However, it has become free to download and use for personal use only. It was one of the oldest commercial designs that were released in the 1950s. Not long ago, many typographers considered the AR Berkley typeface as one of the most popular fonts around. The name of the font itself is an acronym for “Arial Rounded Bold”. It uses a lot of unconventional shapes and structures to form the letters, making it as much an art piece as a typeface. Launched in 2006 as part of the Adobe Originals collection, this typeface is characterized by rough edges, imperfect curves, and a worn look to the letters.ĪR Berkely is a new typeface that is getting a lot of attention. When you need to create a design with a distressed appearance, you can’t go wrong with old times classics, such as the AR Berkley font by Adobe. If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter. Greg Kot is the music critic at the Chicago Tribune. But their music reach everywhere, and now it has a life of its own.” They were a real band and they were heard, and became part of people’s lives, without making a lot of records. Jeff Tweedy of Wilco, which released its Yankee Hotel Foxtrot album as a free download on its web site as the Napster era dawned, told me soon after that “in some weird way, everything will be like the Grateful Dead. The lesson was not lost on many contemporary bands and artists, who saw the Dead’s approach not as just a slice of quaint ‘60s nostalgia, but as a way forward. It’s not coincidental that one of the first widely recognised mash-ups – a staple of the digital-music era – occurred in 1995, with Plunderphonics sonic pioneer John Oswald’s reshaping of multiple versions of the Dead’s Dark Star. They stirred up a thick soup of Americana (from blues and bluegrass to jazz, rock and folk) with avant-garde seasoning. The internet helped facilitate cross-cultural blending – not just sampling, but mixing and remixing styles of music that previously didn’t go together. They weren’t just a musical entity, they became synonymous with a lifestyle.Īnd, despite all those hoary associations with hippies and the free-love generation, the Dead were musical postmodernists in the extreme. The band also inspired a raft of books, DVDs and a syndicated radio show, The Grateful Dead Hour. You want to talk about branding? The Dead didn’t just sell T-shirts, but everything from golf clubs to baby clothes. Rather than a cheap money grab, these recordings (initiated by the excellent Dick’s Picks series, named after the band’s late archivist Dick Latvala) were often better than some of the band’s studio recordings for the big labels, which increasingly pushed the band to create radio-friendly songs with hired-gun producers. The band released many more albums on its own imprint than it did through major labels. Grateful Dead Productions became a hub for concert ticket and merchandise sales, and it morphed into a website that not only sustained the band for the 20 years after Garcia’s death in 1995 but enabled it to flourish.īy going down this route and relying on outside corporations as little as possible, the Dead made the direct-to-fan ideal a hallmark of its operation long before the internet made this a commonplace. The Dead built its own infrastructure, and became increasingly self-sufficient. Sure, you could hear it on a tape, but the Dead ethos encouraged and rewarded fans who attended multiple shows, and even began following the band around the country on its tours.Īs for record companies, the band didn’t rely on them much except to distribute its studio recordings. If you missed a show, you weren’t going to see it again. Unlike digital files, each show was an experience that couldn’t be copied – the relationship was the product. The band was worth documenting because none of its shows was a repeat: each was unique in its set list and in the way the songs were interpreted. The Dead set aside a ‘tapers section’ near the sound board at its concerts of more than 2,000 people, and became the most widely documented band of the pre-internet era. But the Dead always made it easy for its fans to record its concerts and distribute tapes to their peers around the world. The notion of a band ‘giving away’ its music came as a shock to many music industry executives as MP3 files gradually replaced CDs. “If you want to survive in this business,” the band’s late guitarist Jerry Garcia once told me, “you go out there and pick up your audience, you recruit ‘em. The band didn’t treat its fans like a marketing demographic, but a community of equals, their co-conspirators on a musical and social adventure. Dyson might’ve had the Dead in mind, because the band had been delivering free services and perfecting relationship building for decades.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |