Sunday, December 12, 2010

Holiday Gifts - Last Pitt News Entry of the year!

With a chaotic and expensive time of the year approaching, it’s hard to get together enough cash to buy amazing gifts for everyone you know. But, if you’re on a budget, one option is to give your friends homemade gift cards. Rather than put $25 on a card to Panera or Macy’s — this sort of expense adds up very quickly between your friends — offer your own services to your loved ones — preferably legal ones. Offer to give one of them a free ride or buy them lunch. Those of you with artistic talent might offer to draw a picture of anything your friend asks for. They don’t even have to be serious — you could make one for “one free hug” or “a fantastic night out.” Get creative and think of something that your friend would love. They’ll probably love the personal touch more than the normal gift card.

—Larissa Gula


http://pittnews.com/newsstory/31977/

Wednesday, December 8, 2010

Christmas favorite returns to CLO


Christmas favorite returns to CLO

http://pittnews.com/newsstory/christmas-favorite-returns-to-clo/



“A Musical Christmas Carol”

Dec. 9-23

Directed by Tim Gregory

Byham Theater

Tickets: $26.75-$46.75

412-456-6666 or online at pittsburghCLO.org

For many actors and audiences, December means not only the holidays, but also an opportunity to revisit a favorite reformed miser — Ebenezer Scrooge.

Pittsburgh CLO presents its 19th installment of “A Musical Christmas Carol” this month, with most of its cast returning to take on new characters or reprise old ones. Actor Tom Atkins, for example, will reassume his role as Scrooge.

The show is one of countless adaptations of Charles Dickens’ novella about Scrooge, a curmudgeon who receives a series of visits from the ghosts of Christmas past, present, and future on Christmas Eve. He begins learning about himself and what his future will hold for him if he does not change his tune — “Bah, humbug!” — and greedy ways.

The story overall captures the joy of the holidays and the musical remains loyal to the original plot, according to director Tim Gregory, who has a history with the show, both acting in it and directing another adaptation for five years in Washington.

“I think families would certainly appreciate this version,” Gregory said about the production. “It’s pretty loyal. Of course there are always additions, because the music does not exist in the novella that Dickens wrote.”

The theme, however, remains the power of transformation that Scrooge embodies, according to Gregory.

“You see someone go from one place to another, into the complete opposite of what they have been,” he said. “To be redeemed is a powerful thing to observe and experience.”

Pitt alumna Allison Scarlet Jaye plays Mrs. Cratchit, welcomed by the cast and crew for her debut with Pittsburgh CLO. Jaye graduated from Pitt in 2006 with a degree in humanities but also with plenty of acting experience, having aspired to be an actress from a young age.

“I felt very much a part of the theater community even though I wasn’t technically a theater major, and my post-college life is due in part because of the advice of the theater department,” she said.

The musical production has offered Jaye a wonderful experience behind the scenes as well as on stage, she said.

“Everyone is warm and welcoming and fun,” she said. “We’re all peers. Each member is an integral part of telling the story and this show wouldn’t be the same without the street vendor or the last little kid.”

“From behind the scenes, being at rehearsal and practicing the songs and joking around while being focused, the sense of togetherness we have is also part of the story and the moral. Without each other we are nothing, and Scrooge discovers this after isolating himself off and ruining quite a few relationships and opportunities because he wasn’t with anyone.”

And though Jaye’s biggest challenge is learning all the verses to English carols she otherwise wouldn’t know all the way through, the music is a crucial element in the production.

“It’s a story everyone knows, told in a vivid and visceral way,” Jaye said. “We connect to carols. We’ve been singing them since we were little. But it’s also new. There are things mysterious about the show or even magical. It’s the way of watching a private scene we all connect to and relate to. I say, bring tissues.”

Caitlin Elizabeth Reilly is returning to “A Musical Christmas Carol” for her seventh run with the production. She is taking on the roles of Miss Watkins and Martha Cratchit. With a family in Pittsburgh that has always been involved in theater, Reilly acted in the production as a child from 1995 to 1998 and took on other roles every few years.

“This show really is my absolute favorite show,” Reilly said. “The majority of the cast are people who have known me since I was a kid. I live in Philadelphia, so I come home to do the show and be with my parents. It’s part of the tradition. The family has seen the show a ton of times. It’s a major part of the holidays.”

For Reilly, the challenge is to stay in character — and not regress and say the lines she would have said in a different role.

“I’ve never played these characters, so it’s kind of interesting and it’s hard to not go back to what I was doing before,” Reilly said. “There are scenes I used to do as old characters where I have to hold back.”

Just like Jaye, Reilly has had minimal problems adapting to the new role and feels a sense of togetherness with the cast. She’s confident that audiences will feel genuine holiday joy and spirit from the cast as they perform “A Musical Christmas Carol.”

“The kids on stage are adorable and fun to work with, and the cast genuinely likes each other,” Reilly said. “This is clear to the audience that we’re a big family and we laugh more than most productions of a show would. I think that joy is a huge strength of the production.”

Sunday, December 5, 2010

Pitt alum wins National Book Award

http://pittnews.com/newsstory/pitt-alum-wins-national-book-award/

Pitt alum wins National Book Award


Despite being young — just turning 39 — Pitt alumnus Terrance Hayes received a National Book Award for poetry, succeeding over four other poets.

The National Book Awards are a series of prestigious literary prizes given to writers since 1950 in categories for fiction, nonfiction, poetry and young people’s fiction. Hayes won with “Lighthouse,” his fourth book of poetry.

His success has caused excitement in the Pitt community, particularly the English department, and the Carnegie Mellon community, where he works as a professor.

“People in the writing program have been talking about it a lot,” said Pitt professor Lynn Emanuel, who taught Hayes in Pitt’s Master of Fine Arts program. “We’re all thrilled. It’s an honor to win the Book Award. It’s an exceptional honor to win it so young.”

Emanuel served on the panel of judges for the same award four years previously, so she understands the challenges of judging as well as winning.

“During deliberations, we talked about the way it’s hard to give the award to a single volume of poetry when there are so many that contain a life’s work,” Emanuel said. “For a single volume by a young writer to win the award is extraordinary.

“I’m not sure what the impact will be for Terrance, aside from the fact that he will be very busy and get job offers and who knows what. But I think it’s exceptional that this happened to someone as young as he is.”

Hayes earned his master’s degree in writing from Pitt in 1987. He currently teaches English at CMU and keeps busy teaching workshops and classes to students examining poetry in the public sphere.

He makes time to write on a daily basis and always challenges himself in his writing, according to fellow professor James Daniels.

“In each book, he’s challenged himself and his readers with fresh, innovative work,” Daniels said in an e-mail. “Stylistically, he’s very inventive. Nobody out there is writing like Terrance, and I think the distinctiveness of his voice makes him stand out. His work reaches across many of the groups that make up contemporary poetry.”

Hayes said in an e-mail that he considered himself a reader long before he became a writer and remembers reading poetry along with fiction at a young age. Though he never strongly considered making a career out of poetry, now that he is a writer, he can’t imagine doing anything else.

He also believes Pitt professors had a large impact on his style.

“I remember my three poetry professors: Ed Ochester, Lynn Emanuel and Toi Derricotte,” he said. “They were three distinct poets and teachers. Each was encouraging and engaging. I try to be a poet that combines all they taught me about mind, body and spirit.”

Emanuel remembers Hayes in her classes as a young man who was “finding his voice.”

“He was sort of going back and forth between writing about African-American superheroes and his family,” she said. “If you think in terms of his current developed work, it was a kind of interesting sign of what would happen later.

“His poetry is in some ways rooted in the real, domestic world of the family. In other ways, it is also very socially conscious and very interested in both stereotypes and characters from African-American literature and music. I think he was already working in that direction even when he arrived.”

Although there are people who don’t appreciate poetry or read it regularly, Hayes considers the art small but thriving.

“No one gets rich and famous writing poetry, but there is no shortage of passionate audiences,” he said. “These audiences include students and teachers, of course, but you’ll also find regular people who somehow discovered a poem or poet. I think there’s something for everybody in the form. No one says, ‘I don’t like music,’ because there are so many kinds of music. The same is true of poetry.”

Emanuel also feels that poetry, one of the oldest forms of literature, carries a historical weight with it, making it a powerful class topic for all her students, past and present.

“It has an incredibly complex body of knowledge attached to it,” she said. “I think the other thing that an instructor does is invite a student to enter this long, complicated conversation by writing. I think every student in a MFA, certainly any at Pitt, is very aware of some kind of historical and cultural burden pressing down on everything they write.”

With the award came a reassurance for Hayes that people still care about the art form.

“Winning the National Book Award only confirmed my belief that people still care deeply about poems,” he said. “I’ve heard from people across the social spectrum who are curious or encouraging about what I do. I’ve been excited and a bit overwhelmed by all the attention.”

Wednesday, December 1, 2010

Pitt songbirds croon about winter seasons

http://pittnews.com/newsstory/pitt-songbirds-croon-about-winter-seasons/

Pitt songbirds croon about winter seasons


Heinz Chapel Choir

Today 5:15 p.m.

Heinz Chapel

Admission: free

Though their other concerts are sold out, the Heinz Chapel Choir will perform one free concert on Pitt’s campus today.

The choir formed in 1938 as part of the religious services in Heinz Chapel. It became a University concert choir in the 1950s, which meant that rather than just singing religious songs, the choir began to perform pieces from almost every genre, said John Goldsmith, the choir director.

Songs this year include “Santa Claus Is Back In Town” and “When You Believe,” a song from the movie “The Prince of Egypt.”

Junior Sarah Ivins joined the choir as a freshman when she auditioned for one of 12 seats available at the time. A singer since a young age, it was important to her to remain active in a musical group. The upcoming Christmas concerts are Ivins’ favorite choir events.

“Performing in the Heinz Chapel provides fantastic acoustics and a beautiful setting in which to sing,” she said. “The Holiday Concert tradition is to begin the concert in the balcony, with more traditional choral pieces. Then we move down to the floor and surround the audience with lanterns, singing as the lights outside the Chapel are turned on, illuminating the brilliant stained glass windows.”

The choir also performs four other concerts in addition to the free performance, but don’t look for tickets to those events — they sold out early.

“We always have a full house, even off campus,” Goldsmith said. “The reputation has been spreading for a long time now. When people come once, they come back because they enjoy it so much. Tickets are on sale in October and they’re gone [in three weeks] because this is a family tradition and people won’t miss the Christmas concerts.”

-by Larissa Gula, Staff Writer

Groban gives goosebumps

http://pittnews.com/newsstory/groban-gives-goosebumps/

Groban gives goosebumps


Illuminations

Josh Groban

143/Reprise Records

A-

Rocks Like: A classical Five For Fighting

Classical and pop music meet in Illuminations, the new release of American singer-songwriter Josh Groban.

The artist is now well-established, having released four previous albums and made two guest appearances on “Glee.”

Similar to previous releases, Groban’s music primarily features an orchestra with piano and string instrument solos. Some songs are in other languages, including Italian and Portuguese. In these cases, Groban relies on the instrumental music and power of his vocals to convey meaning to those who do not speak the languages.

On this latest album, Groban leans a little away from his previous works by diversifying his sound. Though Groban fans will surely recognize the artist’s work, some tracks feature stronger drums and guitars, as well as a pop-quality tempo.

The lyrics, however, remain pretty similar to those of his previous releases. Groban prefers songs that carry a hopeful quality to them. This is a trend his single “Hidden Away” continues with lyrics like, “And all these words you were meant to say / Held in silence day after day / Words of kindness that our poor hearts crave / Please don’t keep them / Hidden Away.”

It’s fair to say that Groban’s sound and his lyrics might not be for everyone, but this is one album worth looking into. Groban considers Illuminations a “live” album, only doing one take on most of his songs. Groban breathes life into the classical style, and his powerful voice leaves listeners with goosebumps.

Monday, November 29, 2010

Brad Yoder worth your ‘Trouble’


Brad Yoder worth your ‘Trouble’


http://pittnews.com/newsstory/brad-yoder-worth-your-trouble/


Excellent Trouble

Brad Yoder

Reverie Records

A

Sounds Like: Elliott Smith, John Prine

Proving once again that songs can be both poetry and involved narratives, local songwriter Brad Yoder’s new album Excellent Trouble brings his myriad of lyrical talents to attention.

Yoder’s songs capture the simplicity, sadness and beauty that life experiences afford from reminiscing about friends of school days long past, to losing someone, to heartbreak and falling in love.

The song “Leave Me Like This,” for instance — written in memory of a close friend — is almost guaranteed to bring tears to your eyes with the chorus line, “You didn’t have to leave / didn’t have to leave us wondering / what we could’ve done, if anything?”

Other songs are just plain fun.

In the title track, Yoder reminisces about a night out with a friend, using lyrics like, “We’ll color fluorescently outside the lines / so when, dour-faced, they ask us why we can’t stop smiling / it’s just that it’s all so unbearably beautiful.”

Yoder’s instrumental focus remains on his guitar and his voice — although he’s able to incorporate keyboards and drums when recording in the studio — because with these two tools alone, his songs come through clear and poignant.

Yoder’s album also features other vocal talents backing him up, such as Ray DeFade and Heather Kropf.

Each artist was chosen carefully, and each complements their song’s emotional impact.

Overall, this album offers plenty of heartfelt moments and harmonious melodies.

The singer-songwriter has only improved since his previous release, and it will be exciting to see what else Yoder concocts in the coming months.

Red Wanting Blue offers ‘Magnificent’ LP


Red Wanting Blue offers ‘Magnificent’ LP

http://pittnews.com/newsstory/red-wanting-blue-offers-magnificent-lp/

These Magnificent Miles

Red Wanting Blue

Fanatic Records

B+

Rocks like: Bruce Springsteen

Red Wanting Blue’s album These Magnificent Miles certainly doesn’t leave its listener wanting.

The album kicks off with “Gravity,” a song carried through by a baritone lead singer. Over a solid beat he sings, “I would be a spaceman for you/If it wasn’t for gravity, we’d be gone.”

And on the note of attempting to battle physics, the album continues.

The other songs follow a similar musical style, keeping the chords simple and mixing the guitar and drums reasonably. The result is some enjoyable, emotional rock music.

Though the band remains consistent, the album doesn’t become monotonous.

Tracks like “Where You Wanna Go” bring a bit of a country-sounding melody that adds something heartwarming to the mix. “The World Is Over” picks up the pace, taking the album a step above melodious and making it energetic, with chorus lines like, “So beat that drum/’Til we run out all of the air in our lungs.”

About halfway through, the band offers a rather touching tribute, “The Air I Breathe.” With lyrics like, “I’ve crossed through fire and the stormy seas/Living my life like a kamikaze/Losing you would bring me to my knees/You’re the air I need to breathe/I rescue you/’Cause you rescue me,” it had the potential of being overblown. But the players have complete control over their composition, and the result is music that matches these lyrics perfectly.

Overall, this album is very well done. With a reasonable score that never overpowers the vocal talents and lyrics that offer insight into touching experiences, Red Wanting Blue succeeds in making a cohesive, entertaining and well-balanced album.



Thursday, November 25, 2010

What Am I Thankful For?

Non-profits like Invisible Children. Talented artists who provide beauty and food for thought. Parents who can support me as well as they do. Second, third, and fourth chances. Friendships, new and old. Warm blankets to sleep beneath as the temperature drops. And the fact that I’m here to enjoy today.

Happy Thanksgiving!

Monday, November 22, 2010

Love is never ‘Folly’ in PPC play


Love is never ‘Folly’ in PPC play

http://pittnews.com/newsstory/love-is-never-folly-in-ppc-play/


“Talley’s Folly”

Now–Dec. 12

O’Reilly Theater

$15.75 through Pitt Arts

412-316-1600

www.ppt.org

Times might change, powers might shift, but as the play “Talley’s Folly” demonstrates, romance never falls out of fashion.

Set during World War II, “Talley’s Folly” is a romantic comedy that chronicles the story of two misfits, Sally Talley and Matt Friedman, who meet in a Victorian boathouse in Missouri in 1944. Although the river is far from any battlefields, both Matt and Sally must overcome their own differences before they can consider being together.

Director Pamela Berlin has worked with the Pittsburgh Public Theater four times in the past. As a fan of playwright Lanford Wilson, she was interested in directing “Talley’s Folly” from the beginning.

“This play is a wonderful character study,” Berlin said. “It’s a two-character play with two people who on the surface seem so different. It’s a clash of cultures, and yet they are drawn to each other. But there are huge obstacles keeping them apart, and that’s what the play is about. And it’s not plot-driven, it’s relationship-driven.”

Berlin believes the play offers a singularly compelling frame. “The setting is wonderful,” she said of the boathouse. “You feel as if you’re right there. And it takes place at once. It takes place in real time in one scene.”

Julie Fitzpatrick, the actress who plays Sally Talley, said the humor in the show is one of its strongest points. “The playwright is silly at times and incredibly intelligent,” she said. “The writing is just great. The banter between these two characters really draws me in. It is called a romantic comedy, and it has a tremendous amount of romance, but it’s also really a grounded play. These two people try to find their way to each other, and they go through a heck of a lot. It has a large-scale experience between the people.”

Fitzpatrick’s character is “complicated” and makes for a challenging role.

“Sally is — like we all are — a huge bag of contradictions,” Fitzpatrick said. “There is love there, but there is a huge obstacle. My challenge is to honor the love so I don’t constantly play an obstacle. That’s not engaging. I have to find the ‘yes’ in Sally, since there are no many ‘no’s throughout the show. I find her humor and rhythms. And I dare to take the time the playwright took to let the story unfold. You trust the unfolding process.”

Each person involved with the show has worked hard to produce it. Berlin began researching the play months in advance, hoping this foresight would help her adequately manage the entire production.

“I have to familiarize myself with the play, what it’s about, who the characters are, and I have to cast the characters well,” Berlin said. “The success of the play hinges on the actors. Then I work with a set designer and costume designer and lighting designer.”

Since rehearsals began, the technical crew, the director and actor Andrew Polk, who plays Matt Friedman, have done a “tremendous” job in Fitzpatrick’s eyes. “Pam is bringing out the story in a unique way,” Fitzpatrick added. “I feel so lucky with this team I have.”

Bringing the show to audiences is the exciting and rewarding part of the job for both Berlin and Fitzpatrick. And even if the setting isn’t contemporary, the story might as well be in their eyes.

“It’s specific to a time and place, and yet it resonates tremendously with the here and now,” Fitzpatrick said.

Sunday, November 21, 2010

Artists scavenge, surf web for inspiration

Artists scavenge, surf web for inspiration

http://pittnews.com/newsstory/artists-scavenge-surf-web-for-inspiration/

“SCALE: Aesthetic Turbulence and the Search for Lifestyle Panacea”

SPACE Gallery

812 Liberty Ave.

412-325-7723

Nov. 19 to Feb. 6, 2011

Free admission

Everything is changing these days, including the way artists approach their artwork.

The “SCALE” exhibit, presented by the Pittsburgh Cultural Trust, attempts to look at ways people can both live and create artwork during an economic downturn. Guest curator Ally Reeves had this exhibit in mind for two years and wanted to bring together artists that she liked from around the area — but first she had to find the “vein of continuity” between each artist.

“The basic idea is that all of these artists have a practice that is a type of creativity that is close to their lifestyle,” Reeves said. “So even in times of hardship they are able to create work, because materials come from salvage sources or because the art helps them make money or relax in some way.”

“SCALE” offers a variety of artistic mediums, including photography collections, woodcarving, silk printing and video.

One of the pieces is a working shower with a wooden frame and a canvas that drapes around the person who uses it. The piece was put together by sculptor Derk Wolmuth using more than 80 percent salvaged materials.

Wolmuth, a Canadian with a background in woodworking, considers himself a non-medium-specific artist.

“The idea behind the shower is that since this is a show about living on margins and somehow not in the standard way, this is a place people can come to use the shower,” Wolmuth said. “It’s a straightforward functioning shower.”

The shower plays around with the “thin line between being homeless with a shower and homeless without a shower,” according to Wolmuth, who wanted to explore the idea of living without an apartment and a place to go.

The entire “SCALE” exhibit considers this type of simplification and explores the essence of who and what people are, he said.

As for his shower, it’s open and available to the public.

“People could just come down and get a hot water shower here in the gallery,” he said. “It offers some closure and privacy with the canvas, and after it you can just relax and enjoy feeling clean in an art gallery. It’s something new.”

Freelance artist Teresa Foley, who is also featured in the exhibit, explored the world of online dating.

She put together a two-part exhibit featuring a clothesline with clothing she drew imitations of men onto, and a TV running slides explaining the significance of images men post online. Her exhibit, “m4w” (men for women), is part of her ongoing research into the kinds of images men post on Craigslist for dating purposes.

Foley noticed that on dating sites women will usually post a simple portrait of themselves, but men do several different things.

“Sometimes they’re sexually explicit and sometimes they’re something sweet, like a guy with his poodle,” Foley said. “Sometimes they’ll even post something they like, like a nature photograph or a beer. So the video is a slideshow categorizing those photographers.”

Foley is using this project as a gauge to look at men’s usage of pictures.

“Artists often look at references for new work, so this is my taking a look at and presenting back to our culture in Pittsburgh in terms of what men are doing with photographs,” Foley said.

Foley also teaches people around the city about media literacy and works with film festivals. For her, technology-based mediums allow her the most feedback, which is what she wants to see.

“I discovered I want to have a conversation of some sort,” Foley said. “That was how I got into doing art. As for picking this content, some of my best boyfriends have been from Internet dating ... So for me, this has a bit of laundry out to air and dry, and it plays with the idea of women’s work, and the images of masculinity are being turned into something feminine.”

As for “SCALE” overall, Foley said she felt excited to see how people would react to an exhibit that explores not just certain topics, but the artists themselves.

“That’s partly what this show is about,” Foley said. “How do artists live and survive? What are their contributions? Do things have to be the accepted way or do artists sometimes get to change that and open up new ways of thinking and doing for people?”

As for Reeves, the projects show a collection of creativity, and this is what she wants to see.

“I think it’s encouraging for people to see people without very much, but who are creative,” she said.

Wednesday, November 17, 2010

Bad Boy Troy starts charity for sick children

http://pittnews.com/newsstory/bad-boy-troy-starts-charity-for-sick-children/

Bad Boy Troy starts charity for sick children


Troy Tipton might use the stage name Bad Boy Troy, but he’s not all bad.

Recently, the Pittsburgh-based guitarist who has opened for bands such as Cheap Trick, has been using his career as a way to support charities. He’s begun taking part in a long-term series of benefit concerts for the oncology patients at Children’s Hospital of Pittbsurgh, as well as donating song revenue to the same cause.

Rockin’ D’s Entertainment — an agency that arranges concerts for charities — had the initial idea to promote and coordinate several performances in Pittsburgh.

But Tipton felt he could go one step further and raise money for patients on a regular basis. With the aid of Rockin’ D’s, he very recently started his own charity, Troy’s Angels Foundation. He has also released a song completely dedicated to charity, his first time doing something like that.

Dorey Duncan, the president and promoter of Rockin’ D’s, “wanted me to do a couple concerts for [the children], and I said it just isn’t enough,” Tipton said. “I wanted to do something else. Overnight, I decided I would write a song [“You’re An Angel”]. I donated all the proceeds, which will benefit Children’s Hospital and fund things they do there for the kids.”

Tipton and Duncan aim to work with the idea for the Foundation, to which Tipton has donated the rights for his song. Each download requires a minimum $1 payment, and all proceeds go to the Foundation.

Work for the nonprofit beyond this, though, is very new. As a result, no ideas have really been finalized for the project — for example, whether the financial support it provides will restrict itself to only oncology patients or expand and encompass general patients, according to Duncan. The hope, though, is to make performances through the Foundation annual.

“Troy [Tipton] will probably always be involved somewhere,” Duncan said. “But we hope to get other artists to join us in these concerts and grow larger.”

Tipton, who says he “has a big heart for children,” hopes this example of giving all revenue to a charity rather than into his pocket will set a trend for other artists to follow.

“Hopefully, over the years this will bring them a lot of money,” he said. “I just wanted to do something that was ongoing for the kids, and I hope other musicians will see what I’m doing is good and do the same thing. It could turn out to be huge.”

Tipton began playing drums after seeing The Beatles’ first performance on “The Ed Sullivan Show.” He started playing guitar as a teenager and, by age 17, was playing in nightclubs. He’s been in and out of bands ever since, opening and touring during the 1970s and 1980s with big names like Cheap Trick and Black Sabbath.

Though he temporarily stopped playing during the early 1990s, Tipton returned to the music life with a new album in 1995. He now helps local artists begin their musical careers and produces albums. He also still performs himself, with his current focus on charities.

Duncan says that Tipton’s sound has continued to evolve over the decades, from his ’80s sensibility to one “molded to sound more like 3 Doors Down.”

Tipton hopes to work on projects besides performances, such as producing music videos and continuing to record.

“It’s my true talent, performing for people, writing and recording,” Tipton said. “I try to help upcoming artists as well. I just get a joy out of it. Nothing else makes me feel that same way.”

The overall focus, though, remains on one group of people.

“This is about the kids,” Tipton said. “This is what we’re doing. Anybody with a heart, I urge them to come out, because it’s a benefit for them. All proceeds go to the Foundation to help the children.”

A listing of upcoming performances can be found at rockindsentertainment.com.

Sunday, November 14, 2010

Songwriter pens tunes about local issues

Songwriter pens tunes about local issues

http://pittnews.com/newsstory/songwriter-pens-tunes-about-local-issues/

Local songwriter Mike Stout works not only as a musician, but also as an activist and community leader.

In recent years, he’s worked on the board with Just Harvest, an organization that aims to end local hunger and poverty. He’s collaborated with the Coalition Against Offshore Drilling. And he’s gotten involved in the attempt to bring affordable health care to Pennsylvania.

“I only sleep four hours a night,” he said.

The people he works with on each project are as enthusiastic as he is, but Stout’s lack of sleep reveals just how much work he is doing and how much there is to be done with each project.

“There are dozens of people out there willing to help,” he said. “Unfortunately, we need hundreds.”

Stout’s work often chronicles the stories of people who, like him, have stood up to authority.

At a young age, in 1968, Stout played anti-war and civil rights songs in New York City, inspired by players like Bob Dylan. When he joined the steel industry and worked at Homestead Steel Works, he was elected a union head grievance man. The title would stay with him long after his steel industry days because of a journalist’s review in which he was called “the world’s grievance man.”

“In the old steel mills people would register complaints with him and he would take it up with management,” said Paul Carosi, a publicist with Radio Free Tunes who assists with Stout’s music distribution online.

Stout worked in the steel industry for 20 years and used music to rally his co-workers in the union, fighting for pensions and unemployment benefits within the workforce. He went on to organize a benefit concert that drew international press in an attempt to combat foreclosures and unemployment within the steel mill.

Stout said his experience in the industry “affected my outlook in the sense that, as a worker, you saw the need to see a manufacturing base. If it doesn’t provide decent jobs for people, everything else goes downhill. When you don’t have a manufacturing base it isn’t long before you lose a center. Then you have no jobs, and that’s what young people will experience if things aren’t reversed.”

Stout went on to compose upwards of 10 new albums since then, writing in a mixture of folk, rock and pop styles about his experiences and the experiences of people he finds interesting. He financed the recording of each album himself.

“I think 12 CDs by himself is more than almost anyone else, even people with labels,” Carosi said. “He just never quits. He finishes one CD and writes more. And he does it not because he’s become a big star making money. He does it because he believes in it all. He’s always going to meetings and is always involved with activities. He’s a busy guy. Even if you don’t agree with him you have to admire [that] he never quits.”

Stout said he writes about a mixture of topics, but primarily creates “songs about ordinary people we should remember.”

Carosi described those people as “heroes who stood up for people.” And after 40 years of songwriting, the challenge isn’t writing the music so much as telling the story.

“The stories are so deep and heavily laden with facts and biography,” Stout said. “Often it is difficult to tell as story in a three- or four-minute song. But it’s not difficult to write a song, so much as the life story.”

Stout’s most recent songs focus on contemporary issues, such as “29 Miners Buried and Gone,” which tells of miners who died following an explosion in the Upper Big Branch Mine in West Virginia. He also wrote a piece about the Marcellus Shale environmental issue that has attracted attention recently.

Songs that Stout writes “change my view of Pittsburgh and American history,” Carosi said. “Just hearing his music changed how I look at things. If you read history, people were protesting and people were killed, for years. But I was taught growing up people were loyal to their government.”

Stout simply believes that people “have to do what’s right” and that ignoring contemporary issues will only make problems grow. He protested during the civil rights movement and against the Vietnam War, despite negative comments.

“Young people at Pitt have the energy and passion, and enough brain left to go out and change the world for the better,” Stout said. “If you don’t now, you pay the price later.”

Friday, November 5, 2010

Calliope caters folk concerts at lunchtime

Calliope caters folk concerts at lunchtime


http://pittnews.com/newsstory/calliope-caters-folk-concerts-at-lunchtime/

Calliope Emerging Legends Series

Takes place weekly in the Cup & Chaucer Cafe from noon to 1 p.m.

Free admission

Ronni and Al, today at noon

With the opening of the newly renovated Cup & Chaucer comes a weekly musical series catering to folk fans.

The Cafe in Hillman Library will feature a one-hour performance each week, usually on Fridays. Performances are part of the Emerging Legends series presented by the University of Pittsburgh library system (ULS) and Calliope, a local nonprofit that promotes traditional and contemporary folk music and arts.

Rush Miller, director of the library system, has worked on the board with Calliope for four years. He soon got the idea to bring local musicians to Pitt’s campus through the nonprofit.

“I thought this would be a nice way to combine music with a cafe,” Miller said. “I wanted guitarists or somebody in there to set up atmosphere and make it more inviting and fun to be in.”

The old cafe featured a couple shows in the past, which Miller described as a “win-win.”

“It gave some publicity to acts, including some of our faculty,” he said. “We’ve had fairly well-known people in folk music come through and perform in the Cup & Chaucer.”

The upcoming program is the first in a series titled “Emerging Legends,” featuring artists affiliated with Calliope. Today’s performance is part of the grand re-opening celebration in the remodeled cafe. Future performances will also be one-hour long, unless the program is successful enough to expand to include other forms of art like poetry readings, Miller said.

“Calliope provides us with American roots and folk music,” he said. “We may have some classical ensembles and individual artists.”

Each artist who comes through will help to make the Cup & Chaucer “more than a coffee shop,” Miller said.

“We want to make it an inviting atmosphere to come to in the library,” he said. “The new shop will have a large screen TV in the wall, food, different seating, outlets for laptops. It will just a place to come eat and listen to music. Bring a little culture and something different into the library.”

The first performance is by Ronni and Al, a piano-guitar duo that has played together for about three years. Ronni Weiss plays the piano, but considers herself a stronger vocalist than pianist.

Weiss practiced the piano as a little girl and continued to play at different points in her life. She never played piano or sang to make a living. Instead, she used it as a creative outlet.

“Al, the guitar player, is the main player,” Weiss said. “As far as vocals go, throughout my life, I’ve sung. It’s my passion. It’s just not something I can do without.

“Over the years, I’ve played with different groups. When I was in college I sang with an all women’s group. About 15 years ago, I played with a group of men. We played a blues-rock style. Al and I [play] blues, jazz, [and] folk.”

Weiss met her partner, Al Bowers, after putting an ad on Craigslist.

“We have similar musical tastes. He’s a wonderful guitar player. I pretty much pick the music and do the vocals, and he is able to pick the stuff up really well. So I play a keyboard along,” Weiss said.

Weiss and Bowers play covers rather than compose songs to perform. The covers they do are distinct in that they prefer to cover songs people aren’t likely to recognize. This includes Taj Mahal, Sue Foley and Tracy Nelson.

Though they have done a couple Bob Dylan covers, “the stuff is pretty much older artists who are still recording,” Weiss said.

Bowers was also the one with affiliations with Calliope, Weiss said. He submitted the duo’s CD to the nonprofit after it announced the upcoming series at Pitt. Weiss is familiar with coffee shop environments; it’s where she plays the most. She’s “curious” and hopeful that students will enjoy what the duo brings to campus.

“I think people will recognize some of the music,” she said. “We’ve played to audiences of all ages, so I take that in mind when choosing a set list. We do a number of kinds of songs. Depending on who we’re playing for, I keep in mind who they are. We do have a lot of college students at other venues, too.”

Miller also believes students will enjoy music coming to the cafe.

“The purpose isn’t to bring in other people [to the cafe],” he said. “The idea is to bring interesting music for students who were already at the cafe.”

Tuesday, November 2, 2010

Film shows children counting tragedy in paper clips

Film shows children counting tragedy in paper clips

http://pittnews.com/newsstory/film-shows-children-counting-tragedy-in-paper-clips/

“Paper Clips”

Graduate School of Public Health Auditorium

Today at 8:30 p.m.

Free and open to the public

When a group of Tennessee students set out to learn about a tragedy 12 years ago, they managed to create a globally recognized movement.

The documentary “Paper Clips” examines a project that middle-school students in Whitwell, Tenn., took upon themselves one day while learning about the Holocaust. Unable to comprehend just how massive the 6 million person death toll was of Jewish people, the students decided to collect paper clips to help them understand the magnitude of lives lost. This project eventually grew to 11 million paper clips, 6 million to represent Jews and 5 million to represent gypsies, homosexuals, and other victims of the Holocaust, according to the documentary’s website.

The movement became so great that it attracted global attention, gained a name — the Paper Clips Project — and led to the building of a monument in their hometown.

The Hillel Jewish University Center will bring the film’s producer, writer and co-director Joe Fab for a question-and-answer session and screening of the “Paper Clips” documentary at 8:30 p.m. today. Fab has spoken at events before, so the board agreed his presence would add to the screening, said Hillel president Becca Tanen, a junior at Pitt.

“It is particularly appropriate to have Holocaust education programming during the month of November, during which the anniversary of Kristallnacht also falls,” Tanen said.

Kristallnacht took place Nov. 9, 1938. The night marks the Nazi’s destruction of 7,500 Jewish-owned businesses, the burning of hundreds synagogues, the murder of at least 91 Jewish people and the deportation of thousands of Jewish men to concentration camps.

Fab began the film after reading a Washington Post article about the original project. It took several weeks to contact the school’s principal and teacher, but Fab was patiently determined.

“We wanted to do this because everyone in our company [the Johnson Group] loves stories about children,” he said. “We had done films for the [United States] Holocaust [Memorial] Museum in Washington, [D.C.] That made me think about how great it would be to do something independent of the institution.”

The documentary screening is meant to teach people about their role in Holocaust education, said Mia Jacobs, the marketing chair for the Hillel Student Board.

“If you watch a movie it may impact you, and you may remember it, but this isn’t a period piece. It’s about how we are the generation now responsible for carrying this legacy, and we have to acknowledge this is a global issue,” she said.

Fab’s attendance at the screening will add to the documentary and allow him to answer questions like why students today should continue to care about issues from the past, Jacobs said.

“It’s my experience that it’s easy to be beaten down by Holocaust movies and education because it’s so depressing and tragic,” Jacobs said. “But we are in charge of this legacy. We need to make sure people don’t forget. [We’re a] generation that has to remember and teach the future generations who won’t be able to listen to survivors. I think ‘Paper Clips’ illustrates this well.”

Though the film is also about the Holocaust during World War II, the primary story in Fab’s documentary is about the children in Tennessee who wanted to go an extra step to learn.

“The children found they couldn’t say the number and move on,” Fab said. “It was too staggering. When people see the film, they’ll have known it had to do with the collecting [of the paper clips], but they’ll find it’s about a lot more. The project was the trigger. But what the children learn when they hear stories from Holocaust survivors, when they decide to react compassionately to what they learn, they decide to do something.”

Fab also believes that this documentary reveals the power these middle-school children held, and this is a key point people can take from the film today.

“Young people are treated as if they will be ready to participate in life someday,” Fab said. “They’re always in a state of getting ready. I learned while working on this film and being around the kids that they were curious, compassionate and very capable. They did something to say they understood this, and they wouldn’t tolerate this sort of thing in a world they’re creating. Imagine if you could bring scores of young people into the mix and if they could contribute at the age the kids do in this film. We could get a lot more done if we engaged them.”

Fab hopes that the film documentary he has created will leave a lasting impression on the audience.

Though a news article inspired him, the film medium allows viewers to become more deeply involved with the tragedy, he said.

“Reading is wonderful, but you add to this the idea about why I am pleased to be coming,” he said. “People experience it and go through the emotions of the film and feel the emotions of people in the room, and when it’s over we add the idea that we’re going to talk. I think people come away with different reactions.”

Fab also believes that this film will challenge college students, considering that middle-school students began the project with almost no funding.

Fab encourages college students to make time to come to see the documentary.

“It’s easy to have something else to do, but I’ve seen people get something from watching this film,” he said. “You never know what will happen, who will have an idea that will grow into something. I like to point out that when the children were learning about the Holocaust, a student said, ‘Wait.’ That student started something big.”

Thursday, October 28, 2010

‘Slasher’ satirizes scary movies stereotypes

http://pittnews.com/newsstory/slasher-satirizes-scary-movies-stereotypes/

‘Slasher’ satirizes scary movies stereotypes


“Slasher”

Oct. 29 – Nov. 7

Directed By Holly Thuma

Charity Randall Theatre (Stephen Foster Memorial)

$20-$25, $10 for students

www.play.pitt.edu or call 412-624-PLAY

30 tickets available for opening night through Pitt Arts, available first come, first serve

If you go to a movie theater, you’ll get one horror film. If you go to Pitt Repertory Theatre’s play “Slasher” you’ll see the guts of many of horror films splattered onto the stage.

“Slasher” takes a satirical twist on scary movie clichés. The stereotypical last girl standing has to face her fears after meeting with a cast of archetypes along the way, the villain is overplayed and melodramatic and there is enough fake blood to satisfy any horror flick’s gore quota.

The show by Allison Moore will take over the Charity Randall Theater in the Stephen Foster Memorial and literally bring the audience on stage, up close and personal with the bloody effects and the story, according to director Holly Thuma.

The play is not meant to parody specific movies so much as the genre as a whole, even though it specifically references a couple of films, including “Scream.”

“Basically, it’s about a young woman living in a single-mother home,” Thuma said about the show. “The mother is a raging feminist, furiously angry. The young woman is cast into a grade-B horror film by a director in town trying to make the film. He puts the ‘low’ in low budget, and is a recovering sexaholic and alcoholic. As she begins to work on the film her life becomes a horror film.”

When making the stage for “Slasher,” Thuma opted to make the theater represent a film set. The crew uses the set-up and lighting to give the entire theater a haunted house feeling in addition to making the audience feel as if they’re on a movie set with the main character.

The fake blood is rampant, but is supposed to play into the humor, Thuma said. This show is meant to be a satire, which means “Slasher” is a commentary as well as entertainment.

“Plays may just be entertaining, but some plays have meaning and are relevant to our lives,” Thuma said. “We usually try to pick a play with social, political or spiritual meaning and value. So this one has entertainment and is funny, but it bites.”

Deirdre O’Rourke, a Pitt graduate student and dramaturg for “Slasher,” assists in the look and feel of the show. She’s also examined the cultural implications the show has.

“There’s a lot of talk in this about the Texas Chainsaw Massacre, the slasher film stereotype and [the playwright] noticed an eroticization of females in culture,” O’Rourke said. “She wanted to explore these issues and how women are supposed to have autonomy in this culture. She wanted to tackle the issues in a fun, theatrical way.”

O’Rourke set up a discussion set to take place after the Nov. 7 show at 2 p.m. The audience will have a chance to join in a panel discussion put on by Pitt professors. The discussion brings people in from women’s studies and sociology, with the intention of discussing questions about feminism in history and today, especially within the context of the play.

“I think the play itself is in-depth, and we didn’t want that lost,” O’Rourke said. “It’s not to compliment the fun with something educational. The questions are there and it’s part of the fun. It’s purposely left the questions in the open because we all have a stake in the answer to them.”

The play itself is “high energy, fast paced, and theatrical” but doesn’t offer any definitive answers, O’Rourke said.

“I think it’s right after we have the experience we should think about what’s going on,” she said of the panel discussion. “It’s not as though we are placing these things on top of the play. They’re the heart of the play. Anyone who watches it will identify the connections.”

The aim overall is to speak to younger women specifically and urge them to examine themselves in another way.

“It’s our culture, right?” O’Rourke said.

Tuesday, October 26, 2010

Prime Stage Theatre puts twist on classic tale

http://pittnews.com/newsstory/prime-stage-theater-puts-twist-on-classic-tale/

Prime Stage Theatre puts twist on classic tale


“The Legend of Sleepy Hollow”

Oct. 30 through Nov. 7

Directed by Mark A. Calla

New Hazlett Theater, Allegheny Square E.

$20; $10 for college students with ID

Purchase at proartstickets.org or call 412-394-3353

Director Mark Calla wasn’t a fan of Washington Irving’s novel “The Legend of Sleepy Hollow,” but after some urging, he took on the job of directing an adaptation.

Under Calla’s direction, Prime Stage Theatre will put on its own version of “The Legend of Sleepy Hollow.”

In its show, the story starts out in the present with children telling ghost stories, using flashbacks to tell Ichabod Crane’s story. After overlooking the material for the play, Calla was pleasantly surprised.

“The script is fairly true to the original,” he said. “The way we made [the play] is expanding on it. To make it playable on the stage as a play, not a retelling, was to try to create some greater depth to the main character.”

Calla and the playwright, F.J. Hartland, worked together to make Crane a history not found in the original material, explaining why the “goofy, oddball and quirky teacher” is the way he is, giving him reasons for his behavior.

Brian Czarniecki, who plays Crane, joined the talks to learn more about the expanded character.

“There are scenes with his parents and flashbacks to his childhood,” Czarniecki said. “It’s interesting to see the flashbacks ... There’s his childhood and his adult life in Sleepy Hollow. It’s a coddling mother and dominating father and how they formed who he is. When he’s the schoolmaster, he’s confident and educated. In real life, he might not have common sense and can be bullied still, especially when vying for the attention of Katrina.”

Of course, the Headless Horseman plays a key role, as well.

“Even in the story, he might exist or might not, yet he is a legendary figure, even to the people of the time,” Calla said. “He is the archetype of boogeyman stories. He is the thing in the dark that will grab you if you’re not careful. More than Crane, the Horseman made this story last.”

Calla made some adjustments for this adaptation of the show but wouldn’t reveal his tricks for bringing the Headless Horseman to life on stage.

“There is no way to describe what we do without giving something away,” Calla said. “I think what the script did is unique. I want people to experience it by seeing it and hearing it.”

Calla also put effort into giving the play an atmosphere rather than just a script. This is the only thing he would reveal about his method of dealing with the spooky character.

“One of the things that has always bothered me about stage versions is they become very talky,” Calla said. “There is almost no story to use to drive it in the original story. The original is about atmosphere. Putting a literal actor on stage has always fallen short. So I think something that we did was to create a Horseman in people’s minds instead of seeing a literal figure who we know is a costume.”

Not all the challenges in the play are character-related — some are purely physical.

“I think the biggest challenge for all of us is performing on a multi-level set,” Czarniecki said. “The set has platforms, and the set is going to be a cemetery, in different levels. We rehearse on a flat space, though, trying to imagine the different levels. We try to keep this in mind. There will be different obstacles on the real set.”

The people involved are excited to bring what they consider a seasonal folktale to the stage with the twist of their own additions.

“It’s a classic,” Czarniecki said. “It’s an American classic folktale. So many people know a version of this story. My mother reminded me that I saw an animated Disney film based on this years ago. A lot of kids have heard this story, just like the kids in the play. Going back to these folktales is always fun.”

Quantum takes leap with dream time

http://pittnews.com/newsstory/quantum-takes-leap-with-dream-time/

Quantum takes leap with dream time


“When The Rain Stops Falling”

Oct. 28 to Nov. 21

Directed by Martin Giles

Iron City Brewery, down Sassafras Street; map available on the brewery’s website

$30-$45

A limited number of $16 student tickets are available for select performances with valid ID.

http://www.quantumtheatre.com/season/rain/

In 90 minutes, Quantum Theater will take its audience through 90 years of two fictional families’ histories.

Known for taking theatrical shows out of a normal theater setting, Quantum Theater will present “When the Rain Stops Falling” by Andrew Bovell in a warehouse near the Iron City Brewery. It’s located in what director Martin Giles jokingly described as “some weird place down in the bowels of Bloomfield.”

Though he has acted with various groups in Pittsburgh, Giles came onto the project as a director because of the way he could visualize the show while reading the play’s script.

“I was reading it, and I was seeing it,” he said.

The show follows seven people and several generations from the 1950s through to the future of 2039. Two families pass down “the follies and pain of the previous generation to the next,” and they go through their lives, Giles said.

Even though the approach goes beyond ordinary theater, “When The Rain Stops Falling” itself is a very typical, beautiful play, he said.

“It’s not a bizarre, radical thing,” he said. “It’s beautiful and sad, and the ending is slightly uplifting because it says we can change if we become aware enough, and we’re kind enough.”

“The interesting thing is [the writer] makes everything happen at the same time,” Giles said. “He’s Australian and knows about dream time, the idea of how the past is always present. The generations of the family, you see their stories and how they overlap.”

This means that there are moments where the audience can see two moments in time at once and how one affects the other. The show also examines how the actions of the people affect the world overall.

“The other part of the idea is that what you do makes the world,” Giles said. “If we continue to behave badly and not treat each other well, we’re destroying the world. Every interpersonal reaction affects the world and its stability.”

The show is an interpersonal and global commentary rather than a political one, according to artistic director and Quantum Theater founder Karla Boos.

“The play is interesting for younger people,” Boos said. “There are amazing young characters who are at moments in their life where things could go one way or another. They can’t completely control their destiny since things with their ancestors come into play in their lives. It’s an interesting aspect: It’s community.

“You see how they are eventually able to move forward from a chain that seems present in their lives. Somebody in 2039 changes this course. The play ends on a wonderful note that’s about change.”

Giles has overseen construction of the set and taken part in the evolving vision of the show from the beginning. With Quantum Theater, the set of the play is as important as the show itself, Boos said.

“In general, we feel there’s something about how an audience experiences the play that is an active contributor to what they get from it,” Boos said. “So we choose the site that lets us use something specific for that experience. This play has two things. It has a personal story of a family over generations, and that’s huge the way any personal story is huge. And the play has ideas that have to do with the environment and how people relate to the planet. We wanted this play in a giant place so we could reference these issues.”

The facility offers the chance for large props and backgrounds as well as massive projections of night skies over the audience.

Running the show outside of a theater is not simple. The directors are in charge of simple things like heating, and as Pittsburgh gets chillier, it’s just one more thing to keep an eye on, Boos said.

“We wouldn’t do this if we didn’t believe in the art,” Boos said. “It is much more difficult and expensive than normal theater.”

On the other hand, after 20 years in this business, Boos describes the crew as veterans and experts in the craft.

“Now we know what the questions to ask are,” Boos said about setting up. “The first shows weren’t so ambitious. We once wouldn’t have dreamed of putting things like this on. But that’s the evolution of good artists.”

Sunday, October 24, 2010

Anderson: a fortunate flutist

http://pittnews.com/newsstory/anderson-a-fortunate-flutist/

Anderson: a fortunate flutist


Ian Anderson

Carnegie Library of Homestead

Tuesday, 7 p.m.

510 East 10th Ave., Munhall, Pa.

$45-$55

412-462-3444

One of the things that separated Jethro Tull from other bands was its flutist, Ian Anderson.

Anderson’s North American tour will bring him to the Carnegie Library of Homestead’s Music Hall Tuesday evening.

The British singer and songwriter has played music for more than 40 years and has lived and performed through evolutionary periods of rock history, such as progressive, folk, electronic, hard and world. He played the flute in his own rock band, the groundbreaking Jethro Tull.

Today, Anderson continues to share his music — both his work as a frontman for Jethro Tull as well as acoustic and electronic pieces of his own.

Anderson can recall the “rhythmic pulse of syncopated swing music” from his childhood that impacted him and stayed with him throughout his career. While he went through a period of life when he played an electric guitar because it was “the sexy thing to do,” he was raised primarily on acoustic music and soon went back to his roots.

“I was 18 or 19 when I realized I wasn’t good at playing [the electric guitar], and Eric Clapton was,” Anderson said. “I started on the flute, and it happened to be the lucky choice of something good to play, and it got me noticed.”

Jethro Tull gained popularity as Anderson taught himself to play the flute. It was a different instrument from the norm, and as a result the band’s rock music was “not genre rock music” and still isn’t today. Anderson became the man who introduced the flute to rock music, as well as a self-described “unplugged musician in the rock band.”

“A part of me still reacts to electronic rock, but not to the point I want to play it for two hours,” Anderson said. “You can’t escape the fact that you have to keep moving into the current realism of technology in music. But there are acoustic values I’d hate to leave behind me. It’s my musical culture.”

Florian Opahle, who is playing electric and acoustic guitar with Anderson on this tour, met Anderson when he played in Germany in 2003 as an opening act for Jethro Tull. The two then coordinated and played together at two shows.

“From then on everything happened very quickly and, on the next Ian Anderson tour, I found myself on the roads of Italy touring with Ian. A dream had come true,” Opahle wrote in an e-mail.

Opahle never wanted to do anything except play music, and playing with Anderson is an enjoyable way for him to pursue what he loves.

“There are so many fantastic songs which I really enjoy [playing],” Opahle said. “I really like the arrangement, composition and mood of the tunes. I love playing these massive songs like ‘Thick As A Brick’ or ‘Budapest’ that keep you busy regarding the individual parts, switching from a quiet section to a rock one, from a folksy to a classical one. I think that is one of the major things. It is this beautiful variety of different musical styles.”

Opahle occasionally plays solo or collaborates with blues bands in Germany. Even though Anderson has released four solo albums, he’s never gone for a completely solo career — he enjoys the group performances more.

“Being [by] myself would be limiting,” Anderson said. “I’m used to having more colors on my musical palette and working with and bouncing off other music and personalities of musicians. I think that’s part of what makes music more fun to do. It’s the human contact that gives it another dimension or two or three.”

Technology today also allows Anderson to incorporate more influences into his ever-evolving style. He takes what he likes from anything from jazz to Indian flute players to classical violinists.

“I’m all ears, really, to enjoy what’s out there,” Anderson said. “It’s a big world we live in, and we have more access to do it these days.”

Just as with workers in any other career, after 40 years on the job, there are days when he wants to quit music.

“Usually on Mondays,” Anderson said. “But of course you get those feelings. Some days you’d rather be doing something else, like fishing or training to be an astronaut. It’s doing something else for the sake of it or a new challenge. But 24 hours later I wake up with renewed vigor and determination to achieve the things that are immediately in front of me.”

Monday, October 18, 2010

Pomegranates chart growth


http://pittnews.com/newsstory/pomegranates-chart-growth/


Pomegranates chart growth



Pomegranates, with supporting act Hot Garbage

Garfield Artworks

4931 Penn Ave.

Oct. 20, 8 p.m.

Tickets: $6

412-361-2262

Smashing Pumpkins, take note: At least one other band is bold enough to claim a fruit as its title.

Pomegranates, a Cincinnati-based act of college-aged men, adapted the name because it was “the idea that was least embarrassing” at the time, according to drummer Jacob Merritt.

“Pomegranates have a mythology and a cleansing process. The imagery fit our music,” Merritt said.

Pomegranates’ music, which Merritt described as dreamy pop, reflects the tastes of the individual band members, with heavy influence from groups like Pink Floyd and the Talking Heads.

Merritt and vocalist, guitarist and keyboard player Isaac Karns formed Pomegranates in 2007. As their old band separated, Merritt and Karns continued playing together, recruiting another vocalist and guitar player, Joey Cook. The group’s first recorded work, the EP Two Eyes came out four months later. Soon, the band was signed to Lujo Records.

By the time their first album, Everything is Alive, debuted in 2008, the members had settled into a new lifestyle, and a lineup change had brought vocalist and guitar player Daniel Lyon to the band. Lyon said he’d been involved in several other groups at the time, but the Pomegranates were refreshingly dedicated.

“In January I decided to come down again and start writing with them after a falling out with the other players [in other bands],” Lyon said. “This is definitely a lot more serious than any other project.”

Merritt has been involved with the music scene since he began playing in high school, finding pleasure in music composition.

“I like the idea of creating something that other people appreciate and somehow makes their lives better one way or another,” Merritt said.

Currently on the road, the band are releasing a third album, One of Us, at the end of October. The album makes frequent references to relationships back home.

“I think with this last album, everyone felt like it was mostly personal experience,” Lyon said. “I think a lot of beliefs come into this. I think there’s quite a number of love songs as a result of us having serious girlfriends.”

Karns, a member of the Pomegranates since its inception, noted that the band’s albums have become less story-based.

“On our last album [Everybody Come Out], we had a few songs we released we could tie together with a narrative,” he said. “In some ways it was easier to write because it was plotted out. Lyrically, we’d fit songs to the narrative.”

The Pomegranates’ third album, however, was not conceived with a blueprint of any sort. Though Karns sees the album as painting a clear portrait, any narrative listeners might infer is unintentional.

“As far as writing, that was a big difference,” he said. “We didn’t have a destination point with the new one. We just wrote. Last time we had a start and a finish and we filled in the blanks.”

Ever industrious, the band is already thinking about producing another album.

“We’ve written a song that we have yet to record and release, but we play at shows, that we’re happy with,” Karns said. “I think we’re all excited to write again. I think we’re always trying to write songs and not take long of a break. We may not use all the songs, but it keeps us going.”

When their tour ends, the members of Pomegranates will all return to day jobs in cafés and restaurants. Most of the members live in Ohio, with the exception of guitarist Joey Cook, who lives in Northern Kentucky.

“When we’re home between extended touring we have to work really hard,” Karns said. “When on the road it’s fun and rewarding, but it’s still hard work.”

Band life for Karns is “halfway between a career and a hobby” — it doesn’t pay the bills by itself. Karns has envisioned working on a farm or in a bookstore but doesn’t see these as “lucrative choices” that could ever replace music.

“I’m happy to do something that I love and share it with people even if it is hard work and not the best money,” Karns said. “I think we all agree it’s worth it.”

Sunday, October 17, 2010

Oakland ‘most haunted’ ‘hood

http://pittnews.com/newsstory/oakland-most-haunted-hood/

Oakland ‘most haunted’ ‘hood


Haunted Pittsburgh: Haunted Tour Oakland

Sunday, Oct. 24

Tickets: $15 online at www.hauntedpittsburghtours.com or in person if not sold out.

Meet at: Hillman Library, 6 p.m.

Haunted Pittsburgh makes a bone-chilling claim: Oakland is the most haunted neighborhood in Pittsburgh.

“If you ask someone what is considered the most haunted [neighborhood], people think North Side,” said Michelle Smith, co-founder of Haunted Pittsburgh. “It has the big ghost stories. But we did research and Oakland seemed to have the most ghost stories in a small area. Almost every building or neighborhood seems to have a story attached to it, especially around Pitt.”

Haunted Pittsburgh is a local historical group with the aim of sharing local spirit lore by offering ghost walks, something the city previously lacked. The organization offers spooky tales through ghost walks, dinners and pub-crawls in various parts of the city. It usually offers tours primarily in areas such as Mt. Washington and South Side, but their discovery of Oakland and Pitt’s ghoul-filled buildings have brought them to this neighborhood.

Sean Collier of WDVE Morning Show and Pittsburgh Magazine will host the Oakland tours. The radio personality says he’s not surprised by the amount of ghost stories in Oakland.

“You’ll find a lot of stories associated with most colleges, especially those set in big buildings or dorms, just because there are so many people moving in and out frequently,” Collier said. “Stories are bound to shovel up.”

The Oakland tour will begin at Hillman Library and go to the Quad, the William Pitt Union, the Cathedral, the Carnegie Library, and the Frick Fine Arts building. Many Pitt students and staff use these buildings on a daily basis.

One of the more creepy stories involves the Carnegie Library. A city judge became fond of the building after it opened in 1895. But in the early 1900s, he went to the building to hang himself rather than to complete his work.

“No one knows why he did so,” Collier said. “Soon after he was found and removed, the staff reported seeing writing on the walls. But not at ground level. It was on the ceiling near the level of a hung man.”

The words were written in Latin, and when translated to English they read, “The judge is here.”

“Any library stack is creepy anyway,” Collier said. “It’s isolated. Now you worry you’ll run into a judge.”

Smith feels that people will want to know the creepy lore of buildings they go to everyday because they enjoy the adrenaline rush that comes from feeling scared. Ghost walks offer a safe environment to feel chills up the spine.

“It’s places people are at every day,” Collier said. “You’re in the Cathedral every day for class and it’s commonplace, but to look at it through these stories, it adds intrigue and mystery to what would be a normal place.”

Haunted Pittsburgh is not the same as a haunted house or other Halloween attraction because of its use of historical research and local testimony, according to Collier.

“On all of our tours, we have shorter stories and those from people in the area, as well as Pittsburgh history,” Collier said. “There’s also just a certain sense of reality. I love Halloween attractions, but this is a chance to hear a reportedly true ghost story and be at the place and in its presence. I think a tour like this is so much more real than Halloween attractions.”

Ghost stories might be set any time from the 1700s to as recently as the 1900s, depending on what the tour guides decide to use.

“A lot of our stories are very historic, but we have some new accounts as well,” Smith said. “We are careful using new stories because if there are recent deaths or hauntings, we don’t feel it’s appropriate to tell that story.”

At the end of the tour, though, Smith reminds everyone, believers and skeptics alike, that their job is to research and entertain, not investigate. Collier himself is skeptical of whether or not every element in a ghost story ever actually happened.

“We are not here to make you believe or disbelieve,” Smith said. “You’ll find the stories interesting and learn a bit of history.”

“These stories have survived and it’s an interesting folk tradition all on its own,” Collier said.

Wednesday, October 13, 2010

Cuban art speaks about taboo topics

Cuban art speaks about taboo topics


http://pittnews.com/newsstory/cuban-art-speaks-about-taboo-topics/

“Queloides: Race and Racism in Cuban Contemporary Art”

Curators: Alejandro de la Fuente and Elio Rodríguez Valdés

A collaboration of artists

The Mattress Factory

500 Sampsonia Way

(412) 231-3169

Alejandro de la Fuente wasn’t able to see the exhibition he curated, “Queloides: Race and Racism is Cuban Contemporary Art,” when it appeared in Havana earlier this year because he was banned from the country for using the word “racism” in the title.

“This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition,” Fuente explained. “I was banned from Cuba and from going to this exhibit because this is an uncomfortable issue in Cuba. It has been treated like a taboo. People have claimed there are no racial problems, so when you do an exhibit like this, you go against decades of official silence. That made some people unhappy. But they didn’t dare censor the exhibit, so it was shown.”

Fuente stayed informed through reports and was pleased that the exhibit in Havana was well attended despite a lack of press. News got out by word-of-mouth instead. For now, though, his ban remains in place.

Fortunately, Fuente will now have the opportunity to see the exhibit featuring the work of 12 Cuban artists. Currently in the Mattress Factory, it addresses the issues of racism and prejudice that the Cuban government denies exist.

Fuente, a University Center for International Studies research professor of history and Latin American Studies, and his co-curator, Cuban artist Elio Rodríguez Valdés, organized the exhibit together.

The title alone brings perspective to this exhibit, according to Fuente, who is a Cuban-American with family in both countries. “Queloides” are wound-induced scars. The title is meant to raise discussion of racial stereotypes within the Cuban culture, as well as the process of healing from traumatic racism and discrimination.

“Most people don’t know this word because it’s a medical term,” Fuente said. “It’s pathological scars created by wounds. In a sense the exhibit refers to social, cultural and personal scars racism creates.”

Fuente and his co-curator met in 2007, when Valdés was showing his own artwork at Frick Fine Arts. Fuente offered to help bring the already existing “Queloides” to America, enlisting the help of the Latin American Studies department at Pitt and contacting the Mattress Factory.

“Queloides” features multiple instillations from paintings to photographs to sculptures, as well as media-based artworks. Each artist brings a different perspective to the exhibit. For example, Valdés created one piece presenting a series of monstrous-looking beings.. Another piece portrays people as faceless and lacking in identity.

The Pittsburgh exhibit is larger than the exhibition which took place in Havana earlier this year.

“What brings the exhibit together is a common theme — the persistence of racism in Cuban society and by extension racism in the rest of the world,” Fuente said. “It invites people to think about racial stereotypes and prejudice.”

The racial problems in Cuba cannot be pinned down any more easily than a lot of racial problems in America, said Lindsay O’Leary, public relations and marketing manager at the Mattress Factory. The most noticeable sign of trouble is a lack of high-placed job positions for minorities in the tourism business. The difference, however, is that Americans talk about the problem. In Cuba, the government suppresses discussion of racism while claiming the existence of equality.

Since the 1990s, Cuban artists in particular have made it a goal to speak up, using their talent to deliver their messages.

“Art can evoke visceral reactions without words,” O’Leary said. “Even the image of the ... samurai with the sword, that was chosen by the entire group of artists to represent themselves. It’s an image off of a sculpture from 1440. It’s the whole picture is worth 1,000 words saying, without using words.””

The Mattress Factory staff has also treated this exhibit differently due to its controversial nature.

“We treat the artists exactly the same as far as the process, but there is a big story here about a bigger issue,” O’Leary said. “In the little world of the Mattress Factory, nothing has changed. But the fact that the curator used ‘race’ [in the title] and it’s stopping him from going home, is pretty ridiculous.”

“Queloides” actually follows a previous exhibit at the Mattress Factory featuring Cuban artwork in 2004, O’Leary said.

“At that time none of the artists could come up because of U.S. and Cuban relations,” she said. “It was difficult because we had to do everything by phone and fax to get the exhibit set up.”

Fuente knew about this and proposed that “Queloides” come to the Mattress Factory next, since it fits within the Mattress Factory’s progressive and controversial themes.

This time, all of the Cuban artists have been allowed into the States.

Monday, October 11, 2010

Pittsburgh Public Market offers eclectic selection


Pittsburgh Public Market offers eclectic selection

http://pittnews.com/newsstory/pittsburgh-public-market-offers-eclectic-selection/


Pittsburgh Public Market

Produce Terminal on 1212 Smallman St., between 16th and 17th streets

Friday 9 a.m. to 7 p.m.; Saturday 9 a.m. to 5 p.m.; Sunday 10 a.m. to 4 p.m.

pittsburghpublicmarket.org

Pittsburgh might have professional sports teams, great universities and vibrant neighborhoods, but until recently, it lacked one ingredient: a public market.

The new Pittsburgh Public Market attempts to fill this niche. Located within an old warehouse, it’s the first market of its kind in Pittsburgh since 1965, according to manager Cindy Cassell.

“This is Pittsburgh’s historic market district. We thought this was a nice complement to what the Strip offers,” Cassell said. “Most major cities have public markets. Other markets are found in old terminal-type buildings. The buildings lend themselves to the historic market concept.”

The team studied other public markets to see what amenities were often included. Cassell discovered that other markets were “often the hearts and souls of the community.”

“They were gathering places,” she said. “People enjoy that. There are great products. They’re supporting the local economy and agriculture. Markets are a wonderful way to showcase the best of what the region offers, because they do offer local products and local farms.”

The businesses featured in the market are locally owned and operated, although they sometimes include vendors from outside of Pittsburgh who have teamed up with local businesses, offering what Cassell deemed the “best [products] in the region.”

The Produce Terminal, where the market is located, is an old warehouse-like structure with plastered walls, an overhead roof and doors that are open or shut depending on the weather outside.

Visitors can stroll down aisle after aisle and from vendor to vendor. Cooking demonstrations or band performances take place in a corner near chairs and tables, keeping the energy and noise levels high.

The whole building is a collage of smells, from fresh fruits and baked bread to juicy ribs and greasy potatoes. People chit-chat between stands, and it isn’t uncommon to hear excited conversation about how a sample tastes.

The market features organic produce, a bakery, jewelry and a pet food and toy stand. There are also two Indian food vendors, which the Strip District formerly lacked, Cassell said.

“We approve things based on how the product adds diversity to the market as well as the entire Strip,” Cassell said.

Several featured vendors are new or had originally been based at home before coming to the market. Cassell said she hopes other businesses will follow suit.

One new business is Christopher’s Collages. Christopher Nix has set up a table and a backdrop displaying his artwork at the market.

He creates collages in which he turns a simple image outline, like the Steelers’ logo, into a collage of hundreds of small images that fill the main outline. He spends as long as a month coming up with a list of what he wants in the collage, based on what people think he should include.

“The goal of the drawing is to find something for everyone to kind of relate to,” he said. “People ask if something is in there, and no one has stumped me yet.”

For Nix, the work has therapeutic qualities.

“This is something I do at night as a creative outlet after being at work all day,” Nix, a civil engineer, said. “It started when I made a Steelers picture for my dad. People saw it and loved it.”

He opened the stand at the suggestion of some of his family members.

“I’m just seeing how this will work out, but I think this will be the incubator for a small business,” he said.

In addition to arts and crafts, there are produce stands, like the one hosted by Nathan Holmes from Clarion River Organics. His stall was filled with brightly colored fruits and vegetables, as well as meats, including goat and rabbit, and cheeses. Employees offered samples from a table covered with fruit seeds.

“We raise and make food in a way that’s better for the earth and healthier for people and makes them feel better after eating it,” Holmes said as he offered a cup of tomato and watermelon slices to a customer.

This is Clarion River Organics’ first stand in Pittsburgh. The company usually sells to places like Whole Foods but wants to have more direct interaction with customers, Holmes said. Moving to the market allows other benefits as well.

Cassell summed up the new market as an intriguing option for students and residents alike.

“There’s affordable fresh food,” Cassell said, mentioning that seasonal vendors will be available during the holidays. “We have music playing. We hope to have cultural dances and demos. We want to become part of this community. It’ll just be fun.”

‘Secretariat’ gallops to success


‘Secretariat’ gallops to success


http://pittnews.com/newsstory/secretariat-gallops-to-success/

“Secretariat”

Starring: Diane Lane, John Malkovich, Amanda Michalka

Director: Randall Wallace

Walt Disney Pictures/Mayhem Pictures

Grade: B

Horseracing fans, take heed: “Secretariat” is more than just a day at the races.

Disney’s newest film is a surprising tour-de-force, with an impressive combination of good acting and deft cinematography that brings a horse galloping down the track to life.

The film is based on the true story of Secretariat, a thoroughbred racehorse who in 1973 became the first Triple Crown champion in 25 years and set track records that still stand today.

The story begins before the racehorse’s birth, when its owner-to-be, Penny Chenery (Diane Lane), takes over her parents’ failing breeding farm upon the death of her mother. She tells her husband and children she’ll return home in a few days. Days, however, turn into weeks as she grows attached to the farm and feels obligated to solve its problems — despite her brother’s insistence to sell the entire property.

Soon, Chenery finds herself with a young colt the stable hands call Big Red, who has fostered a love for running early in life. A trainer named Lucien Laurin (John Malkovich), who has a fondness for odd clothing styles and just can’t retire, accompanies the horse.

At the same time her family is growing up and joining war protests without her, Chenery works hard to give Big Red, whose race name becomes Secretariat, a fighting chance to run his race.

The actors’ performances are quite strong throughout. For a film about a racehorse, the audience will be just as invested in the characters as the film’s myriad conflicts — conflicts which include keeping control of a breeding farm and letting go of past mistakes.

Lane presents Chenery as a powerful, free-willed housewife fighting for what she wants in both worlds — a compelling oddity given the male-dominated society she lives in. Malkovich brings most of the humor to the screen in his portrayal of an aging man with a curmudgeon attitude and an unusual sense of style.

The animals give their own laudable performances. Apparently a horse wrangler from “Seabiscuit” worked on this film, and he clearly has a talent for working with animals who seem to enjoy, in addition to racing down the track, prancing and posing for the camera.

The camerawork isn’t half bad, either. It’s impressive just how close the cameras get to these animals, especially considering horseracing has never been considered a safe sport. And if audiences don’t smile at a clumsy foal bumping into the camera — well, they just don’t know cute.

It’s actually hard to tell how many shots are of a real horse and how many required a prop for safety, so it’s safe to say the effects are decent, as well. Similarly, the clothing and sets create the sensation of fully inhabiting a different time and place.

The ending itself is perfect, as expected from a Disney film — but not just in terms of plot resolution. Watch the credits — the photos of real people and the surprise cameo ensure that this film sprints to the finish line.