instead, she revisits the songs with kindness and affection, celebrating the success of her teenage releases.” – NME, Hannah Mylrea
  • “Taylor Swift’s Fearless album proves her songs were written to last.” – The Independent, Roisin O’Connor
  • “We can’t help but be impressed…” – Evening Standard, David Smyth
  • “Taylor Swift has taken control.” – Forbes, Abigail Freeman
  • “ALBUM OF WEEK: The real treats are the extra tracks, previously unreleased outtakes from the Fearless sessions. Maren Morris duets on the gorgeous You All Over Me, Keith Urban crops up and Mr Perfectly Fine is the banger that should have shown 13 years ago why country alone could never contain Swift’s talent.” – The Sunday Times, Lisa Verrico
  • “I immediately went to the chorus of “Fifteen,” one of my 2000s pop high-water marks, to see if I’d get chills. Good news: I did. Felt that gut punch during “White Horse.” “You Belong With Me” had that crucial air of resignation.” – The New York Times, Jon Caramanica
  • “As she dives back into her past work, it’s another reminder of what she brought to the genre — and what it lost when she moved on.” – The Washington Post, Emily Yahr
  • “The redone tracks from the original release, which make up the album’s first portion, are almost uniformly better than their forebears: warmer, crisper, more clearly enunciated. They sound newer and, at the same time, more lived-in.” – The Washington Post, Allison Stewart
  • “Taylor Swift releases a ‘perfect replica’ of Fearless.” – BBC, Mark Savage
  • “Damn, this album holds up – not only to the hype of its initial release, but despite that, beyond that.” – Consequence of Sound, Katie Moulton
  • “8/10” – The Line of Best Fit, Ross Horton
  • “4/5 Stars” – The Times, Will Hodgkinson
  • “Swifties grab your tissues, the release of Taylor Swift’s Fearless (Taylor’s Version) is finally here in all its nostalgic and emotional glory.” – Wonderland, Staff Writer
  • “8/10” – Clash, Lucy Harbron
  • “Like a restored photograph brightening from black and white into colour, Fearless (Taylor’s Version) is the same, but better.” – Clash, Lucy Harbron
  • “It’s the latest evidence that Swift is not just fearless but also relentless.” – Stereogum, Chris DeVille
  • “8/10” – Gigwise, Kelsey Barnes
  • “Swift is creating a bridge between two worlds; one where she’s merging older, timeless songs with a mature voice and outlook.” – Gigwise, Kelsey Barnes
  • “4/5 Stars” – The Evening Standard, David Smyth
  • “A masterclass in classic Nashville songwriting, from the searing melodrama of Love Story to the breakdown of a relationship in Breathe.” – The Times, Will Hodgkinson
  • “5/5 Stars” – The Sun, Simon Boyle
  • “This is brilliant pop” – The Sun, Simon Boyle

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

Look Book Image Shot by Courtesy of Lennert Madou for Christian Wijnants for use by 360 Magazine

Christian Wijnants Fall/Winter 2021 Collection

If given the opportunity to explore an empty museum, how would you fill the space? This is the question that inspired Christian Wijnants’ Fall/Winter 2021 collection as he was given unique access to the Antwerp Royal Museum of Fine Arts, a place that has been so dear to him. Over the past 10 years, the museum has been closed for renovations, only previewing its restored 19th century structure and newly constructed minimalist addition to Christian, inviting him to fill the grandiose rooms and hallways with his creations. A poetic moment for the designer who first visited the museum as a student on the brink of his career, beginning his to-become namesake’s brand connection to art. However, this time, as the museum sits empty, Christian relied on his memories and vision to fill the space and walls that once held the same Flemish Primitives and Baroque paintings that have inspired him today.

The silhouettes are exaggerated, full of volume, designed to physically fill the oversized rooms and elongated, just like the art that used to hang on the walls and doors that welcome you in. There is a down cape and complimenting puffed bags that wrap around you like a blanket providing the feeling of safety and warmth, cocoon coats designed to appear as though they are cut out of woolen blankets, and peasant shapes that draw from medieval underpinnings. Heavy wool fabric is draped into skirts and swept by fringe, like a curtain grazing the old wooden floors. The knitwear brings in a Bicolor Plissé dress and the ottoman stitch, utilized as stripes. A long-sleeve floor length dress is styled with a down scarf worn as a hat, materializing the old paintings that stood out in Christian’s memory

Floral patterns feel like an ancient tapestry, overdyed and overlarge. Stripes are inspired by the chevron wood floors throughout the museum, construed in various ways, from quite fine lines cutting diagonally on down jackets and lengthening dresses to magnified stripes seen as a two-tone knit. The colors are strategically chosen to reflect the feeling of exploring the various rooms, misty yet bright and historic, but refreshed. It consists of cooler hues such as antique pink, mint, fresh lime, and pistachio, paired with warmer tones such as emerald, bronze and rust.

The hair is imperfect and reminiscent of historic times, a young girl’s modernized adaptation of the medieval knots and curls she has only seen in paintings and make-up is tonal and blurred, imagined to be misconstrued as just the reflection of the green walls. The Fall/Winter 2021 collection comes to life in the collection film, allowing you to explore Christian’s vision, hear the echo of footsteps wandering the space and escape to a feeling of serenity that being in an empty museum provides.

Credits

Makeup: Inge Grognard

Hair: Ed Moeland

Photography: Lennert Madou

Backstage Photography: Klaartje Lambrechts

Video: Erik Peiren

Music: Senjan Jansen

Models: Britt Ensink

Ilona Desmet

Laura Meier Hagestad

Marie-Ange Gueye

Sponsor: L’Oréal Paris

About Christian Wijnants

Christian Wijnants is a Belgian fashion designer praised for its vibrant colors, artisanal knitwear and rich graphics.

Christian Wijnants graduated in 2000 from the Antwerp Royal Academy of Fine Arts. His graduation collection won the Dries Van Noten Award and was awarded the Grand Prix at the prestigious Festival Hyères.

After working for Dries Van Noten and Angelo Tarlazzi, Christian launched his own eponymous label in 2003. His feminine, poetic collections are available in luxury department stores and boutiques around the world. Over the years, Christian Wijnants has been recognized with many prestigious awards, such as the Swiss Textiles Award (2005), the ANDAM Fashion Award (2006) and the International Woolmark Prize (2013).

In 2015, Christian opened his first flagship store in Antwerp: a unique place that celebrates the designer’s love of nature, art, and architecture. Four years later in 2019, he successfully debuted his first menswear collection.

Look Book Image Shot by Courtesy of Lennert Madou for Christian Wijnants for use by 360 Magazine

Look Book Image Shot by Courtesy of Lennert Madou for Christian Wijnants for use by 360 Magazine

Money illustration for 360 Magazine

Top Five Tech Billionaires Worth More Than 80 Poorest Countries Combined

The COVID-19 has played a significant role in wealth redistribution, with tech companies and their founders emerging as the biggest winners. While aviation, real estate, and hospitality industries have been pushed to the bottom of the global rich list, the tech industry billionaires have witnessed the largest wealth gains in the last year.

According to data, the combined net worth of the five wealthiest people in the US tech industry hit $567 billion in February, more than the gross domestic product (GDP) of the 80 poorest countries combined.

Jeff Bezos’ Wealth Surged by 65% Year-Over-Year (YoY) and Hit $187 billion in 2021

As the COVID-19 spread, the world has relied on many technological tools across different sectors­–from business and education to commerce and health care. Tech companies that have provided the best solutions amid the pandemic witnessed the most significant revenue surge, while their founders got richer, to the tune of billions.

Amazon products have become one of the most demanded in the world during the pandemic, as it keeps providing tech items, groceries, and entertainment to people amid lockdown. Because of the high demand for its services, the company had to hire an additional 175,000 workers to keep up with surging demand.

According to the Forbes billionaire list, the COVID-19 has helped Amazon founder and CEO Jeff Bezos to grow his wealth by $74 billion in the last year, with his net worth reaching $187 billion this month. The International Monetary Fund data shows this figure is closest to New Zealand and Iraq’s GDP, which ranked 52nd and 53rd globally with $193.5 billion and $178.1 billion, respectively.

Bill Gates, the Microsoft founder, is the second wealthiest person in the US tech industry, and globally. The net worth of the billionaire working with the WHO and drug makers to defeat the coronavirus is currently standing at $120billion. Statistics show Gates’ wealth grew by $22billion in the last year and is now closest to Morocco’s GDP, which ranked 59th globally.

As the fifth-largest tech company globally, Facebook has also witnessed impressive growth in 2020. The Facebook shares rose by 26% in the last year, pushing its CEO’s fortune up by $39 billion to $93.7 billion. This figure means that Mark Zuckerberg’s wealth is $700 million above Puerto Rico’s GDP, which stands at $93.9 billion.

The chairman, chief technology officer, and co-founder of software giant Oracle, Larry Ellison, and co-founder of Google, Larry Page, ranked as the fourth and fifth tech billionaires globally, with $84.9 billion and $80.4 billion in net worth as of this month. Their wealth is the closest to Sri Lanka and Dominican Republic’s GDP, which ranked 66th and 67th globally, with $81.1 billion and $77.8 billion, respectively.

Top Five Tech Billionaires Worth more than GDP of Sweden, Thailand or Belgium

According to Forbes and International Monetary Fund data, the cumulative wealth of the top five tech billionaires also surpasses the GDP of several countries considered to be economic powerhouses. For example, their combined net worth is bigger than the GDP of Austria, Norway, or United Arab Emirates, which ranked 28th, 33rd, and 35th globally with $432.8 billion, $366.3 billion, and $353.9 billion, respectively.

Statistics show that the five tech billionaires’ wealth is the closest to Poland and Sweden’s GDP, which ranked as the 23rd and 24th economies globally. The two countries’ gross domestic product stood at $580.9 billion and $529 billion in 2020.

360 Magazine, Wheelchair

‘UZ Leuven’ Minipacemakers

On Thursday May 28th, the Belgian university hospital UZ Leuven implanted a new type of wireless minipacemaker in a patient. This was a first in Europe. The new generation of minipacemakers allows two times as many patients to qualify, in comparison with the first generation.

The Micra pacemaker is a wireless minipacemaker that has been used in UZ Leuven since 2015. Surgery for such a small pacemaker is a lot less invasive than for a normal pacemaker. The device is placed in the heart via a small incision in the groin. The minipacemaker is invisible to the patient and in the first generation of the device, researchers found that the number of complications could be reduced with 63 percent.

Helping more patients

So far, the minipacemaker could only be used in 16 percent of the patient requiring a pacemaker. “The first generation of the device only measured the heart activity in one ventricle of the heart. Patients that needed to have the heart activity in the atrium measured as well, did not qualify. With this new type of pacemaker, we can also treat patients with a complete interruption of the heart activity between the ventricle and the atrium”, according to dr. Christophe Garweg, cardiologist in UZ Leuven.

With the new generation of the Micra pacemaker, up to 40 percent of the patients could qualify. Dr. Garweg: “The new pacemaker can also measure heart activity in the atrium and as such coordinate the electrical activity between atrium and ventricle. This restores the normal heart rhythm and improves the patient’s quality of life. The minipacemaker operates more or less like a conventional pacemaker, which is implanted under the skin and connected to the heart with two leads.”

First implants

UZ Leuven was actively involved in the development of the new pacemaker. At the moment the new type of pacemaker is only used in the context of clinical trials. At a later time, its use will be extended. In the meantime, the new pacemaker has been implanted in two patients. Both procedures went according to plan, and both patients are doing well.

A revolution for the pacemaker

The development of the wireless pacemaker in 2009 was a big revolution in the history of the pacemaker. It was the first big step forward since the clinical introduction of the pacemaker in the sixties. Worldwide, 35,000 Micra-systems have been implanted. UZ Leuven started with implanting the minipacemakers as the first Belgian hospital in 2015. In the meantime, for Belgium UZ Leuven is the hospital with the most expertise in Micra’s, in Europe it is in the top 5. In Belgium, the technology is not yet reimbursed so for now UZ Leuven finances the device for the patient with its own means.

Pacemaker and bradycardia

A pacemaker is required when a patient’s heart rhythm is too low (bradycardia) and medication is no longer sufficient. It stops the heart from pumping enough oxygenated blood through the body. Patients experience difficulty during physical exercise: they faint, tire quickly, and run out of breath more quickly. A pacemaker replaces the heart’s natural rhythm thanks to electrical impulses.

Citroën, 360 MAGAZINE

Citroën

Citroën has unveiled a 100% electric mobile solution, ami that intends to unleash urban mobility for all. The ami project has become a reality in barely a year, after its direct descendant AMI ONE Concept was first introduced at the Geneva Motor Show in March 2019.

ami has two seats, is 100% electric, compact, and customisable. It is accessible to all, with no licence required and offers a global 360° solution for urban mobility, to make freedom of movement easier and more suited to the greatest number of people. It comes with affordable “à la carte” offers, car sharing via Free2Move and long-term rental options, all through a 100% online customer journey.

Vincent Cobée, Citroën Brand CEO, said:

For 100 years, Citroën has always been innovative and creative in democratising freedom of movement. This year, Citroën has come up with a new urban mobility solution accessible to everyone: compact, protective, 100% electric, without driving licence and affordable. 

ami aims to be a real breakthrough in the access to urban mobility, a solution that is as close as possible to new modes of consumption. This great idea was a concept one year ago. We are proud that we have made it happen today!

ami is a practical response to new mobility expectations for short journeys: easier access to city centres, real alternatives to scooters, bicycles, mopeds, public transport, solutions at reasonable costs and new modes of consumption geared towards digital.
Pierre Leclercq, Citröen Head of Design, said:

It is a tradition at Citroën to want to contribute to a changing automotive landscape. The design of ami is a product design, not an automotive design. A design for which the form must define the function.

The opening of orders is scheduled for 30 March in France, and a few months later in Spain, Italy, Belgium, Portugal and then Germany.
 

Mad About Jewelry

THE MUSEUM OF ARTS AND DESIGN’S ANNUAL EXHIBITION AND SALE OF CONTEMPORARY JEWELRY RETURNS WITH 55 ARTISTS FROM 18 COUNTRIES

LOOT: MAD ABOUT JEWELRY

April 8 – April 13, 2019

Opening Benefit: April 8

Featuring the announcement of the LOOT Acquisition Prize and the presentation of LOOT Awards honoring Adria de Haume and Josie Natori

The Museum of Arts and Design (MAD) presents the nineteenth edition of LOOT: MAD About Jewelry, its annual exhibition and sale of one-of-a-kind contemporary jewelry. Open to the public April 9 through April 13, following the Opening Benefit on April 8, LOOT 2019 showcases the work of fifty-five emerging and acclaimed international jewelry artists and designers, most of whom have never been shown in New York. The event provides the rare opportunity for collectors and jewelry enthusiasts to meet and acquire pieces from some of the most innovative creators in the field.

“The jewelry content of LOOT 2019 is particularly noteworthy in two specific areas,” said LOOT Curator Bryna Pomp. “Firstly, this year’s exhibition presents a great number of outstanding young makers who are already creating groundbreaking work. Secondly, it features a larger presence of jewelry in precious metals, particularly in silver and in gold, often with semi precious and precious stones, that is exceptionally original in design.”

MAD is the only museum in the United States with a gallery dedicated to the display of both special jewelry exhibitions and its permanent collection of contemporary and modern studio and art jewelry. LOOT extends MAD’s commitment to presenting jewelry as an art form, and provides vital support for Museum exhibitions and programs.

“LOOT reflects the core of MAD’s mission to celebrate the creative process and connect audiences to contemporary art and design,” said Marsy Mittlemann, LOOT 2019 Co-Chair. “It presents an extraordinary opportunity for artists and viewers to interact with one another and engage in conversations around the work. I am honored to participate in an event that provides a platform for international talent while supporting MAD’s exciting upcoming initiatives.”

“LOOT is always exceptionally curated, and 2019 promises to be the best edition to date,” said LOOT 2019 Co-Chair Joan Hornig. “No other exhibition in the world brings viewers into contact with the diversity of design and designers showcased each spring at MAD. It is the perfect venue for both serious and first-time collectors to engage with global talent and purchase unique pieces of wearable art at every price point.”

LOOT 2019 features fifty-five artists from eighteen countries and territories: Austria (1), Belgium (1), Chile (2), Finland (1), France (2), Germany (6), Italy (2), Korea (5), Poland (1), Portugal (2), Spain (5), Sweden (1), Taiwan (1), Thailand (1), Turkey (3), the United Kingdom (14), the United States (6), and the US Virgin Islands (1). In addition to a diverse range of artistic practices, the jewelry on display encompasses a wide array of materials, from traditional metals to more unconventional media like leather, glass, porcelain, paper, silicone, resin, textiles, wood, horsehair, recycled skateboards, and ultraviolet-reactive nylon.

ARTIST HIGHLIGHTS

The jewelry artists and designers featured in LOOT 2019 include the following:

  • Italian designer Selvaggia Armani designs and produces textiles, including necklaces and brooches, for home and casual wear. On site at LOOT, she will create a new collection of jewelry made of hand-painted leather, building on her practice of “live” painting and customized bracelets.
  • Japan-born and Massachusetts-based artist Mariko Kusumoto prevails upon fabric to construct forms of elegant simplicity and evocative imagery. Using a proprietary heat- setting technique, she gives the fabric a new identity through reshaping it into three- dimensional forms. Her designs are incorporated into jewelry and sculptural pieces, as well as in collaborations with fashion designers; in January, her work appeared on the Jean-Paul Gaultier catwalk at Paris Haute Couture Spring/Summer 2019.
  • Taiwanese jewelry artist Heng Lee juxtaposes traditional craft technique and cutting- edge technology to explore the relationship between nature and Internet culture. Using downloaded images, laser-cut metal, and hand embroidery, he creates visually striking pieces that are both digital and tactile. In a time when much of our information comes from social media, his work interrogates the divide between experience and technology, and encourages full awareness of the current moment.
  • Scotland-based artist Wanshu Li is largely inspired by the brilliant colors and sensuous movements of sea creatures like jellyfish and sea anemones. With her jewelry, she aims to create a multisensory wearing experience that involves visual enjoyment, tactility, and sound. Li’s fascination with dance culture, laser light shows, and stage performances inspired her to add a further visual dimension to her practice: she experiments with ultraviolet-reactive nylon and fluorescent paints, which combine to produce a remarkable intensity of color when the jewelry is illuminated with UV light.
  • Houston-based designer Mariquita Masterson creates handmade glass pieces that are vivid, unique, and energetic, and that unite the everyday with the exceptional. Masterson uses both recycled glass and glass from companies that produce a variety of colors and textures, and on occasion creates stunning pieces out of the fragments of broken antique vases. Most recently, Masterson has gained attention for the debut of one of her necklaces worn by Speaker of the US House of Representatives Nancy Pelosi during the President’s State of the Union address in February.

This year, LOOT will showcase the work of four 2018 graduates of La Escuela de Arte 3, in Madrid, Spain: Patricia Álvarez, Cristina Armesilla, Sonia Birndt Carrascosa, and Bárbara García. The jewelry of these emerging creators exhibits fresh expressions of color and form, and takes inspiration from music, technology, contradiction, and the city they call home.

In its first year, the LOOT Advisory Committee assists LOOT Curator Bryna Pomp with the selection of artists and designers. The LOOT Advisory Committee for 2019 includes Susan Ach, Michele Cohen, Marsy Mittlemann, and Barbara Waldman.

LOOT ACQUISITION PRIZE

Awarded annually by a jury, the LOOT Acquisition Prize recognizes a LOOT jewelry artist or designer whose work reflects maturity in artistry and concept, exhibits both a superior and an experimental understanding of materials and form, and demonstrates expertise in technique and execution. MAD’s permanent collection includes nearly one thousand pieces of jewelry, spanning the mid-twentieth century to the present day. The LOOT Acquisition Prize formalizes the Museum’s goal of enhancing its collection by acquiring jewelry from artists who have made significant contributions to the field and whose work provides historical context for MAD’s mid- to late-twentieth-century pieces, as well as from emerging artists who are an important force in the contemporary art jewelry scene.

The 2019 jury is chaired by Barbara Paris Gifford and Elissa Auther together with LOOT Co- Chairs Joan Hornig and Marsy Mittlemann, LOOT Curator Bryna Pomp, and Board Chair Michele Cohen. The 2019 LOOT Acquisition Prize will be awarded on April 8 during the Opening Benefit dinner.

In 2018, the prize was jointly awarded to Isabelle Molénat and Sarran Youkongdee. Past LOOT artists who have had works acquired by the Museum include the well-established art jeweler Iris Nieuwenburg and the emerging jewelry artist Casey Sobel. Alena Willroth, who was awarded the inaugural LOOT Acquisition Prize in 2016, will be a returning artist this year.

OPENING BENEFIT AND LOOT AWARD

The LOOT 2019 Opening Benefit takes place on Monday, April 8, beginning with a cocktail hour and reception at 4:30 pm. The evening’s activities include first access to the LOOT exhibition and sale—an exclusive opportunity to meet this year’s artists and acquire their designs—as well as a dinner honoring the recipients of the LOOT Award.

The LOOT Award recognizes luminaries in the field of jewelry, including artists, collectors, and designers. This year’s honorees are jewelry designer and philanthropist Adria de Haume and jewelry and fashion designer Josie Natori. Past recipients include fashion icon Iris Apfel (2013), collector Barbara Berger (2013), jewelry designer Joan Hornig (2016), fashion designer Kay Unger (2016), and artists Joyce J. Scott (2014) and Axel Russmeyer (2012).

The LOOT 2019 Opening Benefit Host Committee comprises Susan Ach, Iris Apfel, Davina Benshetrit, Caroline Blackman, Noreen Buckfire, Marian C. Burke, Kathy Chazen, Michele Cohen, Paolo Costagli, Stacy Creamer, Emily Cutler, Marcia Docter, Patti Dweck, Beth Farber, Sandy Grotta, Joon Han, Jan Huling, Barbara Jacobs, Ann Kaplan, Wendy Tarlow Kaplan, Jane Koryn, Laura Kruger, Luisa LaViola, Bonnie Levine, Pam Levine, Tina Livanos, Jackie Martin, Stacey Mayrock, Ella McHugh, Robert Lee Morris, Edie Nadler, Michelle Perr, Linda Plattus, Andi Potamkin, Barbara Regna, Heidi Rigney, Deborah Roberts, Lela Rose, Jill Ryan, Bette Saltzman, Gail Shields-Miller, Angela Sun, Ted Taylor, Barbara Tober, Isabel and Ruben Toledo, Kay Unger, Barbara Waldman, Janet Winter, Marcia Celis Wirth, Pamela Workman, Jan Wysocki, and Lynn Yaeger.

To purchase tickets to the LOOT 2019 Opening Benefit, to be held on Monday, April 8, visit thestore.madmuseum.org/collections/loot-2019, or contact Rebekka Grossman at 212.299.7712 or rebekka.grossman@madmuseum.org.

PUBLIC EXHIBITION AND SALE HOURS

Tuesday, April 9: 10am to 6pm

Wednesday, April 10: 10am to 6pm

Thursday, April 11: 10am to 6pm

Friday, April 12: 10am to 6pm

Saturday, April 13: 10am to 6pm

Entrance to LOOT is included in the price of Museum admission: $16 general; $14 for seniors; $12 for students; free for MAD members and children under 18 years of age. To purchase tickets online, visit madmuseum.org/visit.

ABOUT CORPORATE SPONSOR: PAOLO COSTAGLI

Paolo Costagli New York returns as corporate sponsor of LOOT. The fine jewelry brand recognized for its sophisticated, modern, and distinctly bold designs, will debut Onde, its new collection of 18kt gold and diamond jewelry at LOOT 2019. The Onde collection, inspired by the waves of the Venetian Lagoon, introduces a variety of rings, earrings, bracelets, and necklaces. Featuring Paolo Costagli’s signature bold geometrics with a touch of fluidity, the collection presents effortlessly chic precious jewelry fit for all occasions, from everyday wear to a formal soirée.

ABOUT THE MUSEUM OF ARTS AND DESIGN

The Museum of Arts and Design (MAD) champions contemporary makers across creative fields and presents the work of artists, designers, and artisans who apply the highest level of ingenuity and skill. Since the Museum’s founding in 1956 by philanthropist and visionary Aileen Osborn Webb, MAD has celebrated all facets of making and the creative processes by which materials are transformed, from traditional techniques to cutting-edge technologies. Today, the Museum’s curatorial program builds upon a rich history of exhibitions that emphasize a cross-disciplinary approach to art and design, and reveals the workmanship behind the objects and environments that shape our everyday lives. MAD provides an international platform for practitioners who are influencing the direction of cultural production and driving twenty-first-century innovation, and fosters a participatory setting for visitors to have direct encounters with skilled making and compelling works of art and design. For more information, visit their website.

New Single by Cheat Codes

CHEAT CODES team up with Afrojack for huge new single, “Ferrari”
+ announce forthcoming dance EP, “Level 2”
available via 300 Entertainment

Multi-platinum, electronic dance music trio CHEAT CODES  (comprised of Trevor Dahl, Matthew Russell and Kevi Ford) have teamed up with Afrojack for the huge new track, “Ferrari”, taken from their forthcoming EP, “Level 2”. The bass-heavy track blends dance and hip hop sensibilities that break into an anthemic chorus, drenched with Cheat Codes signature electronic textures that have seen them become one of the fastest growing pop and dance acts, garnering over 2 billion streams.

The monumental track is over a year in the making- Matt of Cheat Codes explains: “We met up with Afrojack in the studio over a year ago, we wanted to figure out how we could blend our two sounds into something cohesive. We first heard the drop and knew it was something we could come together on. A lot of the process was back and forth through email sending demos. Gonna have to hit the stage together at some point because the clubs are gonna love this one.”

The dance-floor ready anthem is juxtaposed by it’s dark lyrical narrative that ultimately tells the tale of a missteps in a relationship. Matt adds, “Ferrari is that moment when you really mess up in a relationship and have to overcompensate to try and make it better”

“Ferrari” follows, “Feeling of Falling,” their new single and collaboration with pop sensation KIM PETRAS. The euphoric anthem pairs Cheat Codes’ signature sugary electronic hooks with Kim’s mesmerizing vocals. The group released a remix bundle of the track, featuring re-works from the likes of Daniel Blume, Danny Quest, Justin Caruso, and Angemi, as well as Steve Aoki – which is available now.  Cheat Codes, who are touring with Steve Aoki throughout the UK this February, recently remixed Aoki’s collaboration with BTS,  “Waste It On Me”.

“Ferrari” comes in the wake of another exciting year for Cheat Codes. The group are on the heels of their track, “Only You” which featured Little Mix and its inventive music video featuring TV star, Peyton List. “Only You” hit #1 at UK radio and received critical acclaim from the likes of Billboard, TIME and Rolling Stone.  Earlier this year, the group was joined by Fetty Wap and CVBZ to take the stage at Jimmy Kimmel Live! to perform their single, “Feels Great.”

Find Cheat Codes:
More Info On Cheat Codes:   
•  Over 2 billion streaming consumption of repertoire.
•  “Feels Great” ft. Fetty Wap & CVBZ is recently RIAA Gold Certified in the US.
•  Remix of Maggie Lindemann’s “Pretty Girl” is approaching 5 million units globally.
•  300 debut single, “No Promises” ft Demi Lovato is Platinum in over 15 countries with     over 4 million global equivalents to date.
•  “No Promises”  peaked Top 5 at Pop radio with 80MM in audience reach.
•   Platinum  Certified:  US,  UK,  Norway.  Australia  X2, Ireland X2,  Portugal,  Poland,       Netherlands, New Zealand, Mexico, Italy, Canada & Sweden
•  Gold  Certified:  UK,  Belgium, Brazil,  Colombia,  Denmark, Germany,  Finland,               France, South Africa, Switzerland & Spain

GRAND BASEL

Global debut of the ultimate show for automotive masterpieces

 

Grand Basel is the ultimate global show for automotive masterpieces, with the vision of ‘Celebrating Excellence in Motion’. The show is not just an exhibition, but a platform for automotive culture: a forum, a market place and a space for discussion. Its debut show in Basel marks the beginning of a global tour.

 

The show focuses on collectors’ pieces from the past and present, as well as on new cars of exceptional value and impeccable quality. The exhibition brings together a limited number of carefully-selected, top-of-the-range automobiles – not just the most dignified and luxurious classic cars, but also one-off contemporary editions and technically-advanced concept cars.

What makes Grand Basel unique is that these automotive masterpieces have been carefully selected with special consideration for each car’s cultural meaning, conceptual innovation, condition, provenance, rarity and value.

Grand Basel is also the world’s first and only show to present the automobile in contexts of art, design, architecture and lifestyle; bringing together significant automobiles in an unrivalled, pioneering setting. The show is a completely new approach to exhibiting, discussing and honoring the car.

A global show for a diverse audience

“Grand Basel presents international connoisseurs, experts and collectors with the epitome of automotive culture,” explained Global Director, Mark Backé. “It will appeal to a broad enthusiast audience interested in automobile aesthetics, technological sophistication, art and culture.”

As well as showcasing exclusive and rare cars of the highest calibre, Grand Basel presents cultural highlights and – at the inaugural show – even a world premiere.

While visiting the show, guests will also be able to appreciate the tension between architecture, design, art and the automobile in a range of special exhibitions. Several of these areas have been specially curated by members of the advisory board – a unique set of cultural connoisseurs who have helped to shape the direction of the inaugural Grand Basel.

With their input and support, Grand Basel is a truly open and connected show, relevant to the contemporary and the classic, the analogue and the digital.

Grand Basel in Basel

One of the special features at the first show in Basel will be six curated frames that display individual cars and associated objects, each chosen by a member of the advisory board. While the rest of the exhibits will represent a ‘hive mind’ of consideration, these six frames will showcase very personal interpretations of automotive culture.

The advisory board includes: contemporary artist, Sylvie Fleury; renowned creative entrepreneur and founder of Garage Italia, Lapo Elkann; founder of the Goodbrands Institute for Automotive Culture and chairman of Grand Basel’s advisory board, Prof. Paolo Tumminelli; cultural commentator and author, Stephen Bayley; design theoretician, Prof. Dr. Michael Erlhoff; and world-renowned ‘car designer of the century’ Giorgetto Giugiaro.

“It is no coincidence that for Grand Basel’s debut show in Basel, we have an advisory board made up of leading European voices on the automobile, art and architecture,” explained Mark Backé. “Each Grand Basel will be uniquely relevant to the region where it is taking place, and so for our future shows in the North America and Asia, you may see different perspectives and personalities shaping the presentation.”

The show’s exhibits are carefully selected to just 113 cars, spread over a total show space of 32,000 square metres. A separate ‘Collectors Lounge’ displays a selection of 8 vehicles, set over 7,000 square metres. Exceptional cars have travelled to the show from Germany, Switzerland, Austria, Belgium, the UK, Italy and the USA, and are being exhibited not just by dealers, but by private collectors, museums, manufacturers and coachbuilders.

Exhibition inspired by architecture

Grand Basel’s show style is a bold deviation from the often-nostalgic ambience of established car events. It has a striking, homogenous design, inspired by contemporary architecture. This chosen structure allows exhibits to be presented and admired in a surrounding reminiscent of modern museums, with exceptional automobiles shown in ‘frames’, honouring these cars as the masterpieces they are.

Grand Basel’s world tour

The format of Grand Basel was conceived so that presentation of the show in various locations around the world is part of the agenda. The automobile influences – and is influenced by – society and culture in every part of the globe, and so the discussions at Grand Basel will always have relevance.

The inaugural Grand Basel show in Basel takes place from 6 to 9 September 2018. It is the prelude to a global tour, with a future show in Miami Beach already in development. Every show will have a distinct identity, with the Grand Basel team setting regional and national priorities, and continually reviewing and refining their intercultural aspirations.

 

About Grand Basel

Grand Basel is the ultimate show for automotive masterpieces. Showcasing a top-of-the-range selection of cars from the past, present and future, Grand Basel is the first and only show to present the automobile in the cultural context of art, design, architecture and lifestyle.

Grand Basel addresses a discerning audience of collectors, restoration and conservation experts, dealers, manufacturers and connoisseurs, offering a global platform for exchange. The show is being organised by the MCH Group, a leading international live-marketing company headquartered in Basel, which is also responsible for Art Basel. Following its premiere in Basel in September 2018, further shows in other parts of the world are being planned.

www.grandbasel.com

Rilès releases “!I’ll Be Back!” & Tour

NEW YORK, NY (June 22, 2018) — Today, buzzing French hip-hop artist Rilès releases his new single “!I’ll Be Back!

Get it HERE via Republic Records.

Driven by roaring horns and an airtight beat, the track showcases his off-kilter creativity and inimitable charisma. Over this unpredictable soundscape, he drops clever rhymes and a catchy chorus. It’s emblematic of his outlier approach and show-stopping style.

The song represents the culmination of a massive undertaking by Rilès. It all started in his bedroom—which doubles as a creative hive. He produces, writes, and records music in this tiny space (it’s also where you can find him often painting and crafting visual art as well). From that D.I.Y. headquarters, he made the decision to release one new song per week (52 in total) as part of his highly touted Rilèsundayz initiative. He kept the promise with a slew of songs on a weekly basis, and it finally concludes with the unveiling of his new major label single “!I’ll Be Back!”

“!I’ll Be Back!” arrives hot on the heels of his U.S. debut single “Should I, which has already cracked 4.8 million Spotify streams. Meanwhile, the song’s self-directed music video just crossed the 4-million-mark on YouTube within a month’s time.

Be on the lookout for more from Rilès soon as he is currently on his Summer Festival tour, the remaining tour dates can be found below.

Out of a tiny makeshift bedroom studio, Rilès became the talk of Europe and Africa. Between graduating from a French scientific high school and studying English literature at the University of Rouen, he began painting, producing, writing, recording, mixing, mastering, and engineering an undeniable underground catalog in this tiny space. His YouTube channel impressively exceeded the 100-million-mark on YouTube by dropping one song per week from September 2016 through September 2017. Additionally, he sold out every date of his first tour as “Brothers” cracked 11 million Spotify streams with “Thank God” eclipsing 9 million on the platform.
SUMMER FEST 2018 SCHEDULE:
June 24 – Solidays Festival – Paris, France
June 26 – Mawazine Festival – Rabat, Morocco
June 29 – Garorock Festival – Marmande, France
June 30 – Europavox Festival – Clermont-Ferrand, France
July 5 – Les Ardentes Festival – Liège, Belgium
July 6 – Eurockéennes Festival – Belfort, France
July 8 – Les Déferlantes Festival – Argelès-sur-Mer, France
July 13 – Musilac Festival – Aix-les-Bains, France
July 20 – Vieilles Charrues Festival – Carhaix-Plouguer, France
July 21 – Art Sonic Festival – Briouze, France
July 22 – Paléo Festival – Nyon, Switzerland

ABOUT REPUBLIC RECORDS
A division of Universal Music Group, the world’s leading music company, Republic Records is home to an all-star roster of multi-platinum, award-winning legends and superstar artists such as Ariana Grande, Aminé, Black Sabbath, DNCE, Florence + the Machine, Gotye, Hailee Steinfeld, James Blake, James Bay, John Mellencamp, Jordan Smith, Julia Michaels, Keith Richards, Kid Cudi, Liam Payne, Marian Hill, Of Monsters and Men, Post Malone, Seth MacFarlane, Stevie Wonder, and more. Founded by brothers and chief executives Monte and Avery Lipman, it is also comprised of innovative business ventures, including American Recordings (The Avett Brothers, Towkio), Boominati Worldwide (Metro Boomin), Brushfire (Jack Johnson), Casablanca Records (Giorgio Moroder, KUNGS, Tïesto), Cash Money (Drake, Lil Wayne, Nicki Minaj), Hollywood Records (Sofia Carson, Zendaya), Lava Records (Greta Van Fleet, Jessie J, Lorde), Monkeywrench (Pearl Jam), XO (Belly, The Weeknd), Roc Nation (Jaden Smith, Justine Skye, The Dream), among others. Republic also maintains a long-standing strategic alliance with country powerhouse Big Machine Records (Taylor Swift), and Universal Music Latin Entertainment (Luis Fonsi, J Balvin). In addition, Republic has expanded to release high-profile soundtracks for Universal Pictures (Fifty Shades of Grey, SING), Fox TV (Lee Daniels’ STAR), and NBC TV (The Voice), as well as other notable film and television franchises.

“Murmurations”

Ben Howard’s new song, “Murmurations,” as well as his music video for the lead single, “Nica Libres At Dusk,” is out now—listen to the song HERE and watch the video HERE. The new music appears on Howard’s highly anticipated new album, Noonday Dream, out June 1 on Republic Records. Howard filmed and directed the “Nica Libres At Dusk” video with Australian cinematographer Allan Wilson in the Atlas Mountains.

The new music has begun to receive widespread critical praise—The Independent proclaims, “‘A Boat To An Island On The Wall’ is a sprawling, mesmerizing track that shifts restlessly, rocking back and forth like that small boat on the waves, with the familiar sound of Howard’s low, gruff vocals,” while Paste adds, “This seven-minute single [‘A Boat To An Island On The Wall’] features Howard harmonizing with himself, as ambient chords slowly ease the quiet song into a grungy guitar riff.” NYLON furthers, “Press play and let this cinematic gem wash over you.” Additionally, you can watch Howard’s performances of “Towing The Line” and “Nica Libres At Dusk” on “Later… with Jools Holland” HERE and HERE.

Howard will return stateside this fall confirming a run of headlining North American dates, which include stops at legendary venues such as Berkeley’s Greek Theatre, Denver’s Red Rocks AmphitheatreLos Angeles’ Shrine AuditoriumNew York’s Hammerstein BallroomMontreal’s Bell Centre as well as DC’s new venue Anthem. Fans can purchase tickets at http://benhowardmusic.co.uk/live. See below for complete tour details.

Noonday Dream was written and produced by Howard, with production contributions from regular collaborator and band-mate Mickey Smith. The album was recorded over the course of two years in various studios throughout Europe, including the legendary Sawmills Studio as well as locations in southwest France. The new recording continues to highlight Howard’s sonic evolution with unpredictable and textured arrangements and rich, emotive songwriting.

Howard’s debut album Every Kingdom was released in October 2011. The album sold more than one million copies globally, receiving a Mercury Music Prize nomination, and winning him two Brit Awards in 2012 for “British Breakthrough” and “British Solo Male Artist.” The follow up, I Forget Where We Were, which was released in 2014 was met with similar critical and commercial acclaim—the album earned an Ivor Novello Award nomination, the U.K.’s most prestigious songwriting accolade, and charted #1 in the U.K. Howard’s music has amassed well over half a billion streams to date.