Yvette Brideau,“Tunnie” (Lorne) Nielsen’s Welding/Mechanic Shop, Benalto, AB 1995.
Empty windows and empty rooms reflect and echo what once was.
Yvette Brideau’s small black and white photographs of abandoned churches and quiet spaces reflect what is left behind by the passage of time. See the photographic exhibit Vestige: Photography by Yvette Brideau on display at the Red Deer Museum + Art Gallery (MAG) December 10, 2021 to February 27, 2022.
This is a hallway exhibit: a small collection of 2-dimensional works.
Vestige /’vestidᴣ/ noun [French from Latin vestigium sole of the foot, footprint, trace.] A mark, trace, or visible sign of something no longer present or in existence; a piece of evidence, an indication; a surviving remnant.
Words from Joanne Gruenberg, Curator of Art: “In Vestige, photographer Yvette Brideau’s small scale black and white photographs take us to the quiet spaces that are often overlooked or left behind as people pass by and move on.”
About the Artist
Born in northern New Brunswick of Acadian descent, Yvette Brideau attended St. Thomas University in Fredericton, graduating with a degree in French Literature in 1973. She developed a fascination for black and white photography and
studied with Dr. Harry Thompson, a devotee to the zone system of Fred Picker and methods of Ansel Adams. Yvette moved to Red Deer in 1984 and in 1994 Yvette and her husband David More re-located to the hamlet of Benalto and established a wee home and former church studio and a garden named Benhaven. Partners since 1977, Yvette and David’s journey together is revealed in the Red Deer MAG book The Greatest Garden.
Motown songwriter-producer Lamont Dozier dead at 81
NEW YORK (AP) — Lamont Dozier, the middle name of the celebrated Holland-Dozier-Holland team that wrote and produced “You Can’t Hurry Love,” “Heat Wave” and dozens of other hits and helped make Motown an essential record company of the 1960s and beyond, has died at age 81.
Dozier’s death was confirmed Tuesday by Paul Lambert, who helped produce the stage musical “The First Wives Club” that Holland-Dozier-Holland wrote for.
In Motown’s historic, self-defined rise to the “Sound of Young America,” Holland-Dozier-Holland stood out even compared to such gifted peers as Smokey Robinson, Stevie Wonder and Barrett Strong. Over a four-year period, 1963-67, Dozier and brothers Brian and Eddie Holland crafted more than 25 top 10 songs and mastered the blend of pop and rhythm and blues that allowed the Detroit label, and founder Berry Gordy, to defy boundaries between Black and white music and rival the Beatles on the airwaves.
For the Four Tops, they wrote “Baby I Need Your Loving” and “Reach Out (I’ll Be There),” for Martha and the Vandellas they wrote “Heat Wave” and “Jimmy Mack,” for Marvin Gaye “Baby Don’t You Do It” and “How Sweet It Is (To Be Loved by You).” The music lived on through countless soundtracks, samplings and radio airings, in cover versions by the Rolling Stones, Linda Ronstadt, James Taylor and many others and in generations of songwriters and musicians influenced by the Motown sound.
“Their structures were simple and direct,” Gerri Hirshey wrote in the Motown history “Nowhere to Run: The Story of Soul Music,” published in 1984. “Sometimes a song barreled to number one on the sheer voice of repetitive hooks, like a fast-food jungle that lurks, subliminally, until it connects with real hunger.”
Brian Wilson, Ron Wood and Mick Hucknall were among the many musicians offering tributes Tuesday. Carole King, who with then-husband Gerry Goffin was another leading hitmaker of the ’60s, tweeted that that “striving to keep up with them made us better songwriters.”
The polish of H-D-H was ideally suited for Motown’s signature act, Diana Ross and the Supremes, for whom they wrote 10 No. 1 songs, among them “Where Did Our Love Go,” “Stop! In the Name of Love” and “You Can’t Hurry Love.” Expectations were so high that when “Nothing But Heartaches” failed to make the top 10 in 1965, Gordy sent a company memo demanding that Motown only release chart toppers for the Supremes, an order H-D-H obeyed with “I Hear a Symphony” and several more records.
Holland-Dozier-Holland weren’t above formulas or closely repeating a previous hit, but they worked in various moods and styles: the casual joy of “How Sweet It Is (To Be Loved by You),” the escalating desire of “Heat Wave,” the urgency of “Reach Out (I’ll Be There).” Dozier’s focus was on melody and arrangements, whether the haunting echoes of the Vandellas’ backing vocals on “Nowhere To Run,” flashing lights of guitar that drive the Supremes’ “You Keep Me Hanging On,” or the hypnotic gospel piano on Gaye’s “Can I Get a Witness.”
“All the songs started out as slow ballads, but when we were in the studio we’d pick up the tempo,” Dozier told the Guardian in 2001. “The songs had to be fast because they were for teenagers – otherwise it would have been more like something for your parents. The emotion was still there, it was just under cover of the optimism that you got from the up-tempo beat.”
The prime of H-D-H, and of Motown, ended in 1968 amid questions and legal disputes over royalties and other issues. H-D-H left the label, and neither side would recover. The Four Tops and the Supremes were among the acts who suffered from no longer having their most dependable writers. Meanwhile, H-D-H’s efforts to start their own business fell far short of Motown. The labels Invictus and Hot Wax both faded within a few years, and Dozier would recall with disbelief the Hollands’ turning down such future superstars as Al Green and George Clinton. H-D-H did release several hits, including Freda Payne’s “Band of Gold” and Honey Cone’s “Want Ads.”
Holland-Dozier-Holland were inducted into the Songwriters Hall of Fame in 1988 and the Rock and Roll Hall of Fame two years later. On his own, Dozier had a top 20 hit with “Trying to Hold on to My Woman,” helped produce Aretha Franklin’s “Sweet Passion” album and collaborated with Eric Clapton and Hucknall among others. His biggest success was co-writing Phil Collins’ chart-topping “Two Hearts,” from the 1988 movie “Buster,” a mid-tempo, Motown-style ballad that won a Grammy and Golden Globe and received an Oscar nomination.
H-D-H reunited for a stage production of “The First Wives Club,” which premiered in 2009, but their time back together was brief and unhappy. Dozier and the Hollands clashed often and Dozier dropped out before the show launched. “I can’t see us ever working with Lamont again,” Eddie Holland wrote in “Come and Get These Memories,” a memoir by the Hollands that came out in 2019, the same year Dozier published the memoir “How Sweet It Is.”
Dozier acknowledged that his early success conflicted with his family life, but he eventually settled down with Barbara Ullman, who died in 2021 after more than 40 years of marriage. His children included the songwriter-record producer Beau Dozier and composer Paris Ray Dozier.
Like so many Motown artists, Dozier was born in Detroit and raised in a family of singers and musicians. He sang in the choir of his Baptist church and his love for words was affirmed by a grade school teacher who, he recalled, liked one of his poems so much she kept it on the blackboard for a month. By the late 1950s, he was a professional singer and eventually signed with Motown, where he first worked with Brian Holland, and then Eddie Holland, who wrote most of the lyrics.
Some of Motown’s biggest hits and catchiest phrases originated from Dozier’s domestic life. He remembered his grandfather’s addressing women as “Sugar pie, honey bunch,” the opening words and ongoing refrain of the Four Tops’ “I Can’t Help Myself (Sugar Pie, Honey Bunch).” The Four Tops hit “Bernadette” was inspired by all three songwriters having troubles with women named Bernadette, while an argument with another Dozier girlfriend helped inspire a Supremes favorite.
“She was pretty heated up because I was quite the ladies’ man at that time and I’d been cheating on her,” Dozier told the Guardian. “So she started telling me off and swinging at me until I said, ‘Stop! In the name of love!’ And as soon as I’d said it I heard a cash register in my head and laughed. My girlfriend didn’t think it was very amusing: we broke up. The only ones who were happy about it were the Supremes.”
For more AP entertainment news, go to https://apnews.com/hub/entertainment
Hillel Italie, The Associated Press
Graffiti artist completes world’s tallest mural in downtown Calgary
CALGARY — It looms on the edge of downtown a stone’s throw from the Calgary Tower, a splash of colour amid aging buildings, railway tracks, parkades and a steady stream of traffic.
It’s billed as the world’s tallest mural, painted by one of the globe’s top graffiti artists, and is part of a project to turn an austere area of downtown into an expansive open-air urban art gallery.
“The brutalism and dystopian look of this area with the giant parkades and the spiral ramps and stuff — it feels like Gotham. So turning this wall from concrete nothing to this is really fun,” said Peter Oliver, president of the Beltline Urban Murals Project, or BUMP.
The mural is an abstract painting in various shades of orange, black, grey, blue, white and yellow and is the creation of DAIM, an internationally renowned German artist. DAIM, whose real name is Mirko Reisser, has been creating public artworks for more than 30 years.
“DAIM’s work is rooted in graffiti art. It’s abstract and he was actually the very first graffiti artist to start exploring three-dimensional works. So his work kind of obeys the laws of light and shadow but defies the laws of gravity,” Oliver said.
“I think his work really marries well with the brutalism of this building and it’s just a massive flat wall of concrete. It’s the very first prefabricated concrete building in Calgary, built in 1980.”
The mural is 95 metres high, making it the tallest mural in the world “by a long shot,” said Oliver.
He said most cities don’t have giant concrete walls available, with the majority being glass, steel or aluminum. So this was a perfect marriage.
DAIM, who was assisted by three local artists, spent over three weeks painting and went through more than 500 cans of spray paint after a base coat was added to the bare concrete. It is to be a permanent addition to the area and, as of last week, was awaiting a coat of UV sealant to make it complete.
Facing toward the east, it can be seen from a long way away.
“If you’ve got the window seat on the airplane, you can see it on the approach into the airport,” Oliver said.
“I think what we’re really doing with BUMP is re-architecting the identity of this city.”
The project will be unveiling about 60 new murals during its annual festival, which runs from Aug. 1 to 28. Before that, the new art work can be viewed by visitors at the annual Calgary Stampede, which begins this week.
“If you’re coming down, I’d check this out over the parade any day,” Oliver said with a chuckle.
This report by The Canadian Press was first published July 4, 2022.
Bill Graveland, The Canadian Press
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