Just went to a Korean supermarket where they were selling $9000 fur coats in front of the drink section
rtist Maurizio Cattelan and photographer Pierpaolo Ferrari founded experimental art magazine TOILETPAPER in 2010 as an exploration of society’s obsession with imagery, and the way in which commercial photography and advertisements manipulates our vision. They have recently released their first book version of the publication featuring previously unpublished work and outtakes
In light of yesterday’s post regarding The Weeknd, here’s further proof that his sound isn’t anything new. Back in 1998, Maxwell introduced the world to his second full-length studio album, Embrya. If you compare Embrya to any of Maxwell’s other efforts, you’ll quickly discover that the album was quite a dramatic departure from his jazzy, funk roots that are laced all over his other three studio albums. Embrya is full of unconventional instruments that aren’t commonly found in most urban soul music—most notably a ukulele. The album was somewhat of a commercial flop and was pretty much dead in the water shortly after its release. Since the album didn’t fit the conventional molds of what urban soul was at the time, critics cited the album as an “album bogged down in its own sophistication.” Maxwell could have easily followed up his critically-acclaimed debut LP Maxwell’s Urban Hang Suitewith more of the same but instead chose to take a risk—one that he would later be castrated for.
When I see artists like The Weeknd receiving all this undeserved hype—surrounding mixtapes, no less—it makes me feel for the deserving artists who approached the downtempo vibe of R&B years before he did. Embrya resonated with me immediately when I first heard the album because here was a guy coming off the high of his life, who instead of playing it safe went left of center and created an album that showed his ability to take risks.