Respect the Shooter May 29, 2017 15:05
#STAYimperial Podcast. Discussing the young creative and entrepreneurial hustle in Austin, Tx and Beyond.
Episode 2 IE sat down with Xavier Anthony, ATX photographer. We Talk working towards greatness, mastering your skill, being war ready, mentors, and building a voice. Xavier's passes along some good times for working and aspiring photographers. Check out his work on IG @xavieranthonyphotography and the upcoming work with @allouttx
Liste to the full interview - 27 mins
Jesus Walks but Kanye Flies by Eric Webb September 22, 2016 19:24
Jesus walks, but Kanye flies above us all at Austin show
September 22, 2016 | by Eric Webb
Photography by Luis Felipe Giraldo
We didn’t want no devils in this house Wednesday night.
Kanye West kept things heavenly in Austin during a one-and-a-half-hour Saint Pablo Tour stop at the Frank Erwin Center, where the rap superstar was a god. No, I’m not saying Yeezus is the Lord Almighty. (He might, though.) West has always flirted with the divine, as do plenty of major cultural figures. For this show, he stopped flirting and entered a fully committed relationship.
(And if you don’t agree that West is an significant cultural juggernaut, read no further and stop quoting that one episode of “South Park” as if you’re having some kind of original thought.)
From the opening praise service of “Father Stretch My Hands,” the evening with West was a study in visions and vices. The tour’s much-touted floating stage was as cool as you think it would be in person, with the rapper holding back none of his hyperactive bravado as he glided over the audience. General concern that he would slide off the edge hung in the air. It looked like a hip hop “Metropolis,” and West was throwing a Fritz Lang house party for the revelers down below
A little variety in stagecraft would have been nice, though. Even Superman lands for a sec every now and then.
The crowd felt the spirit of worship, with no compunction about screaming “I feel like me and Taylor might still have sex” with the conviction of a thousand snake emojis. West moved the audience to clamor beneath him with phones aloft as he laid down for “I Love Kanye”; he turned them into an Auto-Tuned gospel choir for the a capella homestretch of “Heartless.” As a performer, West lacks an athletic flow and pipes that get the job done without technology. Yet somehow, when he’s at full tilt, you believe a man can fly.
Visually, the evening was lit like a hot shower seen through sunglasses during a power outage. West gave a shrouded, weirdly alien performance, cloaked in smoke and darkness from his magic carpet, his face never completely visible. Even the screen projection for the cheap seats gave the impression of an oil painting as seen during a mushroom trip. The aesthetic made West an unknowable mystery. It felt like peering behind the tabernacle curtain to see the Ark of the Covenant or gazing into a burning bush, and anyone with nostrils could tell there were a lot of burning bushes in the arena.
The hymnal was stacked. Cuts from living album “The Life of Pablo” reigned. And some cheeky cover-work at the top of the show — Yeezy just jumped over Jumpman, straight to “Pop Style” — led to a thrilling tour of Yeezy’s discography: a dark and murky “Mercy,” a searing “Black Skinhead,” a rapturous “N***** In Paris” with Jay Z’s entire verse preserved, a “Can’t Tell Me Nothing” that served a palpable burst of energy in both West and the crowd. “Blood On the Leaves” hit a somber note that could help but conjure this week’s headlines in your head. Dancing ‘Ye showed up for “Jesus Walks,” as did kneeling ‘Ye.
Not to put too fine of a point on it, but West’s pre-“Yeezus” songs — you know, from before West was fully committed to capital-A Art — crackled with a clear-headed soul (samples notwithstanding) that his most recent work just doesn’t have. West tore into his lyrics and threw his body into the physical focus we’ve all in the “Otis” video. (But no, he didn’t do “Otis” at the show.) “Touch the Sky” was clearly the most explosive powder keg of the night, and the only number where even West couldn’t help but to command everyone to jump. That electricity didn’t seem like it could be matched, but “All of the Lights” gave it a run for its money, as did a truly joyful “Good Life” (Kanye grin!) and a “Stronger” that literally gained momentum from start to finish.
But hooky cuts from “Graduation” don’t quite round out the messianic metaphor. Kanye’s talk of visions coming to life and a palette of “Stranger Things”-like synths decorated his most religious experiences, like the heartbreaking prayer of “Only One” and the nightclub nativity of “Wolves.” West, who you can’t accuse of half-assing anything, danced with devilish red lasers for “Fade” before literally moving on his chariot of fire into a column of glowing white — an honest to ‘Ye ultralight beam for the song of the same name.
As he dismounted the stage and walked out, West met the anemone-like arms of his disciples, walking the line of adulation straight out of the arena. All he needed to complete the picture was a donkey and some palm fronds. This was a God dream. This was a God dream, except that meant entirely different things for the performer and his fans.
We have a limited number of original Saint Pablo Tour merchandise available for sale.
Austin, Tx Saint Pablo Tour was the 15th Stop of the U.S Leg of the Tour going on until Nov 1st, Kanye will be in Dallas tonight 9/22/16 at the American Airline Center, information on tickets and stops are available at www.kanyewest.com
Article appeared on Austin360 http://music.blog.austin360.
Photography by Luis Felipe Giraldo
OUTLAWS: A movie within a movie inspired by Mexico, Motorcycles, and Leather September 22, 2015 23:06
OUTLAWS Mini Film for Belstaff Leather starring David Beckham
Written & Directed by Geremy Jasper
Executive Produced by
Liv Tyler, Tom Berendsen, Adam Joseph, Mazdack Rassi, Damian Mould
Original music by
Jason Binnick & Geremy Jasper
PRODUCED AND ALL RIGHTS RESERVED BY BELFAST FILMS
Dope Reel, Real Dope shot By SteadyPrime June 12, 2015 12:49
Imperial Eloquence #CreativePowerfulStyle
Premium Streetwear in Austin, Tx.
"Real Dope Dope Reel" shot by Zach Villafana with SteadyPrime,
Find our premium Pieces at www.imperialeloquence.com and stay tuned for #AtxStreetwear coming soon at www.atxstreetwear.com
Track: Jet Life "1st Place" Produced by ShowOffBeats and Sampled from Yreeta's
“I Too Am Wanting”
Faces of Imperial Eloquence [Part II]: The Collage Garage February 09, 2015 17:28
Exposed plumbing is to the artist what brushed steel is to the young professional; it conveys the same kind of disorder and acceptance of said that enables the former to differentiate him or herself from the latter with some minimal degree of comfort. Katy Hirschfeld's studio is replete with painted over pipes, plywood, brick and the like -- which I won't pretend to be anything other than fond of. The artist's studio is, after all, the equivalent of the YoPro's office. So when I saw and felt that hers is in a building which boasts no elevator, A/C or central heating, you can bet I was comfortable reveling in these minimal degrees of discomfort.
Pump Project Art Complex, where this studio is located, has all the quintessential elements of an environment where an artist is both invited and welcomed to thrive, but not without paying their dues. It is a minimalist work space, the lessness of which I could do with seeing more of. My first time visiting it was last November during the East Austin Studio Tour, where Ms. Hirschfeld's art was featured. Her medium is that of mixed media, one that -- like so many others in the realm of visual art -- I can appreciate greatly in spite of knowing very little about. Imperial Eloquence's most recent collaborative endeavor is a series of high quality beanies screen printed with select pieces of Katy's work.
I am here in a journalistic capacity, so as to document a sort of behind the scenes preview for what is to come from Ms. Hirschfeld and IE; and will freely admit that my ego is just a tad swollen for having been granted the opportunity to do so. See, I have loved art and fashion equally for some time now. They finish very close behind writing and motorcycles in the running for things to which I lend authentic passion and personal ardor. It doesn't hurt, either, that Katy is a friend of mine whose work I wish one day to see garner international acclaim, nor that the shoot currently taking place is featuring two very attractive models of color, who are sporting a) beanies, b) Ruanas (a kind of South American take on the Poncho), and c) precious little else.
Photo shoots can be a damn good time -- noted emphasis on can -- in my experience. This evening's succeeds in being so, primarily because we're all of us just hanging out in this cold ass studio with not much to keep us warm but laughter and each other's company. After stripping down and assuming the first pose, the male talent begins by asking his female counterpart "Wait, what is your name again?". Both are being asked to convey intimacy and sexuality having never met before, which most of us know is a prodigiously difficult feat to accomplish (especially on camera). The photographer, one J. Mos, is young and likable and visibly hardworking. He seems to be aware of what many up and comers in his field are not: that the photographer's job is to capture beauty, not define it.
Interviewing Ms. Hirschfeld is casual and organic; it takes less to walk her through than I think either of us would've expected. She's just shy of timid in her answers such that I know my questions are being met with the unpreparedness of an artist who has yet to recognize that she is truly great. Katy's demeanor makes the difference between self-deprecation and self-pity ostensible in a way that's poetic. She is from New Jersey -- a fact which I only recalled after hearing her classic Northeastern butchering of the word "orange" -- normally this would invite a slew of judgment, but I refrain from that as an attempt at professionalism, and out of genuine respect for her talent.
The lovely artist is in the middle of telling me about her grappling with a recent piece, and how she feels she ruined it by trying to improve it (a feeling I am all too well acquainted with), when I ask if she is a perfectionist...to which she replies "anything but". Apparently, her work -- characterized by retro-chic images sublimated and superimposed by digital means -- has been defined since the beginning by deliberate imprecision and stylistic experimentation, an example I think many artists would benefit from following in these early stages of self-improvement and actualization.
My favorite of the beanies depicts a woman smoking, which happens to be counted among my favorite visions in this world, as well as one that comes up frequently in Katy's work. When asked why this concept reoccurs with such regularity, Hirschfeld answers simply by saying "I just think it's sexy." That response, not unlike her studio, says a lot about the woman and her work. And really, who the fuck am I to deny the beauty in brevity? There is an eloquence to it which I find, well, you know.
To see more of Katy Hirschfeld's work, visit her website:
For upcoming news on and collaborations by Imperial Eloquence, visit ours: