Archive for October, 2011

This Week in Rock History

This Week in Rock History
Cleveland rocks… a little more than usual

By David Budin

This is my favorite week of the year, every year – not the first week of November, but the week that the Rock and Roll Hall of Fame & Museum and Case Western Reserve University present the American Music Masters Series. It’s a week of lectures, panel discussions, films, interviews, and musical performances. It starts on Mon 10/31, with one or two events at the Rock Hall each day, and culminates the following Sat 11/5 with an all-day conference followed by an all-star concert. This year it’s titled Lady Soul: The Life and Music of Aretha Franklin.

As you’ve probably guessed, unless you’re kind of stupid, this year is all about Aretha Franklin. I’m not going to tell you anything about Aretha Franklin, for two reasons. And I’ll tell you the second one first: Unless you’re too young or too old, you already know who she is and what she’s done, and, anyway, if you don’t know who she is and what she’s done, you can attend all the Rock Hall events and learn about her.

But the more significant reason is that it really doesn’t matter who the subject of the American Music Masters week is. It doesn’t matter if it’s your favorite recording artist or your least favorite, someone about whom you know everything or know nothing, because it’s always fascinating, edifying and entertaining. And it’s not just about whomever that year’s honoree is, it’s also about the history of the era in which the person lived and made music, it’s about the history of pop music in general, and it’s about the artist’s musical and cultural legacy.

This a rare opportunity right here in your backyard. Take advantage of it.

The American Music Masters Series @ the Rock and Roll Hall of Fame + Museum runs from Mon 10/31 – Sat 11/5. Click here for all the details: http://RockHall.com.

 

David Budin is a freelance writer and a folk and rock musician, whose folk group, Long Road, performs occasionally. He is a former editor of Northern Ohio Live and Cleveland Magazine. His writing focuses on the arts and pop culture, focusing on pop music history and food. He is currently writing a music history and food book titled Kitchen Counter Culture.

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PHOTO REVIEW: Brewzilla 2011

Cleveland Beer Week always concludes with the super-cool monster bash Brewzilla. The party features tasty appetizers and lots of craft brews. Were you there? Did you miss out? Either way, check out Elisa Vietri’s photos of Brewzilla here. Relive some memories or see what you missed.

http://Smu.gs/tGJkT8

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VIDEO: Kennedy, Jr. in Cleveland to Launch EcoWatch.org

VIDEO: Kennedy, Jr. in Cleveland to Launch EcoWatch.org
Exclusive Cool Cleveland interview

EcoWatch.org, the national website supporting the grassroots environmental movement, is officially live. And Robert F. Kennedy, Jr. is in town to help kick off this exciting partnership with his group, Waterkeeper Alliance. Watch the exclusive Cool Cleveland video interview here.

The site will focus on 5 areas: biodiversity, energy, water, air and food, offering constant updates from multiple national news feeds, as well as original content from Cleveland’s own EcoWatch, headed by Stefanie Penn Spear.

Cool Cleveland caught up with Kennedy as he arrived at Rivergate Park, the new home of the Cleveland Rowing Foundation, right on the banks of the Cuyahoga River, which 42 years ago was so polluted it caught fire. “The Cuyahoga River fire was the milestone event… that kicked off the modern environmental movement,” says Kennedy in this video.

Listen as Kennedy talks about the Cuyahoga River, natural gas fracking in the Midwest, and how citizens can reclaim their rivers, water and American democracy.

You can hear Robert F. Kennedy, Jr. deliver the keynote  address at the special kickoff event tonight, Thu 10/27 at 6PM at Windows on the River, 2000 Sycamore Street, Cleveland, OH 44113, which also includes a VIP reception, dinner and cocktails. Tix and details at http://www.EcoWatch.org.

Watch the video here.

http://www.EcoWatch.org

http://www.Waterkeeper.org

http://www.ClevelandRows.org

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Michael Stanley: The Key to Cleveland Casino’s Success?

Is Cleveland turning into “everyplace”? RustWire takes a good look at the plans for the casino (and economic development in general) and says Michael Stanley may be the key to the casino’s success. But, really, the moral of their story is that Cleveland needs to be Cleveland, not Miami, Vegas or any other place. Makes sense.

Read the RustWire article here

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REVIEW: Ensemble initiates its new home with classic WAITING FOR LEFTY


Ensemble initiates its new home with classic WAITING FOR LEFTY

Reviewed by Roy Berko

In this era of Wall Street sit-ins and the politicizing of unions, as represented by the Kasich administration’s passing of a non-negotiation bill, a return to examining the reason for, and the rise of unionism, is appropriate. Probably no play better looks at the subject of US union confrontation than Clifford Odets’ WAITING FOR LEFTY.

Based on the true story of the 1934 unionization of New York City cab drivers, the organizing efforts, dubbed by opponents as “the promotion of the communist revolution in America,” is a vivid example of “agit-prop” theatre. Agit-Prop was a form of writing with the intent of agitating, propagandizing and spreading ideas, which was popularized by Bertolt Brecht and US social action writers, such as Clifford Odets.

Odets’ writing style, as is that of others of his era, is somewhat outdated by modern standards, due to its stylized language and over-dramatized situations, but it is appropriate to highlight the rage that was seething during the depression in the United States. This was an era of using the power of drama and the other arts to push a specific political cause and create what has commonly been dubbed in drama history as “people’s theatre.” And, since theatre is representative of the era from which it comes, it is only appropriate that Odets’ words spew forth and be heard in this, a decade of parallel social unrest.

The story centers on a hotly-contested strike vote in which a corrupt union leader (Harry Fatt) tries to discourage the membership from walking out. His motives are anything but pure, and definitely not in the interest of the membership. In a series of eight vignettes, the tale is told through the words of union members. The climax of the play comes when word arrives that Lefty Costello, the leader of the strike faction, has been killed. This pushes the assemblage over the top, and cries of “strike, strike, strike” are heard as the play comes to a shattering conclusion.

In the analogues of theatre history, WAITING FOR LEFTY is seen as an important dramatic work that offers historical evidence of the social power and aspirations of theatre.

Ensemble’s production, being performed on a thrust stage in their new home in the reconfigured gym of the former Coventry Elementary School, lends itself to the up-close and in-your-face format of the script.

The performance, under the direction of Ian Hintz, is generally excellent. The pacing is even, the idea development clear, the use of graphics to bridge the various eras of history are creative, and the music is appropriate. The ending, however, which didn’t quite build to the desired climax, could have been more frenetic and emotionally keyed, adding to the cry for change, for action.

The large cast, only two of whom are professional actors, does a very creditable job of generally creating the right atmosphere. Especially strong performances were presented by Skip Corris, Layla Schwartz and James Rankin.

CAPSULE JUDGMENT: WAITING FOR LEFTY is an important American play which reflects not only the depression era, but is relevant in today’s chaotic times. Odets’ script gets a strong performance at Ensemble Theatre.

 

From Cool Cleveland contributor Roy Berko. Berko’s blog, which contains theatre and dance reviews from 2001 through 2011, as well as his consulting and publications information, can be found at http://RoyBerko.info. His reviews can also be found on NeOHIOpal and CoolCleveland.com.

Roy Berko, who is a life-long Clevelander, is a Renaissance man. Believing the line in Robert Frost’s poem “Road Not Taken,” each time he comes to a fork in the road, he has taken the path less traveled. He holds degrees, thought the doctorate from Kent State, University of Michigan and The Pennsylvania State University. His present roles, besides husband and grandfather, are professor, crisis counselor, author and entertainment reviewer… Read Roy Berko’s complete bio here

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REVIEW: RACE – A Must-See @ Beck


REVIEW: RACE – A Must-See @ Beck

Reviewed by Roy Berko

David Mamet, the Pulitzer Prize-winning author, is noted for his ability to create vivid images with his use of language. His writing style is so distinct that it has been officially dubbed “Mamet Speak.” That fast paced, direct, in-your-face flow of words, which often forces the actors to overlap ideas, cut each other off, and use terms that grate on moralist’s ears, is clearly displayed in his script, RACE, which is getting its regional premiere at Beck Center.

RACE, which ran on Broadway from 2009 to 2010 and featured James Spader, David Alan Grier, Kerry Washington and Richard Thomas, is a thought-provoking, often incendiary piece which follows three attorneys, two black and one white, who grapple with defending a wealthy white man accused of raping a black woman. As the story unfolds, the characters and the audience are faced with examining their definitions, thoughts and feelings about race.

Mamet has said that the play is not only about race but “the lies we tell each other, and ourselves, about the subject.”

Because of the complex language and character development, a production of the script requires not only a focused director, but a superb cast that works as a well oiled unit. Fortunately, Beck has the creative and exacting Sarah May as the show’s director. The award winning May not only understands the requirements of how to make Mamet live, and the necessity of finite timing, but how to work with actors to get the desired outcome.

The production is also blessed with a fine cast. Justin Emeka, an equity member and professor of theater at Oberlin College, is compelling as Henry Brown, one of the black attorneys. He immerses himself in the role, giving human reality to the part.

Tom Woodward, another equity actor, is at his finest as Jack Lawson, the white lawyer. The character’s personal struggle between being racially tolerant and being unclear of his underlying motivations is well developed.

Aungelique Scott balances the duality of the role of Susan, a young newly hired member of the law firm, who has both racial and personal agendas, which temper her participation in the legal process. Scott has the ability to distance herself, early on displaying a lack of outward emotion in her eyes and body, that gives clues of what will come in the startling ending of the play. Her emotional transition in the final scene is finely honed.

Brian Pedaci does an acceptable job of portraying Charles Strickland, the wealthy white man accused of raping a black woman. Additional arrogance might have helped build a more conflicted real person. This could have helped heighten the concluding scene.

Richard Gould’s upscale law office set is well conceived, with small details and props creating the required realism. Jenniver Sparano’s costume designs are questionable. Strickland’s suits and ties were definitely not the Brooks Brothers quality that would be worn by a wealthy man and Susan’s clothes seemed questionable for an ivy league lawyer to be wearing.

As is Mamet’s hallmark, the play’s conclusion — a twist of what might be expected — encourages the audience to leave the theatre to discuss and dissect what they’ve just experienced.

CAPSULE JUDGMENT: David Mamet’s RACE, under the fine directing hand of Sarah May, gets an outstanding production at Beck! It’s one of this season’s MUST SEE highlights.

 

From Cool Cleveland contributor Roy Berko. Berko’s blog, which contains theatre and dance reviews from 2001 through 2011, as well as his consulting and publications information, can be found at http://RoyBerko.info. His reviews can also be found on NeOHIOpal and CoolCleveland.com.

Roy Berko, who is a life-long Clevelander, is a Renaissance man. Believing the line in Robert Frost’s poem “Road Not Taken,” each time he comes to a fork in the road, he has taken the path less traveled. He holds degrees, thought the doctorate from Kent State, University of Michigan and The Pennsylvania State University. His present roles, besides husband and grandfather, are professor, crisis counselor, author and entertainment reviewer… Read Roy Berko’s complete bio here

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REVIEW: MONSTER PLAY – Jeremy Paul’s imagination again goes wild

MONSTER PLAY – Jeremy Paul’s imagination again goes wild

Reviewed by Roy Berko

When Jeremy Paul – the creator and director of MONSTER PLAY, now getting its world premiere at Cleveland Public Theatre — was a child, he was afraid of monsters. A normal kid would be afraid of bats, witches, the thing under the bed or the boogey man. As has been demonstrated in many of his previous productions, Paul’s fertile imagination doesn’t follow the “normal” path. Believe it or not, his monsters were robots. Yep, robots.

As I said in a previous Theatre Ninjas’ review, “being inside Paul’s head must be like being in a labyrinth of a fun house. Weird visions must swirl around and around. The result of Paul’s creativity is usually fascinating and confounding theatre.” MONSTER PLAY, his latest invention, is true Paul.

The evening starts out with the author, sounding like Bela Lugosi of Count Dracula film fame, warning the audience to turn off their cell phones and not dare to crinkle candy wrappers. Or else! You have been warned. The bizarre is about to begin.

Paul creates a combination of monsters, fantasies and haunting metaphors. Andrew Kaletta’s set is a canopy of fabrics draped over the theatre-in-the-round playing area. Large blood-covered tarps often enshroud the actors making them into a solo monster, and other times individual actors are wrapped in the cloth. Startling Benjamin Gantose lighting effects, including a strobe light, add to the visual illusions. Blood inked actors assault the senses.

Paul inserts comic routines that delight, including a walking version of the shower scene from the movie PSYCHO, a macabre segment from Little Red Riding Hood, and several Grimm’s fairy tales.

Paul doesn’t just stop at getting you ready for Halloween, he also takes on the real monsters: religion, doctors and parents.

Yes, as the conceiver warns, “Monsters haven’t gone anywhere, they still wait outside our houses, our closets, beneath old bridges, and in the grills of cars as they run stop lights.”

The cast is well-versed and trained. They consume the stage and the imagination. Ray Caspy, Stuart Hoffman (adorned in a hair shirt), Val Kozlenko, Jenni Messner and Lauren B. Smith morph from role to role with ease in their grubby blood- and dirt-stained rough-clothed costumes.

Since the audience is no more than 15 feet away from the performers, the cast’s grunts, moans and smells are up front and personal. It all adds to the bizarre effect.

A pre-tween girl watching the performance I saw spent most of the evening clinging to her father, being devoured by Paul’s imagination. I’m sure she spent a sleepless night.

CAPSULE JUDGMENT: MONSTER PLAY is a fun, confounding and psychologically disrupting experience. It should be on the must-see list for every warped teenager, and will also appeal to adults who are fascinated by things that go bump in the night.

 

From Cool Cleveland contributor Roy Berko. Berko’s blog, which contains theatre and dance reviews from 2001 through 2011, as well as his consulting and publications information, can be found at http://RoyBerko.info. His reviews can also be found on NeOHIOpal and CoolCleveland.com.

Roy Berko, who is a life-long Clevelander, is a Renaissance man. Believing the line in Robert Frost’s poem “Road Not Taken,” each time he comes to a fork in the road, he has taken the path less traveled. He holds degrees, thought the doctorate from Kent State, University of Michigan and The Pennsylvania State University. His present roles, besides husband and grandfather, are professor, crisis counselor, author and entertainment reviewer… Read Roy Berko’s complete bio here

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Moses’ Cleveland: What did NEO look like in the 1790s?

Moses’ Cleveland
What did NEO look like in the 1790s?

By Robert Carillio, with help from Jim Bissell of Cleveland Museum of Natural History

It is difficult to imagine the sprawling Greater Cleveland metropolis as a pristine wilderness. But, that is exactly what it was circa mid-1790s when Moses Cleaveland and his band of surveyors set out to scope the land for what came to be known as the Connecticut Western Reserve. Let’s look upon the land as Moses and company might have witnessed it, prior to much Euro-settlement. Let’s explore the plants, trees, landscapes and wildlife that the river valley and lake flats teemed with in what we will call “Moses’s Cleveland”

In what we commonly refer to today as downtown, the Flats, and surrounding neighborhoods, try to imagine a peaceful yet maybe foreboding mix of forest and swamp sprawling over a topography of lake and river plains, with surrounding bluffs. Imagine the air filled with the sounds of a myriad of birds. It was not uncommon to see flocks of Passenger Pigeons (extinct more than 100 years ago) so large they could darken the sky! The river, as we know it today, looked completely different around 1796. Such a scene was what greeted early American explorers and land surveyors. Well, not all was pleasant… there were lots of tiny little Draculas called Mosquitoes!

What is now the Flats in Moses’ Cleaveland was actually both swamp forests, shrub swamps and some marshlands. Marshes are usually open, herbaceous wetlands. In Moses’ time, the mouth of the Cuyahoga River would have supported the same lush marshes that still grow in the western edge of Mentor Marsh and Arcola Creek Marsh in Lake County.

The open marshes at the mouth of the Cuyahoga River would have been dominated by plants such as greater bur-reed, soft-stem bulrush, tussock sedges and hard-stem bulrush. The scene was so lush, thick and green that it virtually looked like solid land.

The swamp forests in downtown Cleveland probably were dominated by large trees such as American elm, pumpkin ash, green ash, red maple, swamp white oak, bur oak, beech, yellow birch and black gum. Common understory shrubs below the forest canopy would have been spicebush, witch hazel, northern arrow-wood, buttonbush, winterberry and black chokeberry.

Common herbaceous plants in the swamp forests would have been lizard’s tail, marsh marigold, sedges, cardinal flower, tufted loosestrife, wild geranium, red trillium, white trillium, royal fern, cinnamon fern, sensitive fern, and skunk cabbage.

Further upstream in the river itself, trees were so large that sycamores often stretched their branches to the middle of the river from each side, forming a sort of tunnel over the river, making some parts of it virtually invisible from the sky. It was not uncommon to see cottonwood and sycamore trees ranging from 8′ to 15′ in diameter hugging the river banks and along lakeshore bluffs.

Mammals we do not see today such as elk, moose, timber wolf, panther and woodland buffalo were all a part of the landscape and fauna that is now disguised as Metro-Cleveland and probably, though recluse, were well aware of the alien trespassers.

Underwater, if Moses and friends actually took time to fish watch, they may have discovered a myriad of aquatic life. Some of the native fishes underwater in the the lake and inflowing tributaries teemed with gar and sturgeon — thin in population today, though common at that time. In smaller streams, colorful darters such as greensides and rainbows flourished in the crystal clear riffles and runs.

Indeed, the landscape was a different world during pre-European settlement and around the time Moses Cleaveland experienced the area. Nature has also yielded and sacrificed plenty so that an emerging city could prosper. You can witness remnants of these types of habitats in area parks and preserves and gain a better appreciation for Cleveland’s natural heritage and biodiversity.

Please do your best to respect and preserve these bio-gems. Don’t litter, recycle any trash, use reusable containers on picnics and respect the quiet that offers today’s urban dwellers a break of solace from the concrete forest that has replaced so much of what Moses Cleaveland and early area explorers might have witnessed.

[Photo from the Cleveland State University Library via the Cleveland Memory Collection]

 

Robert Carillio is a former Ohio Regional Contact for The North American Native Fishes Association, avid self-taught naturalist, native fish enthusiast/advocate of 23 years, and volunteer for Gardens Under Glass in downtown Cleveland. For information on field trips to local streams, please contact Robert at riverlover33@yahoo.com. Visit his blog at http://QualityChatter.com.

 

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MANSFIELD: Power Shift

Power Shift

By Mansfield Frazier

In November 2007, more than 6,000 young people from all 50 states gathered at the University of Maryland on the outskirts of Washington, DC for a weekend of training, action and inspiration. The first national youth climate summit was dubbed Power Shift 2007. Former White House “green” adviser Van Jones, founder of Green For All, and other environmental justice leaders captivated a generation with a vision of creating millions of green jobs for our country and restoring economic, social and environmental justice.

Two years later, 12,000 young people from every state and Congressional District in the country descended on Washington, DC for Power Shift 2009. Over 6,000 of them went to Capitol Hill for the largest citizen lobby day in history, and thousands more participated in the Capitol Climate Action, a successful demonstration to shut down the Capitol’s coal-fired power plant.

Power Shift 2011 took place in Washington in mid-April, and was followed up this past weekend in Cleveland, where Midwest Power Shift, which brought young people from nearby states, was held at Cleveland State University (CSU). The organization’s statement of purpose reads in part: “We will use Power Shift 2011 as an opportunity to issue a real challenge to the powers that decide the destiny of our nation. The Millennial Generation will be screaming from the rooftops, wind turbines and solar manufacturing facilities across our country that we demand nothing less than real solutions to our nation’s most pressing challenges.”

I’m proud to have been asked to be one of the keynote speakers at the event. Following is a truncated version of my remarks.

After welcoming them to Cleveland I said, “You young people should be furious at me, at us, at my generation. While humankind has been seriously despoiling the planet since the beginning of the Industrial Revolution, in 1962 Rachel Carson, in her groundbreaking book Silent Spring sounded an apocalyptic warning that we by and large elected to ignore… and we did so at our own peril… and at yours.

After her book we could no longer feign ignorance, we could no longer claim we didn’t know what we were doing to the planet… yet to this very day, almost 50 years later we still have not stopped, but instead we’ve come up with new ways to pollute our environment, kill off species, cause global warming… and we do so all in the name of the great god profit, who also goes by the name of ‘Greed.’

Seven years after Silent Spring’s release, the Cuyahoga River, which is one mile from where we are, caught fire. Why? Greed worship. It saved companies money to turn the river into a chemical sewer and environmental nightmare rather than properly disposing of the waste.

In 1978 news broke that schools and homes had been built on a toxic waste site, which became widely known as Love Canal. Why was the material buried instead of being properly disposed of? Loving Greed.

In 1989 the Exxon Valdez struck a reef and untold millions of gallons of crude oil spilled into Prince William Sound. Why, because one of the richest companies on the planet was too cheap to fix the radar equipment on the oil tanker. Greed.

In 2000 The Martin County sludge spill inundated rivers and streams in rural Kentucky. The cause: Greed. Greed on the part of Massey Energy, perhaps one of the worst corporate citizens on the entire planet.

On April 5 of 2010 the Upper Big Branch mine collapsed killing 29 miners. The reason? Unsafe working conditions… attributed to Greed.

It was immediately followed on April 20 by the Deepwater Horizon disaster that killed another 11 workers and injured 17 others, and became the largest oil spill in U.S. history. The reason, safety regulations were ignored. Why? To increase production and profits… in other words, to worship at the alter of the great god Greed.

And unless you young folks are successful, more people will die and the planet will be further despoiled in the process of extracting and shipping oil from the tar sands of Canada. And those things will happen because of corporate greed.

This is the same greed, the same power the Occupy Wall Street protestors are fighting against. Their issues might be home foreclosures and bank bailouts, but at heart they’re fighting the same things you’re fighting: Corporate greed and power. And at some point they’re going to have to turn to young people like you for answers… young people who have done the work, who know the science, who can provide the answers to the pressing problems impacting our planet.

But it’s going to take young people all over the country coming together to demand change. Why?

Allow me tell you what Fredrick Douglass said: ‘Power concedes nothing without a demand. It never did and it never will. Find out just what any people will quietly submit to and you have found out the exact measure of injustice and wrong which will be imposed upon them, and these will continue until they are resisted with either words or blows, or both. The limits of tyrants are prescribed by the endurance of those whom they oppress.’

And make no mistake, we in America are an oppressed people, but most don’t realize it. We’re being suffocated with dirty air, poisoned with polluted water, all the while increasingly being fed genetically-modified franken foods… all the while being told we’re in control of our lives and future — we’re not.

As F. William Engdahl wrote in Seeds of Destruction: The Hidden Agenda of Genetic Manipulation… “Control the food and you control the people.” And like it or admit it or not, we are under the control of capitalists too greedy to stop and realize their own children and grandchildren have to breathe the same air as the rest of us, even if they are so wealthy they don’t have to eat the same food and drink the same water.

Victor Hugo wrote, ‘Nothing is as powerful as an idea whose time has come.’ And the time has come for us to take back the planet from those who despoil and pollute it. But this taking back is not going to be a cake walk: those in power are not going to roll over and play dead because a bunch of well-meaning young people get together on college campuses. Indeed, I wish it were going to be that easy. No one likes turmoil and upheaval.

But what all serious-mined groups have to do is look within themselves to determine beforehand how far they are willing to go to achieve their goals. If friendly persuasion works, fine… always use the least amount of force and confrontation necessary to achieve your goals. But what if that doesn’t work? What if they listen to your outcries and view your efforts as just a bunch of kids letting off youthful steam?

I get it, you’re attempting to shame the Masters of the Universe into changing their ways, but the problem is… you can’t shame the shameless, you can’t awaken the conscious of those who have no conscious, and you can’t create empathy or sympathy in the cruel and heartless, and you can’t remake those who worship nothing but money into moral sentient human beings… it simply can’t be done. They will only respond to coercion.

And like it or not, most of the decisions that impact negatively on the plant, the bad decisions that corporations make, are signed onto by politicians who’ve sold out the citizenry, the very people who put them in office; change the politicians and you have a chance to change the rules, change the rules and you change outcomes. As it now stands lobbyists from every group… big coal, big oil, big ag, big pharm, you name it… are virtually paying politicians off so they, the lobbyists, can write the rules and legislation that govern the industries they represent. Folks, this is the fox guarding the hen house.

The only way I know of to bring about change is to elect decent people to represent us at all levels of government; folks who won’t put profit over people. But to do that the citizenry has to be roused out of its comfortable sleep. They have to be educated on the issues… that’s you young people’s job. They have to be alerted to the fact something is wrong and it’s going to affect them if it’s not made right. That’s when societies are open for change: by large numbers of people becoming afraid the future will be even more uncomfortable than the present.

And, similar to the Wall Street Occupiers, you might have to engage in civil disobedience that could lead to being jailed. It is said that when Ralph Waldo Emerson went to visit Henry David Thoreau while the latter was in jail, he asked: ‘Henry, why are you in here?’ To which Thoreau replied, ‘The question is, why aren’t you in here with me?’

Decades from now what stories will you be able to tell your grandchildren about the great uprising of 2012? When they ask you what you did what will you be able to say? What heroic deeds will you be able to recount?

Your cause is just. Your mission is clear. You’re on the side of the angels on this… and as Margaret Mead wrote: ‘Never doubt that a small group of dedicated people can change the world, indeed it’s the only thing that has.’

I want to leave you with an ancient Chinese proverb, some call it a curse: ‘May you live in interesting times… may you come to the attention of those in authority… and may you find what you are looking for.’ God bless all of you as you go about the business of saving the planet.”

 

 

From Cool Cleveland correspondent Mansfield B. Frazier mansfieldfATgmail.com. Frazier’s From Behind The Wall: Commentary on Crime, Punishment, Race and the Underclass by a Prison Inmate is available again in hardback. Snag your copy and have it signed by the author by visiting http://www.neighborhoodsolutionsinc.com.

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REVIEW: DBR Symphony For The Dance Floor at Tri-C 10/22/11

 

REVIEW: DBR Symphony For The Dance Floor

Is This The Future of Classical Music?

Not to get all melodramatic or anything, but classical music is dying, and everyone knows it.

Unable to either attract young professionals who have dozens of more attractive (and cheaper) distractions, or to build a life-long love of classical music among kids, the costly world of traditional classical music languishes on life support, while its wealthy patrons do the best they can.

Enter Daniel Bernard Roumain (DBR), a classically-trained violinist of Haitian descent from South Florida, who grew up with a love for classical music, but not for its conventions. As a kid, he blended the classics with Hip-Hop, rock, rap, beatboxing and breakdancing. After earning his doctorate of Music Composition at the University of Michigan, and studying under William Bolcom and Michael Daugherty, DBR went on to chair the music composition & theory department at The Harlem School of the Arts, made his Carnegie Hall debut in 2000 with the American Composers Orchestra, and has since worked with the likes of Philip Glass, Cassandra Wilson, Bill T. Jones, Savion Glover and Lady Gaga.

By the time DBR was invited to a 2-year residency by Brian Bethune, the former Dean of The College of Creative Arts at Cuyahoga Community College, the artist already had decades of experience making classical music relevant to entirely new generations of musicians, followers, listeners, dancers, DJs, kids and fans. In February, he threw down “Woodbox, Beats and Balladry” in Tri-C’s new Black Box space, and let everyone know that his vision for classical music looked and sounded very different from his predecessors’. See Cool Cleveland’s review here.

This time around, DBR brought a few collaborators and worked in residence with dozens of Northeast Ohio students and artists to present “Symphony For The Dance Floor,” originally commissioned for the Brooklyn Academy of Music’s 2011 Next Wave Festival. The shows on Fri 10/21 & Sat 10/22 were witnessed by lucky audiences who sat on the stage surrounding a marley dance floor, while latecomers were seated in the stands. Alone with his hand-built amplified six-string acoustic violin, driven to distortion through an imposing array of guitar effects boxes and wah-wah pedals, DBR commanded the stage from the downbeat, casting an imposing figure on the intimate yet expansive space.

With an almost textbook-perfect example of collaboration, DBR assembled a local crew of singers from the Tri-C Western Campus Chorale, along with two community vocalists, Maralee Klamut Rodgers and Deb Stetz, who play with the Cleveland band UZIZI. Also thrown into the mix was Cleveland breakdancer Anthony Velez (aka Tony Fresh), who brought the crowd alive with his skills and flash. The Club Kids dance team for “Symphony” was recruited through the Hip-Hop and modern dance classes at Tri-C from each of their East, West and Metro campuses. Other students from Baldwin-Wallace College and Kent State University also tried out and made the cut. Vocal soloist Maria Di Donato, a 17-year old high school student taking college classes at Tri-C was a standout, bringing the crowd to their feet with her gospel wails and flourishes. She takes a back seat to no one, and has a bright career ahead of her. DBR also brought his New York collaborators director D. J. Mendel, choreographer Millicent Johnnie, projected photography by Jonathan Mannion and principal dancers Veleda Roehl and Andre Zachery. The brilliant MC and DJ Lord Jamar, a versatile actor, emcee and producer, pulled the entire work together with his DJing, scratching, raps and vocalizing. What could have devolved into a 3-ring circus, instead became a seamless masterpiece, effortlessly blending DBR’s classical violin with the freshest new music, dance and visual explorations.

There will be no moaning about the future of classical music as long as the work of DBR is embraced by anyone who cares about the future of this endangered art form. Fortunately, DBR returns to Cleveland to continue his work on Project Gilgamesh, a 2-year collaborative effort at Tri-C, explicating the world’s oldest story through (classical?) music and multiple art forms. Artists and local participants can download DBR’s songbook, written in collaboration with Cleveland writer Margaret Lynch, from the site http://www.ProjectGilgamesh.com, and they have until November 1 to upload their own responses: remixes, mash-ups, interpretations, dance versions, films, videos, interactive works. The coolest ones will be invited to rehearse with DBR for a performance of Project Gilgamesh Songbook Unbound I on Thu 11/17 at the Tri-C Black Box on the Metro Campus. Then, Songbook Unbound II will be presented on Thu 4/5/12 on the Mainstage Theatre.

In our household, we’ve already downloaded the sheet music and MP3s, and some of our high school students and their friends are wrapping their heads around this exciting cool project. Nothing less than the future of classical music is on the line. But don’t tell the kids.

Photo by Philip Campbell

http://www.ProjectGilgamesh.com

http://www.TricPresents.com


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