Word: label
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Dates: during 2000-2009
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Brown, now a Grammy award-winning artist and CEO of her own label, took a roundabout path to banjo stardom. After pre-med flirtation at Harvard, there was an MBA and a stint as an investment banker at Smith Barney. Ultimately, she traded in stocks and bonds for three-finger picking and shows at the Grand Ole Opry...
...than her banjo skills. The two clicked instantly, and have been inseparable since. In 1995, the couple decided that Brown’s background in business and West’s in record management, combined with their shared love of music, would converge quite nicely into their own record label. Compass Records was born, and in 1998, the two cemented their partnership in marriage. Their daughter Hannah is now eight months old. West says that the name of their record company is inspired by the idea of music pointing in many different directions. Compass Records’ artists...
Anyone with a Paula Cole CD collecting dust or an Arrested Development dashiki moldering in the closet has a right to be suspicious. Music executives prophesy long-term success for their artists all the time. Davis, however, has a track record. During his 35 years as a label president, he has signed and developed Janis Joplin, Carlos Santana, Patti Smith, Laura Nyro, Aerosmith, Bruce Springsteen and Whitney Houston. "I'm not really sure what it is with him," says Alicia Keys, whom Davis introduced to the world at his 2001 pre-Grammy party. "He just knows talent when he hears...
Even considering those formidable instincts, Davis, 68, is in the midst of a career resurrection few thought he would ever see. In 1999 Davis was the president of Arista Records, the label he founded and had run for 25 years, when Arista's German parent, Bertelsmann Music Group, pressed him to retire. After months of tabloid speculation about how Davis--whose ego is a frequent subject of industry jokes ("Why does Clive Davis like CDs more than tapes? He thinks they were named after him")--would respond, he surprised his critics, friends and corporate overlords by stepping aside without...
...phallus’ detractors might point to its large-size life-like features to label it not art, but an obscene symbol of male excess. The phallus might be threatening as a reminder of the subjugation of women by the hard-hearted, monolithic patriarchy. These objections are baseless. Although the builders of the snow phallus likely took pleasure in the sheer physical presence of the work, this pleasure does not invalidate the artistic merits of the sculpture. Moreover, public expressions such as the phallus should be debated, not destroyed. The next time a phallus goes up in the Yard...