behind the mask

Behind the mask of Basquiat, there was the tumult of the streets, a frenetic dance between the asphalt and the echoes of urban life. It was an eruption of raw colors, a canvas that screamed rebellion, emancipation, the rage of an oppressed culture.

Each brushstroke was a slap in the face of the established order, each paint splatter a declaration of war against conventions. Basquiat was not just an artist; he was the distorted reflection of a society that had raised him in the shadows, nourished him with injustice, and ultimately gave birth to a silent scream on vibrant canvases.

And then, there was the mystery, that part of himself he fiercely kept hidden. The dark alleys of his mind, the unexplored corners of his soul, all intertwined in his works, leaving curious observers attempting to decipher the enigmas behind the impassive gaze of his portraits.

Every line, every trace of his rebellious genius revealed a world where beauty was born from chaos, where authenticity emerged from the ashes of conformity. Basquiat didn’t just paint canvases; he wrote the tumultuous history of his being on stretched canvases, leaving behind a legacy of audacity and rebellion in a world in search of truth.

men at work : ” who can it be now “

Men at Work began in the vibrant streets of Melbourne, Australia, in 1978. It was there that Colin Hay, a Scottish singer who had emigrated to Australia, met guitarist Ron Strykert. Together, they started composing songs, influenced by rock, reggae, and new wave, while aiming to create a distinctive sound. The band quickly expanded with the addition of Greg Ham on saxophone and keyboards, John Rees on bass, and Jerry Speiser on drums. Men at Work was born.

The band’s early gigs in Melbourne’s local pubs helped them build a reputation as talented and original musicians, able to blend various styles while delivering energetic performances. Their style, both melodic and rhythmic, is distinguished by inventive use of instruments, particularly the saxophone and flute, which add a unique dimension to their compositions.

In 1981, after signing with Columbia Records, Men at Work entered the studio to record their debut album. The release of Business as Usual in November of the same year marked the beginning of a meteoric rise.

Business as Usual quickly became a phenomenal success. Fueled by singles like “Who Can It Be Now?” and “Down Under,” the album topped the charts in Australia, the United States, and the United Kingdom, a rare feat for an Australian band. “Down Under,” with its lyrics evoking Australia and its catchy reggae rhythms, became an international anthem, symbolizing both Australian culture and a carefree party spirit.

The album’s success propelled Men at Work onto the global stage. Business as Usual spent 15 weeks at the top of the Billboard 200, an achievement that solidified the band’s place in rock history. The blend of reggae, new wave, and pop sounds, combined with smart and often ironic lyrics, captured a broad audience, making Men at Work a cultural phenomenon.

In 1983, Men at Work released their second album, Cargo. While the album did not reach the same level of success as its predecessor, it featured memorable tracks such as “Overkill,” “It’s a Mistake,” and “Dr. Heckyll & Mr. Jive.” Cargo confirmed the band’s talent for writing catchy songs while tackling more serious and introspective themes, such as existential anxiety and human errors.

After the immense success of their first two albums, Men at Work began to feel the pressure. Worldwide tours, public expectations, and internal tensions weighed heavily on the band. In 1984, John Rees and Jerry Speiser left Men at Work, leaving Colin Hay, Ron Strykert, and Greg Ham to continue as a trio.

In 1985, Men at Work released their third album, Two Hearts. This album marked a shift in musical direction, with more pop-oriented sounds and less experimentation. Despite a few well-received tracks, the album did not achieve the same success as its predecessors, and reviews became more critical. The band’s dynamic was weakened, and the remaining members struggled to regain the chemistry that had brought them success.

The release of Two Hearts was followed by a tour, but internal tensions continued to grow. In 1986, Men at Work officially disbanded, leaving behind three studio albums and a handful of songs that would remain memorable.

After Men at Work’s breakup, Colin Hay embarked on a solo career, exploring new musical horizons while maintaining his songwriting talent. His style became more acoustic and introspective, and he continued to release albums that, while less known to the general public, enjoyed critical success. Songs like “Waiting for My Real Life to Begin” resonated with a loyal audience, and Hay built a solid career as a solo artist.

Greg Ham, for his part, pursued various musical projects, collaborating with other artists and continuing to play saxophone and flute, though he remained marked by his time with Men at Work.

Men at Work’s legacy endures. Their songs continue to be played on the radio and appear in compilations and films, reminding listeners of their lasting influence on pop-rock music. “Down Under” becomes a cultural symbol of Australia, and Men at Work remains one of the few bands to achieve such international fame while retaining a strong Australian identity.

In 1996, a reunion tour showed that interest in Men at Work had never truly disappeared. Although recapturing the magic of the early years was challenging, these concerts reminded audiences of the energy and originality that made the band a legend.

Men at Work is the story of a group that captured the spirit of an era with songs that still resonate today. Their rapid rise, global success, and internal struggles make their journey a true rock saga. With just three albums, Men at Work left an indelible mark on the music scene, proving that a long career is not necessary to become a legend.

Their blend of sounds, sense of humor, and ability to write timeless songs make them a unique band whose influence is still felt today. Men at Work remains a vivid memory of a time when music had the power to transcend boundaries and speak to all in a universal language.