Author Archives: GCCE

Rock n Roll, Gibson Guitars, Public Enemy, and Cultural Entrepreneurship

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Gibson Guitar and Global Center for Cultural Entrepreneurship hosts panel discussion with Rock n Roll Hall of Fame inductee Chuck D of Public Enemy

Additional panelists include recording legends Jack Douglas and Eddie Kramer, Renowned musicians Stewart Copeland (The Police) and Dug Pinnick (King’s X). With Brian Hardgroove moderating.

Gibson Guitar will open the doors to its LA showroom at 9:30 am on Wednesday, April 17 for an exclusive panel discussion featuring 2013 Rock n Roll Hall of Fame inductee Chuck D of Public Enemy. Along with Chuck D, Gibson will play host to legendary producers Jack Douglas (The Who, Cheap Trick, Aerosmith), Eddie Kramer (Jimi Hendrix, The Beatles, Led Zeppelin, The Rolling Stones), Stewart Copeland of The Police and Dug Pinnick of King’s X who will also participate in the panel discussion.

pubenemy

Conceived of by Brian Hardgroove, bassist and bandleader of Public Enemy for over 10 years, this forthright discussion will address the often-contentious questions:

-What is Rock & Roll?
-What genre should be in the Hall of Fame?
-What is the future of Rock & Roll?
-Chuck, Kramer, Douglas, Copeland and Pinnick will discuss these three topics and answer select questions from the audience.

The event will kick off with a performance by Public Enemy’s Johnny Juice and DJ Lord. The Gibson Guitar Showroom is located at 9350 Civic Center Drive, Suite 130 Beverly Hills, CA  90210. Space is limited. If you are interested in attending this event, please RSVP to Jennifer Feeney at Jennifer.Feeney@Gibson.com. This event is presented in partnership with Gibson Guitar, Stanton DJ, Sennheiser, and the Global Center for Cultural Entrepreneurship (GCCE).

ABOUT GLOBAL CENTER FOR CULTURAL ENTREPRENEURSHIP

GCCE, a nonprofit organization, is dedicated to the success of cultural entrepreneurs. GCCE, in partnership with Brian Hardgroove, is connecting leading musicians and producers to aspiring musicians through events, speakers series, and cultural entrepreneurship institutes.  GCCE provides entrepreneurs in the arts, film, music, fashion, crafts, and design fields with mentoring, business development, marketing expertise, and linkages to financing.

Contact Alice Loy, alice@culturalentrepreneur.org

GCCE on Facebook    Twitter  @culturalpreneur

ABOUT GIBSON GUITAR:

Gibson is known worldwide for producing classic models in every major style of fretted instrument, including acoustic and electric guitars, mandolins, and banjos. The Gibson Les Paul guitar is the best selling guitar of all time and bears the name of the late, great Les Paul. Gibson’s HD.6X-PRO Digital Guitar, the Gibson Robot Guitar, Gibson’s Dark Fire and the Gibson Dusk Tiger represent the biggest advances in electric guitar design in over 75 years. Gibson is poised to release the its latest groundbreaking instrument, the Firebird X guitar, in early 2011. The Gibson Foundation is the philanthropic arm of the Gibson Guitar Corp., and dedicates its time and services to making the place a better world for children through its support of music, education, health and human services. Founded in 1894 in Kalamazoo, Michigan, and headquartered in Nashville since 1984, Gibson Guitar Corp.’s family of brands now includes Epiphone, Dobro, Kramer, Steinberger, Tobias, Echoplex, Electar, Flatiron, Slingerland, Valley Arts, Maestro, Oberheim, Baldwin, Sunshine Piano, Take Anywhere Technology, J&C Fischer, Chickering, Hamilton, and Wurlitzer.  Visit Gibson’s website at www.gibson.com or www.gibson.com/press.

Follow Gibson on Twitter at www.twitter/Gibson or on Facebook at www.facebook/Gibson.

Agritourism in New Mexico: What’s the Story?

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Agritourism is a booming market as urban dwellers seek authentic experiences in rural communities (New York Times article).  Farmers markets, u-pick, farm to table restaurants, roadside stands, cooking schools, and artist classes on farms are a few of the experiences tourists can experience.  And, while agritourism is not a viable income for some farms, many more farmers are growing experiences to complement their crops.

What Can You do on a Farm in New Mexico?

This week we are going through the results from our agritourism questionnaire done with over 150 farmers, market venues, and local food support organizations.  The results are exciting!  In New Mexico we have identified over 60 agritourism sites offering a dizzying array of experiences: mushroom hunting, fig tea leaf drinking, blue corn grinding, horno cooking, and more.  Our survey of sites is not complete and we encourage farmers to reach out to us and share their New Mexico offers food, farm, and culinary experiences unique to the US – even the world.

Over the next few months we will continue to collect information about the agritourism sites and experiences while creating a web-based map of these sites.  Help us tell the story of agritourism in New Mexico – post photos to our Pinterest, Like Us on Facebook, or send us an email (selena  AT   culturalentrepreneur.org) .

Agritourism in New Mexico

Designing Resilient Indigenous Communities

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Resilient communities recover from system disruptions, tragedies, change.  Resilient communities return to a state in which their desired traditions, patterns, and resources are functioning – hopefully thriving.  Designing resilience into a community and the buildings and spaces we inhabit can contribute to a communities’ ability to recover from disaster and gain from  changes in the environment, economy, or social structure.

As part of the Sustainable Native Communities Collaborative we are contributing to the field by adding the perspective of cultural entrepreneurs.  Over the past several weeks we have immersed ourselves in thinking about how cultural entrepreneurship can inform and catalyze economic and entrepreneurial gains through HOUSING.

Housing?  Yes!

Cultural entrepreneurs can be architects who imagine buildings that embrace cultural values, community planners who pursue a vision for a new development, and builders who create the spaces that host our cultural activities.  The housing and construction industries offers new market opportunities for cultural entrepreneurs.

Let’s imagine, for example, that your community has a development plan for 28 new homes and a community center.  Architects can design the structures, planners can help engage the community.  Hopefully these skilled professionals are closely tied to the values of the community.  This way, they can ask and explore with the community, “What are the guiding principles that will lead to a built environment that fosters cultural activity, offers small business opportunity to local entrepreneurs, and creates the spaces that shape our community?”

In Native communities these questions can be different from other communities, Native communities value traditions and communication patterns that are unique from non-Native values.  For example, in many Native communities inter-generational living situations foster cultural continuity and language learning.  Single family dwellings make this arrangement difficult, the loss of Native language and traditions ensues. We have witnessed some Native communities’ struggle to continue traditions, like dances in the Plaza, when the new development lacks a Plaza.

We didn’t figure everything out during our 3-day gathering, but we did identify next steps and plans for creating tools that will support visionaries people working to design and build resilient indigenous communities.  Take a look at the Summary of our Working Group and contact us for more information.

Occupy the Arts

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What do the US, China, Mexico, and Venzuela have in common?

Income inequality.

And, some would say, a diminishing freedom of expression. What does this have to do with cultural entrepreneurship and the Arts?

A recent report conducted by the National Committee on Responsive Philanthropy shows that, of the $2.3 billion given to US arts and culture organizations, less than 2% is given to organizations with budgets under $5million.  You might ask, “So what?”  The report next points out that the vast majority of arts and culture organizations with budgets over $5million are predominantly white, urban, and support “high art”.  In other words, the expressions of non-white, non-privileged, rural, emerging, controversial, or edgy artists is absent.

And still you ask, “So what?”

If the definition of art is: “art is made with the intention of stimulating thoughts and emotions”, do we really want 98% of the art we engage with to reflect the thoughts and emotions, experiences, hopes, dreams, and desperations of white, urban, wealthy Americans?  Or, do we want our collective expression to reflect who we are as a nation: 36% non white, 12.4% foreign born, $50,221 median household income, 48 million living in rural communities…

Income inequality is creating inequality of cultural and artistic expression.

Cultural Corridor Project Gains Traction

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A recent report by Longwoods International and the US Travel Association demonstrates the value – in measurable ROI dollars – of destination marketing.  Northern New Mexico is an area perfectly suited to this type of campaign, drawing attention to our myriad cultural sites, museums, creative enterprises, and fabulous landscapes. The Global Center for Cultural Entrepreneurship has launched a Northern New Mexico Cultural Corridor initiative that will bring together partners from the travel, hospitality, and cultural enterprise sectors to shape a dynamic marketing campaign. Stay tuned for updates on our website…