情報正式解禁!!!! 2017.04.22 James Lavelle presents UNKLE Sounds x DJ Mykal 20周年 at Neo Studio
James Lavelle對我生涯影響的重要性早已無庸置疑,很榮幸可以在我20周年系列Project裡再次邀請他訪台,而且是首次以UNKLE SOUNDS名義來台演出~~
限量早鳥票明天(周三)中午KKTIX正式開賣!!!
【James Lavelle presents UNKLE Sounds x DJ Mykal 20周年】
★ 2017.03.29(三)中午12:00 限量早鳥票NT800元搶先開賣! ★
購票連結☞http://rokon2future.kktix.cc/events/422unklesoundsxdjmykal
2017.04.22 Neo Studio
傳奇廠牌Mo'Wax主腦James Lavelle
台灣潮流音樂指標 DJ Mykal a.k.a.林哲儀
聯手出擊,再創傳奇經典夜!
James Lavelle,你永遠不知道他的下一步又將如何超越世界!
身為英國著名樂團UNKLE的首腦 、Mo’Wax音樂廠牌創始人,多年來James Lavelle與DJ Shadow、Radiohead主唱Thom Yorke、DJ Krush、Mike D等世界頂尖音樂人合作發行了無數音樂作品,並建立起「Trip Hop」的不敗地位。此外,擔任知名品牌如:Nike、Converse以及日本潮流教主Nigo長期合作夥伴、邀請Futura 創作經典的Point Man圖像,James Lavelle的一舉一動永遠是全球潮流時尚的領導指標。
距前次James Lavelle訪台已有10年時間,這一次James Lavelle將首度以「UNKLE SOUNDS」派對系列登台演出,同時今年也是DJ Mykal a.k.a.林哲儀DJ生涯20周年,作為系列Project以及ROKON滾石電音首發派對,台灣英國兩地潮流音樂指標領袖,聯手轟炸、精彩可期!
限量早鳥票:NT800 (不含酒水)
預售票:NT1200 with 1 Drink
現場票:NT1500 with 1 Drink
*一人一票,請攜帶證件憑票入場,票券遺失恕不補發,18歲以下不得入場
Support by
DJ Mykal a.k.a.林哲儀
OVDS(special club set)
Slamer
林貓王
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Everything James Lavelle has created and initiated has been driven by the same irrepressible sense of curiosity and an incorruptible willingness to take risks. The music released today under the banner of UNKLE is very different from early UNKLE records. The spirit is the same.
2014 was a landmark year for independent music svengali James Lavelle. Coinciding with his 40th birthday he launched Mo’ Wax21: Urban Archaeology - a mind blowing Kickstarter resourced exhibition and a lavish Rizzoli published book to celebrate the 21st birthday of Mo’ Wax records, the label he launched as a teenager. He was also the curator for Meltdown on London’ s South Bank. Joining a long list musical luminaries such as Yoko Ono, Ornette Coleman, Massive Attack, Nick Cave, John Peel, Lee ‘ Scratch’ Perry, Patti Smith, amongst others, is according to James, “one of the proudest moments of my life in music so far.”
Since the early Nineties James Lavelle has been on a global roller coaster ride. It’ s taken him from being an obsessive 18 year old indie record label boss to the heart of corporate record company darkness and back to the light with an array of dynamic visual adventures based around the collective musical experience of his UNKLE project. A child of the sampling generation, he has honed his curatorial skills while riding the tidal wave of information technology. The Nineties were hectic - an endless cycle of clubbing and unfettered creativity and his Mo’ Wax label was bold, irreverent and “Kicking More Phunk Than A Shaolin Monk”. He released a flood of hip, deftly packaged 12”singles and ventured far and wide in search of like-minded souls. He forged links with Japan’ s hip hop originals Major Force and DJ Krush but it was in Oakland California that he found the future - Josh Davis aka DJ Shadow.
In ‘ 96 Rolling Stone magazine declared Mo’ Wax as the true source of ‘ Trip Hop’ - a decision underpinned by the aural impact of DJ Shadow’ s ‘ In/Flux’ 12” single – but In reality, it was the ‘ Headz’ compilation, released in ‘ 94, complete with cover art by Massive Attack’ s 3D that took ‘ trip hop’ worldwide. What followed was DJ Shadow’ s skillfully crafted ‘ Endtroducing’ LP – a homage to his trusty Akai MPC60 and a seminal slab of vinyl that has since notch up sales in excess of a million. A label deal with A&M appeared to give James the freedom to pursue the Mo’ Wax grail and UNKLE was chosen to deliver the vision. DJ Shadow took on the producer role of ‘ Psyence Fiction’ . Meanwhile James commissioned Futura2000 to provide the artwork and succeeded in enlisting Radiohead’ s Thom Yorke and ex-Verve frontman Richard Ashcroft to the project. It was a radical venture that predictably met with the glint of sharpened critical knives. A combination of youth and boundary breaking ambition has never endeared James Lavelle to the critics. Ironically, the deal-breaker when signing to A&M records was a Jean-Michel Basquiat drawing that declared “Cowards with get rid of you, the sky is the limit”. It proved an apt warning. At the dawn of the new millennium A&M imploded andtook Mo’ Wax with it. Financial uncertainty ensued. He sold the Basquiat, reverted to his DJ career and pressed on with UNKLE.
James Lavelle loves DJing. It’ s back to basics. He describes his five year long residency at Fabric as “insane” and is happy to point out that he’ s had residencies in all of the Top 10 clubs in the world including Zouk and Womb.
Obsessed with the collision of music, fashion and art James forged links with Nigo at A Bathing Ape and launched Mo' Wax Arts to translate Futura 2000’ s concepts and images into merchandise, toys and fashion. He was mates with iconoclastic London fashion genius Lee Alexander McQueen and continues to work with McQueen collaborators Warren Du Preez and Nick Thornton Jones. Daydreaming with.... James Lavelle was launched at London’ s Museum Of Mankind and has produced collaborations with celebrated artists like Jonathan Glazer, 3D, Jonas Burget, Doug Foster and Turner Prize nominee Nathan Coley.
In 2005, he set up Surrender - a clothing line and boutique record label dedicated to all things UNKLE. Over a five period they produced three UNKLE albums - ‘ War Stories’ , ‘ End Titles- Stories For Films’ , ‘ Where Did Night Fall’ and around 150 tracks. UNKLE's progression in the studio from a classic hip hop aesthetic to breakbeats-meet-house to electronica to rock has also been instrumental in UNKLE manifesting as a live band that’ s successfully toured the world.
The UNKLE crew has been populated by a bunch of serious players who have made a massive impact on the UK music scene and beyond. Tim Goldsworthy set up DFA records, Nick Huggett signed Adele, M.I.A and Dizzee Rascal, Damian Taylor is Bjork’ s right hand person, Cameron Craig is a Grammy winning engineer and Jim Abiss and Paul Epworth are both producers at the top the game – think: Adele, Kasabian, Plan B, Florence & The Machine. Another UNKLE veteran Toby Feltwell went on to run Bathing Ape and Billionaire Boys Club with Nigo and Pharrell.
Here in lies the journey of a hip hop, subway art, Massive Attack obsessed kid from Oxford. It’ s been a wild and mind expanding journey. His focus is always on the future. Watch this space.
LIMITED EARLY BIRD : NT800 with NO Drink
PRE-SALE : NT1200 with 1 Drink
AT DOOR : NT1500 with 1 Drink
VENUE: NEO STUDIO
5F., No.22, Songshou Rd., Xinyi Dist., Taipei City
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จำได้หรือไม่ ทาทา ยัง คือคนไทยคนแรกที่ได้ขึ้นปก Time Magazine ฉบับเดือนเมษายน ปี 2001 เนื้อหาเกี่ยวกับประเด็น Eurasian Invasion รวมลูกครึ่งเอเชียที่มาแรง ร่วมกับนักแสดงชาว Hong Kong Maggie Q สมัยสาวๆ และ Indian VJ Asha Gill
เนื้อหาประกอบ บางส่วน :
Tata Young certainly knows how to let loose. Back in 1995, when she broke into Thailand's entertainment industry at the age of 15, the pert half-Thai, half-American singer was on the forefront of the Eurasian trend. Today, the majority of top Thai entertainers are luk kreung. Now 20, Young is the first Thai to sign a contract with a major U.S. label, Warner Brothers Records (owned by AOL Time Warner, parent company of Time), which she hopes will elevate her into the Britney Spears/Christina Aguilera pantheon. Back at home, Young has to contend with a gaggle of luk kreung clones who mimic her brand of bubble-gum pop. The hottest act now is a septet called, less-than-imaginatively, Seven, and three out of seven are of mixed race.
The luk kreung crowd tend to hang tight, dining, drinking and dating together. "We understand each other," says Nicole Terio, one of the group. "It comes from knowing what it means to grow up between two cultures." But the luk kreung's close-knit community and Western-stoked confidence sometimes elicits grumbles from other Thais, who also resent their stranglehold on the entertainment industry. The ultimate blow came a few years back when Thailand sent a blue-eyed woman to the Miss World competition. Sirinya Winsiri, also known as Cynthia Carmen Burbridge, beat out another half-Thai, half-American for the coveted Miss Thailand spot. "Luk kreung have made it very difficult for normal Thais to compete," gripes a Bangkok music mogul. "We should put more emphasis on developing real Thai talent." The Eurasians consider this unfair. "I was born in Bangkok," says Young. "I speak fluent Thai and I sing in Thai. When I meet Westerners, they say I'm more Thai than American." Channel V's Asha Gill senses the frustration: "A lot of Asians despise us because we get all the jobs, but if I've bothered to learn several languages and understand several cultures, why shouldn't I be employed for those skills?"
The jealous sniping angers many who suffered years of discrimination because of their mixed blood. Eurasian heritage once spoke not of a proud melding of two cultures but of a shameful confluence of colonizer and colonized, of marauding Western man and subjugated Eastern woman. Such was the case particularly in countries like the Philippines, Thailand and Vietnam, where American G.I.s left thousands of unwelcome offspring. In Vietnam, these children were dubbed bui doi, or the dust of life. "Being a bui doi means you are the child of a Vietnamese bar girl and an American soldier," says Henry Phan, an Amerasian tour guide in Ho Chi Minh City. "Here, in Vietnam, it is not a glamorous thing to be mixed." As a child in Bangkok during the early 1990s, Nicole Terio fended off rumors that her mother was a prostitute, even though her parents had met at a university in California. "I constantly have to defend them," she says, "and explain exactly where I come from."
Ever since Europe sailed to Asia in the 16th century, Eurasians have populated entrepots like Malacca, Macau and Goa. The white men who came in search of souls and spices left a generation of mixed-race offspring that, at the high point of empire building, was more than one-million strong. Today, in Malaysia's Strait of Malacca, 1,000 Eurasian fishermen, descendants of intrepid Portuguese traders, still speak an archaic dialect of Portuguese, practice the Catholic faith and carry surnames like De Silva and Da Costa. In Macau, 10,000 mixed-race Macanese serve as the backbone of the former colony's civil service and are known for their spicy fusion cuisine.
Despite their long traditions, though, Eurasians did not make the transition into the modern age easily. As colonies became nations, mixed-race children were inconvenient reminders of a Western-dominated past. So too were the next generation of Eurasians, the offspring of American soldiers in Southeast Asia. In Thailand, luk kreung were not allowed to become citizens until the early 1990s. In Hong Kong, many Eurasians have two names and shift their personalities to fit the color of the crowd in which they're mixing. Singer and actress Karen Mok, for example, grew up Karen Morris but used her Chinese name when she broke into the Canto-pop scene. "My Eurasian ancestors carried a lot of shame because they weren't one or the other," says Chinese-English performance artist Veronica Needa, whose play Face explores interracial issues. "Much of my legacy is that shame." Still, there's no question that Eurasians enjoy a higher profile today. "Every time I turn on the TV or look at an advertisement, there's a Eurasian," says Needa. "It's a validating experience to see people like me being celebrated."
But behind the billboards and the leading movie roles lurks a disturbing subtext. For Eurasians, acceptance is certainly welcome and long overdue. But what does it mean if Asia's role models actually look more Western than Eastern? How can the Orient emerge confident if what it glorifies is, in part, the Occident? "If you only looked at the media you would think we all looked indo except for the drivers, maids and comedians," says Dede Oetomo, an Indonesian sociologist at Airlangga University in Surabaya. "The media has created a new beauty standard."
Conforming to this new paradigm takes a lot of work. Lek, a pure Thai bar girl, charms the men at the Rainbow Bar in the sleaze quarters of Bangkok. Since arriving in the big city, she has methodically eradicated all connections to her rural Asian past. The first to go was her flat, northeastern nose. For $240, a doctor raised the bridge to give her a Western profile. Then, Lek laid out $1,200 for plumper, silicone-filled breasts. Now, the 22-year-old is saving to have her eyes made rounder. By the time she has finished her plastic surgery, Lek will have lost all traces of the classical Thai beauty that propelled her from a poor village to the brothels of Bangkok. But she is confident her new appearance will attract more customers. "I look more like a luk kreung, and that's more beautiful," she says.
A few blocks away from Rainbow Bar, a local pharmacy peddles eight brands of whitening cream, including Luk Kreung Snow White Skin. In Tokyo, where the Eurasian trend first kicked off more than three decades ago, loosening medical regulations have meant a proliferation of quick-fix surgery, like caucasian-style double eyelids and more pronounced noses. On Channel V and mtv, a whole host of veejays look ethnically mixed only because they've gone under the knife. "There's a real pressure here to look mixed," says one Asian veejay in Singapore. "Even though we're Asians broadcasting in Asia, we somehow still think that Western is better." That sentiment worries Asians and Eurasians. "More than anything, I'm proud to be Thai," says Willy McIntosh, a 30-year-old Thai-Scottish TV personality, who spent six months as a monk contemplating his role in society. "When I hear that people are dyeing their hair or putting in contacts to look like me, it scares me. The Thai tradition that I'm most proud of is disappearing."
In many Asian countries—Japan, Malaysia, Thailand—the Eurasian craze coincides with a resurgent nationalism. Those two seemingly contradictory trends are getting along just fine. "Face it, the West is never going to stop influencing Asia," says performance artist Needa. "But at the same time, the East will never cease to influence the West, either." In the 2000 U.S. census, nearly 7 million people identified themselves as multiracial, and 15% of births in California are of mixed heritage. Crouching Tiger, Hidden Dragon, the Oscar-winning kung fu flick, was more popular in Middle America than it was in the Middle Kingdom. In Hollywood, where Eurasian actors once were relegated to buck-toothed Oriental roles, the likes of Keanu Reeves, Dean Cain and Phoebe Cates play leading men and women, not just the token Asian. East and West have met, and the simple boxes we use for human compartmentalization are overflowing, mixing, blending. Not all of us can win four consecutive major golf titles, but we are, indeed, more like Tiger Woods with every passing generation.
cr. TIME / HANNAH BEECH
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