Posts tagged with "berlin"

IKUE NEWSON

Ikue Newson was born in Indiana of African, Indian and European ancestry. Growing up as the youngest of six children, she always reached maturity and speed in her life decisions. Ikue obtained a BA in Philosophy from Indiana University, and quickly after moving to Los Angeles to pursue a career in modeling. Modeling has been an outlet for Ikue’s unique fashion sense. Ranging from athleisure to advant garde, Ikue revels in a multitude of editorial and lifestyle campaigns. In addition to modeling, she loves creative writing, horseriding and spending time with her standard poodle, Ghost. After gaining status as a notable model, she aspires to attend law school.

height: 5’8.5″
hair color: brown
eyes: honey
bust: 32″
waist: 23″
hips: 33″
shoes: 7

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Ikue Newson makes an appearance inside 360 MAGAZINE.
Ikue Newson with cornrows in 360 MAGAZINE.
Ikue Newson in 360 Magazine.
Ikue Newson models Finish Line.
Ikue Newson in Sultra Beauty.

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Joy Crookes' Skin via Epic Records for use by 360 Magazine

Joy Crookes – Skin

BRIT Award nominated singer/songwriter Joy Crookes releases her highly anticipated debut album, Skin.  The 13 track body of work includes previously releases singles, “Feet Don’t Fail Me Now,” “When You Were Mine,” “Skin,” and the newest, “Trouble.” Get it HERE via Epic Records/Insanity.

With Crookes credited as an executive producer on the album, alongside the formidable Blue May (Blood Orange), Skin is a hugely personal, game-changing body of work from one of the UK’s boldest and brightest young talents. A collection of songs built and honed throughout her adolescence and into her early twenties, and finished last year within the most turbulent of circumstances, Skin touches on topics such as mental health, relationships, and politics all with grace and sensitivity. Crookes has created a truly special body of work that is both perfectly of the moment, and entirely timeless. Skin’s album artwork is shot by Carlota Guerrero, who has previously worked with Arca, Chloe x Halle, and Solange for all of her imagery for A Seat At The Table.

Already, the album has garnered Crookes a massive amount of acclaim worldwide. British Vogue has dubbed her, “undoubtedly one of the most exciting artists to emerge in the music scene this year,” while The Guardian has praised her “effortlessly nuanced and individual melodic sensibility.” I-D has praised her music as “powerful” while Complex has noted her “soul-stirring vocals,” and Billboard has similarly highlighted her “unfaltering vocal performance.”  The New York Times in a recent profile may have summed up Skin best:  “Crookes offers listeners a nuanced and candid exploration of her multiracial identity. At a time when many conversations about race in the arts and calls for change have only recently begun, Crookes’ commitment to vulnerability in her storytelling has helped her connect with a growing—and loyal—fan base.” 

Up next, Joy Crookes will tour the UK later this year in celebration of the new album; the run kicks off in November in Brighton and extends into next year when she will take the tour to Europe. Full list of dates below.

UK Dates

11/6/21 Brighton, England Concorde 2 SOLD OUT

11/7/21 Bristol, England The Trinity Centre SOLD OUT

11/8/21 London, England O2 Forum Kentish Town SOLD OUT

11/9/21 London, England O2 Forum Kentish Town SOLD OUT

11/11/21 Dublin, Republic of Ireland The Academy SOLD OUT

11/15/21 Glasgow, Scotland St Luke’s SOLD OUT

11/17/21 Leeds, England Leeds University Stylus

11/18/21 Birmingham, England The O2 Institute

 

European Dates

2/10/22 Paris, France La Gaîté Lyrique SOLD OUT

2/11/22 Amsterdam, Netherlands Melkweg SOLD OUT

2/12/22 Brussels, Belgium Ancienne Belgique SOLD OUT

2/14/22 Cologne, Germany Gebaude 9

2/15/22 Munich, Germany Strom

2/17/22 Berlin, Germany Heimathafen Neukoelln

2/18/22 Hamburg, Germany The Stage Club

2/20/22 Copenhagen, Denmark Pumpehuset

2/21/22 Helsinki, Finland Tavastia Club

2/22/22 Oslo, Norway Parkteatret

2/23/22 Stockholm, Sweden Nalen Klubb

2/25/22 Warsaw, Poland Hybrydy

2/26/22 Zurich, Switzerland Exil Club

Green Car by Mina Tocalini

Aiways New U5 SUV

The all-electric Aiways U5 SUV has driven its way to multiple victories and prestigious awards this month, taking on three long-range endurance challenges across Europe and winning the Riviera Electric Challenge (14-16 September). 37 vehicles from 11 established brands took on the Riviera Electric Challenge driving 200km from Cagnes-sure-Mer, France, through Italy’s mountain scenery and ending in iconic Monaco. Aiways was the only Chinese manufacturer to enter the all-electric challenge, now in its seventh year. Live energy consumption data was tracked for each vehicle along the demanding route, and the Aiways U5 SUV outperformed the competition to take the top spot with French former rally driver Bernard Darniche behind the wheel alongside teammate Philippe Dupuy.

The former European Rally champion commented: “I have won many races and taking part in the Riviera Electric Challenge was a chance to experience the future of racing. It was great to test my competitive skills in a new way where winning was not about being fastest. The Aiways U5 SUV was a responsive and easy drive, and it was an absolute pleasure to be behind the wheel of this electric car for the 200km journey. We were not leading at the end of day one, but through consistent driving on day two, we secured first place in the Aiways U5 SUV.”

The weekend just gone; three Aiways U5 SUVs also participated in the famous E-Cannonball endurance drive. This prestigious event among the electric vehicle community attracted celebrity drivers and over 70 teams who had to cover the distance between Berlin and Munich, accumulating points for kilometers covered, number of charging stops and average energy consumption. One Aiways U5 SUV was ably driven by model and influencer Nicola Cavanis, who took her 860,000 followers along for the ride keeping them updated with live conversations during the entire trip. She stated: “It was great fun, and I enjoyed the drive in an all-electric car very much. Our team did well, we went smoothly between the challenges, and I got a lot of great feedback from my followers.” The second Aiways U5 SUV was entered by Aiways’ German retail partner and the main event sponsor, Euronics. The third Aiways U5 SUV was entered by an enthusiastic and loyal customer team. Both corporate teams and the private one arrived ahead of the time limit without any problems reaching the finish line in Munich.

Earlier in September, three electric U5 SUVs successfully completed the ED1000 endurance event, journeying 1,000km across Germany from Berlin via Bielefeld and Fulda to Munich in less than 14 hours – proving that electric mobility is a viable option for day-to-day and long-distance driving. Aiways entered two vehicles which finished only an hour apart. The third Aiways U5 SUV was entered by Aiways’ German service and mobility partner A.T.U who provided technical support for all brands participating in the endurance drive.

At the wheel of one Aiways U5 during the ED1000 was Dr Alex Klose, Executive Vice-President of Overseas Operations at Aiways. He commented, “We are very pleased with the consistent and impressive performance from the U5 during these long-distance tests, particularly because we competed against and outperformed many vehicles from mainstream car brands.

“Our ‘September success’ has been a fantastic illustration of the U5’s capabilities and its suitability as the main family car. Aiways’ future in Europe looks strong and we’re excited about participating in, and winning, more endurance races in the coming years.”

The positive and consistent performance from the Aiways U5 SUV across multiple long-range events this summer demonstrates the vehicle’s highly competitive real-world range of 330km – 82.5% of the official WLTP figure. With Level 2 autonomy and a suite of advanced driver assistance systems (ADAS), including active cruise control, lane departure warning, blind spot warning and the emergency braking assistant, every journey in U5 comes with safety and peace of mind.

With a starting price of $41,746*The Aiways U5 SUV offers a compelling price-to-range ratio and can charge from 30% to 80% in just 27 minutes, making zero-emissions driving a welcome choice for any adventure.

Aiways U5 – Feel the Energy

E-Cannonball 2021 – the Aiways U5 SUV “feels the energy”

Aiways takes part in the top-class E-Cannonball rally through Germany with the battery-electric U5 SUV

Influencer and model Nicola Cavanis drives an Aiways U5 and takes her 860,000 followers with her for the journey from Berlin to Munich

Aiways U5 SUV – safe, efficient, and comfortable

Sales partner Euronics is the main sponsor of the event and is sending another Aiways U5 SUV to the start

A factory standard Aiways U5 SUV, a team from Euronics, and a private customer team will enter the now legendary E-Cannonball rally on Saturday, 25th September in Berlin.

Along the route from Brandenburg, Berlin to Munich, this year’s participants will be making scheduled pitstops in Mühlhausen / Thuringia and in Bayreuth / Bavaria. The E-Cannonball is an endurance drive during which each participant tries to achieve the optimal ratio between driving speed / energy consumption and charging speed/battery size. The deciding factor will therefore be the individual teams’ tactics to find the ‘sweet spot’, meaning drivers will not be able to rely on the engine power or battery size of their EVs. Instead, the most efficient driving style, route selection, availability of charging stations, and traffic conditions will be the deciding factors.

The factory standard Aiways U5 SUV will be driven for the first time by Nicola Cavanis. The young woman from Munich, who is usually seen on the catwalks of the fashion world for Louisa Models, is looking forward to this ambitious task in a battery-electric vehicle. “I am really looking forward to this exciting challenge, especially driving more efficiently and economically. But I also have respect for the length of the journey and for the unpredictable roads and conditions,” said the 22-year-old model. “Of course, I will take my 860,000 followers with me on the trip, I am grateful for any helpful tips and will report regularly from the car,” continues the ambitious influencer.

Dr. Alexander Klose, Executive Vice President of Overseas Operations for Aiways said: “I am thrilled that three Aiways U5 SUVs are taking part in the E-Cannonball, particularly as one is a customer team.  It shows that we are on the right track with our range of vehicles and that our brand is growing in popularity among the EV sector. We pride ourselves on offering an affordable entry point into the electric vehicle market, especially since we are a young brand.  As we bring a new product to the European market each year, we hope to continue developing our customer base.”

Klose continues: “Nevertheless, I keep my fingers crossed for all the teams on the trip and wish them all success. Everyone should have enough incentive: after all, when else could you show your taillights to the former Formula 1 driver Heinz Harald Frentzen, who is also participating?”

From € 35,993 * the Aiways U5 SUV offers a convincing price-performance ratio, covering  400 km on a single charge. On longer journeys, such as the E-Cannonball, the Aiways U5 SUV will be able to recharge its battery from 30% to 80% in just 27 minutes. The bright and spacious interior of the Aiways U5 SUV will also impress on this long-distance journey. The SUV has been designed to offer the best-in-class space ensuring a comfortable ride for all passengers, the cabin alone provides up to 970mm of legroom. All safety features of the Aiways U5 SUV are operated easily and intuitively on the large, central infotainment screen. Innovative driver assistance systems including the lane departure warning system, the blind spot warning system, and the emergency braking assistant come as standard.

Euronics has been the exclusive German sales partner of the Aiways U5 electric SUV since 2020, making them the first electric retailer in Germany to sell electric vehicles as well as offering additional services. Euronics’ sponsorship of the E-Cannonball expands their brand awareness and aptitude in the field of electromobility.

“The Aiways U5 electric SUV is very important for Euronics and our commitment to electric mobility. As its exclusive sales partner, we are thrilled to be going on the e-mobility offensive again this year and to show that the driving range of electric cars has long ceased to be a problem, ”says Phillipp Neuffer, Head of Multichannel Marketing at EURONICS, who is also at E-Cannonball attends.

Yumi Zouma New Tour

New Zealand’s alternative pop quartet Yumi Zouma will embark on a 21-date U.S. tour starting April 7 in Atlanta, GA, and ending May 6 in San Diego, CA. Notable stops include the Music Hall of Williamsburg in New York and the Roxy in Los Angeles. Spotify presale starts at 10AM local time 9/27 until the end of midnight, 10/1. Public on-sale begins at 10/1 local time. The tour announcement comes fresh off the release of their brand new single Give It Hell.

YUMI ZOUMA ON TOUR 2022

EUROPE

03/17 – Birmingham, UK @ The Sunflower Lounge

03/18 – London, UK @ Lafayette

03/19 – Manchester, UK @ Yes

03/21 – Dublin, Ireland @ Whelan’s

03/22 – Glasgow, UK @ King Tut’s

03/24 – Paris, France @ Le Hasard Ludique

03/25 – Brussels, Belgium @ Botanique

03/27 – Amsterdam, Netherlands @ Melkweg

03/28 – Hamburg, Germany @ Turmzimmer

03/29 – Copenhagen, Denmark @ Ideal Bar Vega

03/31 – Stockholm, Sweden @ Obaren

04/01 – Oslo, Norway @ Krxsset

04/03 – Berlin, Germany @ Burg Schnabel

04/04 – Warsaw, Poland @ Praga Centrum

U.S.

04/07 – Atlanta, GA @ Terminal West

04/08 – Durham, NC @ Motorco Music Hall

04/09 – Washington, DC @ Black Cat

04/12 – Philadelphia, PA @ Union Transfer

04/13 – Brooklyn, NY @ Music Hall of Williamsburg

04/14 – Boston, MA @ The Sinclair

04/15 – Portsmouth, NH @ The Press Room

04/16 – Montral, QC @ Petit Campus

04/17 – Toronto, ON @ Horseshoe Tavern

04/18 – Cleveland, OH @ Grog Shop

04/20 – Chicago, IL @ Lincoln Hall

04/21 – Madison, WI @ High Noon Saloon

04/22 – St. Paul, MN @ Turf Club

04/23 – Lawrence, KS @ The Bottleneck

04/25 – Denver, CO @ Bluebird Theater

04/28 – Vancouver, BC @ The Fox Cabaret

04/29 – Seattle, WA @ The Crocodile

04/30 – Portland, OR @ Mississippi Studios

05/04 – Los Angeles, CA @ The Roxy

05/05 – Los Angeles, CA @ The Roxy

05/06 – San Diego, CA @ The Casbah

ABOUT YUMI ZOUMA:

Originally created as a long-distance project between friends online, Yumi Zouma is a collaboration drawn from around the world, with members based in New York City, London, and their home of New Zealand.

The self-produced quartet have honed their craft of delicate pop tapestries by way of emailed home recordings, resulting in records such as 2020’s acclaimed Truth or Consequences, lauded by FADER as “shimmering nostalgia-pop.”

However, on the fearless new single “Give It Hell,” singer Christie Simpson issues a call of resistance amongst the chaos of our modern age. The song, which was recorded over remote sessions undertaken throughout 2020, showcases an expanded sonic palette of live drums, grand pianos, orchestral strings, and woodwinds revealing a cacophonous glimpse of the band’s fourth and most formidable album yet, out early 2022.

For more information about Yumi Zouma, visit their website or connect with them on social media @yumizouma

Photo via Max Frieser of INFAMOUS PR for use by 360 Magazine

RUFUS DU SOL × ALIVE

 RÜFÜS DU SOL Return With New Single ‘Alive’ Listen Here

North American 2021 Fall Tour Touching Down in Las Vegas, Phoenix, Houston and Dallas this November On the Back of 70,000 Tickets Sold for LA Banc of California Shows

RÜFÜS DU SOL have been quiet. Quietly looking inwards, quietly crafting a new world to explore with their fans, quietly relearning what it means to be Alive…

Today the band continues its legacy as global leaders of the live-electronic movement, releasing the first new music since their Grammy nominated 2018 ‘SOLACE’ album. “Alive,” out now on Rose Avenue and Reprise / Warner Records, is a transcendent take from a group that have built a career on defying expectations – listen HERE.

Premiered today on The Zane Lowe Show, “Alive” is adorned with haunting lyricism and inventive broken beat percussion, encapsulating the highs and lows of a lost but not forgotten year. RÜFÜS’ lead singer Tyrone calls out with a sense of urgent and naked emotion, these are intensely personal lyrics for him, yet they encapsulate the feelings many of us have endured the past year.

“Alive” is the initial taste of what the band’s reemergence sounds like; a retention of the darkness they have consistently explored, notably on ‘SOLACE,’ paired with a glistening energy aimed to uplift and uphold their dedication to wowing larger than life dance floors.

“Alive” begins to sculpt the first look into a new world for the band and their fans to cohabitate, a continuation of the exploration of place that defines the way they write and perform music. From their debut album recorded on the coast of Australia, onwards to the brooding ‘BLOOM’ written in the streets of techno mecca Berlin, to ‘SOLACE’s glimpse of the darker side of Los Angeles, the trio now push outwards, less bound by Geographical location, to the wider reaches of space and time.

In Tyrone Lindqvist of the band’s own words, It’s a heavier song in some ways, but at its core it’s hopeful. We are – all of us – living in this transitional moment right now and we wanted to focus on the hope that the future holds for us all. To focus on the light at the end of this tunnel.

This announcement comes alongside the reveal of the band’s North American Fall Tour, touching down at Las Vegas’ Downtown Las Vegas Events Center, Phoenix’s Arizona Federal Theatre, Dallas’ The Pavilion at Toyota Music Factory and a to-be-announced venue in Houston.

RÜFÜS have already experienced an immense demand for their live return, selling 70,000 tickets in three days for their largest headlining shows to date at Los Angeles Banc of California Stadium. The on sale was a true barometer for just how deeply fans crave the sonic escapism RÜFÜS work to deliver at every show.  This banner moment joins two sold out nights at Red Rocks Amphitheater in August, and a bevy of headlining festival appearances already announced including Governors Ball, Austin City Limits, III Points and more. General tickets go on sale July 16th at 10am local time in each market – purchase tickets HERE.

James Vincent McMorrow photo via Amanda Zimmerman for use by 360 Magazine

James Vincent McMorrow × Paradise

James Vincent McMorrow shares the music video for Paradise from his upcoming album, Grapefruit Season, to be released on September 17.

“McMorrow has a soul voice to cherish” – Guardian

“The ever-shifting Irish singer-songwriter…it works” – Sunday Times, Hottest Tracks

“A deft collaboration, with James pushing his music onto a different realm, whilst maintaining that recognizable emotional pull” – CLASH

“Lyrically raw and immensely quotable” – The Forty Five

James Vincent McMorrow shares the video for new single Paradise, which is available now via Sony Music UK/RCA Records. Paradise is the latest taste of James’ much-anticipated new album Grapefruit Season – which also features teaser singles Headlights, Gone, and I Should Go (with Kenny Beats) – and is now set for release on September 17.

Produced by James alongside Paul Epworth and Lil Silva, Paradise is about pretending everything is fine when, beneath the surface, it really isn’t. Initially struggling to find its visual concept, the Paradise video started as an off-hand remark (“why don’t I just dig out my rollerblades and film myself learning to skate again in the park behind my house?”) but now feels like the perfect fit to the track’s uplifting, feel-good but melancholic center.

Paradise further previews Grapefruit Season, James Vincent McMorrow’s upcoming, fifth studio album – and one in which the artist, producer, and songwriter pushes himself (and his sound) in all new ways. The record was recorded between London, Los Angeles, and Dublin, largely before the pandemic struck. It embraces the timeless yet timely fact that life is chaos; the idea of growing up, but as Paradise suggests, still feeling none the wiser. Each song is held together by McMorrow’s instantly-identifiable voice, an untethered musical imagination, and (from dancehall to soul, country to R&B) purposefully little else in its pursuit of fear-free pop music. Even the title, Grapefruit Season, seems to signpost doing simply what you want, rather than what you are supposed to do – it was inspired by James watching his mum eat grapefruit as a kid, and the idea that what’s good for you may not actually be pleasurable.

Throughout the emotional highs and lows of Grapefruit Season, you are reminded of the risks James Vincent McMorrow has taken since the singer-songwriter roots of debut album Early In The Morning (which turned ten in 2020); but also that those same instincts – to follow inspiration wherever it leads, and to be as brutally honest possible – remain a refreshing constant. Whilst there may always be trouble in Paradise, what’s emerged is James Vincent McMorrow’s most essential album to date.

James also made headlines recently playing the first concert in Ireland with a live audience since the beginning of the pandemic (tickets sold out in just 30 seconds). With festivals including Latitude and Isle of Wight confirmed to follow this summer, McMorrow’s UK and European tour for early 2022 includes a London date at Kentish Town Forum on February 21 and two homecoming shows at Dublin’s Olympia Theatre on April 19-20.

February 4 – Leuven @ Het Depot

February 5 – Paris @ Le Trianon

February 6 – Luxembourg @ Den Atelier

February 8 – Frankfurt @ Batschkapp

February 9 – Amsterdam @ Paradiso

February 10 – Hamburg @ Grunspan

February 12 – Stockholm @ Nalen

February 13 – Copenhagen @ Vega

February 15 – Berlin @ Metropol

February 16 – Cologne @ Gloria Theatre

February 18 – Manchester @ O2 Ritz

February 20 – Birmingham @ O2 Institute

February 21 – London @ O2 Kentish Town Forum

February 22 – Bristol @ O2 Academy

February 23 – Glasgow @ Barrowland Ballroom

April 19 – Dublin @ Olympia Theatre

April 20 – Dublin @ Olympia Theatre

April 21 – Belfast @ Limelight

April 22 – Limerick @ Milk Market

Joel Peterson photo via Deseret News for use by 360 Magazine

Joel Peterson x My Road to Cancellation

Joel Peterson, Stanford Professor and former JetBlue Chairman, writes about his experience navigating the minefield of woke hostility in his piece My Road to Cancellation:

“Wokeism,” America’s new civil religion, draws on elements of neo-Marxism, critical race theory, social justice and identity politics. Its adherents believe it will lead to a more just society. Its detractors, on the other hand, believe its “cancel culture” will push civil society to the brink. And, for the “woke,” either will do.

The roots of my own unlikely cancelation go as far back as 1987, when Jesse Jackson marched Stanford students up Palm Drive to a rhythmic chant of “Hey, hey, ho, ho! Western Civ has got to go!” The next year, I joined the advisory council of its Graduate School of Business where I was soon invited to fill a one-year faculty vacancy. To everyone’s surprise (including my own), I returned every fall for the next three decades to teach four courses to a generation of exceptional MBA candidates.

Then, last year, before a student-politician boldly posted that “White people need to be eradicated,” I was summoned to respond to an equally disturbing complaint over having “triggered” woke students. Because I didn’t think I’d done anything worthy of the summons and because I had received the distinguished teaching award from students, a “Silver Apple Award” from alumni and been appointed to a faculty chair, I wasn’t worried. Alas, I’d misjudged my peril.

Years after Jackson’s campaign to eliminate Stanford’s requirement to study Western civilization, an Iowa-born, New York Times reporter, Nikole Hannah-Jones, developed what she titled “The 1619 Project.” In it, she presented America as founded on slavery and stained by perpetual bigotry.

With boosts from the Pulitzer Foundation and from George Floyd’s tragic death, her social justice message struck a nerve. However, when a number of historians debunked the pseudo-history, Hannah-Jones repositioned her essay as “a work of journalism that explicitly seeks to challenge the national narrative.” She followed up with a New York Times Magazine article headlined “What is Owed” making a case for reparations, consistent with her 1995 letter to the editor in Notre Dame’s “The Observer,” in which she likened Christopher Columbus to Hitler.

With police departments defunded, monuments vandalized and cities torched, Dr. Seuss was soon condemned as racist, Mr. Potato Head scheduled for gender reassignment, and free speech restricted by social media oligarchs. So, it wasn’t a surprise to see social justice warriors on the previously welcoming Graduate School of Business campus.

Content of character vs. color of skin

In a class I teach, students objected when guest CEOs claimed to have been “color blind.” When I volunteered that I, too, had resisted hiring based on skin color, gender or quotas, and had relied, instead, on character, competence and commitment, some students were offended. To understand why those “triggered” would object to standards of character and competence being added to the emergent holy grail of diversity, equity and inclusion (DEI), I turned to one of my own daughters.

Sensing my bafflement at the outrage, she immediately wrote back:

“I have known you my entire life, and I know by your words and deeds that you value all people of all races, ethnicities, and genders. I know you are constantly impressed and inspired by immigrants and their amazing stories of courage and perseverance. I’m proud of the work you’ve done. If this younger, ‘triggered’ generation pushes out of their lives all who seek to improve their understanding, teach them, and open their minds to broader ways of thinking, it will be to their detriment.”

I’d taught my kids – and, until now, my students — that talent, character, and competence are evenly distributed across every demographic. In response to my determination to be on the lookout for leaders without regard to identity, an offended gender-studies major wrote that she’d not known “whether to scream or throw up.” After all, it had been nearly 60 years since Martin Luther King had dreamt of the day when the content of one’s character mattered more than the color of one’s skin. But, by the time that day happily arrived, “wokeism” had hijacked his dream, re-elevating skin color over character.

As demands for skin-color diversity were broadened to include gender and sexual orientation, a student notified me that I’d called on more men than women in two (of four) classes. Knowing that I was no respecter of persons — whether by gender, race, sexual orientation, or anything else — I moved ahead with the course, suddenly aware that my interactions with students were being catalogued by identity.

Soon, a Black Lives Matter advocate asked, of all things, whether I would stand for the American flag. To provide context for my decision, I shared a story. As a toddler, I’d seen my mother take a call from the Department of Defense announcing that her fighter-pilot brother had been killed. Honoring her grief, I’d chosen to stand for the flag under which my only uncle had offered the ultimate sacrifice. The student’s response was presented as an irrefutable argument; my choice was “racist.”

Furthermore, in this woke new world, my professional experience was no longer relevant because of the race and gender I’d been assigned at birth. Despite having created tens of thousands of jobs, promoted women and minorities, and coached scores of entrepreneurs, I was deemed an “oppressor” in the catechism of “wokeism.” Furthermore, the penance for being raised in a “systemically racist” society — founded on millennia of Greek, Roman and Judeo-Christian antecedents, no less — was submission, and, if resisted, cancelation.

The reason behind such tyranny came into focus for me when Condolezza Rice, former secretary of state and current director of the Hoover Institution at Stanford, told me she’d shared with her students that the capture of Khalid Sheikh Mohammed (9/11’s architect) had felt like “having Erwin Rommel under lock and key.” The blank looks on the faces of her very bright students revealed that they had never heard of WWII’s famous Desert Fox.

Until then, I’d traced the enmity to activists like Jackson and Hannah-Jones. Now, I could see that it also stemmed from students having swapped an education for indoctrination. Those enlisted as social justice warriors had avoided the lessons of history, missed out on refining skills that might have allowed them to judge assertions, and denied themselves the insights required to make wise trade-offs.

Because such uninformed activism brought with it a minefield of woke hostility, I kept to myself any reservations I harbored about critical race theory, gender fluidity, and climate alarm. And, when Stanford’s math department proposed achieving “racial equity” by eliminating AP math (as racist, no less), I also kept quiet. Instead, I hoped my hardscrabble climb to CEO might inspire those who saw themselves as victims of inequity. Ironically, those who strained to label my uphill journey a product of “white supremacy” were often the very beneficiaries of woke preferences.

Oppressor-victim

To understand this recipe for canceling predecessor generations, I spoke next with Stanford military historian Victor Davis Hanson. Because Hanson had written the following, I wanted his help in gracefully handling the oppressor-victim theme:

“We should not… allow a current affluent, leisure, and pampered generation to hijack the past, and damn it to perdition. (They have) not earned the right to… cancel… those of the past who won Gettysburg, or built the Hoover Dam, or produced a Liberty ship every week.”

While Stanford had long nurtured a remarkably diverse and admirably inclusive community, it nonetheless rejected Hanson’s counsel in favor of a now fashionable “institutional racism.”

When Graduate School of Business faculty were further instructed to avoid “racist and xenophobic rhetoric and actions against the Asian American and Pacific Islander community,” I found myself wondering if the addendum were a virtue-signaling accusation, or if it were based on something I’d simply never encountered in all my years at Stanford. And, when the facts behind subsequent murders (of a Capitol police officer and 10 Colorado shoppers) contradicted de rigueur narratives, I wondered if the time had come to move beyond racial memes.

Apparently not. With free markets also labeled “racist,” those of us with responsibilities outside the ivory tower began to feel our “diversity of optic” (based on long experience) had been dismissed in favor of a “diversity of identity” (rooted in ideology). So, while I care deeply about Stanford University, and like and admire its president, provost, and business school dean, I was beginning to feel isolated.

Their deference to selective diversity led me to reflect upon a meeting I’d conducted in Berlin as chairman of JetBlue Airways. After the meeting, I’d taken a stroll down Unter den Linden to the Bebelplatz, 500 yards to the east of Berlin’s famous Brandenburg Gate. It was at that plaza, on May 10, 1933, that newly empowered Nazi officials had orchestrated the burning of “objectionable” books. Later dubbed “The Night of Shame,” the conflagration eventually contributed to Germany’s liberal democracy turning a blind eye to Kristallnacht, the Holocaust and an appalling rationale for war.

While loath to compare such a long-ago shame with how I was currently feeling in Palo Alto, of all places, I remembered being impressed that, in Berlin, the survivors of that era’s cancelation had later inserted “stumbling stones” between pavers to ensure that all who followed neither forget, nor repeat, that calamity.

As I traversed the once-riven capital city, the ground-level reminders had provoked in me a surge of optimism. Surely, the world would avoid the sort of conflict for which my own father had gone to war. Surely, everyone realized by now that banning books, restricting free speech and stoking fear would lead to tragedy. And, just as surely, America would eventually reject totalitarianism, even in its “wokest” form.

Yet, here I was, only three years later, 6,000 miles to the west of Berlin, sensing I was perilously connected to a prior generation’s intolerance. Adding to my anxiety was a discovery that my grandchildren’s generation were being scheduled to view an honorable heritage through a lens cleverly manufactured to provoke shame.

Forced to consider moving to a less hostile teaching environment, I heard from former students. One female “of color” offered that, of all her professors, I’d been the most supportive of women and minorities. Another confirmed that the majority of his classmates felt silenced by the threats of a racist label. One student even scolded me for having allowed “the slings and arrows” of the woke to achieve their hoped-for effect.

I smiled wanly to see that Prince Hamlet had somehow survived Jesse Jackson. I, on the other hand, had failed utterly to anticipate the distorting polemics of identity politics. The script advanced during America’s annus horribilis had pitted race against race, gender against gender, and generation against generation, all risking a degradation of spirit worse than any virus.

As a former CEO, it seemed to me that the narrative had gone well beyond gaining political or market advantage. It had even exceeded antifa’s hope for French-Revolution-style anarchy. In fact, by 2021, it looked like a bold attempt at a hostile takeover of mankind’s best hope for peace and prosperity.

This conclusion led me to contrast two Americans best known for their connections to societal breakdown — a mid-19th-century Abraham Lincoln and a mid-20th-century Saul Alinsky. I selected Lincoln because he’d guided America through a civil war, and Alinsky because his dream had been to provoke civil unrest by inciting those he called the “have-nots” against those whom he called the “haves.”

President Lincoln’s observation of America’s vulnerability mirrored community organizer Alinsky’s precondition for a successful revolution. Thus, the warning attributed to Lincoln that “America will never be destroyed from the outside; if we falter and lose our freedoms, it will be because we destroyed ourselves” was the basis for the race and class warfare Alinsky welcomed by rewriting history, inciting envy and “canceling” a large portion of the population.

Whereas Martin Luther King had called upon our “better angels” to subordinate our differences to shared values and, thus, to overcome what Condi Rice called our nation’s “birth defect,” Alinsky chose to repudiate King’s redemptive dream. If he could get people to ignore e pluribus unum (America’s motto since 1782), he might be able to overcome the spirit under which the nation had thrived.

By 2020, the pandemic had offered activists a unique opportunity to cleave the nation along identity and tribal lines, skirting the 238-year-old aspiration that had been Alinsky’s steepest obstacle. Using a fear of cancellation to silence half the population, SJWs dismissed the steady social progress that was the trademark of the world’s most successful multicultural society. Instead of celebrating the progress flowing from our commonalities, they fomented division by pointing to historical injustices.

Between a pandemic, racial tensions and the absence of a Lincolnesque figure to bind up our wounds and bring us together, America was, indeed, vulnerable. As its citizens awakened to the soft tyranny promoted during the pandemic, many felt betrayed by institutions they’d once admired and leaders they’d once trusted. And, for my part, I discovered that the experience I’d had with cancellation in the academy was being repeated all across the nation.

While I may well survive, America will not survive the rewriting of its history, the violation of its Constitution and the abandonment of the freedoms it has promised to citizens of all political persuasions, ethnicities, genders and orientations. No matter our differences, unless we preserve free speech, secure our Constitution and re-enthrone individual responsibility over victimhood, all the king’s horses and all the king’s men will be unable to put Humpty Dumpty back together again.

And Alinsky’s vision will have canceled Lincoln’s.

Joel Peterson Bio

Joel Peterson is the Robert L. Joss Professor of Management at Stanford University, the former managing partner of the Trammell Crow Company, the former chairman of the board of Overseers of the Hoover Institution, the former chairman of JetBlue Airways and the founder and chairman of Peterson Partners, a sponsor for a quarter century of more than a dozen funds covering private equity, venture and real estate investments in hundreds of companies and real estate projects across the nation and throughout the world.

Saint Motel - It's All Happening - Artwork from Sydney Worden from Glenn Fukushima from Elektra for use by 360 Magazine

SAINT MOTEL ANNOUNCES U.S. AND EUROPEAN TOURS

Elektra recording group Saint Motel have announced U.S. and European tours in support of their forthcoming album The Original Motion Picture Soundtrack. The band’s U.S. tour will kick off this September with three special hometown shows at Los Angeles, CA’s The Roxy Theatre, and wrap on Halloween at Madison, WI’s Majestic Theater. In March of 2022, the band will return to the road for a European tour. The upcoming dates mark Saint Motel’s first live shows since their sold-out U.S. tour wrapped in March of 2020. Pre-sale tickets for all dates will be available beginning tomorrow, and general on sale begins this Friday, June 11 at 10:00am local time here.

Saint Motel’s highly anticipated new album The Original Motion Picture Soundtrack will be released on June 25, 2021. The album is available for pre-order now here. The band recently unveiled an official music video for the album’s current single “It’s All Happening”, co-directed by Saint Motel front man A/J Jackson and Mario Contini. Watch it on the band’s official YouTube channel here.

On The Original Motion Picture Soundtrack the Los Angeles-based band dreams up their own cinematic experience in album form, as its songs cycle through stories of love, danger, and impossible triumph. The album also embodies an opulent sound true to its ambitious scope. Co-produced by front man A/J Jackson and Grammy Award-winner Mark Needham (The Killers, Dolly Parton, Chris Isaak), The Original Motion Picture Soundtrack continues the Saint Motel custom of joyfully blurring genres, bringing in elements of everything from symphonic pop to big band.

Audiences began experiencing the album with the release of a pair of EPs: The Original Motion Picture Soundtrack: Pt.1 and The Original Motion Picture Soundtrack Pt. 2. Among many highlights, “Van Horn” has amassed nearly 20 million streams, while the band performed it on ABC’s JIMMY KIMMEL LIVE! Receiving critical acclaim, Dujour described “Preach” as “a bop,” while American Songwriter poured over the album’s concept in an in-depth interview with A/J. Further looks came from Ladygunn, Hollywood Life, and more. Now, fans get the full picture of Saint Motel’s vision with the complete The Original Motion Picture Soundtrack studio album.

In the lead up to the album, Saint Motel made history as “the first band to open their own virtual metaverse” powered by Mozilla Hubs. The virtual world is designed as a motel with each room dedicated to a song on The Original Motion Picture Soundtrack. The quartet’s launch of “New World” welcomed fans to the virtual space where Jackson performed a live acoustic set. In this 3D VR chatroom enabled for all headsets and browsers, audiences can enter an exclusive, immersive environment to engage directly with the band through virtual meet-and-greets and intimate, live performances, consume exclusive video content, and much more. Additionally, it doubles as a space for fans to congregate and get to know each other. Saint Motel’s “New World” upholds what has become a tradition of engaging with groundbreaking technology for the guys. Visit Saint Motel’s website to explore the “New World.” In 2016, they dropped their Elektra full length debut saintmotelevision as the first-ever Virtual Reality album and first-ever Augmented Reality album and accompanied the record with the free saintmotel AR/VR app.

Saint Motel U.S. Tour Dates

September 30, 2021 – Los Angeles, CA – The Roxy Theatre

October 01, 2021 – Los Angeles, CA – The Roxy Theatre

October 02, 2021 – Los Angeles, CA – The Roxy Theatre

October 04, 2021 – San Luis Obispo, CA – Fremont Theater

October 05, 2021 – Santa Ana, CA – Observatory

October 07, 2021 – Salt Lake City, UT – Depot

October 08, 2021 – Boulder, CO – Boulder Theater

October 09, 2021 – Fort Collins, CO – The Aggie

October 11, 2021 – Omaha, NE – Slowdown

October 12, 2021 – Columbia, MO – The Blue Note

October 13, 2021 – Urbana, IL – The Canopy Club

October 15, 2021 – Nashville, TN – Brooklyn Bowl

October 16, 2021 – Athens, GA – Georgia Theater

October 17, 2021 – Knoxville, TN – The Mill & Mine

October 18, 2021 – Asheville, NC – Orange Peel

October 20, 2021 – Louisville, KY – Mercury Ballroom

October 21, 2021 – Charlottesville, VA – Jefferson Theater

October 22, 2021 – Harrisburg, PA – Harrisburg University

October 23, 2021 – Baltimore, MD – Baltimore Sound Stage

October 26, 2021 – New Haven, CT – College Street Music Hall

October 27, 2021 – Burlington, VT – Higher Ground

October 29, 2021 – Buffalo, NY – Town Ballroom

October 30, 2021 – Grand Rapids, MI – The Intersection

October 31, 2021 – Madison, WI – Majestic Theater

Saint Motel European Tour Dates

March 31, 2022 – Berlin, Germany – Franz Club

April 02, 2022 – Hamburg, Germany – Stage Club

April 03, 2022 – Cologne, Germany – Luxor

April 05, 2022 – Munich, Germany – Hansa 39

April 06, 2022 – Milan, Italy – Circolo Magnolia

April 08, 2022 – Amsterdam, Netherlands – Paradiso Noord

April 09, 2022 – Brussels, Belgium – Botanique The Rotonde

April 10, 2022 – Paris, France – La Maroquinerie

April 12, 2022 – London, UK – Islington Assembly Hall

April 13, 2022 – Manchester, UK – Academy 2

Projecting pop hooks through an alternative lens with a flair for dramatic presentation, Saint Motel make music worthy of the big screen. Streamed and viewed over half-a-billion times, the platinum-selling Los Angeles quartet magnify this vision with immersive live experiences and one unpredictable move after another. The group initially came together at film school before introducing themselves on 2012’s Voyeur. Signing to Elektra Records, their 2014 My Type EP boasted both the gold-certified title track “My Type” and fan favorite “Cold Cold Man.” In 2016, saintmotelevision yielded the smash “Move.” Flipping the script once again, the musicians reimagined the record with a series of history-making first-of-their-kind innovations: an award-winning Virtual Reality version and an Augmented Reality version. In 2019, Saint Motel launched their most ambitious undertaking yet, unveiling their third full-length album in three parts. First up, they uncovered The Original Motion Picture Soundtrack Pt. 1 powered by the shimmy and shake of Alternative Top 15 lead single “Van Horn.” Between packing houses coast to coast on headline jaunts and earning acclaim from People, Billboard, and more, the four-piece rolled out Pt. 2 throughout 2020. In addition to unforgettable sets everywhere from Coachella and Lollapalooza to Bonnaroo, the boys lit up shows such as NBC’s TODAY, ABC’s Jimmy Kimmel Live!, and CBS’ The Late Late Show with James Corden, among others.

Saint Motel is: A/J Jackson (vocals), Aaron Sharp (guitar), Dak Lerdamornpong (bass), and Greg Erwin (drums).

Connect With Saint Motel

Saint Motel Website

Saint Motel – New World

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Amber Van Day and Ilira "See You in Tears" single artwork shot by Roisino & Manuela Hall for use by 360 Magazine

AMBER VAN DAY × ILIRA – SEE YOU IN TEARS

RETURNS WITH FIREY NEW TRACK “SEE YOU IN TEARS” FEAT. ILIRA

LISTEN TO THE SONG HERE

Following her global Shazam success, Amber Van Day teams up with Ilira for the girl boss anthem “See You In Tears” After her debut single “Kids In The Corner” was featured in the epic opening scene of the No. 1 Netflix series “Fate: The Winx Saga” a few weeks ago, Amber Van Day has conquered the Global Shazam Charts. With the next highlight already on the way, Amber Van Day has teamed up with singer and songwriter Ilira to write and record the catchy pop anthem “See You In Tears” in the midst of the lockdown. But beware: these two ladies did not come to play. Listen HERE.

Amber Van Day and Ilira, a native of Switzerland with Kosovo-Albanian roots, have a clear statement to girls who make a pass at their boyfriends. Looking at him is kind of where they draw the line: “Like a puppy/in the window/he’s irresistible/so you want him/like I want him/but you’re delusional” The collab came to life after Amber Van Day and Ilira realized that they are big fans and have been following each other on Instagram for some time now.

Amber Van said, “I absolutely loved working with Ilira. We wrote a couple of songs together over lockdown and “See You In Tears” just felt like the song with the most sass! Ilira is such a great writer and I’m obsessed with her voice too. You could say we’re both a bit “out there” and not afraid of pushing boundaries. She’s a SERIOUS boss and empowers me as a female in the industry!”

Ilira continued, “I have been following Amber’s career for a long time. You could say I was a little fan girl of Amber’s. When we had the zoom session, I was in Switzerland at my parent’s house, the other co-writer was in Berlin, and Amber was in London, so it was a very international constellation. I find Amber to be just like me when it comes to perfectionism and passion. I really feel connected to her, especially character-wise. We are both ambitious women in an industry full of men, we just get each other.”

About Amber Van Day

After her debut single “Kids In The Corner” was picked up by the No.1 Netflix show “Fate: The Winx Saga” and featured in the epic opening scene, it immediately triggered hype on Shazam! The song has been searched over 250,000 times worldwide and shot to #17 on the Global Shazam Charts within a few days. In the US and Australia, the single reached #2 on the Shazam Discovery charts and landed some of the most important and influential radio playlists in Germany and other countries.