It’s been a slow and quiet winter here in our little French village, a time to reflect on the crazy endeavor we embarked on (with the added level of anxiety that grey days bring) and a time to plan for the new year… full of plans and hope, not only for the store but for the gallery. In my never ending quest to find inspiration for events, exhibits and new unknown artists I realized I didn’t have to look too far. During a particularly quiet week after New year’s eve, when everyone was self confining due to the post partying Omicron wave, I stumbled upon a post from my good friend Axelle -one of the people who helped convince me and my husband that moving to Burgundy would be good for us-. A true Burgundian at heart, proud of her heritage and full of potential but like many of us, stuck in a sort of limbo, not really sure of where to focus her talents and energy.

She had been quarantining and started collaging using some vintage magazines her parents gave her. I immediately knew there was something there. “Very cool!” I commented, “Do you have more? You should make more!” She said she started for fun and couldn’t stop. It seemed like she found something she not only was passionate about but also good at. The perfect combination, and the perfect candidate for me to nourish, support and help. “This is the reason I opened the gallery” I told her. “I’d love to give you the chance and the space to show your art to the world.” And that was that. The wheels in my brain started turning, inspiration kicked in like a lightning bolt and I was ready to plan my next exhibit. After I regularly checked on her to see her progress and ask her to make more, more , more! I went to visit her at her to get a closer look and take the first steps to curating this exhibit.

The name she chose “Il est Minuit 26” I asked her why that name? I’ve heard her say it before as a joke and she explained to me “That's what I always say when I realize it's a little late when I party: But no it doesn't matter it's only midnight 26. And it's been like that since I was 16”

Makes total sense and it can also be interpreted as a metaphor for our lives.. “it’s not too late… to change paths, to do what you want, to stay a bit later, to dance a little longer, to not want to go…just yet”

But in this case, it’s time for her to take that next step and to do something that will make her proud, and that will help her believe in herself. Sometimes you need to see that faith in others to feel it for yourself.

As I always do, I interviewed her to find out a little more about what’s behind her fun, intriguing creations. So without further ado, I give you “ 5 questions with: Axelle Quentin”

Ce fut un hiver lent et calme ici dans notre petit village français, un moment pour réfléchir à l'effort fou dans lequel nous nous sommes lancés (avec le niveau d'anxiété supplémentaire que les jours gris apportent) et un moment pour planifier la nouvelle année... plein de plans et l'espoir, non seulement pour le magasin mais pour la galerie. Dans ma quête sans fin pour trouver l'inspiration pour des événements, des expositions et de nouveaux artistes inconnus, j'ai réalisé que je n'avais pas à chercher trop loin. Au cours d'une semaine particulièrement calme après le réveillon du Nouvel An, alors que tout le monde était confiné à cause de la vague Omicron après la fête, je suis tombé sur un message de ma bonne amie Axelle - l'une des personnes qui m'a convaincu, moi et mon mari, que déménager en Bourgogne serait sois bon pour nous-. Un vrai Bourguignon dans l'âme, fière de son héritage et pleine de potentiel mais comme beaucoup d'entre nous, coincée dans une sorte de limbes, pas vraiment sûre de savoir où concentrer ses talents et son énergie.

Elle avait été mise en quarantaine et avait commencé à faire des collages en utilisant des magazines vintage que ses parents lui avaient donnés. J'ai immédiatement su qu'il y avait quelque chose là-bas. "Très cool!" J'ai commenté, "en avez-vous plus? Vous devriez en faire plus ! » Elle a dit qu'elle avait commencé pour le plaisir et qu'elle ne pouvait pas s'arrêter. On aurait dit qu'elle avait trouvé quelque chose qui non seulement la passionnait, mais aussi qu'elle excellait. La combinaison parfaite, et le candidat parfait pour moi pour nourrir, soutenir et aider. "C'est la raison pour laquelle j'ai ouvert la galerie" lui ai-je dit. "J'aimerais vous donner la chance et l'espace de montrer votre art au monde." Et c'était tout. Les roues de mon cerveau ont commencé à tourner, l'inspiration est arrivée comme un éclair et j'étais prêt à planifier ma prochaine exposition. Après je l'ai régulièrement vérifiée pour voir ses progrès et lui demander d'en faire plus, plus, plus ! Je suis allé lui rendre visite pour voir de plus près et faire les premiers pas pour organiser cette exposition.

Le nom elle a choisi « Il est Minuit 26» Je lui ai demandé pourquoi ce nom ? Je l'ai déjà entendue le dire pour plaisanter et elle m'a expliqué « C'est ce que je dis toujours quand je réalise qu'il est un peu tard quand je fais la fête : Mais non c'est pas grave il n'est que minuit 26. Et c'est comme ça depuis que j'ai 16 ans"

Cela a un sens total et cela peut aussi être interprété comme une métaphore de nos vies. « il n'est pas trop tard… pour changer de chemin, faire ce que tu veux, rester un peu plus tard, danser un peu plus longtemps, ne pas vouloir partir… pas encore » Mais dans ce cas, il est temps pour elle de passer à l'étape suivante et de faire quelque chose qui la rendra fière et qui l'aidera à croire en elle-même. Parfois, vous avez besoin de voir cette foi chez les autres pour la ressentir par vous-même. Comme à mon habitude, je l'ai interviewée pour en savoir un peu plus sur ce qui se cache derrière ses créations amusantes et intrigantes. Alors sans plus tarder, je vous donne « 5 questions à : Axelle Quentin »

La Galerie: When did you first hear about your artistic vocation?

AXELLE: I think that since I was a child, I have always loved the visual arts such as painting, drawing, watercolor and so on. I then developed a passion for collage when I was working as an interior designer where I had to develop mood boards and material boards for various projects.

La Galerie: Your art series is very feminine and inspired by the cosmos. How do you see the relationship between the two?

Axelle: The universe of the woman, the woman and the universe. The two fit together perfectly. I think that women are simply beautiful. She radiates. She inspires me. Just like the sky and the stars. I would never tire of looking at a starry sky. Then there is gold to link my two inspirations. Noble, dense and tender.

La Galerie: Do you have any causes or issues that you support?

Axelle: I support winemakers as well as the LGBTQ+ community. Because to save a winemaker, you have to pop the cork ;)

I don't have any particular fight. Many things are revolting to me. However, I like to take things lightly. But there are so many causes that are close to my heart. Violence and injustice towards humans (men, women, children, elderly) as well as animals. It can be political or medical. The list is long.

La Galerie: What are your biggest influences, artistic or otherwise?

Axelle: I am very inspired by vintage, antiques, old magazines, astronomy and music. I have always loved art, especially photography. I don't have any particular influences because everything inspires me.

La Galerie: Do you have any future projects you are working on or want to work on?

Axelle: I'm going to work on old advertisements that I've found. I'll adapt them to the demand. I will take my camera to make a funky series. But it's a surprise :) Let's just say that I still have a lot of ideas in stock!

If you want to see Axelle’s art please don’t miss the exhibit at La Galerie, the little art space inside the store.

Click below for details on the art opening and exhibit

LG: Quand as-tu entendu pour la première fois ta vocation artistique ?

Axelle: Je pense que depuis ma plus tendre enfance, j'ai toujours aimé les arts plastiques comme la peinture, le dessin, l'aquarelle ect.

J'ai ensuite développé une passion pour le collage quand je travaillais comme décoratrice d'intérieur ou je devais développer les mood boards ainsi que les planches matériaux pour divers projets.

LG: Ta série d'art est très féminine et inspirée du cosmos. Comment vois-tu la relation entre les deux?

Axelle: L'univers de la femme, la femme et l'univers. Les deux s'accordent parfaitement.

Je trouve que la femme est belle tout simplement. Elle rayonne. Elle m'inspire. Tout comme le ciel et les étoiles. Je ne me lasserais jamais de regarder un ciel étoilé.

Puis il y a l'or pour relier mes deux inspirations. Noble, dense et tendre.

LG: As-tu des causes ou des problèmes que tu soutiens ?

Axelle: Je soutiens les vignerons ainsi que la communauté LGBTQ+ . Car pour sauver un vigneron, il faut faire sauter le bouchon ! ;)

Je n'ai pas de combats particuliers. Beaucoup de choses me révoltent. Cependant, j'aime prendre les choses avec légèreté.

Mais il y a tellement de causes qui me tiennent à cœur. Les violences et l'injustice envers l'humain (hommes, femmes, enfants, personnes âgées) ainsi que les animaux. Ça peut être politique comme médical. La liste est longue.

LG: Quelles sont tes plus grandes influences, artistiques ou autres ?

Axelle: Je suis très inspirée par le vintage, les antiquités, les vieux magazine, l'astronomie ainsi que la musique.

J'ai toujours aimé l'art, particulièrement l'art de la photo.

Je n'ai pas d'influences particulières car tout m'inspire.

LG: As-tu des projets futurs sur lesquels tu travailles ou veux travailler ?

Axelle: Je vais travailler sur des vieilles publicités chinées . Les détourner ou simplement les encadrer, je m'adapterai suivant la demande.

Je vais reprendre mon appareil photo pour faire une série assez funky. Mais c'est une surprise :) Disons que j'ai encore beaucoup d'idées en stock !

Si vous voulez voir l'art d'Axelle, ne manquez pas l'exposition à La Galerie, le petit espace d'art à l'intérieur du magasin. Cliquez ci-dessous pour plus de détails sur le vernissage et l'exposition

Cassandra Jenkins - incredibly talented (and somewhat elusive) musician. We know her without knowing her. My wife had appeared next to Cassandra in an issue of ELLE magazine a couple of years before the release of Miss Jenkins’ flawless full-length debut, ‘Play Till You Win’.

Then, a good friend from my university years began dating this truly gifted singer/songwriter, et voila… suddenly my wife and I were involved with a musician who is establishing herself through choices that I’m not sure she’s even fully aware of. She’s making great choices. Her messages are universal, but clearly they come from, and speak to, the female in us.

So without further ado, here’s our little interview with Pitchfork’s Best New Music category winner Cassandra Jenkins.

TFSV: Your recordings always sound so good. How much do you determine the direction of the sound and how much freedom do you allow your recording and mixing engineers to sculpt the sound?

CJ: Thank you! ! I'm fortunate to work with really incredible people who I trust implicitly, and it's always a collaborative process. My last record (Play Till You Win) was produced by Sam (Evian) Owens and we had very specific goals for how it would sound– it was, in many ways, my studio album. We also worked with an incredible mixing and mastering engineer– Eli Crews and Heba Kadry, respectively. From there Josh Bonati cut the vinyl & I can say that each step of the process was deeply cared for. For this most recent record, produced by Josh Kaufman, our "sound" was much different than I expected it to be when we first started, and I love that. To be surprised is such a great gift. We worked quickly, but that didn't diminish the amount of care that went into the process. I'm learning that it doesn't always have to be labored over to be good, which is a good & hard lesson for the perfectionist in me.

TFSV: Following up on that, how did you and your most recent producer/engineer Josh Kaufman go about selecting gear for the sessions? Was it a deliberate process?

CJ: We used all of the gear he has in his studio in Dumbo. I'd say the one thing that was more of a surprised was the fretless bass– I think he had just gotten it and was excited to play it, and before I knew it, we had it all over one of the songs (Ambiguous Norway). I love that something can enter the picture and completely redefine a song's direction.

TFSV: The artwork for your releases is always very nicely done, really top notch. Do you have your own vision of what the artwork will be, or do you collaborate on that?

Thank you! I am the sole designer of all of my printed materials. As far as the videos go, I was very involved with the direction (if not directing, filming and editing). I studied visual art for years (graduated from RISD in 2006) and have always been a visual artist– it's a vital part of my creative expression.

TFSV: Your new album ‘An Overview On Phenomenal Nature’ was recently profiled in the online music magazine Pitchfork and received a great review including “Best New Music”. Do you think you can, and do you want to, capitalize on this in the coming year, considering the fact that touring is a real possibility?

CJ: I think we all need music more than ever right now. In my humble opinion, it feels like Pitchfork is redefining itself again during this moment, and finding lesser known artists (like me) to highlight at a time when we all need intimacy and healing. It was a totally unexpected blessing, and the most I can hope to do is find a connection with other people when we all need that most. Can I reach more people right now? Yes. Can I 'capitalize'? I'm not so sure.

TFSV: You’ve played with some great musicians in the past, both live and in the studio. Are there any musicians you’d really love to collaborate with in the future?

CJ: Oh gosh, yes. I'm way too shy to answer this question though. I'll let you know once it's happened. ;)

It was back in 2009 when I read about 59 Rivoli for the first time. I had just come back from my honeymoon in Paris and I was so bummed I’d missed my chance to visit this squatter building with a fun, unique, and creative façade which changes every few months, full of artists working, exhibiting, chatting with visitors.

In 1999 the building had been abandoned by the bank Crédit Lyonnais and the French state for 15 years. When a trio of misfits who where jokingly called KGB (Kalex, Gaspard, Bruno) discovered it.

A dozen artists showed up to lend a hand to a in the clean-up which was a mess full of dead pigeons, syringes, rubble, etc. The purpose of this operation was threefold:
- Revive an unused empty place
- Create a place for artists to create, live, and expose
- Prove the validity of a cultural alternative

Since they were not in the building “legally” they were eventually scheduled to be evicted in 2000 but theywere able to delay it by 6 months. During this time the press became very interested in the phenomenon "squart" (a contraction of 'squat' and 'art') and, forced by the media, the government didn't pursue that matter for several years. However, the situation of the squat on the Rue de Rivoli remained precarious as they awaited eviction.

It was candidate for mayor Bertrand Delanoë, who saved the building and it’s resident artists when during his campaign, he came through the squat, loved the place and promised that if he were elected mayor, he would legalize the squat so that the artists would have a place to work without worrying about being thrown out.  And Monsieur le Mayor kept his promise!!

Today, “59 Rivoli” hosts 30 artists (some permanent and some that rotate with residences from 3 to 6 months)  and it has become one of the three most visited sites of contemporary art in Paris, one of the ten most visited places in France.

 They are open to the public 6 days a week but because of the Covid -19 restrictions they have been forced to close their doors and they are helping artists by rotating them in a gallery on the ground floor.

We were lucky to be able to visit the gallery this week in ou search for young emerging artists and it 59 Rivoli never disappoints. The thing that we love the most about this space is that you can see the artists in their element, working, painting, creating. You can approach them without feeling intimidated, you can ask them questions and engage with them, sometimes even participate in interactive art.

 This month we’re paying homage to this very special place in our hearts and featuring current and past residents. If you get a chance to stop by their temporary gallery do it immediately! You’ll thank us!

59 Rivoli is located at… you guessed it 59 Rivoli, 75001 Paris

@59rivoli

7-inch singles and 7-inch EP’s, commonly referred to as 45’s, while not as popular as LP’s (what we refer to as albums) are certainly just as collectible and often times more highly prized by collectors.

 This is because 45’s are often more rare and more unique than LP’s. This is due to a variety of reasons:

 45’s are sometimes pressed as limited editions

With a run of only a few hundred copies. 45’s are often pressed with songs that will not be included on an album, so the songs are unique to the 45 format.

There are often remixes or different versions of a hit single on a 45, or a b-side that doesn’t appear anywhere else.

 Some artist never released an LP

Many artists, especially from the 1940’s, 50’s and 60’s only had a small handful of songs even pressed to vinyl, and this was done in the 45rpm format.

45’s are a great way to get the songs you love without the investment in an entire album.

If you really want to be able to spin “All Night Long (All Night)” by Lionel Richie at your party, but you know you’re not going to be listening to the rest of the album, then you buy that 45!

TEARS FOR FEARS - WOMAN IN CHAINS - MISPRINTED 7" VINYL SINGLE

Notice the missing “in” on the title

LIONEL RICHIE - "ALL NIGHT LONG (ALL NIGHT)" - 7-INCH VINYL SINGLE

He wants to make extra sure you know it’s going to be “ALL NIGHT”

VARIOUS - COSMOS 70 / APOLLO NASA - 7" VINYL

You might find yourself with a unique piece

Finally, and this pertains largely to the late 70’s, 80’s and 90’s, less detailed care was given to the 45 format and mistakes were made, generally in the form of sleeve and label misprints in part or all of a pressing run.

 Plus they take up less space and they’re cute. Buy them.

 Checkout our Instagram for our #45friday features every week, all available in the store

Nada is an Egyptian poet and an inspiring Doodle artist living in France. Her writings and art seeks to document the daily endeavors of escaping the capitalistic reality and resorting to naturalism. Nada holds a Bachelor degree in English Literature & Linguistics, and has published two poetry collections. We met through our dear friend Rania in Paris last year and while enjoying al fresco picnics at Place des Vosges and Bois de Vincennes we were inspired by her story, her purpose and true artistic aura.

LG: When did you first hear your artistic calling?

My artistic calling wasn’t much of a calling, rather a growing desire to express and a means to shedding inherent social constructs. I started writing at the age of 10 by documenting my dreams. Intensive, highly-visual and symbolic dreaming is a power the females in my family were able to collectively develop and bestow upon through storytelling, rituals and spiritual guidance. I guess, I found an indecipherable drive within myself to maintain and honor this heritage, beyond its existing societal and religious implications.

The equation was difficult-- being raised in a very conservative Muslim community, especially as a woman. But I found my safe haven in daydreams and books. I was, and still am, an avid dreamer and reader. And it still fascinates me how some people can master the magic of crafting their desires and dreams into words. Writing is my medium of choice to deeply understand and fulfill this fascination.

Doodling, on the other, was a self-made challenge to overcome my fear of drawing. Art classes weren’t the most pleasant school experience.. As students, we were forced to sit down for 90 minutes twice a week to draw postcards on patriotism, depicting men in military uniform waving the Egyptian flag on a battlefield. The teachers offered no learning curriculum or references, and would grade us based on the quality of our coloring materials.

I was put off drawing and painting almost all my life, because for me the access to visual expression was always associated with class. It took me years of trial and error to rid myself of this misconception, and begin to see art as a fundamental human practice done in response to our different but common realities. Working with indigenous communities in the south of Egypt inspired me to dig deeper into the use of minimalist, pattern-based, nature-fused urban art. It was incredible to see in real life how people could make pigments out of sand and stones, and create art so simple yet so lively and in tune with the landscape. If you look at any native African art, it mostly consists of plain lines and geometrical shapes. It hit me then: this is the kind of art I could relate to.

I spent some years observing and sketching, but my first actual trial to doodle was during the first confinement, and only a week after I arrived in France. I sat myself down at a desk with a bottle of wine, a piece of paper and a marker pen, and I haven’t stopped ever since.

LG: Your art and poetry can be both political and social. Did you always aim to send a strong message or did it morph into this because of your life experiences?

It’s a bit of both. The inspiration often comes purposelessly; I find myself seeing words and patterns everywhere, especially in nature. Yet, in the back of my mind, the human condition and the philosophy behind it are my point of interest.
Most of the things I intend to create are initially an invitation for me to be less self-critical and more capable of coping with the dreadful business that is a human experience, but it’s also an invitation for others to bring awareness into the domain of subconscious thought and emotion.

My art usually starts small, with a single line or a visual memory that I need to put on a paper. But it takes me a lot of discipline and practice to actually sit down and create. Halfway through my poem or piece of drawing I realize that it’s trying to speak something to others, something that we’re all going through but have different ways of expressing. Our collective consciousness is shaped by politics and that’s exactly the area I try to tap into.

LG: Who are your biggest influences, artistic or otherwise?

Arab writers such as Naguib Mahfouz, Nawal El-Saadawi and Mahmoud Darwish inspired me when I was young (and still do), specifically on the topics of feminism and identity. American female poets like Maya Angelou, Sylvia Plath, Rita Dove and Cherrie Moraga are some of the figures I look up to. But for some reasons, I find my biggest inspiration in 18th century English poetry and Sufist/mystic texts by Rumi and Ibn Arabi.

When it comes to doodling, I always remember my late grandma and uncle. They both encouraged this type of expression in the family. My grandma’s hands were covered in Nubian tattoos, and she was the closest person to me as a kid. My uncle was a great painter and mathematician, and taught me a great deal about life and art.

LG: Would you consider your doodle art and poetry as going hand in hand or do you see them as sending two separate and/or independent messages?

For now writing and doodling are separate mediums serving the same ideology. Finding my own voice in art is still a work in progress; I think it will always be. So I’m currently trying to focus on each medium independently, knowing that with discipline and practice they’ll eventually decide to cross paths.

I’ve already started drafting a poetry & illustration collection, but I want to give it all the time and space it needs to come to light.

LG: Do you have a message to young Egyptian girls who want to become artists knowing the possible repercussions of freedom of expression in your country nowadays?

The freedom of expression is a human core value that you must not deny yourself or others. Your greatest expression comes as soon as you recognize the art of being your true self.

Under the current political regime, it is essential to keep ourselves safe without compromising our voice and will to change.

Yet again, everything done in awareness, presence and with love is a form of art. Cooking, talking to people you love, prayers and devotion, drinking coffee while listening to your favourite music, education, taking on a job, motherhood and sisterhood, resistance and resilience are all art whose main purpose is to heal and keep up the fight.

Your art cannot be restricted; only adaptable and resilient. Find more innovative ways to deliver your message. Use whatever resources you have at hand. Indulge yourself in art and let it consume you. Allow yourself to take this time off reality, so you can return to it clearer and stronger.

You can find out more about Nada and see her work on her Instagram @nadakahmed

We’ll have her work up on the site/shop soon.

STAY TUNED!

Since we’re huge proponents of vinyl records we’re also fans of turntables to play those records. There’s an incredible variety of turntables these days and we’re going to talk about a small handful starting from inexpensive and moving into mid-priced models. We’ll get into just a few of them in this issue. Let’s go!

We’ll start with a really fun one, the Crosley Cruiser. 

The Crosley Cruiser can be generally be found new for around $70 in the U.S. and €100 in the EU. The Cruiser comes in a variety of very cool retro-style colors and even in leopard print and alligator skin – yikes! The platter is belt-driven, plays 33 1/3, 45 and 78 speeds and has adjustable pitch control. Very nice features are Bluetooth, RCA audio output (L/R) and an auxiliary input. Clearly the point of this turntable is portability and therefore the sound quality ends up getting the short end of the stick. However, with Bluetooth capability and RCA audio output, you can utilize your much better home speakers or PA system to rock out. 

Next up is the Audio-Technica ATLP120XUSB.

This is a great entry-level turntable, going for around $250 in the States and around €280 in the EU. Audio-Technica has a really good reputation and this is a really good turntable for the price. The thing to remember about (most) turntables is that you can change out and upgrade the stylus and cartridge and improve the sound quality. You don’t have to purchase an entirely new, more expensive turntable. More on that in the future. The ATLP120XUSB is a solid turntable in terms of traditional features like direct-drive, speed control (33, 45, 78), S-shaped tone arm, pitch control, forward and reverse modes, and a pre-amp that is switchable between phono and line-level depending on your particular stereo system. On top of all that, it has a USB output - digitize your entire vinyl collection! Actually, that would probably be a waste of time, but being able to digitize the ones that you NEED to listen to in the car or at the beach is such a great option.

Here we have the Pro-Ject Essential III…

Besides being a beautiful looking turntable, the Essential III is solidly built from quality materials which provide for great sound. You can pick up this Austrian belt-drive turntable for between €350 to €400 and around $500 States-side. Phono pre-amp is built-in, there are two speeds (33 1/3, 45) but being belt-driven, the speed change is accomplished by manually moving the belt. Pro-Ject gives extra attention to reducing internal vibrations and providing isolation from external vibrations which puts the Essential III solidly in the mid-range market regardless of the price. With a stylus and cartridge upgrade, this could easily be in the higher ranks of the mid-range. 

We’ll profile a couple more next time, so don’t run out and buy that turntable just yet…

I met Danielle in 2017 when I was putting together a photo-shoot to honor the Me Too movement. Danielle made a great first impression with her towering stature, beautiful curly hair, welcoming smile and bubbly personality. I later ran into her at an art event in Buffalo but I didn’t learn until a couple of years later that she was an artist herself. I was starting to put together small art exhibits in my studio as a way to promote young people I deemed extremely talented and inspiring. The moment I saw her drawings I was impressed. We had been talking about having her work exhibited in my studio before I decided to move to France. 

There is something very powerful about her images. There’s powerful womanhood, strength, and yet a softness and femininity which are represented in just primary colors that convey so much through the way she uses them. I want to meet the women represented in her work. The voluptuous female forms and the pure beauty of women of color is inspiring to me. But let’s hear it from the artist. I sat down virtually with Danielle to get a little more in depth with her process and what inspires her.

LG: You found your style quite quickly and it seems to be a perfect match. What did you have to develop, try or learn in order to create your unique/ personal style?

In order to find my style I had to take a step back and tell myself not to overthink it and just let it come naturally. I've always loved the art of continuous line drawing and how fluid it. It's like a maze that draws you in, quite literally. My reason for mostly working with primary colors is that I honestly just love the way they standout when used together.

LG: What are your preferred mediums? 

I usually tend to work with acrylic paints.

LG: Would you say that your experience as an African American woman in The United States (especially in these “tipping point” times) has shaped your work into what it is?

Being a black artist, for me, has taught me that I have to constantly remind myself to not be afraid to put myself out there and showcase my work. Especially in our current climate, it's important to know that there are other black artists who feel the same way.

LG: How have other artists or creative genres influenced your sense of aesthetics?/ (Your biggest influences?)

My art is heavily inspired by the pop art movement. I've always loved working with colors that really stand out and catch your attention. I would say Andy Warhol, Roy Lichtenstein, and Keith Haring are the three artists that have and influence on my art, who are all pioneers of the pop art movement.

LG: What message would you like to send to young girls who have an artistic inclination but are scared to start expressing themselves?

The only advice i have to give is Just go for it. Don't hesitate. Don't doubt yourself. Do it. Also, have fun. Art should be fun.

Last week we watched a recently released documentary called ‘Herb Alpert Is’ (Found here https://www.herbalpertis.com/) about this American trumpet player most well-known for being the leader of the Tijuana Brass. We already knew and loved his musical style and talent but we learned so much that we developed even more respect for him, not only as a musician, but as an artist and human being.
It was so inspiring to see his creative journey, which encompasses all forms of art as a lifestyle, more than just a passion or a career.

This was very apropos for us, as we embark in this adventure of opening our store which we hope will serve as a community hub for all things musical, creative and artistic.

A legendary trumpet player, Alpert’s extraordinary musicianship has earned him five #1 hits, nine GRAMMY® Awards (the latest from his 2014 album ‘Steppin’ Out’), fifteen Gold albums, fourteen Platinum albums and has sold over 72 million records. Herb Alpert & The Tijuana Brass propelled his sound into the pop music limelight, at one point outselling the Beatles two to one. In 1966, they achieved the since-unmatched feat of simultaneously having four albums in the Top 10 and five in the Top 20. Herb Alpert also has the distinction of being the only artist who has had a #1 instrumental and a #1 vocal single.

But music iS not Alpert’s only creative medium of expression.

Throughout his life he has continually explored other artistic ventures, always acknowledging a connection between music and visual art in his creative process. A painter for over four decades, Alpert’s bold, abstract expressionist canvases have been exhibited internationally and are a part of the permanent collections of MoCA (Museum of Contemporary Art) in Los Angeles, the Tennessee State Art Museum in Nashville, the Kranzberg Arts Foundation in St. Louis as well as the University of California Los Angeles. Herb’s work has been exhibited in galleries around the U.S, Europe and Asia.

A sculptor for over three decades, Alpert has installed his lyrical sculpture and his massive, bronze Totem sculptures on public display throughout Los Angles, New York City, Nashville Tennessee, and most recently a permanent installation at the Field Museum in Chicago.

Another reason why we feel a deep connection and admiration towards Herb Alpert is his loving relationship with his wife Loni who he married in 1973, after they met while she was the lead singer for another master, Sergio Mendez and Brazil 66"‘.

Together they not only create wonderful music with their joint band but they have a palpable love and admiration for one another and they both have embarked in this artistic and creative journey together, supporting one another throughout the years. They’re truly a couple to look up to.

Herb’s priorities derive from the same sense of generosity and humility that has guided him through a long, illustrious career. In all of these ventures, there is a harmony not unlike Alpert’s music. A flowing of energy and sound, a dedication to quality, which sustains everything Alpert does. With more than 40 years of continuous philanthropic, musical and artistic activity, Alpert has established a legacy that reflects his firm belief that the arts can make a difference in the world and in the lives of each of us.

And for that we are thankful.

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references and media :www.herbalpert.com