#NowPlaying Manggagawa (Worker) composed by Pete Lacaba, performed by Rody Vera, from Sister Stella L. by Mike de Leon

if on mobile device, pls click “Listen in browser” on the soundcloud pod below to play the iconic “Manggagawâ” (Worker) composed by Pete Lacaba, performed by Rody Vera, from the film “Sister Stella L” by Mike de Leon …

CODE

 

before there was acoustic, EDM, dubstep, and millennial remixes, there was Pete Lacaba, Rody Vera, Mike de Leon, and a lone guitar (…and Ate Vi of course)

Now playing: from the official soundtrack of “Sister Stella L.”

(can’t blog, still working) 

♠♠♠         ♠♠♠          ♠♠♠

Photo at  The Getty:

image credits: shot by Myra Lambino on i-Phone, Getty Museum nine months ago.

the original has …

        … no eyes —

      like they have been gouged out …

    but it’s like he forced himself to stand up and continue toiling:

    The wealth of the world is created by the working class:

      Long live, unite, and fight!

Cardinale Seduto, Giacomo Manzù, Getty Center

(if on mobile device: To hear the free streaming music embedded for this post, pls click “Listen in browser” on the soundcloud pod below, then click the play button. Happy viewing and listening!)

 

Credits: As embedded in the materials or as stated in the text; all materials are used here non-commercially for academic purposes.

Cardinale Seduto, Giacomo Manzù, Getty Center

Information from getty.edu :
Title: Cardinale Seduto
Artist/Maker: Giacomo Manzù (Italian, 1908 – 1991)
Culture: Italian
Date: 1975 – 1977
Medium: Bronze
Dimensions:
215.9 x 116.2 x 135.9 cm, 308.446 kg (85 x 45 3/4 x 53 1/2 in., 680 lb.)
Copyright: © Inge Manzù
Credit Line:Gift of Fran and Ray Stark
From getty.edu : “The stylized clothing of this serene, seated cardinal creates a dramatic pyramidal form. An unbroken conical sweep, the cardinal’s vestment or robe extends from his feet to his mask-like face. Covering his forehead, his headdress, known as a miter, functions as the “tip” of the pyramid. The folds in the vestment emphasize the bronze’s weight and volume but also create tension and dynamism, enlivening the form. A tiny hand emerges from beneath the garments to remind us that there is a body beneath this powerful bronze cladding. But body and vestment form an indissoluble whole.
“In the early 1930s, Giacomo Manzù visited Rome, where the sight of the Pope flanked by two cardinals in St Peter’s Basilica struck him as a singularly timeless image. From the late 1930s to the late 1950s, the sculptor produced more than fifty cardinals–standing and seated, large and small, in bronze, alabastar, and marble. Over this long series, Manzù increasingly contained the cardinal figure in rigid compact forms that evoked funerary pyramids or pillars.

With only one exception, the cardinals were all conceived without a model, their features invented entirely by the artist.”