"There are artists in any community who set the standards. Artists whose work others admire, study, and learn from. Their bodies of work demonstrate not only the artist's professional evolution but her or his process of problem solving--the artist's journey from questioning and exploration to a place of accomplishment, control, confidence, and finesse. Studying these artists' work is like reading a book you can't put down or traveling to a place you'll never forget. There is so much there to take in. So much to take away. We call these artists Masters. ..." For more, including large-scale photos of these artists' work, start on page 46 of the magazine:
In Jasper Vol. 3, No. 3: The Things Bob Ross Never Taught Me: Working with Palette Knives, Red Wine, & Rob Shaw
"If I'm truthful here, this story begins with the discovery of green paw prints on my dining room table. Up until that moment, I couldn't figure out the angle that I'd take for this piece. I'd gone to a painting class, I drank the wine and shot the proverbial shit with the other patrons. And I have walked in there with zero expectations on what my finished product could possibly look like. In fact, I assumed that I would be impressed with myself if I managed to paint anything that extended beyond crudely drawn stick figures. ..." - story and photos by Will Garland For the full story and accompanying photos, start on page 41 of the magazine:
In Jasper No. 3, Vol. 3: Feature - Filmmaker Steve Daniels
"The Old Columbia Speedway sits off Highway 321 in Cayce, South Carolina. Overgrown brush and trees hide the old asphalt track from plain view. A disjointed array of old Big Wheels and tricycles are strewn throughout the brush. They are painted and rigged to look like the bastard plastic and metal children of post apocalyptic automobiles. Next to the three wheeled destruction machines are a mish-mash of weapons, including golf balls with nails glued to them to look like road spikes, machetes, and axes. An old suitcase sits open on the ground, holding a variety of Super 8mm film cameras. To the right, a variety of snacks, crackers, and candles are spread on top of a fold-out table. A cooler sits open, full of ice, bottled water, and sugar free Red Bulls. A low rising cement wall with newly painted black and white racing checkers divides the brush from the old asphalt track. Filmmaker Steve Daniels stands on the track, holding one of the cameras. He turns, then walks back towards the makeshift camp of his new film, M is for Marauder. ..." - Wade Sellers For the full story, check it out here:
In Jasper No. 3, Vol. 3: Larry J. McMullen, April 30, 1943-December 6, 2013
"On December 6th, 2013, the final curtain fell on the life of Larry McMullen, actor, director, professor, set builder, husband, father, and truly ' the universal curmudgeon.'..." - Barb McMullen
In Jasper Vol. 3, No. 3: The Art of the Meal w/ Terra's Mike Davis
"Chef and owner Mike Davis opened Terra in West Columbia in 2006. Back then few of Columbia's independent restaurants listed ingredients from local farms on their menus. The idea of being concerned about food origins was still relatively new here. It would be another year before the Columbia chapter of the Slow Food USA movement would be established in 2007, and a couple of years after that when City Roots would have its groundbreaking ceremony in 2009. ..." - Jonathan Sharpe For more, check out the rest of the article on page 18 of Jasper here:
In Jasper Vol. 3, No. 3: Record Review - The Restoration's New South Blues EP
"The title track to The Restoration new EP is a song that has been featured in their set list for a year or two now, and it’s one of their best. A jaunty, bluesy melody is tied to lead songwriter Daniel Machado’s scathing political critique of the “new South” as he connects the dots between the South of the day and the one he castigates in his more historically-oriented fare. It’s full of jaw-droppingly good one liners (“‘You lie!,’ Boeing Jets / Don’t tread on Neo-Confederates” and “Literary legacy / Bob Jones University” are two of my favorites) as he refers to the South as “the most trusted brand” for ignorance and bigotry. In short, it’s a stunner, and it also marks the evolution of Machado as a singer, as he’s gotten more surly and irascible since some of the more romantic material on Constance. That voice is evident on his other, more tossed-off efforts here, the blues jam “Keep On Keepin’ On” and the cutting acoustic number “Nobody Cares Who You Are.”
The EP is rounded out by a richly arranged effort by bassist Adam Corbett, “Possible Country,” which narrates a rather odd eavesdropping experience in a bathroom stall, and a 12 minute ambient/field recording expedition called “Sketches of the State Fair” which has some percussion and free jazz-style fingerpicking overdubbed onto the background sounds of the fair. It’s an interesting piece that unfortunately marks the dividing line between the more serious efforts here (the title track and “Possible Country”) from the odds and sods feel of the other numbers. Still, given the overwhelming concepts that typically accompany a Restoration record, New South Blues also has the virtue of presenting the group as “just” a rock band, and a pretty damn good one at that." - Kyle Petersen
For more record reviews, check out pages 14-15 of the magazine here:
In Jasper Vol. 3, No. 3: Record Review - Death of Paris' Gossip EP
"There’s probably a natural tendency for music criticism to champion the quirky and oddball, or the adventurous and epic, at the expense of the simple pleasures of surging choruses and indelible hooks. Particularly in a town like Columbia that hosts a relative wealth of indie rock outliers, a band like Death of Paris can feel a bit incongruous in their unabashed affection for Technicolor synth-pop songs that are more Paramore than Passion Pit, as well as their brazen bid for mainstream success. And yet, Gossip is a triumphant, a six song collection that hits the nail on the head over and over again. From the adrenaline-soaked opening salvos of “Give + Take” and “Shut Up & Kiss Me” to the aiming-for-the-rafters ballads “72” and “Secret,” the band demonstrates an extraordinary adeptness for creating the kind of huge pop moments that would seemingly fit snuggly on Top 40 radio or romantic comedy soundtracks.
Although some credit for the shiny sonic sheen should probably go to seasoned producers Zack Odom and Kenneth Mount, the band clearly maintains its own identity. Keyboardist Blake Arambula’s touch is present throughout, particularly in the stop-shift breakdowns on “New Blood” and “Shut Up & Kiss Me,” and the solid support of guitarist Patrick Beardsley and drummer Bryan Lee Bass gives these songs a distinctly full-band feel that was lacking in the group’s two-person self-titled debut in 2010. Still, the nature of the material inevitably puts the onus is mostly on Doyle, who surely has the powerhouse pipes to sell these kind of songs, but can often slide into the muck of cliché in striving for universal appeal. That’s about the only knock you can make on this eminently radio-ready batch of tunes." - Kyle Petersen
For more record reviews, check out page 14-15 of the magazine here:
In Jasper Vol. 3, No. 3: Record Review – Youth Model's All New Scars LP
"This pop-rock turn from longtime drummer Matt Holmes comes across as an impressive studio collaboration, with Holmes taking songwriting and composition duties but allowing Archer Avenue producer Kenny McWilliams to track bass, guitars, keys, and backing vocals to elegantly flesh out the drummer’s originals. The end result is an album that escapes feeling too generic through the fact that Holmes is an able songwriting craftsmen and an understated-yet-engaging vocalist who gets McWilliams’ hyper-polished treatment. And while Holmes borrows from a host of influences, from The Black Keys and OK Go to The Killers and Kings of Leon, he tends to be a synthesizer rather than imitator, lending Youth Model a pleasant (and surprising) sense of authenticity rather than a crass bid for mainstream success." - Kyle Petersen
For more record reviews, check out pages 14-15 of the magazine here:
In Jasper Vol. 3, No. 3: Record Review - Yosef's Run Wild LP
"Yosef, the rock moniker for Hunter Duncan, trades in the grandiose Britpop of Radiohead and Muse, a style which depends on an acrobatic vocal presence that can stretch out syllables and lean into a wall of guitars. Fortunately, Duncan is more than up to the task, capable of misanthropic Thom Yorke-style croons in one moment and the swooning romanticism of Keane in the next. And while the gleaming pile of anthemic guitars parts and earnest lyricism might lean a bit too heavily into Coldplay and Remy Zero territory, Duncan’s devotion to creating a grandeur and atmospheric sprawl across these seven songs sustains a mood of seriousness and sense of purpose even in those few faltering moments." - Kyle Petersen
For more record reviews, see page 14 of the magazine here:
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In Jasper Vol. 3, No. 3: John Fitz Rogers - New Works and Meanderings
"Rolling down the hill on Blossom Street toward the Congaree, John Fitz Rogers heard a sunset. On his route home from the USC School of Music a few years ago, "there was this amazing sunset with these pink hues. As I was driving I was trying to keep my eyes on the road, but also watch the sunset. I've always been fascinated with sunsets, and this one was incredibly striking.' While the notion of drawing inspiration from natural phenomenon is the stuff of Romantic legend, composers tend to hear ideas at inconvenient times - half-mesmerized by a wash of auditory luster, half-squinting toward a traffic light lost in the sun, both hands clenching the steering wheel. Rogers admit fascination with numerous affairs of the everyday, but particularly with sunsets: the slowness, the ephemeral grace, the colors as they imperceptibly slide and shift. Fascination enough with the constancy and change of this particular sunset became the basis for his most recent orchestral work, The Passing Sun, which was commissioned by the South Carolina Philharmonic; its premiered on January 11, 2014. ..." - Tom Dempster For more, read the full article on page 12 here:
In Jasper Vol. 3, No. 3: Stages All Over the Midlands
"'If you build it, they will come.' That's a dicey proposition at best for businesses, more so for a fledgling arts organization during a recession. Still, with unwavering optimism based on experience, actor/director Robert Harrelson created On Stage Productions and hasn't looked back since. ..." - August Krickel For more, check out the full article on page 6 here:
In Jasper Vol. 3, No. 3: Movies And Cotton--And Movies About Cotton
"During production of her 2004 experimental, non-fiction film Cabin Field, independent filmmaker Laura Kissel became interested in the life cycle of the cotton plant. Cabin Field focused on a mile-long stretch of agricultural land in Crisp County, Georgia, and, during production, Kissel visited a local cotton gin. In the course of that visit a local farmer told her that all of the cotton being processed at the gin was being sent to China. Witnessing the small town of 500 and the Hispanic workers who labored at the gins, along with their dependence on China's need for cotton is what set in motion the concept for Kissel's feature documentary Cotton Road Movie. ..." For more, read the article on page 6 here:
"See Rock City & Other Destinations" at Trustus: A Stage-cation Well Worth the Trip - a review by Arik Bjorn
Americans are suckers for a good travelogue set within the boundaries of their own white whale nation. Perhaps this is because so many of us spend most of our lives in some little corner of the vastness that is the Fruited Plain. For millions, just a trip from Manhattan to Coney Island, or from a one gas station town in North Carolina to Lookout Mountain, Georgia, represents an odyssey. And a visitor from Niagara Falls may as well be an extraterrestrial being to someone living in far-off Roswell, New Mexico. As I drove home from Trustus Theatre’s production of See Rock City and Other Destinations—tempted to put the pedal to the metal and drive north on I-95, past South of the Border and to wherever life takes me—I couldn’t think of any other significant musicals with expedition as a central theme. (Sorry, Oh! Calcutta! doesn’t count.) Yet there are so many great American travel books. My favorites include Umberto Eco’s Travels in Hyperreality and Bill Bryson’s A Walk in the Woods. But every American travel narrative, in my opinion, bows to the greatness that is John Steinbeck’s Travels with Charley. (Charley was Steinbeck’s trusty French standard poodle.) There are many diadem quotations in this book, but this one is a true gem: “We find after years of struggle that we do not take a trip; a trip takes us. … The certain way to be wrong is to think you control it.”
And that is the message at the heart of Adam Mathias and Brad Alexander’s award-winning production (2011 Drama Desk Award for Outstanding Musical, Outstanding Book and Outstanding Lyrics), presented in yellow-golf-sweater and tour-guide-khaki splendor by veteran director Dewey Scott-Wiley. As Scott-Wiley states: “We may embark on these journeys looking for escape…these destinations have the power to open our hearts and minds to real change.”
Steinbeck would agree.
In short, See Rock City presents separately parceled stories about average Americans pursuing humble dreams against the backdrop of popular tourist destinations: two strangers eating pie en route to a breathtaking view in the title town, Rock City; a conspiracy theorist seeking otherworldly companionship and self-validation near Area 51; a chemistry of multi-generational coupling before the normally unromantic backdrop of the Alamo; sisters celebrating ice, whales and ashes on an Alaskan cruise ship; two “d!ckheads” discovering forbidden love during a Coney Island freak show ride; and a bride-to-be barreling with nervous laughter at Niagara Falls.
The trick to nailing any stage expedition is set design. I admit I was nervous at first when I sat in my cozy Trustus seat and beheld the minimalist design that included not much more than two red diner stools. But once the curtains opened, Baxter Engle’s amazing three-screen projection design turned the entire stage into an animated album of famous American landmarks: the Space Needle, Wrigley Field, the Golden Gate Bridge, etc. The projections continued throughout the show, providing the patron with a believable sensation of “being there.” In fact, during the Niagara Falls vignette, I practically felt water spraying on my chest—then realized I had spilled Cabernet on myself. (Still, though, adult beverages in the comfort of one’s seat. Go, Trustus!)
Another major success of the production was the musical trio of Randy Moore (musical director, piano), Ryan Knott (cello) and Jeremy Polley (guitar). Moore makes a spot-on choice by concentrating on strings and conjuring the spirit of Woody Guthrie and so many other American road-trip artists. In fact, halfway through the production my mind couldn’t shake sounds gone-by of Neil Young’s "Harvest Moon;" I could practically taste the beef jerky of road trip yore.
Thousands of hours of effort go into every stage production, and every reviewer shouts curses at his or her limited space to credit those who deserve praise. The entire See Rock City troupe is worthy of accolades for acting and song; same for all of the technical staff. Truly outstanding are the voices of Kendrick Marion as Cutter the “motherf&%#er” prep school student and Kevin Bush as Jess of the Rock City-bound jalopy. I’ve seen Matthew DeGuire in many a role on Columbia stages, but it’s well worth the price of admission just to see him as a carney in lumberjack plaid and as Grampy, channeling the voice of post-stroke Anthony Hopkins in Legends of the Fall. Vicky Saye Henderson and Kyle (happy birthday!) Collins demonstrate ballet-like romantic chemistry, and it was a pleasure to see USC bioinformatics doctoral candidate Chase Nelson prove that science and the arts can mix—just don’t tell his Ph.D. advisor that he camps out in the New Mexico desert waiting for aliens. And stealing the first act is a “green jar from Home Depot,” tossed back and forth by Henderson, Linda Posey Collins, and Caroline Jones Weidner; what it contains, you’ll have to travel to Trustus to see.
See Rock City & Other Destinations is a weekend-worthy stage-cation and a wonderful theatrical reminder that setting sail for somewhere else, letting a trip “take you,” is what life is all about. Who knows what you’ll discover when you get yourself to the theater.
See Rock City & Other Destinations runs March 14-April 5 (Thursdays through Sundays) with all performances beginning at 8 p.m. with the exception of 3 p.m. matinee performances on March 23 and March 30. (There is no matinee on March 16.) Tickets are $27 for adults, $25 for military and senior, and $20 for students. Half-price Student Rush-Tickets are available 15 minutes prior to curtain. Trustus Theatre is located at 520 Lady Street in the Vista. Call 254.9732 for more information or to reserve tickets. Parking is available on Lady Street and on Pulaski Street. The Main Stage entrance is located on the Publix side of the building. To learn more about Trustus Theatre , visit www.trustus.org . The Thursday preview performance of See Rock City & Other Destinations was a “Dining with Friends” fundraiser to benefit the AIDS Benefit Foundation of South Carolina. Kudos to this group for its excellent philanthropic work!
~ Arik Bjorn
OH, THE PLACES YOU’LL GO -- A look at the technical theatre of See Rock City & Other Destinations - A guest blog by Chad Henderson
See Rock City & Other Destinations opens on the Thigpen Main Stage this Friday at Trustus Theatre. This uplifting musical charts the journeys of various characters as they become risk-takers in order to find connection and answers to life’s questions through visits to various American tourist locales. This award-winning script takes audiences to Rock City Gardens, The Alamo, Roswell, Niagara Falls, Glacier Bay, and Coney Island all in the course of two hours. One might question how these tourist sites could manifest in a theatrical setting before the audience’s eyes, but the bold visions of director Dewey Scott-Wiley and designer Baxter Engle proposed the answer: projection mapping.
Projection mapping is a projection technology used to turn facades into display surfaces for video projection. Often times the surfaces used are unexpected such as a building or a room that is painted uniformly to accept projections. By using specialized software, a two or three dimensional object is spatially “mapped” on a virtual program which mimics the real environment it is to be projected on. The software can communicate with a projector to fit desired images onto the surface of that object. This technique is often used by artists, advertisers, and promoters alike who can add extra dimensions, optical illusions, and notions of movement onto static objects. See Rock City & Other Destinations will mark the inaugural use of this type of technological design on this scale for the 29 year old theatre company that is constantly striving to bring current productions to Columbia.
Director Dewey Scott-Wiley assembled a talented cast for this moving production, but she knew that the technical theatre aspects of the show would have to match the thrilling performances of the actors. Many theatres have the privilege of fly systems and off-stage storage space for large scene changes – but Trustus simply doesn’t have those abilities. So the question remained: “How do we transport across America in a time efficient and visually appealing way?”
Baxter Engle, a Trustus Company member since 2007, suggested the first-time use of projection mapping on the Main Stage to take audiences on this journey. Engle has designed many creative projection designs for various productions in Columbia including Town Theatre’s Chitty Chitty Bang Bang, and Trustus’ Assassins, A Christmas Carol, and Henderson Bros. Burlesque. He also had the opportunity to design large-scale projections for internationally known designer Nic Ularu when he worked on Ularu’s original production Fusions, which premiered at the World Stage Design conference in Cardiff, Wales last summer. Naturally director Dewey Scott-Wiley, who is in her second year as artistic director at Trustus, jumped at the chance to bring something innovative to the Thigpen Main Stage.
Through the use of two projectors, a program called QLab (not usually associated with projection mapping), and various surfaces created for projections in the scenic design (designed by this humble blogger) – Engle is able to transition from Rock City Gardens, a journey down the highway, Glacier Bay, and Coney Island all with the click of the spacebar on the computer that’s running the program.
Modern theatre is certainly trending towards the use of projection technology in productions. It is cost efficient because it keeps scenic material costs low and allows for less backstage crew work in scene changes. In many cases it can add a mood or image into an audience’s experience that would be expensive or impossible to create live on stage. Some productions are even using holograms for scenic elements or characters in modern productions. See Rock City & Other Destinations will mark a technological advancement for the Trustus, but the goal is creating the sense of travel that the script asks for.
Audiences craving “new” can be rest-assured that See Rock City & Other Destinations will deliver. The show may not come with popular name recognition, but Trustus’ production comes with a talented cast, the music and book delivers in a big way, and the spirit of the production is steeped in innovation. This show is about risk-taking and the creative team of this production is striving for just that.
“You have brains in your head.
You have feet in your shoes.
You can steer yourself any direction you choose.”
― Dr. Seuss, Oh, the Places You'll Go!
SEE ROCK CITY & OTHER DESTINATIONS runs at Trustus Theatre March 14 – April 5, 2014. Tickets may be purchased online at www.trustus.org or by calling the box office at (803) 254-9732.
Addie Sims is Coming to Town -- at the SC State Museum
We write about her in the next issue of Jasper (releasing on Sunday, March 16th with a party benefitting Girls Rock Columbia at the Art Bar on Park Street), but Addie will actually be making her contemporary debut the day before and we'd hate for you to miss it.
The South Carolina State Museum is celebrating Women’s History month by opening a virtual exhibit, The Art and Life of Addie Sims: A Look into Her World, which features works of art by South Carolina Civil War-era artist, Addie Sims. The unveiling of the new virtual exhibit will take place during a public opening reception from 3 – 5 p.m. on Saturday, March 15 at the State Museum.
The virtual exhibit is comprised of original paintings by Sims, which tells the story of her struggles to pursue a career in art despite the social barriers and the intervention of the Civil War. The exhibit also features two portraits of family members painted in Charleston in the 1820s.
To celebrate the launch of the virtual exhibit, the museum will host an opening reception on Saturday, March 15. This reception is a one-time opportunity for guests to see Sims’s original paintings on display. After the reception, the museum will place the paintings in storage for conservation and preservation. In addition, there will be a special talk by her relative, Rev. Tommy Sims, on her life and work, followed by the unveiling of the new virtual exhibit that is accessible through the museum’s website. Guests will be able to speak to some of Sims’s relatives who will be onsite.
“Women artists were rare for that time, so that makes this art important, especially for South Carolina,” said JoAnn Zeise, curator of history, S.C. State Museum. “Her story is also intriguing because she passionately wanted to be an artist rather than follow the traditional path for antebellum Southern women. I am excited to introduce the world to the great talent of this previously unknown artist.”
Sims’s paintings portray real-life slaves on her father’s plantations and are portraits of actual relatives. These portraits are personal and are not caricatures or idealized versions of black life so often portrayed by white artists of this period. The artwork depicts such scenes from her native Union County as a beautiful brook in “Nott’s Branch,” her grandfather in “Portrait of William Sims (‘Grandpa Billy’)” and an old-growth forest in “Forest Scene with Broken Trees.”
Sarah Adeline “Addie” Sims was born in 1828 in present-day Union County and grew up wanting to be an artist, an unusual occupation for a woman at that time. Studying both at Limestone Springs Female Academy (now Limestone University) and under the Bounetheau’s at Mrs. DuPre’s Seminary in Charleston, Addie mostly painted landscapes and portraits. She also carved small figures and cameos from a local rock called soapstone.
The State Museum would like to thank Sims’s descendents, who graciously donated pieces of her original artwork to the museum, which will hopefully inspire the public and researchers to delve into her life and the life on her plantation.
The opening reception is included with museum general admission or membership. The virtual exhibit will be accessible starting March 15 and will be available 24/7 and will be free of charge at scmuseum.org/exhibits.
SC Young Filmmakers Project -- Call for Submissions
Jasper is a nut for the sweet intensity of a well-made film and thrilled that this program opens the door to that special magic to young SC filmmakers. Here's hoping you'll help us pass the word along!
It's simple for South Carolina high school students to enter the SC Young Filmmakers Project. Make a short film (at least 30-seconds long, two-minutes max). Shoot at least one scene at a South Carolina State Park. GO WILD! with your imagination. Be clever and creative. Most importantly, create a film with a story.
Deadline for entries is midnight on Friday, March 21, 2014. The Top Ten finalists will screen in a special program at the 2014 Charleston International Film Festival. First, second, and third place winners will receive cash prizes.
For complete rules and how to enter, visit our contest page here.
For a complete list of SC State Parks (there are 47 of 'em across the state), click here. And check out our YouTube channel for more info, including winners and finalists from last year.
Any questions? Email sarah@indiegrants.org.
HOW TO ENTER THE SOUTH CAROLINA YOUNG FILMMAKERS PROJECT:
1. Make an awesome short film, following the contest guidelines and shooting requirements found here.
2. Upload your film to either YouTube or Vimeo. These are the two standard video sharing sites; if you don't have an account for one of them, it's easy to set one up. And now that you're making movies, you'll probably be using them a bunch.
3. Tag your video with 'SC YOUNG FILMMAKERS' once you've uploaded it.
4. Complete the official registration form by clicking here. You must complete the registration form by midnight EST on March 21, 2014. Be sure to include an accurate YouTube or Vimeo link to your entry in the form.
Four Questions for Jeremy Joseph - Founder of Villa Ville Cola
Villa Ville Cola: New all arts festival to be held at Conundrum
Whose idea was this?
The idea for the festival was started by Jeremy and Becca Joseph.
What's the philosophy behind it?
Their aim is to facilitate community transformation by bridging gaps between various art forms, artists at different stages of their careers, of differing ages, scenes, and lifestyles. They hope that by bringing all these artists into one space it will lead to a synergy of new ideas amongst everybody at the festival.
Who are the folks working on it?
Jeremy & Becca Joseph, Cecil Decker, Page Chilton, and Paige Haggard. Drake Cartrette, designer at Before the Ink is Dry, created the event poster.
Will this be an annual event?
That’s the hope. First they plan to make year one awesome.
~~~
Columbia, SC – dozens of Columbia-based artists across many different artistic disciplines are coming together Saturday, March 8 from 12:30 – 6p.m. in the outdoor space at Conundrum Music Hall to participate in and launch the first annual Villa Ville Cola. The concept behind this new festival is to provide a platform and opportunity of expression for every art form in our city that en masse facilitates community transformation. The festival will feature local arts and crafts booths, a music stage featuring special acoustic performances from a variety of local acts, a film-festival (inside Conundrum), and a performance stage featuring local poets, comedians, improv, dance, circus, magic, and more. By bringing together a large group of diverse Columbia artists into one place for a unique day of arts and community building we hope the event will be a worthy addition to Columbia’s vibrant artistic scene. Tickets are $2 at the gate. For more information please visit www.villavillecola.wordpress.com
Arts and Crafts vendors Music Film
JellyKoe Falling Off A Building James Owens
That Godzilla Guy Marshall Brown Aaron Wyrd
PIENSA: Art Company Release the Dog Tyler Errigo
Owlette Daddy Lion Anthony Stagliano
Birdies by Shayna The Post-Timey String Band Cecil Decker
Lorna Festa Dr. Roundhouse Jordan Wilson
Lila Shull & Grievances PrettyFeet Jordan Young
Tennyson Kovach Corley William Glenn Christopher Karis West
Hillbilly Luthiers
J. Beads
Alicia Hope
Sank Parfwa Deece
Frenijo Designs
Live Painting by Jean Bourque
Soda City Cirque Mind Gravy Poetry Showcase ft.
OverReactors Improv Justin Blackburn
Columbia Comic Showcase Debra McQueen
Jenn Snyder Ken Denk
Wayne Cousins Merlyn the Mystic
Topher Riddle Ritual Abjects
Matt LaBorde Fortune Telling
Midlands Capoeira Angola Face Painting by Dorothee Walters
Please Note: Some language and content at Villa Ville Cola may not be suitable for children.
friends of the richland library
Fall Lines literary magazine deadline extended and $500 in cash prizes announced
Fall Lines
a literary convergence
Jasper is pleased to announce the addition of two $250 cash prizes, one for poetry and one for prose, offered by the Friends of the Richland Library for the 2014 Fall Lines: A Literary Convergence project and competition. Given this exciting new information we are also delighted to extend the submission deadline until midnight on Sunday, March 16th, 2014.
We'd also like to note that while deadlines are sometimes extended due to a shortage of submissions, we are delighted that this is not the case. We have been overwhelmed not only by the number of submissions we have received, but also by the quality of the submissions themselves and the professional status of the authors submitting. We have happily received submissions all the way from emerging writers to Marjory Wentworth, South Carolina's Poet Laureate herself. We have no doubt that Fall Lines will be a new force on the literary landscape and we are thrilled that Columbia, SC is the journal's home.
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Fall Lines – a literary convergence is a new literary journal based in Columbia, SC and presented by Jasper Magazine in partnership with Richland Library, the University of South Carolina Press, Muddy Ford Press, and One Columbia.
With a single, annual publication, Fall Lines is distributed in lieu of Jasper Magazine’s regularly scheduled summer issue. While a limited issue of three thousand copies of Fall Lines will be printed, Fall Lines will be available in its entirety in a downloadable e-format via RichlandLibrary.com.
Fall Lines will accept submissions of previously unpublished poetry, essays, short fiction, and flash fiction from January 1 through March 1, 2014. (NOTE – THIS DEADLINE HAS BEEN EXTENDED TO SUNDAY, MARCH 16TH, 2014.) While the editors of Fall Lines hope to attract the work of writers and poets from the Carolinas and the Southeastern US, acceptance of work is not dependent upon residence.
Please limit short fiction to 2000 words or less; flash fiction to 350 – 500 words; essays to 1200 words; and poetry to three pages (Times New Roman 12 pt.) Submit your work via email to Editor@JasperColumbia.com with the words “Fall Lines” in the subject heading along with the category (above) of the item being submitted. While you are invited to enter up to five items, each item should be sent individually as a single submission. Please include with each submission a cover sheet stating your name, age, email address, and USPO address. There is no fee to enter.
Publication in Fall Lines will be determined by a panel of judges and accepted authors will be notified in May 2014, with a publication date in June 2014. Accepted authors will receive two copies of the journal.
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The Columbia Fall Line is a natural junction, along which the Congaree River falls and rapids form,runningparalleltothe east coast of the country between the resilient rocks of the Appalachians andthesofter, more gentle coastal plain.
Body & Movement Explored – This Weekend's New Choreography Ballet Performance with William Starrett -- By Deborah Swearingen
Whether you’re from South Carolina or not, you can probably relate to the vitality that flows from the warm rays of the sun. Columbia City Ballet’s Artistic Director William Starrett understands this better than most. His ballet for Body and Movement Explored was inspired by his love for the sunshine. He hopes his choreography to Rimsky-Korsakov’s “Hymn to the Sun” will warm the audience enough to satisfy them until summer finally makes its return.
After having great success in its first year, Body and Movement Explored is back for year two – bringing a mixed repertoire that combines all of the talent, technique, and experience of this accomplished company. The program is Columbia City Ballet’s outreach for developing young choreographers and stretching the talents of local artists. Professional dancers have the opportunity to work with a variety of choreographers to truly bring their visions to life.
One of the most unique aspects of the show is its fast pace. Varying from a more traditional full evening ballet, Body and Movement Explored consists of a mix-up of smaller ballets. This setup ensures that there is something for everyone in attendance. Even if you don’t particularly care for one of the shows, you’re sure to thoroughly enjoy another.
“It’s like an appetizer sampler plate,” Starrett says, laughing. “You can sample everything – all the fun foods we love in one evening.” Since a lot of subjects and issues are best addressed through smaller ballets, Starrett feels the show will spark audience debate.
New choreography helps to keep the art form vibrant and alive, Starrett says. Artists constantly reinvent themselves, and as artists evolve, so should the art form. Keeping up with the evolution of the human race is also important, and choreographers must learn to deal with issues from new perspectives.
But original choreography also comes with challenges. Time and space are issues that every choreographer faces, particularly in a show like a Body and Movement where several dancers are in multiple ballets. It can also be tough to ensure that dancers fully understand the vision of the choreographer. Getting the dancers to retain and produce a high percentage of the vision is difficult, but ultimately what makes being a choreographer so rewarding for Starrett.
Body and Movement Explored will be held at the CMFA Art Space at 914 Pulaski Street in the Vista on Thursday, Feb. 27 through Saturday, March 1 at 7 p.m. Tickets are $25 in advance and $30 at the door. Student tickets are $10 with a valid student ID. Tables that seat 10 people are available at $300 or $500 for prime location. To purchase tickets in advance, visit Columbia City Ballet offices on the corner of Main and Taylor Street, call 803-799-7605, or go online to bme2014.brownpapertickets.com.
The event will be choreographed by William Starrett and Pat Miller Baker; Wayland Anderson, Jordan Arthur Nelson, Ricky Davis, and David Ligon.
"The 39 Steps" at USC's Longstreet Theatre - a review by Jillian Owens
Do you enjoy mystery, intrigue, espionage, ridiculous accents, and fast-paced gender-bending craziness? Do you also happen to be a fan of the films of Alfred Hitchcock? If your answers to these questions is no, just stop reading this right now (because I probably don’t like you very much). If your answer is yes, you’re in luck! Based on the 1935 Alfred Hitchcock classic of the same name, The 39 Steps (adapted by Patrick Barlow from the novel by John Buchan) at USC’s Longstreet Theatre is almost word-for-word the same script as the film.
The plot is simple. An innocent man by the name of Richard Hannay (played by Josiah Laubenstein) meets a beautiful German woman who turns out to be a spy. She ends up murdered in his apartment, but in her last breaths warns him that he must save England from an act of terrorism that could happen at any time. He ends up blamed for her murder and must try to stop this nefarious scheme without getting caught by the police who are hot on his trail. But there’s a twist! While the words and plot are essentially the same, the play veers off into being a zany comedy that reminds one of Monty Python or Benny Hill. Oh yes...and the multiple roles of the play are played by just 4 actors.
You might think this sounds like a mean-spirited jab at Mr. Hitchcock, but it isn’t. It’s more like poking fun at a dear old friend. Overdone and campy with silly sight gags and bawdy physical comedy, The 39 Steps is hilarious. While we only see 4 actors, the multitudinous technical crew is working its crazed magic behind the scenes, with rapid-fire costume, lighting, sound, and set changes. 22 of Hitchcock’s other works are referenced in this production as well...can you spot them all?
I was a bit nervous as I entered the theatre. This production of The 39 Steps appeared to be cursed. The ice storm of the previous week led to every theatre technician’s worst nightmare...not being able to work for five days when your show is supposed to be in technical rehearsal the week before your opening. Whether the treacherous ice that shut down USC was a result of some unsuperstitious sort uttering the name of The Scottish Play or just lousy luck, the 50+ cast and crew members of The 39 Steps were in a bind. When department chair Jim Hunter explained all of this in his pre-curtain speech, I groaned a little inside. Was this basically a pre-emptive apology for what was going to be a sloppily-executed production? I’m pleased to say: Jim, you can scrap that speech. All of the around-the-clock last-minute building and tweaking paid off, and The 39 Steps went off without a visible or audible hiccup.
The two guest co-directors, Jim Helsinger and Brad DePlanche,prove to be a dynamic duo in executing an extremely demanding production. The set by Xuemei Cao is gorgeous and ever-changing, but it almost seemed too large for the play. The lighting design by Ashley Pittman and the sound design by Britt Sandusky were no small feats either. I’m going to do something that almost never happens in theatre reviews and congratulate the Stage Manager, Lacey Taylor, for managing and calling an extremely difficult show under some pretty scary circumstances.
But what good is a technically spot-on show without the actors to bring the story to life? Josiah Laubenstein is a fine and upstanding Richard Hannay with a talent for physical comedy. Melissa Reed handles the roles of his multiple love interests (with multiple accents) with endearing panache. Still...my favorite scenes in this production were with James Costello and Trey Hobbs who played countless characters. It’s rare to see two actors who have such a great comedic chemistry together. I overheard several audience members (who apparently don’t read their programs) ask, “Are they brothers?”
The 39 Steps is one of the funniest shows I’ve seen in over a decade, and definitely one of my favorite Theatre South Carolina Productions. Unfortunately, this show has a very limited run and this is your last weekend to catch it, which I hope you will. You’ll have a frightfully fun time.
~ Jillian Owens
Show times are 8pm Wednesday-Friday, and 7pm Saturday. There is an additional half-price late night performance on the final Saturday, March 1. Tickets for the production are $12 for students, $16 for USC faculty/staff, military personnel and seniors 60+, and $18 for the general public. Tickets can be purchased in advance by calling 803-777-2551 or by visiting the Longstreet Theatre box office, which is open Monday-Friday, 12:30pm-5:30pm. Longstreet Theatre is located at 1300 Greene St. For more information about The 39 Steps or the theatre program at the University of SC, contact Kevin Bush via phone at 803-777-9353 or email at bushk@mailbox.sc.edu.