My latest story is available to read now at dot.LA. It’s about a joint project between California State University Los Angeles and the University of Southern California to digitize their respective archives of Mesoamerican and Spanish Colonial artifacts and photographs.
“We’re hoping to do some 3D printing on campus of some of the objects,” said Ramirez. “It’s supposed to be a teaching collection in many ways but, obviously, many of the artifacts are very delicate so we don’t want people accidentally dropping them. We’re hoping to 3D print some of them so that it’s feasible and students can actually handle some of them because we have a Mesoamerican Studies minor on our campus.”
The photography collection also includes nearly 10,000 images printed on 35mm slides. The images are dated from the 1950s to the 1980s and feature Mesoamerican objects held in museums in Italy, Spain, Germany, France, the US, and South America. Of these, Cunningham has digitized 4,500 of them.
Cunningham uses a different camera and process to digitize physical objects such as statues and jars. He uses a Phase One XF camera with a 100-megapixel Phase One IQ3 digital back. Normally, he shoots 32 images of each item from one of three angles for a total of 96 images to create a single 3D render of an object. The 3D render is processed using Agisoft Metashape.
The artists at Daptone, such as Sharon Jones & The Dap-Kings, Antibalas, Charles Bradley, Menahan Street Band and The Sugarman 3, to name but a few, were at the tip of a steadily rising wave of a new generation of soul artists. The Dap-Kings even found themselves working for a time for the late Amy Winehouse. They recorded most of “Back to Black” with her and producer Mark Ronson in the studio and performed with her as her stage band on many occasions.
The stature of an artist like Winehouse coupled with the general misunderstanding of soul music as a product of a bygone era provided Lipsky with some challenges when she set out to write “It Ain’t Retro.” She initially wrote the book as a scene study of soul music but had a difficult time selling it to a publisher.
“After working on that for some time, it turns out it was too broad and too niche,” she explains by phone. “No one wanted to buy it and I had to pivot. A lot of the time, the people that are making these editorial decisions, be it in publishing or in journalism, this really isn’t their bag. Soul music is Motown and it’s oldies and that’s pretty much it. Then there was Amy Winehouse and that’s pretty much it. My experience was that a lot of folks didn’t really think that there is a market for telling these stories.”
“Lucha libre is something very dear and personal to all Mexicans,” continues Arau. “All of my work, be it music, animation, film or art, is about popular Mexican culture and lucha libre is one of the most visible things there is. Compare that with the culture here, the gringo culture, where a mask is usually something associated with terrorism, with sadomasochism. There’s no tradition behind it whereas in all of Mexico, the Indigenous communities use masks, all of the fiestas in every state utilize masks, there are museums dedicated to masks made of different materials. For us, masks are something very natural.”
The space features a store that sells custom lucha libre merchandise including apparel such as shirts, hats and leggings printed in-house at the Republic of Lucha Print Shop. There are small baskets filled with plastic-mold action figures of masked wrestlers. Two large, glass cases contain mannequin heads adorned with various wrestling masks worn in official matches by wrestlers such as Fenix, Penta, Psycho Clown, Tinieblas Jr., and others, all for sale. They also host the Lucha Movie Club most Saturdays each month when the rooftop is converted into an outdoor movie theater to screen classic lucha libre films, such as the ones featuring El Santo and Blue Demon, and more.