Archive for the 'art' Category

what a difference a day makes

b. medusa 26 June 2009 4:34:35 pm

thrilller, thriller, thriller. was nobody in the blogosphere around before this lp (that’s an album for you young folks) appeared? oh wait, i know of @ least one occasional blogger. the last one i thot would come out of blogging retirement (momentarily) to do a post like this. me.

i was an 11 yo 6th grader standing in the the cafeteria/auditorium @ a school dance the first time i heard the J5. i want you back. the way so many kids rushed to dance, i felt like i was once again the last to know a good thing. i more than made up for it over the years. yes, i own thriller & off the wall (who doesn’t). yes, i moonwalked my ass off & did the one glove thing back in the day (who didn’t). i was more inspired by the robot though…

and which one of those 6th graders got to see the reunion concert in chicago’s soldier field in ‘85 – me. anybody else? did you get your program autographed too (damn i wish i knew what i did w/ it). but i digress. i was fascinated w/ all things J5, & like every other little girl my age i had a crush on michael (& marlon & jermaine) from that moment until high school. no matter what important thing i was doing – playing, torturing my little sisters, doing my homework, or chores – the whole world came to a stop if the J5 were on soul train or american bandstand or the ed sullivan show. no way did i miss the cartoon on saturday mornings. if they were on the cover of any mag, i thot would die if i didn’t have that issue.

but the thing that had the most impact was finding out that mj’s birthday was the day before my own (although according to some sources his time of birth was approximately 20 minutes to 2 hours before mine). in some small way it seemed to put him within reach. almost since the moment i found out this info i’ve been saying, “what a difference a day makes.” at first solely in awe, then added w/envy, & later w/ disdain. today, w/ nostalgia for the last 4 decades & a greater sense of my own mortality.

you are greatly missed michael.

kimya dawson @ 2640

b. medusa 3 March 2009 7:37:48 pm

6 March 2009
7:30 pm

Formerly of the Moldy Peaches, recently featured on the soundtrack to Juno, and creator of five gorgeous solo albums, Kimya creates music celebrating “all the magnificent strangeness and unwavering beauty in the world and in people”, and she’s on a mission to embrace the whole world.

Doors open at 7:30, come early for music by local favorites 1602 Destructure Street and Beans! All ages, $10. more info…

mama’s got a brand new bag

b. medusa 11 February 2009 6:34:06 am

more accurately: contrary to what you see, i’ve got a new & improved blog (& so does artpolitik. the blogs still look the same, but now have a new host server & updated software – so the blogs are working again. and the depression monster has been pushed aside for now, partially due to a year of ‘not paying attention‘, definitely a result of my latest hobby – hoola hooping. don’t worry, i won’t post @ all if this blog is gonna be consumed w/ mindless happy drivel. really this is still all about rants & musings…

jimi’s birthday

b. medusa 27 November 2007 4:00:26 am

“I pick up my ax
and fight like a farmer now . . .”
- Jimi Hendrix (November 27, 1942 – September 18, 1970)

John Coltrane’s birthday

b. medusa 23 September 2007 12:00:19 am

September 23, 1926 – July 17, 1967

Coltrane has been credited with reshaping modern jazz and being the predominant influence on successive generations of saxophonists. Along with tenor saxophonists Coleman Hawkins, Lester Young, and Sonny Rollins, Coltrane fundamentally altered expectations for the instrument.

[...]

During the latter part of 1957, Coltrane worked with Thelonious Monk at New York City’s Five Spot Cafe during a legendary six-month gig. Unfortunately, this association was not extensively documented, and the best-recorded evidence demonstrating the compatibility of Coltrane with Monk, a concert at Carnegie Hall on November 29, 1957, was only discovered and issued in 2005 by Blue Note, along with another of their recordings, The Complete 1957 Riverside Recordings. His extensive recordings as a sideman and as a leader for Prestige have a mixed reputation. Blue Train, his sole date as leader for Blue Note, is widely considered his best album from this period.

He rejoined Davis in January 1958. In October 1958, jazz critic Ira Gitler coined the term “sheets of sound” to describe the unique style Coltrane developed during his stint with Monk and was perfecting in Miles’ group, now a sextet. His playing was compressed, as if whole solos passed in a few seconds, with rapid runs cascading in hundreds of notes per minute. He stayed with Davis until April 1960, working with, in due course, alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he participated in such seminal Davis sessions as Milestones and Kind Of Blue, and the live recordings, Miles & Monk at Newport and Jazz at the Plaza. Also towards the end of this period he recorded his own influential sessions (notably Giant Steps whose title track is generally considered to have the most complex and difficult chord progression of any widely-played Jazz composition).

[...]

Coltrane formed his first group, a quartet, in 1960. After moving through different personnel including Steve Kuhn, Pete LaRoca, and Billy Higgins, the lineup stabilized in the fall with pianist McCoy Tyner, bassist Art Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had been a friend of Coltrane’s for some years and the two men long had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him.

While still with Miles, Coltrane had signed a contract with Atlantic Records, for whom he recorded the aforementioned Giant Steps. His first record with his new group was the hugely successful My Favorite Things, whose title track, a catchy waltz by Rodgers and Hammerstein (as well as Cole Porter’s “Every Time We Say Goodbye”), featured Coltrane on soprano. This new sound was coupled with further exploration. For example, on the Gershwin tune “But Not for Me,” Coltrane employs the kinds of restless harmonic movement of his Giant Steps period (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression.

Shortly before completing his contract with Atlantic in May 1961 (with the album Olé Coltrane), Coltrane joined the newly formed Impulse! label, with whom the “Classic Quartet” would record. It is generally assumed that the clinching reason Coltrane signed with Impulse! was that it would enable him to work again with recording engineer Rudy Van Gelder, who had taped both his and Davis’s Prestige sessions, as well as Blue Train. It was at Van Gelder’s new studio in Englewood Cliffs, New Jersey that Coltrane would record most of his records for the label.

By early 1961, bassist Davis had been replaced by Reggie Workman. Eric Dolphy joined the group as a second horn around the same time. The quintet had a celebrated (and extensively recorded) residency in November 1961 at the Village Vanguard, which demonstrated Coltrane’s new direction. It featured the most experimental music he’d played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. Longtime Sun Ra saxophonist John Gilmore was particularly influential; the most celebrated of the Vanguard tunes, the 15-minute blues, “Chasin’ the ‘Trane,” was strongly inspired by Gilmore’s music.

excerpted from the wikipedia

i could go on, but you can read the whole thing by clicking the wikipedia link above.

i wanted to put up a performance of Spiritual but couldn’t find that one on youtube. and then i saw this:

i had this version of Alabama on a cd that was stolen from me (never been able to replace it). sooo good to hear it again.

R.A.M. performs @ Creative Convergence Festival

b. medusa 13 September 2007 9:55:53 am

4 October 2007
8:00 pm

R.A.M. performs in the Creative Convergence Festival @ the Baltimore Theatre Project, Thursday, October 4th.

Creative Convergence is a festival celebration of Arts and Community that will take place over five days: October 3 -7, 2007 (performances begin @ 8pm except Sunday, 7pm). Coming on the heels of the US Social Forum (www.ussf2007.org), Creative Convergence aims to identify and share the strengths of artists in the DC-Baltimore region as an integral piece of a movement towards sustained social change.

Our vision for Creative Convergence includes a workshop series (including youth-led workshops for young people and adults) and performance series (highlighting the dynamic work of artists whose work intersects with social justice). We encourage all artists whose work focuses on or reflects social issues, community building to attend.

The Convergence has three principal goals:

  1. To provide space for artists and activists to share their work through performances and workshops.
  2. Workshops will provide participatory opportunities to engage in demonstrations of processes used in community-based work as well as engage in conversations around various systemic oppressions.
  3. Network and brainstorm about potential partnerships across the region.

As a regional event, Creative Convergence will provide opportunities for artists, activists, organizers, educators and progressive institutions to connect with other like-minded change agents in the DC/MD/VA/WVA region. Thanks to support from Alternate ROOTS Community Arts Partnership.

Creative Convergence is co-presented by Alternate ROOTS, Baltimore Theatre Project and ClancyWorks Dance Company.

Ticket Prices for Workshops and Performances (Unless Otherwise Noted)
$15 General, $12 Student/Artist, $7 Youth (17 & Under)

Performances
All performances at Baltimore Theatre Project

Wednesday – Oct 3
8:00pm – FREE Performance!
Sponsored by Free Fall Baltimore
Courtney Weber
The Collective
Deletta Gillespie

Thursday – Oct 4
8:00pm
DishiBem Dance Group
Run of the Mill Theater
Black Codes
Radical Artist Movement

Friday – Oct 5
8:00pm
Encounter Risk
The Everlutionary Trust
Air Borne Dance
Marietta Hedges
Stephanie Powell

Saturday – Oct 6
8:00pm
Brave Soul Collective
Quest
ClancyWorks Dance Company
Jennifer Lanier
Reggie Glass

Sunday – Oct 7
7:00pm
Maura M .Garcia
Kuumba Collective
Laura Schandelmeier & Stephen Clapp
Updraft

Special Events

Friday, Oct 5 at 6:00pm
Activist Networking Cocktail Hour
at Baltimore Theatre Project

This networking cocktail hour will provide a space for Activists, Organizers, and Artists to discuss their current projects and potential future partnerships.

Sunday, Oct 7 at 10:00am
Sunday Brunch
at Creative Alliance

This brunch is designed to provide artists and activists in the region with an opportunity to network and discuss community-based art-making in Baltimore. How can cultural workers deal with their own needs as well as forge head in building partnerships that contribute to making long term social change? Through small group discussion and Q and A with Panelists we will be exploring that answer.

Workshops
Thursday, October 4, 2007
1:30pm – FREE – at Goucher College Meyerhoff Arts Center — Dunnock Theatre
Alternate ROOTS:Resources for Social Change – Exploring principles for partnerships between Artists and communities.

Resources for Social Change (RSC) is a training program developed by Alternate ROOTS that teaches ideas and techniques to develop sustained social change through art. This workshop will focus on five principles as a model for artists working with community: Shared Power; Equitable Partnership, Open Dialogue, Individual and Community Transformation, Aesthetic including Beauty and Justice.

4:00pm – FREE – at Goucher College Todd Dance Studio
Kip Lee: Building Inclusive Community through Dance

This workshop is for anyone who teaches dance or wants to develop community dance projects for people of all ages, from young teens through senior adults, people with little or no dance experience, and people with physical disabilities or mild to moderate intellectual disabilities. The workshop is also for anyone who wants to experience inclusive dance and dance-making.

Friday, October 5, 2007
4:00pm – at University of Baltimore
The Collective: Community Building through Improvisation

Our goal is to make the impossible seem possible. This workshop will address the strength of community building to accomplish seemingly impossible goals. Through various trust building exercises and dance demonstrations, the workshop participants will accomplish a community goal of creating a new dance through improvisation. This workshop is geared to the general public, open to all ages and ability levels.

Saturday, October 6, 2007
9:30am – FREE – at Maryland Institute College of Art
Art on Purpose: Speaking of Silence

The “Speaking of Silence” workshop will address the rich and layered meanings of silence. How does silence play a role in our daily lives, in communication, spiritual practices, and our relation to ourselves and our environment. In this workshop, participants will listen to audio recordings taken from an ongoing interview project conducted by Art on Purpose to collect individuals stories. The audio pieces explore observations, descriptions, and experiences of keeping and breaking silence and how it relates to voice and empowerment. Participants of any age will reflect on the audio, view and respond to photographic portraits, engage in discussion around the topic and create their own piece of artwork expressing the significance of silence in their own lives. The workshop itself acts as a space for the participants to listen, observe, and share their own experiences as a tool to create a piece of writing, a drawing, or their own recorded story.

11:30am – FREE – at Maryland Institute College of Art
American Friends Service Committee: Policing US

The workshop is intended to demonstrate the relationship between policing, prisons and political repression in U.S. communities of color. The workshop will provide a historical timeline that draws the connections between slavery and the advent of urban police forces as well as law enforcement initiatives such as the FBI’s infamous Counter-Intelligence Program and its impact on the Black Panther Party.

11:30am – FREE – at University of Baltimore
Ioana Stoica: Mythic Journeys – Engaging the Hero Within

Recognizing that social justice begins with personal transformation, this workshop will draw upon myth as the source and inspiration for that process. Myth reawakens our sensuous experience of the lived world and re-enchants our practical experiences in a way that provides us energy to initiate change in the world around us. The workshop will create a space where individuals can identify, discuss, and embody mythic elements of their own lives and ways in which myth can inspire action and change. The goal is for each participant to identify and embody an inner hero whose power for action – in whatever capacity and on whatever scale – is reinforced by a personal story and a symbol that can serve as a source of strength and meaning in daily life.

2:00pm – FREE – at Maryland Institute College of Art
Maggie Cleland: Empowering Adult Immigrant Communities through Theatre

In this dynamic workshop, participants will investigate the challenges and benefits of theatre-making across socioeconomic, educational, and ethnic boundaries. Maggie Cleland, the Workshop Facilitator, will share lessons learned from The ESL Living Collage Project, an interdisciplinary, collaborative theatre project about the diverse adult immigrant community of the Arlington Education and Employment Program’s Clarendon Education Center (REEP/CEC) in Arlington, Virginia. Through discussion as well as theatre games and activities, participants will explore ways of using theatre for community-building, language learning, and lifeskills development. This workshop is appropriate for older teens and adults of all abilities/needs. No acting experience is necessary.

2:00pm – FREE – at University of Baltimore
Quest: Poetry in Motion

Participants will gain a greater understanding of Physical theatre; the role physical theatre can take in enhancing literacy; and the role physical theatre can play in developing acting and communication skills. This workshop is an example of Quest’s commitment to use visual theatre as a strategy to enhance learning readiness and literacy.

4:30pm – FREE – at Maryland Institute College of Art
Wide Angle Youth Media: Flip It – Exploring & Creating Youth Media

Members of the Mentoring Video Project, who produce the “for youth, by youth” television show BeMore TV, will share their knowledge and teach other young people how to explore and produce media that gives them their own platform to speak out about issues that are important to them. In this workshop, we will open with a participatory exercise, in which we will analyze contemporary media and discuss how youth are represented. Then, we will showcase examples of youth-made videos using material from episodes of BeMore TV. After watching these videos, youth will learn and practice techniques for creating youth-focused media and discuss its importance in advocating for community issues. Though this workshop is intended for the youth, it can be open for people of all ages to join.

4:30pm – FREE – at University of Baltimore
Plunge Cabaret: Power Struggles and the Call for Creativity

We will work with one definition of power as “the ability to make choices,” and, through that lens, explore how the struggle to feel powerful is a central issue in most any social, cultural, or developmental issue facing us today. Using the venue of cabaret-style theater, we will create a learning environment using both performance and interactive workshops to discover how the subjects of power and choice impact our lives and fields of work, study, and art. Not inappropriate for any age/ability, but geared primarily towards artists, activists, and facilitators dealing with a variety of social , cultural, and developmental issues.

Sunday, October 7, 2007
1:30om – FREE – at Red Emma’s
Theatre Action Group: Embracing Discomfort

In this workshop, Theater Action Group (TAG) asks how this festival can serve us as artists and activists to identify, explore and address the contradictions in our work? TAG is open to working with festival participants and leaders to identify and respond to an emerging concern, theme or need that arises during the festival. TAG is also prepared to explore some of the questions that have been relevant to our community-based theater work: What are the tensions experienced as artists and activists? Can one be both? What are the tensions experienced as an insider and/or outsider working in a community as an artist? What is this thing we call “community” anyway? How do we build it? How do we build a community with differences? Why bring art to communities, or build communities through art?

Rather than propose “answers,” TAG will create a framework to explore these questions and potential tensions through physical and collective responsive action. TAG uses a wide range of structures and techniques such as Theater of the Oppressed, ensemble-based practices, improv, poetic movement structures, creative writing, playback, and image theater. This workshop is intended for community organizers, community-based artists, and festival participants. It welcomes people of all ages and needs who wish to explore these questions as well as one’s own creativity, to express one’s hopes and aspirations, and to give voice to one’s passions and stories. Our goal is to create spoken and image-based dialogue around these issues and give folks a direct experience in some of TAG’s evolving community-based performance practice. Theater Action Group (TAG) is a collective of citizen artists in Baltimore empowered with the language of theater to promote dialogue, to encourage social action and to build community via performance, workshop series, and community partnerships.

4:30pm – at Red Emma’s
Brave Soul Collective: Embracing Your Truth

Through the use of group discussion, BSC will conduct their “Brave Soul” gathering with a specific focus on the power (and/or) importance of embracing one’s truth in order to increase self esteem, dispel stereotypes, and reduce the risk factors generally associated with HIV infections. BSC has found that the ability to identify & demonstrate one’s truth openly is extremely beneficial not only to individuals, but to larger groups of people who may not otherwise take the time to understand, acknowledge and accept one another.

Locations:

Baltimore Theatre Project (www.theatreproject.org)
45 West Preston Street, Baltimore, MD 21201

Creative Alliance at The Patterson (www.creativealliance.org)
3134 Eastern Avenue, Baltimore, MD 21224
(410) 276-1651

Goucher College (www.goucher.edu)
1021 Dulaney Valley Road, Baltimore, MD 21204

The University of Baltimore (www.ubalt.edu)
1420 N. Charles Street, Baltimore, MD 21201

Maryland Institute College of Art (www.mica.edu)
1300 Mount Royal Avenue, Baltimore, MD 21217

Red Emma’s 2640 (www.redemmas.org/2640)
2640 St. Paul Street, Baltimore, MD 21202

For more information, please call: (540) 558-8744
Or visit the following websites:

http://www.clancyworks.org/creativeconvergence.html
http://www.communityperformance.org
http://www.dancenow.org/convergence.html

don’t forget, concert for human rights this saturday!

b. medusa 6 September 2007 2:41:04 am

[concert flyer]i already posted this on my event calendar, but i just saw an article about their 3 year struggle on dissident voice:

The UWA, a human rights group founded by homeless day laborers in Baltimore, represents 800 low-wage workers who make up the pool of the 100-120 people who keep Camden Yards clean. Stadium workers — the people who clean out the bathroom stalls, sweep up the small mountains of cigarette butts and make the Camden Yards experience as pristine as promised — make poverty wages, just $7 an hour.

Work schedules for stadium workers can vary as well. Some workweeks can be well over forty hours; in other weeks, if the Orioles are on the road, the laborers don’t work at all. Take-home pay varies accordingly, depending on the number of home games in a week and how long the games last. The windfall earned from a game that goes into extra innings can make a real difference in the way a family eats in a given week.

Because they are doing “day labor,” members of the UWA who show up to work are sent home if they’re not needed. The wages are so low, and the job so “flexible,” that some workers live in homeless shelters. One worker was kicked out of public housing because her pay that month couldn’t match the monthly rent.

[...]

Also of note is that the UWA is largely composed of African-American and Latino workers. In an era when communities of color are often pitched against one another, their solidarity inspires hope.

excerpted from Cleaning Up After the Orioles by Dave Zirin.

read the full article. more info also @ http://unitedworkers.org/

IMPORTANT UPDATE!!! TOMORROW’S CONCERT NOW A VICTORY CELEBRATION!!!
visit the United Workers link above for more info. see also:
Stadium crews get raise|Maryland agency approves $11.30 ‘living wage’ next year
Hannah Cho, Baltimore Sun

Md. Workers Cancel Hunger Strike
Ben Nuckols, AP/Forbes.com

Charlie Parker’s…

b. medusa 28 August 2007 12:00:51 am

…birthday is tomorrow, 29 August

(for jahhannibal, whose birthday is today)

gone home…max roach 1924 – 2007

b. medusa 17 August 2007 12:54:49 pm

Jazz drummer Max Roach dies at 83

Roach recorded with Dizzie Gillespie, Miles Davis and Nat King Cole
Legendary jazz drummer Max Roach, best known for creating the fast-paced bebop style, has died in New York aged 83.

His record label, Blue Note, said it was saddened by the death of a man it described as “an unmistakable force on numerous classic recordings”.

[...]

Before bebop, jazz was primarily swing music played in dance halls, and drummers served to keep time for the band, Blue Note spokesman Cem Kurosman said.

Roach, along with fellow-drummer Kenny Clarke, changed that by shifting the time-keeping function to the cymbal, allowing the drums to play a more expressive and melodic role.

In the process, he contributed to the shift of jazz from popular dance music to an art form that fans appreciated sitting in clubs, Kurosman added.

The self-trained percussionist also took part in sessions with Miles Davis, which were later released as The Birth Of Cool.

The quintet he co-founded with Clifford Brown in 1954 is considered one of the classic ensembles in jazz.

read the full article

give the drummer some…

R.A.M. Presents! (@ 2640)

b. medusa 10 August 2007 12:32:41 pm

18 August 2007
7:00 pm

The Radical Artists Movement presents Sean-Toure and Legion Lost live in concert! Join R.A.M. for an evening of arts and activism, hiphop and roots rock!

With a special appearance by Kim Snowden of the Coalition against the BGE Rate Hikes to update the community on the Coalition’s fight to pass legislation reducing BGE rates to pre-rate hike levels. R.A.M. will also take a moment to commemorate the life and times of Marcus Garvey, leader of the United Negro Improvement Association and the creator of the Back to Africa movement.

General Admission: $6
Location: 2640 Saint Paul Street, Baltimore, MD

(R.A.M. is premiering its monthly series, R.A.M. Presents! Subsequent R.A.M. Presents! will be the third Thursday of every month)

Next »