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WATCH/DOWNLOAD: DJ SOLO’s Alice In Wonderland [Full Video - 1.2G]

This is my first video mix! Made specially for a live performance set at our Alice In Wonderland themed dubstep event, the overwhelming response was “WHEN IS THIS COMING OUT?!!!” So here it is for everyone to enjoy, the retelling of this classic story from start to finish, edited to dubstep and drumstep, mixed together in my usual mixtape collage style, and sprinkled with samples, new story lines, hidden messages, and fully lip synched to all the songs. Not to mention some brand new DJ SOLO mashups. If you thought Pink Floyd’s Dark Side of the Moon set to The Wizard of Oz was crazy…get ready for a TRIP to Wonderland!!!
Tracklist after jump
TRACKLIST:

01 Opening Titles – Oliver Wallace
02 Hood Shit – Mantis
03 Internet Friends (RIOTteck reVIP) – Knife Party
04 Music In Me – Roksonix
05 Superbad – Flux Pavillion & Doctor P
06 Bass Chasers (DJ SOLO Bootleg) – Mitchy Slick x Excision & Downlink
07 The License (Doctor P Remix) – Krome & Time
08 Shut Up – Pac Div
09 Fok Julle Naaiers – Die Antwoord
10 Stoned Immaculate (DJ SOLO Bootleg) – Macky Gee x The Doors
11 A Mile In My Shoes – DJ SOLO
12 Car Thief Robbery (DJ SOLO Bootleg) – Beastie Boys x Wick-it the Instigator
13 Journey To The Center of Punk (DJ SOLO Bootleg) – Mighty Boosh x Neon Concept
14 Michael Myers Lives (DJ SOLO CHOP) – Urban Assault x Knife Party x Modified Motion & Faction
15 Deeper Than The Domino Theory (DJ SOLO Remix) – Umphrey’s McGee
17 American Idiot (DJ SOLO Bootleg) – Green Day x Tyke
18 Wonderwall Chicken Dippers (DJ SOLO Bootleg) – Oasis x d-Queue
19 Pazi Sta Radis – Wikluh Sky

Retna teams up with Primary Flight and paints Brimstone in Wynwood District of Miami during Art Basel // Presented by White Walls Gallery // Shot & Edited By Colin M Day.

What’s the allure? It’s partly that Instagram made mobile photo sharing drop-dead easy. Plus, photos are the global lingua franca, so the app spread worldwide quickly.
But I think the main answer lies elsewhere. The real allure of Instagram was its photo “filters”—and the subsequent rise of filter culture. Filters help us see the world in a new way.

When Instagram launched, it offered 12 settings to augment users’ photos in ways that produced lovely and often surprising results. You’d take a picture, put on the Lomo-fi filter, and boom—the popping colors made an otherwise drab party picture emotionally vibrant. Or the Hefe filter—my personal favorite—which boosts contrast while reducing saturation, uncovering subtle details I don’t notice with my naked eye.

As I used the app more and more, something surprising happened: I became increasingly observant of the world around me. Walking to the subway the other day, I spotted a backhoe parked on a corner and got curious—what could I do with that? Presto: Hefe helped me turn it into the dirty claw of a weary dragon. Later that day, a filtered snap of my living-room floor revealed how it secretly looks like the wood on a country barn.

In old analog cameras, many such filter “effects” were a chemical byproduct of the film, so photographers became expert at understanding the unique powers of each. Fujifilm’s Velvia film, with its high saturation and strong contrast, attracts photographers looking to capture the vibrancy of nature, Instagram cofounder Kevin Systrom notes.

But casual photographers rarely developed this type of eye, because they just wanted to point and shoot. What Instagram is doing—along with the myriad other photo apps that have recently emerged—is giving newbies a way to develop deeper visual literacy.

“All Instagram did was take the creative tools that the pros have been using and put them in the hands of the masses,” Systrom tells me.

The movement is growing rapidly, according to Lisa Bettany, codesigner of Camera+, a top-selling app for the iPhone. Six months ago, 60 percent of the photos taken with Camera+ were filtered. Today, it has risen to 70 percent.

Does this make people better photographers? Bettany thinks so: She gets letters from people saying the filters encouraged them to take their pictures more seriously and to be more daring. “There’s all this food photography now,” she says. “You’re in a restaurant and you see people crouching down—they’re going like, ‘Oh, I need to get this angle right!’”

Critics sniff that filters are mere retro-chic nostalgia. That’s partly true, but it misses the creative urge here—and how filters affect what gets photographed. Scroll randomly through Instagram feeds and you’ll see the expected cat pictures and look-at-me headshots. But there are also tons of still lifes and landscapes, filtered into poetry: A vacant pair of blood-red subway seats that seem weirdly alarming, the corroded metal clock on an old oven as a meditation on time. When I was a kid in the ’70s, you only got that sort of composition in National Geographic. Now it’s omnipresent.

I find it a lovely moment. Today’s tech is often blamed for producing a generation of people who stare at screens. But sometimes it opens up a new window on the world.

Email: clive@clivethompson.net.

Picking up a camera for the first time at the young age of 14, photographer Andres Herren recently traveled from Switzerland to the streets of Los Angeles to capture a dynamic and candid glimpse into the West Coast Chicano culture. Under the guidance of Estevan Oriol, Herren was invited to a series of family reunions and gatherings to capture an insider glimpse of the Los Angeles lifestyle not often highlighted. Laying siege to his firsthand experiences through the lens of his 5D Mark II, the short film highlights the photographer’s reasons for making the journey stateside as well as an impressive reel of footage.
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With the Occupy Movement bringing various forms of injustice to the forefront of people’s consciousness, “Film the Police” is a reminder that cops have been a continued and increasingly militarized presence in public streets. Thanks to the widespread use of smartphones and video cameras, along with the popularity of social networks such as Twitter and Facebook, the power of the media has been put back into the people’s hands as they document the injustices perpetrated by those who have sworn to serve and protect them.

Kenor is an street artist from Barcelona, son of a photographer and painter from Sevilla.
Surrounded by art since he was a child, is influenced by abstract music,
constructivism, color and emotions. Kenor takes a step further urban art in his work.

Legendary photographer Martha Cooper has been documenting graffiti and graffiti writers since the late 1970s. Her and Henry Chalfant’s book “Subway Art”, originally published in 1984, was largely responsible for the globalization of graffiti. She has remained a fixture in the community and culture, and has been documenting the Wynwood Walls since the project began in 2009.
Her photos tell the story of the Wynwood Walls from its inception to expansion, and all of the artists and their respective works. In graffiti and street art, nothing is permanent, even commissioned walls. Because of the temporary nature of the medium, Martha’s photos outlast almost every piece of graffiti or street art itself.

Directed & animated by Jaulin-Berge Thomas.