Columbia Baroque presents “The River Thames,” featuring Danny Jenkins on September 4

Columbia Baroque invites you on a tour of the great rivers of Europe for our 2015-2016 Concert Series, “Across the Water with Columbia Baroque.” Our season opening concert visits “The River Thames” in London, with special guest artist J. Daniel Jenkins, countertenor. The program features spectacular opera arias by Handel, Vivaldi and Monteverdi, plus beautiful instrumental chamber music, and closes with Purcell’s “Sound the Trumpet.”

  Our journey begins with the gorgeous love duet featuring Jenkins and mezzo soprano Brittnee Siemon,“Pur ti miro,” from the final act of Monteverdi’s L’incoronazione di Poppea. Jenkins is the soloist for the exuberant and frenetic aria, “Furibondo spiro il vento,” from Handel’s opera Partenope, which features comic romantic complications and gender confusion. “Spoza son disprezzata” from Vivaldi’s Bajezet gives Siemon the role of the weeping scorned villainess. The instrumental selections include: “Captain Hume’s Lamentation” for violin and gamba by Tobias Hume, which shows the serious side of this oft-times prankster composer; “Lady Pembroke Sonata” for gamba and harpsichord by renowned gamba composer and performer Carl Friederich Abel; the familiar Handel F major Sonata for recorder and continuo; and a lovely Broken Consort by Matthew Locke. Concluding the program, the ever-popular duet, “Sound the Trumpet” from Come Ye Sons of Art, which was written by Purcell as an Ode for Queen Mary’s Birthday. The memorable tune has been delighting audiences for over three hundred years.

  Guest artist, J. Daniel Jenkins, is an associate professor of music theory at the University of South Carolina. He holds a Ph.D. in music theory from the Eastman School of Music, University of Rochester, an M.M. from the University of Louisville, and a B.M. from the University of Kentucky. He was a fellow at the Mannes Institute for Advanced Studies in Music Theory and a Fulbright Scholar in Vienna in 2005-2006. At USC, Jenkins is affiliate faculty in International Studies, Euro Studies and Women's and Gender Studies. Joining Jenkins are Columbia Baroque members: Brittnee Siemon, mezzo soprano; Jean Hein, Baroque recorders; Erika Cutler, Baroque violin; Gail Ann Schroeder, viola da gamba; and Jerry Curry, harpsichord.

  “The River Thames” will be presented Friday evening, September 4 in the Recital Hall at the University of South Carolina School of Music, 813 Assembly St. in Columbia. “Concert Conversations,” hosted by Sarah Williams, University of South Carolina Asst. Professor of Music History, begins at 7 p.m. with the performance at 7:30 p.m. Tickets are $15 in advance or $20 at the door, and students attend free. For ticket purchase and information, visit columbiabaroque.com.

Andrew Thomas – Pushing Further by David Travis Bland

 

Andrew Thomas has to be honest. He’s a bit drunk—the ideal state for learning what’s at the heart of a man. He’s in Charlotte about to see Primal Scream, one of his favorite bands since he was young. You learn quickly that Thomas is more than a fan of music—he’s a cultivator of sound culture. He’s just as fast to give up the fact that David Bowie resides as an idol in Thomas’ personal pantheon.

This fact gives way to a slight conceit from Thomas. He quotes Bowie—“an artist is someone who thinks their opinion is more important than other peoples.”

The bravado of such imitation is tampered by Thomas’s soft spoken, outward disposition. In the invisible depths of such a modest individual Thomas is, as he says, “an introverted loose cannon.”

This is the type of atomic word fusing from that unique brand of person who can seemingly coordinate the elements that make the world into what we think of as culturally defining.

For Thomas those elements are skateboards and fine art.

Thomas is a visual artist with the recognition to enjoy such a conceit. While stationed in Columbia, SC he has shown his work primarily in galleries in the major cities up and down the east coast.

He also has a bit more ownership of the title skateboarder than someone who learned a kick flip in middle school, but still rocks a pair of Emerica shoes and a Volcom hoodie on the weekend, sans the deck. Thomas rides for Columbia’s, Bluetile Skateshop, and has been featured in few respected, homegrown skate films.

“I’ve been skateboarding for twenty years this year and I’ve been drawing,” he has to stop and think, “Since I can remember.” The two are Bowie and Ziggy Stardust for Thomas—same thing, different face.

He brought the results of this duel pursuit to a rare showing in Columbia at Bluetile Skateshop where he revealed nine new pieces along with the skateboard visuals that he created for an artisan skateboard producer.

Thomas’s style consists of scrawled out sketches on a canvas dowsed in spray paint and acrylic. While the color and line work may be furiously formed what the pieces show are figurative and representational.

“I find it hard to hold back from all that stuff,” Thomas says about the frenzied process of his work. “I wish it would be more minimal, but I think frantic’s a pretty good word,” he says to describe his art.

The visuals Thomas contrived for the deck are being put to wood by Slapstik Skateboard Art out of Philly. The company creates skate decks on an artisan level, manufacturing a short run of boards that are probably better fit hanging on your wall than sliding down handrails. For now the board is exclusively available for purchase at Bluetile Skateshop and slapstikskateboardart.com

Slapstik is the work of Shawn Beeks, an artist and skateboarder himself. In the company’s original conception it was as an outlet for Beeks’ own artwork.

Recently Beeks expanded to produce more unique items, umbrellas for one, and neckties. He also began reaching out to other artists to create work for his decks.

The idea behind Slapstik is unique—to change the context of the skateboard release, giving it more cultural significance and artistic merit while maintaining accessibility as well as function.

This philosophy made Slapstik and Thomas a perfectly welded fit.

“It’s an accessible way to collect something unique,” Thomas says—an object that can mean more than its functional form but also be respected for the work it can do.

For six months, Thomas locked in a creative rapport with Beeks to produce the kind of aesthetically apt board that Beeks has cultivated for Slapstik. For Thomas, having his art on the bottom of a skateboard is the culmination of a life pushing eight plies of wood on concrete and pushing his own artistic abilities. He’s working towards other goals, he concedes. He wants to show more in Columbia and to simply keep putting himself out there, beyond the east coast possibly.

Andrew Thomas lives by an ability to push further. There’s always a bigger set of stairs to roll away from, coasting on the concrete, always another image to fiercely render on the canvas. Art and skateboarding Thomas says, “They lead you after a while, they end up driving you and your life.”

Columbia Museum of Art has a Busy September Planned

 

From Marilyn to Mao: Andy Warhol's Famous Faces

On View in the Lipscomb Family Galleries through Sunday, September 13

The CMA presentsFrom Marilyn to Mao: Andy Warhol's Famous Faces, a thematically focused look at the artist's influential silkscreens and his interest in portraits.Andy Warhol (1928-1987) is central to the pop art movement and one of the best-known 20th-century American artists. From Marilyn to Mao uses 55 of Warhol's acclaimed portraits to explore pop art's tenet of the cult of celebrity, the idea that pop culture adores the famous simply because they are famous. Warhol exploited society's collective obsession with fame like no artist before or after him. The exhibition celebrates the Mao suite, an anonymous gift to the CMA of the complete set of 10 silkscreens Warhol created in 1972 of Mao Zedong, chairman of the Communist Party of China from 1949 to 1976.

Warhol first gained success as a commercial illustrator before becoming a world-renowned artist. His works explore the relationship between artistic expression, celebrity culture, and advertisement that flourished by the 1960s-concepts he continued to examine throughout his career. His art forms a mirror of the rise of commercialism and the cult of personality. He was not a judge of his subjects as much as a talented impresario who brought thousands of people into the pantheon of fame, if only for fifteen minutes. Some, such as Marilyn Monroe, got a few more minutes.

In addition to Marilyn Monroe and Mao Zedong, the exhibition includes the faces of Judy Garland, Muhammad Ali, Sigmund Freud, Kareem Abdul-Jabbar, Albert Einstein, Annie Oakley, Theodore Roosevelt, Giorgio Armani, and Superman, as well as two self-portraits by Warhol, to name a few. The majority of the works outside of the CMA's Mao suite are loaned by the Andy Warhol Museum in Pittsburgh, Penn. The CMA has also secured a partnership loan with Bank of America to borrow seven pieces from their collection. The run of the exhibition is filled with an array of related evening and daytime programs for adults and families.

Identity

On View in the Community Gallery through Sunday, September 27, 2015

Warhol interrogated the concept of identity, which remains at the core of the American experience. From Marilyn to Mao: Andy Warhol's Famous Faces provides the broader community the opportunity to both appreciate the enduring qualities of his art and to question the nature of fame and identity. How do we understand fame and identity in relation to others or to our own sense of self? Can we, like certain celebrities, politicians, or artists, remake ourselves? How are these concepts a part of the 21st-century experience? The Identity exhibition, a community gallery show whose opening coincides with Arts & Draughts on August 14, attempts to address and perhaps offer answers to these broad questions. The CMA has invited four established Columbia artists - Michaela Pilar Brown, Ed Madden, Betsy Newman, and Alejandro García-Lemos, who have each chosen one or more artists to mentor. Together each group creates a work or installation that responds to the questions of identity raised in the Warhol exhibition.

The Art of Joseph Norman

On View in Gallery 15 through Sunday, January 10, 2016

African-American artist Joseph Norman is a Chicago native whose lithographs mesmerize the viewer with an exploration of dark human emotion and raw commentary on black life in America. The Art of Joseph Norman introduces two complete print portfolios: Out at Home: The Negro Baseball League, Volume I, and Patti's Little White Lies. While Norman's work is said to be concerned with social injustice, inequality, and conflict, it is equally about love, transformation, and self-reflection. T

Gallery Tour: From Marilyn to Mao: Andy Warhol's Famous Faces

Saturday, September 5 & 12 | 1:00 p.m.

A guided tour provides an overview of the Gladdddthematically focused exhibition, From Marilyn to Mao: Andy Warhol's Famous Faces, featuring 55 of Warhol's famous portraits to explore pop art's tenet of the cult of celebrity, the idea that pop culture adores the famous simply because they are famous. Free with membership or admission.

Gallery Tour: Highlights of the CMA Collection

Every Sunday | 2:00 p.m.

Free

A guided tour provides an overview of European and American art in the CMA collection. This family-friendly tour features masterpieces of the Italian Renaissance, Baroque, and Rococo from the Samuel H. Kress Collection and the American galleries.

Gladys' Gang: Join us for this popular series! Gladys' Gang is a free, early childhood arts and literacy program for ages 2-5 that focuses on preparing children for kindergarten. Using art as a guide, children and their adult caregivers enjoy story time and a visit to the galleries followed by a hands-on art project in the CMA studios. The program is held the first Wednesday of each month from 10:00 until 11:00 a.m.  Spaces are limited. Reserve your free spot in Gladys' Gang at columbiamusuem.org

I'm a Little Teapot or Coffee Pot

Wednesday, September 2 | 10:00 - 11:00 a.m.

Join us for some stories and songs and visit to the galleries to find some tea and coffee pots followed by art time in the studios where we will work together to decorate a tea pot.

Baker and Baker presents: Beethoven Cello Sonatas with A.W. Duo

Friday, September 4, and Saturday, September 5

Doors at 6:00 p.m. | Concert at 7:00 p.m.

2015 is the year of Beethoven for the A.W. Duo-Alyona Aksyonova on piano and James Waldo on cello. During their two-night stint at the CMA, the duo plays the complete cello sonatas. In the spring of 2014, the duo went on its second regional tour of the southeast, during which their performance at Church of the Good Shepherd in Columbia, SC was recorded by SCETV South Carolina Public Radio. This past summer, the duo had its debut at Alice Tully Hall with the ICN International Music Festival and made its first appearance with the Highland-Cashiers Chamber Music Festival in North Carolina. Cash bar. Both nights: $25 / $20 for members / $5 per night for students. Single night: $15 / $12 for members.

About Face Drawing Sessions

Mondays, September 7 & 21: Topics vary | 10:00 a.m. - 1:00 p.m.

Tuesdays, September 8 & 22:

Portrait Drawing | 6:00 - 8:00 p.m.

Figure Drawing | 7:15 - 9:15 p.m.

Looking for a supportive and friendly environment to hone your artistic skills? About Face Drawing Sessions are for you! There's no instructor, but there is a group of inspired artists, representing a wide range of abilities, who love to draw from the live model. Must be 18 or older to participate. Mondays: $12 / $10 for members / $5 for students. Tuesdays: $10 / $8 for members / $5 for students. Includes both sessions.

Passport to Art: Set the Table

Sunday, September 13 | Noon - 3:00 p.m.

Create a still life collage using a variety of different materials during this free drop-in open studio for families. Enjoy a self-guided tour or join the family-themed tour at 1:00 p.m. Free.

Dinner in White

Sunday, September 13

Cocktails at 6:00 p.m. | Dinner at 7:00 p.m.

Based on the incredible Diner en Blanc events that have popped up in cities around the globe, Chef Ryan Whittaker and 116 Espresso and Wine Bar are excited to present their own Dinner in White here at the CMA. The museum transforms into Warhol's factory for a totally unique dining experience. Come dressed in all white and bring an item for Warhol-inspired table decoration; the table with the centerpiece that pops the most will win a prize basket. Enjoy cocktail hour in our mod '60's lounge, then indulge in a multiple-course dinner inspired by the works in the Warhol exhibition. All proceeds go toward supporting the CMA educational mission. $120 / $100 for members. See the CMA website for details on discounted pricing for groups of 4 or 8.

Contemporaries' Oktoberfest

Thursday, September 17 | 5:30 - 8:30 p.m.

Come and enjoy a fun-filled evening of music, brats, and beer. $20/$5 for Contemporaries members.

CMA Jazz on Main: Trumpeter & Vocalist Joe Gransden: Songs of Sinatra and Friends

Friday, September 18 | Doors 7:00 p.m. | Concert 7:30 p.m.

Clint Eastwood referred to Joe Gransden as "a young man with an old soul and a classic voice."  On September 18, Joe brings that classic voice (as well as some smoking trumpet playing) to the CMA as he kicks off the third season of the Jazz on Main concert series. A native of New York, Joe Gransden has become one of the premier performers in the Southeast.  On the heels of a new release entitled "Joe Gransden: Songs of Sinatra and Friends," Joe joins the Noel Freidline Trio for an evening of music from "ol' blue eyes" himself, as well as other Rat Pack era greats such as Dean Martin and Tony Bennett. Individual Tickets: $35 / $28 members / $5 students. Season Tickets: $140 / $100 members. Premier Table Seating: $300 for 6 guests & 2 bottles of wine, $200 for 4 guests and 1 bottle of wine. Purchase tickets at columbiamuseum.org or (803) 799-2810. Presented by Family Medicine Centers of South Carolina.

ArtBreak

Tuesday, September 22 | Café 10:30 a.m. | Lecture 11:00 a.m.- Noon

ArtBreak is a program that looks at art through a different lens. Each session features a speaker who gives insight into their worldview by sharing their interpretation of works of art at the CMA. This month, begin the morning at the museum with pastries and coffee sold at the pop-up café by Drip followed by a talk from Pam Bowers, USC professor of Studio Art, who discusses nature in art. Free with membership or admission.

En Plein Air Oil Painting Workshop

Saturday, September 26 | 8:00 a.m. - 2:00 p.m.

Join The CMA, Congaree Land Trust, and artist David Phillips at Goodwill Plantation for a unique art and history experience. $45 bring your own art supplies/$75 includes art supplies. Box lunch included. Information and registration: congareelt.org or 803-988-0000

Warhol Community Gallery Salon

Sunday, September 27 | Noon

Free

The community gallery show, Identity, features artwork that responds to the questions of celebrity and identity raised in the Warhol exhibition.  The CMA welcomes two of the four Columbia artists, Michaela Pilar Brown and Ed Madden, along with the young artists they've chosen to mentor and collaborate with, to discuss their work.

USC Symphony Orchestra opens the season with “empress of the keyboard,” Natasha Paremski

The University of South Carolina’s premier orchestra ensemble, led by acclaimed music director Donald Portnoy, receives accolades for its fine performances. The first concert of the 2015-2016 season brings guest artist pianist Natasha Paremski, called “empress of the keyboard” by the Kalamazoo Gazette. The San Francisco Classical Voice wrote Paremski, “… has a real feeling for lush romantic music, the ability to handle blazingly rapid passagework, beautifully executed trills, and all made to look very easy.” Paremski will play Tchaikovsky’s Piano Concerto No. 1 in B-flat minor.

The concert takes place at the Koger Center for the Arts on Tuesday, September 15 at 7:30 p.m.

The Concerto nearly brought the composer and his friend Nikolay Rubinstein to blows. The work was met by harsh criticism from his friend, whom he had asked for advice. The suggested changes did sit well with Tchaikovsky and were not made. Tchaikovsky dedicated the work, not to Rubenstein as was first intended, but to Hans von Bülow, the famous German pianist and conductor who already liked Tchaikovsky’s music.

Ironically, it was Rubinstein who eventually showed the Concerto off to its best advantage, admitting he had been wrong about it several years later. The eccentricities of the First Piano Concerto, some of which may have caused Rubinstein’s disparagement, are now considered some of its greatest charms.

Also on the September program is Finnish composer Jean Sibelius’ Symphony No. 2 in D major, his most popular symphony. The symphony, associated with the Finnish landscape and a patriotic program, was a work the composer actually conceived in Italy. The symphony was begun in winter 1901 in Rapallo, Italy, finished in Finland in 1902 and first performed by the Helsinki Philharmonic Society in March 1902. Finland was undergoing turmoil at the turn of the 20th century and was experiencing a nationalistic fervor against the oppression of its Russian occupiers. Although the composer claimed no patriotic intent was inherent in the work, Helsinki audiences had understood the new symphony to be an overt expression of the political conflict reigning over Finland.

Tickets now on sale Single concert tickets are $30 general public; Discounts: $25 senior citizens, USC faculty and staff; $8 students. Call 803-777-7500 or Koger Box Office, corner of Greene and Park Streets (M-F 9 a.m. to 5 p.m.) or online atkogercenterforthearts.com.

Save with a season subscription Save with a season subscription (6 concerts) and enjoy the best seats in the house: $150 general public; Discounts: $110 senior citizens, USC faculty and staff; $45 students.

See the season’s details at sc.edu/music/orchestra-season

The Limelight - A Compendium of Contemporary Columbia Authors, volume II Launches on Wednesday

Join Jasper Magazine and Muddy Ford Press as we celebrate the release of The Limelight: A Compendium of Contemporary Columbia Artists, volume II with readings, refreshments, and signings.

Twenty local authors and artists write about twenty other artists whose work has influenced them, inspired them -- and sometimes changed their lives.

Tapp's Arts Center

Wednesday, August 19th

7 - 9 pm

Admissions is free.

Essays by

Clair DeLune, August Krickel, Brandi Perry, Debra A. Daniel,Jennifer Bartell, Jon Tuttle, Kara Gunter, Kristine Hartvigsen, Kyle Petersen, Laurie Brownell McIntosh, Michael L. Miller, Rachel Haynie, Randy Spencer, Susan Lenz, Tom Poland, Will Garland, Susan Levi Wallach, Don McCallister, Jane Gari, and Chad Henderson

about

Cynthia Gilliam, Cassie premo steele, Drink Small "The Blues Doctor", Ed Madden, Deborah Deck, Darion McCloud Storyteller, Marion Mason, Gina Langston Brewer, Sam  Beam, Lynne Burgess, Pappy Sherill, Boyd Saunders, Carrie McCray, Wim RoefsRobert Clark, George Singleton, Ray McManus, Bentz Kirby, Jean Bourque, and Paul Kaufmann.

With cover art by Matt Catoe. Edited by Cindi Boiter. Published by Muddy Ford Press.

CALLING ALL LOCAL ARTISTS!

AAF of the Midlands will host their annual Creative 50/50 Art Auction at Stone River next Thursday, August 20. The silent auction starts at 5:30 and will kick off the 2015-2016 membership year.

Local artists, this is where you come into play. We want YOU to participate in our Creative 50/50 Art Auction! Any type of art is welcome. Participating artists will receive 50-percent of the proceeds; the other 50-percent will go to AAF of the Midlands to help with programming for the year. Last year’s art auction raised more than $4,500!

During this free event, attendees will enjoy drinks with industry leaders, learn about upcoming AAF programs and discover how they can get the most out of an AAF membership by joining a committee.

Artists who wish to submit art should contact Lenza Jolley Hoose - 803.260.9499 or LenzaJolley@gmail.com.

New Trustus Playwrights' Festival Winning Play Premiering on the 14th

 

Trustus Theatre is bringing a world premiere to the Midlands as Barbara Blumenthal-Ehrlich’s Big City comes to the Thigpen Main Stage. This winner of the Trustus Playwrights’ Festival will have a limited run from August 14 - 22, 2015. Audiences can also meet winning NYC playwright Barbara Blumenthal-Ehrlich when she visits Columbia and attends opening weekend.

The Trustus Playwrights’ Festival is a national competition that is held annually. Last season over 500 submissions made their way to Trustus Literary Manager Sarah Hammond in NYC, and Artistic Director Dewey Scott-Wiley and Hammond chose Big City as the winning play. The show is receiving its first professional production on Trustus’ Thigpen Main Stage this summer under the direction of Scott-Wiley.

Big City is a modern tale about 21st Century relationships and communication, Big City introduces audiences to Jane and Joe. These friends have been living with each other for a while and are "just roommates," except for Friday nights and the occasional Sunday morning. Now he's drowning in urban angst and wants a deeper commitment  -- a baby! -- but Jane says no. Deep down, are they really in love? Or is it just the narrowing of options and fear of being alone that comes from being closer to 30 than 20. Anything can happen over a meal of Chinese takeout and muscle relaxants, especially when unexpected guests invade the small apartment they call home.

Big City playwright Barbara Blumenthal-Ehrlich is a NYC playwright. Her work has been produced/developed in NYC at Playwrights Horizons, Second Stage, Roundabout, Rattlestick, Women’s Project, EST, New Georges, AracaWorks, Urban Stages, and many others. “Life these days seems to move at a faster, scarier, and more absurd pace than it used to,” said Blumenthal-Ehrlich. “Wifi and cell phones mean our work follows us wherever we go. Twitter and Facebook bring a false sense of friendship and intimacy. Not to mention that the world is scarier since 9/11 and ISIS. The irony is that in an era of heightened fears and isolation, we need each other more than ever. This can make for some oddball and heartrending hookups. That’s the back story of Big City, a quirky high-stakes comedy about Jane and Joe, engaged in an escalating conflict over their life as not-so-platonic urban roommates.”

Big City boasts a cast entirely comprised of Trustus Ensemble Members. EG Engle plays Jane and Clint Poston plays Joe. Catherine Hunsinger and Jason Stokes play Sandy and Bill – two characters who enter in the second act and bring even more chaos to this apartment nestled in the Big Apple.

Trustus Theatre’s Big City opens on the Thigpen Main Stage on Friday, August 14^th at 8:00pm and runs through August 22^nd, 2015. Showtimes for Big City are 7:30pm on Thursdays, 8:00pm on Fridays and Saturdays, and 3:00pm on Sundays. Tickets for musicals are $30.00 for adults, $28.00 for military and seniors, and $20.00 for students. Half-price Student Rush-Tickets are available 15 minutes prior to curtain. Patrons are encouraged to reserve early at www.trustus.org as the show has a limited run.

Trustus Theatre is located at 520 Lady Street, behind the Gervais St. Publix. Parking is available on Lady St. and on Pulaski St. The Main Stage entrance is located on the Publix side of the building.

For more information or reservations call the box office Tuesdays through Saturdays 1-6 pm at 803-254-9732. Visit www.trustus.org for all show information and season information.

Thomas Crouch at City Art Gallery

 “Subject Matters” celebrates a new group of mixed media paintings on canvas by Thomas Crouch. The exhibition will open at City Art with a reception August 6th from 5-8pm and will remain in the main gallery through September 5, 2015.

“This group of paintings are the result of months of work and display a change in medium and media. After years of drawing on blueprint paper I chose to return to painting. With that return I became reacquainted with the problems and obstacles painters face while creating images. The one most reoccurring obstacle was subject matter and how that subject matter relates to the canvas. After speaking with many artist friends, numerous studio visits and research of admirable painters, these pieces are the answers I have come up with thus far. I look forward to continuing this creative process,” Crouch says.

Thomas Crouch is a Columbia, SC artist who has paintings in private collections on five continents. Having studied figurative oil painting, figurative drawing, and art theory at the Lorenzo De Medici School of Art in Florence, Italy, Thomas obtained a BA in Art Studio from the University of South Carolina in 1997.

Thomas has been recognized in Jasper Magazine as an Artist of the Year finalist in 2012 and 2013, in the Free Times 2013 Writer’s Pick for Best Artist, and as a featured artist at the 2012 Richland and Lexington County Cultural Council Sponsor’s Dinner. His work has also been recognized in the SC State Fair, winning First Premium in Drawing in 2013 along with several merit awards in 2010, 2012 and 2013. Thomas has competed as a juried artist in the 2013 Artfields competition, and continues to work with Caroline Guitar Company to national and international retailers.

Crouch comments, “Painting is the among the earliest and most potent forms of human communication and transferal of ideas. It exceeds the boundaries of language and sound, academia and intellect and relies solely upon itself and the viewer for it’s success or failure.”

 

City Art Gallery is located at 1224 Lincoln St. in the historic Congaree Vista area in Columbia, South Carolina.  Gallery hours are Monday – Thursday  10:00 a.m. until 6 p.m., Friday 10:00 a.m. – 5 p.m. and Saturdays 11 a.m. to 3 p.m.  For more information contact Wendyth Wells, City Art Gallery, at 803-252-3613.  Visit online at www.cityartonline.com

Happy Birthday to Arts & Draughts AND The Whig!

 

The Columbia Museum of Art hosts the 21st installment of its Arts & Draughts series onFriday, August 14, from 7:00 p.m. to 11:00 p.m. The CMA's quarterly night of beer, music, and art activities is also celebrating The Whig's 10^th anniversary with tons of things to do. "Having a program still thriving and growing after five years says so much about how Columbia has responded to this idea, and we're excited to celebrate this milestone with the strongest installment to date," says Phil Blair, owner of The Whig. "We've got an incredible exhibit, paired with the most genuinely talented musicians and wonderful human beings we know in this all local lineup, and a beer we made ourselves with the first brewery to ever participate in Arts & Draughts. Without a doubt this is the way we want to recognize our long standing relationship with the CMA and our 10 years of being in business on Main Street."

• Taste local food and drinks by The Wurst Wagen, Bone-In Artisan Barbecue on Wheels, Island Noodles, and Sweet Cream Co. The Whig's 10th Anniversary Ale brewed by Redhook debuts and a beer tasting of Kona Brewing Company's Big Wave Golden Ale is also featured.
• Live music is provided by Jade Janay Blocker, Bologna Eyes, Mustache Brothers, and Say Brother.

The CMA is also going all out with DIY and creative activities inspired by the exhibition From Marilyn to Mao: Andy Warhol's Famous Faces. "There's a lot of art in this Arts & Draughts. We really wanted to celebrate Warhol - both his ideas and his aesthetic," says Adult Programs Manager Glenna Barlow. "At our DIY station you'll be able to make your own Warhol-style piece with a simplified printing process and contemporary celebrity faces. We want to explore the question 'Who would Warhol be depicting if he were still around today?' Beyond that you can make your own digital selfie with a screen printing app and take a picture in our photo booth inspired by Warhol's famous factory." Guests can also get their own "15 minutes of fame" as Multimedia Production Coordinator Drew Baron records candid personal responses to the exhibition.

The night also marks the opening of Identity in the Community Gallery. Identity, featuring works by Michaela Pilar-Brown, Ed Madden, Betsy Newman, Alejandro Garcia-Lemos, and each artist's chosen protégé. Artist groups are:

Betsy Newman

Alice Wyrd

O.K. Keyes

Michaela Pilar Brown

Ariel Flowers

Roni Nicole Henderson

Ed Madden

Alexis Stratton

Alejandro García-Lemos

Mary Robinson

Anna Velicky

Kyle Alston

Kaitlyn Shealy

Identity is a collection of collaborative works or installations that seek to answer the enduring questions posed by Warhol's themes of fame, celebrity, and the public persona.

Admission is $9; $5 for CMA members, or become a member that night and get in for free!

For more information, visit columbiamuseum.org

Premiere: We Roll Like Madmen's "Needy AF"

Since their arrival in Columbia from Clemson a couple of years back, We Roll Like Madmen have continued to refine and allow their sound to evolve even as their trademark lush, slightly disturbed soundscapes remain defiantly central. 2014 saw 2 EPs that tugged in different directions, the hip-hop-laden of The Kids Must Die sitting alongside the more cerebral, searching Hermetic Vol. 1.

"Needy AF," their latest single from a still-unannounced LP that is likely to see a 2016 release. We chatted briefly with Madmen's Jordan Young about the new single and what direction the group might be headed.

https://soundcloud.com/post-echo/we-roll-like-madmen-needy-af-1/s-hiOer

So tell me about this new record. How does it evolve from what you did with your two EPs from last year, the hip-hop oriented The Kids Must Die and the more cerebral Hermetic Vol.1?

Both EPs helped hone our personal sound. TKMD involved a lot of artist friends and reflected on the state of the cultures that have influenced our music. Hermetic was more about introspective soul searching, something we had to do on our own. The next record makes use of that combined growth--the songs are more personal, and we’ve reached a point where we can really run with the ticks and weird shit that make us ‘us’. We’ve found our footing. We’re ready to start going new places with our people.

Your music always seems to produce a distinct tension between pop and abstract soundscape, warm dance vibe and dissonant dystopian ruptures. What exactly makes a tune a WRLM production?

That tension is really the defining element of a WRLM production. The best pop music is surprising and the best experimental music is relatable. Our goal has always been to push people to recognize the malleability between them. We’re after this marriage between mind and body… you should be able to cry and dance at the same time.

“Needy AF” in many ways seems like it has a few more organic elements than your songs typically have, with those prominent handclaps and close-to-piano keys in the intro, yet you also delve into a dubstep-ish sort of drop in there too. Are either of those progressions indicative of the rest of the record?

We feel like “Needy AF” is the most condensed example of our hyperactive arrangement and sound design tendencies. The record is diverse like past releases, but it abandons a lot of our old approaches in favor of charting fresh territory. There’s not a single strict genre track, and there’s more fluidity in our sound overall. A lot of surprises are in store for the people who have been listening since the beginning, and for fresh ears, well they get to experience our journey all at once.

Community Talk: Jam Room Music Festival 2015 Announcement, Cory Branan Edition

We here at Jasper are stoked for the 2015 Jam Room Music Festival, a free all-day concert that is celebrating its fourth year on Main Street this year. But rather than us telling you how awesome some of the bookings are, we thought we'd ask some community figures about their personal experiences with some of the bands booked. We started by asking American Gun's Todd Mathis about his history with Nashville singer/songwriter Cory Branan, one of the most celebrated under-the-radar Americana acts around.

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The first time I heard the name Cory Branan was in the song “Tears Don’t Matter Much” by Lucero.  Ben Nichols sings:

“Cory Branan’s got an evil streak

And way with words, that will bring you to your knees

He can play the wildest shows

And he can sing so sweet”

Not long after, while browsing around Acme Comics, Randy Dunn suggested I buy The Hell You Say, Branan’s debut album from 2002.  I listened, thought it had some good songs, “Ms. Ferguson” and “Skateland South” being my favorites, but was overall unimpressed.  I thought Lucero was much better and the production on the album was scattered.  Sometime later in 2005 (the exact dates from those days blur) I saw where Cory’s manager, Brian, was looking to fill some tour dates and I decided to try and help out.  The Whig had just opened so I asked Phil Blair if I could book Cory to play there.  Phil agreed and I got in touch with Brian and we booked the date.  I lugged my band’s PA equipment down the stairs to the Whig, set it up and had it ready.  I sent out emails to Uncle Gram (at WUSC) and rounded up as many of my friends as I could and Cory played for the first time in Columbia.

After seeing that show I realized why Ben Nichols had thought enough of Cory to put him in a song.  Cory was great live, and it was just him and a guitar. Charismatic, spastic, tender, and thoughtful were a few of the descriptions that ran through my mind.  His debut album had not done him justice. (And actually, none since have done justice to the live show.)  This guy was madly talented and anyone that saw him had to crack a smile at some of his stories and tunes. There were maybe 20 people in the audience that night, but I think everyone had a good time.  Cory drank some whiskey and followed me back to my house where I left him sleeping the next morning.  I went to work and was surprised to get a call from Brian (the manager) that afternoon asking if I had Cory’s phone.  I found it on the back of the toilet and Fed Exed it to Cory’s next show.

About a year or so later (again, timeframes here blur) I booked Cory again in Columbia, this time being at New Brookland Tavern.  I got Rob Lindsey to open, and I think I played a few songs too, and we had a better crowd.  Things were going pretty good that night until soundman Benji had a heart attack and died in the club.  Cory’s set was cut short and we all moved to the Red Tub where most sat in disbelief.  It was a pretty sad scene, Benji being such a great, nice dude.  Again, Cory came back to the house, and again, I got a call later in the evening asking about Cory’s phone.  I found it under the guest bed.

After those two shows in Columbia, Branan didn’t need my help booking him anymore.  He moved on to a better booking agency and traveled back through Columbia a few more times where he always played amazing live shows.  I even caught him in Nashville once with a full band and a near-packed house, something he hasn’t quite been able to do here in Columbia.  I’ve suggested Cory to the powers that be for the Jam Room Music Festival since its inception and was thrilled to see him on the bill this year.  I’m sure more than a few folks will come away saying, “Dang, that Cory Branan guy put on a hell of a show.” -Todd Mathis

Here's a link to Todd's new project, Interruptions of the Mind, along with some Cory Branan tunes:

https://www.youtube.com/watch?v=Cy7A7mCsHH0

https://www.youtube.com/watch?v=FOOyu02i4mw

https://www.youtube.com/watch?v=55XzJvTMlG4

What’s the Buzz: USC Lab Theatre produces The Bee-Man of Crighton County

By Haley Sprankle Eight chairs line the center of the Lab Theatre at USC. The cast gathers and quickly fills the empty theatre with warmth and energy, as they joke with great wit and chemistry. Director and cast member Grace Ann Roberts engages with her team, interjecting a quick quip or two as they all settle in their seats.

This is the cast for the staged reading of an original play, The Bee-Man of Crighton County, by Ryan Stevens. We last heard from Stevens when discussing his original work Player King, which included Bee-Man cast members Jasmine James, Megh Ahire, and Carrie Chalfant. Other team members for the staged reading include Elizabeth Krawcyzk, Freddie Powers, and USC Theatre MFA student Nicole Dietze.

“Well of course we drew heavily on the USC theater community,” Roberts explains. “We’d all seen each other work, taken classes together, things like that. So there’s already an element of familiarity there, and it’s so much fun.”

The cast has a unique added element of familiarity, however.

“You mean I get to sit next to my daughter?”

Roberts’ father sits down, puts his arm around her, and smiles as bright as day while Roberts dons a look of loving embarrassment that I know all too well.

“The other member is, well… it’s my dad, Kevin Roberts. He plays the Bee Man himself. He’s done several plays before, but we’ve never worked on anything together. That has been such a new experience, for both of us, but it’s also really cool. It’s been fun to watch each other work,” Roberts lovingly adds.

The play follows a story about the people in the small town of Sheol. The people are hopelessly trying to gather historical documents from the local hermit, Ogden Flass (Bee Man), while Julie Guest witnesses it all in the midst of her own existential crisis.

“He [Stevens] and I have worked together a ton, and we really trust each other. He’s a great friend, and I think he’s a great writer too, and I’m happy to have a hand in doing this with him,” Roberts says.

A Columbia native and graduate of both the South Carolina Governor’s School for the Arts and Humanities and the University of South Carolina with a focus in theatre at both schools, Roberts is taking on the part of Julie as well as directing the reading.

“I’ve never directed a staged read before, and I’m also cast in it. That wasn’t the original plan but really, at the end of the day, that arrangement has taught me a lot—not only about what you can do as an actor, or how you can bring it to life, but also just how different it is to direct a staged read,” Roberts elaborates. “It’s like… I’m learning too, and I share those lessons with the other cast members. It really feels more like ‘guiding’ than ‘directing.’”

The element of learning doesn’t just end from a directorial or performance perspective, though. Through shared experiences with the South, early adulthood, and family life, Roberts has been able to connect and learn from her character.

“Funny enough, she and I are currently going through pretty similar given circumstances,” she admits. “I just graduated from USC, and am still living in Columbia. Honestly, that wasn’t my initial plan, and I’ll probably be here for a while. Julie is in the same boat: she moves away to start a business, which tanks, and she has to move back to her small town and live with her mom. She and I had similar feelings about the whole thing, too—those feelings being ones of disappointment, sadness, and some anger, too. But, in the same way that her perspective on that changes, I find mine to be changing too. So it’s pretty fun to have that very literal connection to her. She’s helped me to understand how to redefine ‘failure,’ and that feels really good.”

The Bee-Man of Crighton County reading is this Saturday in USC’s Lab Theatre at 7 pm. Admission is free, so come out to support original, local work produced by young emerging artists on the Columbia scene!

“To me, the Bee Man is about blooming where you’re planted. Instead of resisting where you are—geographically, professionally, existentially, what have you—really embracing it, and making the best out of something you once perceived as the worst. I do think, too, it’s unique to the idea of southern community,” Roberts says. “What it means to live in a place where everyone knows everyone, and everyone’s looking out for each other.”

Taking it to the Streets: Pedro LDV on Solo Work, Collaboration, and the Art of Outdoor Performance

By: Michael Spawn

Around Columbia, Pedro Lopez de Victoria is best known as the front man and songwriting force of Casio Mio, the manic, electric pop group he formed in 2013. But the band’s intense, sweat-soaked delivery can sometimes overshadow the personal nature of LDV’s lyrics, something he hopes to rectify with plans for solo, more acoustic-based material. Jasper caught up with the songwriter to discuss his future projects, his hometown of Aiken, and how growing up there instilled in him a reverence for the oft-forgotten art of busking. *

Jasper: Tell me about the music you’re working on outside of Casio Mio.

Pedro LDV: Basically, it’s all part of the same kind of heart excavating, personal, honest music that I’ve been putting out with Casio Mio. But Casio Mio is kind of that, but with jackrabbit legs, so it makes everything louder. And sweatier. And the stuff outside of that, it’s from the same source; it’s just the song in its rawest form. Because when I write music, I’m always thinking in the back of my mind, like, ‘Oh, this could be a good symphonic break,’ or ‘this could be a good part for a sick bass line,’ but it’s all kind of embedded in this genetic code that, when I’m playing, it’s the base genes of it.

But it’s all a continuation.

Yeah. Casio Mio has always been my songwriting, just amped up a little bit. Kind of distorted.

Are you going to record any of this music? Are there plans for a record?

Yeah, I’m going to be doing a recording of some of my acoustic stuff with Daniel [Machado] from the Restoration. We’ve talked a little bit about working together. One thing we see eye-to-eye on is that there’s something in the performative aspect of our music that could be parsed out a little bit. The livewire thing that comes out of it, I’d want it to be a big part of any release of my solo stuff, because that’s kind of what it’s been. I’ve been in a number of bands with all these bells and whistles, but the undercurrent has always been simple—just standing there with a guitar, maybe stomping on a tambourine, playing a Nirvana cover. That’s the needle to the vein, you know? That’s the most direct method for me. So I’ll probably just put something out under the name Pedro LDV and it’s just going to be an audio capture of my recent stuff and from there I’ll implement more instrumentation and interesting stuff. The next Casio Mio record we’re writing, which we’re still working on, is definitely going to have a lot more than the bare bones, but I still want to get the bare bones stuff and accouterments figured out.

Which will see the light of day first—the new Casio Mio or the Pedro LDV record?

Probably Pedro LDV just because Lee [Garrett, Casio Mio drummer] is spending the summer in Knoxville, so that’s been delaying stuff a little bit. But it’s been coming out of my pores. I can’t stop writing, so that record will naturally be a thing that’s going to happen first, probably.

In what way have you and Daniel been collaborating? Are you writing together or showing each other things you’ve written independently?

We’ve just been kind of just been showing each other songs, but mostly talking about taking the first step of him recording me and then . . . We’re really just into each other’s songs. We haven’t done anything yet, but we’ve got an understanding of each other’s styles and I think that we’ll definitely do something in the future.

Tell me about being drunk in Aiken, busking on the street corners.

Aiken is a pretty dry spot for being a young, teenage creative person; it’s not really known for its offerings in that respect. Therefore, it’s kind of a 101-lesson plan in trying to carve out your own niche in the music scene. It was like going uphill on roller skates because there are no venues. The only venue was a Christian café called Solomon’s Porch; I played there one night and they had an issue with one of my lyrics. I had a song that said, “damn right,” and they just wouldn’t let me play it. So that was a restriction and basically I decided to just get a business license and start busking in the street downtown. And this was groundbreaking. Until then, there had been no street performance at all of that nature. And people enjoyed it because, well, because they were drunk, but also because it was this novel thing that they weren’t used to seeing. So I enjoyed doing that. What I like about busking is it’s own kind of thing. You know, it’s just me and there aren’t any amps and it’s not really congruent with anything and it’s this improvised, organic thing, as opposed to a gig where you have these songs or a record. You could always, if there’s a guy who likes ABBA, just play an ABBA song.

Did you come with a set list or just take requests?

I would just feel the crowd. It’s a more engaging, interactive thing if the people are in the right mood.

What would you guess is the largest audience you’ve ever busked for?

That’s a good question. But when does it not become busking anymore? When does it become a concert? Where’s the line? I think the key here would be, ‘What’s the biggest unplanned crowd?’ Probably my favorite crowd was when I was in New Zealand in this town called Palmerston North for a little bit; I bought this crappy little classical guitar and I was playing near this monument, and these kids started coming around and following me. Then the kids got more people to come and all of these people started gathering around. I think they thought it was a planned thing. That was the line, I guess, where it became this kind of event and people were giving me random things—cups of coffee, business cards, tickets, that sort of thing. It was a beautiful thing to just have spring out of the earth like that.

*[‘What is busking?’ you may be asking. You see that guy or gal over there on the street corner with the guitar/saxophone/ukelele/pan pipes, hoping to scrape together a few extra bucks? They’re busking. Now cough up a dollar.]

https://www.youtube.com/watch?v=qV7BNmnbs94

A Poem for Leslie from John Starino

Like so many who make a difference by their humility and presence, Leslie Pierce was just such a person.  Here is a poem dedicated to her which appears in my second book Onion Season Pt. 2.  Because of her I participated twice in Frisson at the Columbia Museum of Art.  In my preparation by talking with her, this poem ensued.  - John M. Starino i come to do homework

frisson prepare cma the light plays a different way inconsequential of the lens

this muse this day setting, tenor articulation

leslie pierce brown hair exhibit brown eyes alive today i peruse even remark how vibrant you are

do you ever wish any one to sit down be at eye level that you do not have to look up to

since in essence i look up to you your difference is so obvious not like mine

and in further essence a difference only in appearance

entreat to enjoin compassionate, intelligent demonstrative, adept

so in this essence of humankind you are the standard that has been raised

astride your chariot every day

Darling Dilettante: Starbucks Art

By Haley Sprankle

Throughout the year and throughout my writing, I’ve been forced to consider art and my appreciation for it. Certain disciplines I never truly understood in my youth, whether it was my lack of experience with it or lack of information about what is or isn’t considered “art.” Younger Haley might see more modern art pieces, like the post-grad work displayed at Tapp’s and question their validity as “art,” whereas now I am in awe at the creativity and vulnerability of those same pieces.

This called to question: Is art an acquired taste? Can someone who is younger consider and enjoy art the way a more “seasoned” adult might? Is art like coffee? Are more basic wonderments with art sweet and sugary like frappucinos, while more complex considerations of it are like a more pragmatic cup of black coffee?

Last week, I was fortunate enough to spend the day with one of my favorite 15-year-olds, and adoptive little sister. As her “cool college” friend, I wanted to make sure I gave her the trendy tour of Columbia. (Disclaimer: She doesn’t really think I’m that cool.) In the midst of eating fantastic smoked salmon sandwiches at Crepes and Croissants and political discussions over Starbucks, we went to the Columbia Museum of Art.

I was thoroughly thrilled to finally walk through the Andy Warhol exhibit that’s been up (and will remain up through September 12).

“Is it always this quiet in here?”

I began to realize that I wasn’t entirely sure of the etiquette in art exhibits myself, and hoped that she would enjoy the museum as much as I normally do.

Growing up, I always learned to read the text accompanying each piece to better my understanding of what I’m seeing, so I did just that. Thinking I would be the nerd holding us up, I was surprised to see her follow suit and read them as well. We walked on, recognizing familiar faces and discussing the idea of fame.

“Oh my god, glitter!”

I chuckled to myself as I listened to her commentary throughout the rest of the pieces. Growing up with the wonderful parents she did, she was able to consider and discuss more controversial and educational ideas prompted by each portion of the exhibit, interspersed with her early teenaged nuances and silliness.

I was thrilled to see she enjoyed the more contemporary pieces and hoped the excitement carried throughout the classic section in the upstairs of the museum.

I’ve always found the classics to be intriguing, and often even comical at times. The way the influences in art evolved over time from being more religiously-centered to featuring portraits of the more wealthy to more abstract and aesthetically driven pieces is exemplified here so well.

“This dude looks like peanut brittle.”

As we walked through, we shared many laughs at some of the more silly-seeming portraits and interesting ceramics (Why do some of these people look so drunk?), appreciate classics like Monet, and stand in awe at the chandelier of Salviati.

At the end of the day, we giggled about the plethora of cute businessmen on Main Street, we ate great local food, and I got to share a little bit of my interests and passions with her. She went home to her dad, probably with more liberal ideas that I’m willing to admit trying to instill in her mind, and a smile on her face.

That day, I learned that art transcends age. Sure, the level of appreciation and understanding may be different. A 15-year-old might be excited about Superman with glitter (and as was I, who are we kidding?), whereas a 30-year-old might be more intrigued at the political statement that may or may not have been made by depicting Mao.

Regardless, art is still talked about. Art is still appreciated. Art is still relevant.

One appreciation is not better than the other, but instead, understanding and information grows.

So, young art-lovers, you pursue and appreciate your frappucino art. I’m just making my way to a macchiato myself, and might not ever get to taking it without cream or sugar.

(And yes, I am being a coffee elitist.)

Two Minutes Too Many: Support STSM at Conundrum Music Hall Tonight By Haley Sprankle

 

One in six.

One in six women are estimated victims of rape.

One in 33 men are estimated victims of rape.

Every two minutes someone is victimized by sexual assault.

These crimes are often perpetrated by non-strangers (73%), friends (38%), intimate partners (28%), and even family members (7%), yet sexual assault is one of the most underreported crimes in America.

These statistics are often thrown around in the media through television, movies, and articles, desensitizing the world to the immediate and residual atrocities the actual people that form these statistics face. Through this, people forget the reality of it and they forget how to end rape culture and help their friends in need.

Luckily, Sexual Trauma Services for the Midlands (STSM) is here to help educated and aid victims, their loved ones, and those seeking to prevent such horrid crimes in their communities.

“STSM has done a great job of making their presence felt in the community, raising awareness about sexual assault, and letting people know that they are there to help,” Jeremy Joseph of Raiser Productions states. “For example, events such as their annual Walk A Mile In Her Shoes have been a huge success.  But, what's most important is the services they provide to those in need in our area.”

This evening, Joseph organized a benefit concert at Conundrum for STSM featuring Prairie Willows, She Returns from War, and Pedro LDV. Joseph sees each of these distinct acts as music that “people will enjoy” that will “serve as a force for good.”

The arts have historically been shown as a power to raise awareness for issues, promote change in surrounding communities as well as throughout the nation, and induce a sense of healing. Joseph seeks to do just this through the concert.

“Artists can use the power of their platform to speak out against sexual assault, generate awareness and support for STSM, and bring together a supportive group of people to positively change our culture and stand with survivors,” Joseph adds.

Tonight’s benefit is one you won’t want to miss, but if you can’t make it you can still donate to the cause at www.stsm.org/donate. Different donation amounts allow you to either, assist on survivor at a hospital, train community members to prevent child sexual abuse, educate students in a six-week violence prevention program, or provide six months of counseling, legal advocacy, and crisis intervention to one survivor.

“I hope that as many people as possible will be there Saturday night,” Joseph ends with. “Just by coming out for an evening of some of the best music around you can help make the world a better place through supporting the extremely important work of STSM.”

Doors open at 8 tonight, the show starts at 9, and tickets are only $8, so don’t miss your chance to help make every two minutes in America safer for everyone and support local musicians!

Taking an American Gun to the Confederate Flag: Todd Mathis Releases Protest Tune "Fuel the Flag"

By: Michael Spawn

In a world of uncertainties, it’s comforting to know we can always count on Todd Mathis for a good protest song.

In 2013, the American Gun frontman, along with members of Whiskey Tango Revue, released “NRA,” three minutes and thirty seconds of honky-tonk satire in which Mathis assumes the perspective of a loud-and-proud firearms enthusiast, hell-bent on protecting an Amendment that is actually in little to no peril. The song is funny, but where “NRA” uses irony to make its point, Mathis’s latest bit of musical conscience arrives in truly earnest form—no jokes, no winks or nudges; simply his feelings on an issue that has the eyes of the nation fixed squarely (again) on South Carolina. But Mathis’s sincere delivery is completely appropriate, given how simultaneously delicate and explosive that issue really is.

Along with ad-hoc backup band The Discard Pile (Paul Bodamer and Philippe Herndon) Mathis just recorded and released “Fuel That Flag,” a protest song in the staunchly American tradition. Musically, the song couldn’t be less subversive; its standard chord progression rides merrily atop an unflashy, mid-tempo backbeat, with the overall feel being that of mid-‘90s alternative rock, a sludgier Superdrag. The tune is easy to latch onto and the chorus pops with confidence, but as with all protest music, the lyrical message is really the whole trip. “Fuel That Flag” began life as a poem partially inspired by Abram Joseph Ryan’s famous Conquered Banner, and once he was satisfied, Mathis put his words to music, recruited a couple of friends, and turned his verse into a recorded document. The lyrics are plaintive without being overly maudlin; they express anger but leave ample room for hope. “Show the state / And show the world / Fuck this talk / Of respectful furl / Take it down / And start tomorrow / To put away / The pain and sorrow,” Mathis sings in the song’s second verse, which gives way to the chorus of, “You say heritage / I say hate / Fuel it now / It’s not too late.” Given Mathis’ well-known humorous touch, (this is, after all, a guy who named his band American Gun, only to turn around write a piece of Second Amendment satire) his sincere delivery is all the more powerfully felt. The vocals dominate the mix—he wants you to hear what he’s saying and how strongly he feels about it all.

Protest music in the United States first gained real traction in the 19^th century and from there, it’s bloodline moved through Woody Guthrie, to Bob Dylan and Janis Ian, on to the hardcore punk scene of Washington D.C., and finally finding its most recent wide-reaching embodiment in the vitriol of Rage Against the Machine. I’m obviously only skimming the surface. The total history of American protest music isn’t nearly as important as the history that music aims to make. Not all succeed, but our society inevitably progresses. With this in mind, it might be fair to say that Todd Mathis has written the most important song of his career. While one song might not change the world, passionate people do. And songs don’t write themselves.

Here's a link to the song's Bandcamp, where you can listen for free or as a name-your-price download.

Darling Dilettante—Discussing the Art of Fear By Haley Sprankle

“Do you ever get nervous up there?”

The age-old question for performers—the question of fear.

In just about every production I’ve been fortunate to be a part of, whether I’m the lead or the third white girl from the left, I’m asked this question by a person outside of the performance realm. They ensure me that they don’t understand how actors memorize each element of the show from lines to choreography to even just remembering to smile every now and then. I normally reply with “I used to when I first started, but now it just seems like second nature.”

Most recently, that question of fear prompted me to question myself and the things others around me do, though, and how we do them.

Every day, a banker goes to work. Every day a stay-at-home parent wakes up and takes care of their family. Every day a waiter or a writer or a bus driver or even the President of the United States gets up and fulfills their necessary requirements for the day. These could be things they’ve always done. These could be things they’ve just started doing. These could be things they love, or they could be things they don’t like.

But they get up and they do them, and like most people feel about performing, I couldn’t even imagine doing these things.

With most things people do for the first time, there was probably an initial fear or nervousness.

What if they don’t like my work? What if I mess up? What if?

We can sit back and ask ourselves “What if?” all day long, but we will never know what WILL happen if we don’t try. Sometimes, it will be a little messy. Sometimes, it will be hard. Sometimes, you will do all right. Sometimes, you will do it all wrong.

One thing, however, is common among all these instances—you learn something new about yourself.

I recently came across a Japanese term: Wabi-Sabi. It translates to “A way of living that focuses on finding beauty within the imperfections of life and accepting, peacefully, the natural cycle of growth and decay.”

In every new or old thing you do, there are endless possibilities, but in the end, the best opportunity you have is to take each outcome and turn it into something beautiful.

So why let fear hold you back from trying something new?

Last Friday, Dreamgirls opened at Trustus Theatre and will run through August 1^st. The cast includes veterans to the stage and newcomers alike, all representing a long process of hard work, fun, and love that we have put into this show. For some of us, each night may just be another performance, but for others, one or more performances may be among the most nerve-wracking things they’ve ever done. At the end of each night, though, all we can do is do what we do best—put on a show. Things may not go exactly as planned, but that’s live theatre.

In live theatre, we support each other. In live theatre, we help each other. In live theatre, we build each other up.

In live theatre, we find the beauty within our fear and imperfections, and we turn it into art.

I won’t be afraid or nervous. I will be excited and proud.

Wabi-Sabi.

(Dreamgirls runs June 26-August 1. Go to trustus.org for tickets!)

Photos by Richard Kiraly

Film Review: Jurassic World is All Bite, Without a Tooth in Sight

By Michael Spawn

SPOILER ALERT ALERT: There is no need to begin this film review with a warning about potential spoilers. Spoiler alerts exist to protect the curious reader against unsolicited advanced knowledge of plot twists, game-changing character development, surprise cameos, or an ending that jolts the nervous system of any moviegoer who thought he knew what he was getting himself into. None of these exist in Jurassic World, so settle down.

(Okay, here’s just one. Jeff Goldblum is not in this movie. The heart breaks.)

In the two weeks that have come and gone since Jurassic World was released in North America, much has been made of the movie’s misogyny, hokey-pokey dialogue, and inattention to scientific detail. All of these criticisms are legitimate to varying degrees (especially the dialogue thing. Holy lord. You know you’re in trouble when the CGI dinosaurs are more convincing communicators than the actors that actually received a paycheck), but to use these complaints as evidence that Jurassic World isn’t a great movie is to miss the point. It isn’t a great movie, but not because the velociraptors lacked feathers or because Bryce Dallas Howard faced near-constant ridicule from male and female characters alike for prioritizing her career over motherhood and romance. As many critics have pointed out, the movie has the high-minded/misguided gall to be “about itself” in the form of Indominus Rex, a brand-new species of dinosaur created solely because parkgoers (moviegoers?) have become so jaded that the present-day existence of animals who died 65 million years ago elicits little more than a passing interest. It says a lot when the characters constantly check their phones in presence of mankind’s mastery over the laws of natural selection. “Our focus groups want more teeth,” a park investor complains near the movie’s beginning. Well, we are the focus group and the moneymen gave us the teeth we’ve allegedly been clamoring for.

No serious person would actually use a term like "postmodern" to describe a two-hour, thirteen-buck orgy of chase scenes and Chris Pratt’s alpha male posturing, but Jurassic World really is, to a small degree, a movie about the public’s relationship to the franchise. And that’s fine. It doesn’t come across nearly as clever as the screenwriters probably hoped, but the effort is admirable. Still, despite any feelings you may have about such an endeavor, successful or not, the mere attempt is a minor problem that’s inextricably tied to Jurassic World’s true albatross: The mighty Jurassic Park.

It won’t do a bit of good for me to heave a self-righteous sigh, turn my thoughts to yesteryear, and wax nostalgic about how groundbreaking and exciting and utterly badass the original film was and continues to be. For people of a certain age, this requires no explanation. It’s a generational touchstone—our Star Wars. We came as close to real dinosaurs as we ever will, and we did it together. A direct comparison of Park and World would be fruitless, but the latter movie never lets you forget where it came from. This is good, in theory. We, as Audience, can’t help but hear Dr. Ian Malcolm’s creepy-but-cool snicker every time one of Jurassic World’s human placeholders says something so patently ridiculous you wonder what strain of medicinal grass was floating around the writers’ room, so it’s reassuring in a way that the movie doesn’t prop itself up as an independent entity with no connection to its Spielbergian origins. But this is the movie’s biggest problem; it wants it both ways. Given the ham-fisted, almost shot-for-shot recreations of some of Park’s most memorable scenes and the fact that characters continually reference the “old park,” (old movie?) coupled with its desperate need to remind Audience that it’s ‘smarter’ than its predecessor—even if its characters aren’t, by light years—Jurassic World commits the deadly sin of unfounded pride. And worse, it invites us to ride along, spellbound, like a pack of raptors charging alongside a motorcycle just because our trainer told us to. And we will, because it’s fun. Toothless, but fun.

We Welcome You to Munchkinland—Elisabeth Gray Engle on Directing This Summer’s Children’s Musical The Wizard of Oz

 

Lions, and tigers, and bears! Oh My!

Sixty-five children of all different ages from the Columbia area came together this summer to bring you the youth edition of a beloved classic, The Wizard of Oz through Workshop Theatre.

“We are very excited to be doing The Wizard of Oz this summer! There are so many magical elements to this show already, so that is really fun to explore. But the real magical feeling comes from the cast members. We have a very large cast of kids of varying ages and schools who come together to create this show. They form bonds and friendships, and the excitement and energy that they bring to rehearsal is the real magic of the show,” director Elisabeth Gray Engle says.

The range of experience and ages might often lead to complications in the directing process, but Engle uses each child’s unique talents and personalities to create their own interpretation of such a well-known show.

“…Many of our roles are double cast, so there are two actors who alternate the role. This is really fun because you get to watch these two young actors create two very different characters from the same material,” Engle explains. “So much of the humor of our production has come from the actors, and I think that is what makes our production unique. We have a very talented group of kids who each bring something different to their characters.”

While the 4 to 18-year-olds bring a lot to the theatrical table, the production team has also put their own spin on things. With people like Alexis Doktor doing costumes and Baxter Engle doing set, the wonderful land of Oz is sure to excited audiences aesthetically.

“I cannot say enough good things about our Oz Team. Katie Hilliger (Choreographer), Jordan Harper (Musical Director), Jeni McCaughan (Producer), Braxton Crewell (Stage Manager), just to name a few, make this experience so positive and meaningful for our kids. We have high expectations for our cast, but we have a lot of fun along the way,” Engle affirms.

Engle, herself, is no stranger to the stage or directing. She is a company member at Trustus Theatre where she has taught, performed, and will be seen next in the world premiere of Big City. On top of all that, this is Engle’s 5^th summer production through Workshop, her 11^th year directing youth theatre, and she continues to teach theatre at Heathwood Hall Episcopal School.

“I love working with kids in the summer because it is such a joyous time of year in their lives. The summer musical is different than a school musical or a show during the year because the kids (and adults!) have that special energy that can only exist during the summer,” Engle elaborates. “…They come together during the summer to create this show, so that [in] itself sets the experience apart from school year productions. It’s really exciting to see so many kids from so many different schools who love musical theatre come together. They get along so well, and they love being with ‘their people.’”

The show runs June 25 through June 28, with both evening and matinee performances at the Heathwood Hall Episcopal School auditorium. Go to workshop.palmettoticketing.com for times and tickets!

“Theatre always has a unique way of bringing people together, and we have certainly seen that this summer with our cast,” Engle endearingly states. “Our cast is made up of kids from varying backgrounds, schools, locations, and experiences, and we have loved seeing them come together to create art.”

By Haley Sprankle