Highlights - Fury Young - BL Shirelle - Co-Executive Directors of DJC Records

Highlights - Fury Young - BL Shirelle - Co-Executive Directors of DJC Records

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Co-Executive Directors of DJC Records

I took this class on genocide that had a huge impact on me, and it also coincided, just the timing, with the Occupy Wall Street movement. So then two years later in 2013, I was reading The New Jim Crow by Michelle Alexander, and the book is about how mass incarceration is like a modern-day racial caste system. And I just got the idea to do an album, because I was listening to a lot of concept albums like Pink Floyd, The Wall. And it started from there, just a little seed and a spark of just this idea for this one album. And then over time, it just evolved into an EP, and then a record label and a nonprofit. –Fury Young

I think in the end, what our mission is, is to dismantle stereotypes around race and prison. But maybe from listening to that album, and you see this guy, he applied for your job, and he has a drug charge or something. Maybe you're not looking at it so crazy anymore. It's like, know what? I'll give him an interview. I'll see. And that interview may change, you know, your life and that person's life. So that's like the ideal scenario. – B.L. Shirelle

Fury Young - BL Shirelle - Co-Executive Directors of DJC Records

Fury Young - BL Shirelle - Co-Executive Directors of DJC Records

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Co-Executive Directors of DJC Records

I took this class on genocide that had a huge impact on me, and it also coincided, just the timing, with the Occupy Wall Street movement. So then two years later in 2013, I was reading The New Jim Crow by Michelle Alexander, and the book is about how mass incarceration is like a modern-day racial caste system. And I just got the idea to do an album, because I was listening to a lot of concept albums like Pink Floyd, The Wall. And it started from there, just a little seed and a spark of just this idea for this one album. And then over time, it just evolved into an EP, and then a record label and a nonprofit. –Fury Young

I think in the end, what our mission is, is to dismantle stereotypes around race and prison. But maybe from listening to that album, and you see this guy, he applied for your job, and he has a drug charge or something. Maybe you're not looking at it so crazy anymore. It's like, know what? I'll give him an interview. I'll see. And that interview may change, you know, your life and that person's life. So that's like the ideal scenario. – BL Shirelle

Highlights - Cynthia Daniels - Grammy - Emmy Award-winning Producer, Engineer, Composer

Highlights - Cynthia Daniels - Grammy - Emmy Award-winning Producer, Engineer, Composer

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Grammy & Emmy Award-winning Producer, Engineer, Composer

We all are looking for a little magic in our lives, and I think that's what art and the creative process allow for, above all. In a world that can be either way too predictable and mundane and create tedium, the creative mind, for me, is the curious mind and the mind that's always learning and allowing yourself to make mistakes. To generate from your core, from your soul, and from your experience something new and experimental and something that is unique to yourself.

Cynthia Daniels - Grammy and Emmy Award-winning Producer, Engineer, Composer

Cynthia Daniels - Grammy and Emmy Award-winning Producer, Engineer, Composer

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Grammy & Emmy Award-winning Producer, Engineer, Composer

We all are looking for a little magic in our lives, and I think that's what art and the creative process allow for, above all. In a world that can be either way too predictable and mundane and create tedium, the creative mind, for me, is the curious mind and the mind that's always learning and allowing yourself to make mistakes. To generate from your core, from your soul, and from your experience something new and experimental and something that is unique to yourself.

(Highlights) Mario Alberto Zambrano · Dancer, Writer, Assoc. Dir. of Dance, The Juilliard School

(Highlights) Mario Alberto Zambrano · Dancer, Writer, Assoc. Dir. of Dance, The Juilliard School

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Dancer, Writer, Choreographer
Associate Director of Dance at The Juilliard School, NYC

In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it’s recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?

Mario Alberto Zambrano - Dancer, Writer, Assoc. Director of Dance, The Juilliard School

Mario Alberto Zambrano - Dancer, Writer, Assoc. Director of Dance, The Juilliard School

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Dancer, Writer, Choreographer
Associate Director of Dance at The Juilliard School, NYC

In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it’s recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?

(Highlights) SEAN CURRAN

(Highlights) SEAN CURRAN

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Bessie Award-winning Dancer & Choreographer · Chair of Dance, NYU Tisch School of the Arts
Founder Seán Curran Company

In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.

SEAN CURRAN

SEAN CURRAN

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Bessie Award-winning Dancer & Choreographer · Chair of Dance, NYU Tisch School of the Arts
Founder Seán Curran Company

In terms of history, the humanities show was how we were, why we were, and while we were...But then I also think about the future. You know. What are we doing now? What seeds are we planting to inform the future...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.

MARK SELIGER

MARK SELIGER

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Photographer

I always tell people the worst picture can ever take is one you don't take. And that is a simple philosophy. If you don't go out there and do the work, then you will never know. You may think there's going to be another great snowstorm. You might think there's going to be another great moment where a block is going to have a certain kind of rhythm or a culture is going to have a certain amount of innocence or a musician is going to be as reluctant or vulnerable or sympathetic. You just have to embrace the moment and do the work.