After a long strange trip, Jerry Fest is back this Sunday!

“Don't tell me this town ain’t got no heart”


Jerry Garcia

Per The Five Points Association …

The Five Points Association, Loose Lucy’s and Mind Harvest Press are hosting the return of JerryFest—live and in-person—this Sunday, October 3, 2021. A FREE outdoor concert held at the main Five Points fountain on Saluda Avenue, JerryFest runs from 2pm-10pm and features multiple bands all performing Jerry Garcia and Grateful Dead music.

 

Since 2014, the event has welcomed around 1,200 to the Five Points village for a family- and pet-friendly afternoon of fellowship and music along with artisan crafts, food, beverage and merchandise vendors. JerryFest was started to commemorate the life and art of Jerry Garcia. Rock guitarist and musical icon, Garcia was best known as the lead guitarist for the Grateful Dead that inspired legions of followers known as “Deadheads.”

 “One of our signature neighborhood events returns with its tie-dyed sea of happy faces all enjoying 'rainbows full of sound,' as the song goes,” says Don McCallister, co-owner of Loose Lucy’s along with his wife Jenn.“

The music for the 2021 edition kicks off with the Columbia Community Drum Circle, followed by a regional headliner, the cleverly-named JGBCB (Jerry Garcia Band Cover Band). Local acts Big Sky Revival, Stillhouse and Gentle Jack round out the main stage bill, with the Red Shack Pickers performing at The Hubbell art installation across from Loose Lucy’s located at 709 Saluda Avenue. 

Fox 102.3 will be broadcasting live from 5pm-7pm at Greene and Harden Streets, and you’ll also get a glimpse of our JerryFest Dancing Bear parading throughout the festival footprint. There will also be an opportunity at the Columbia Fireflies booth for a photo op with Mason and our Dancing Bear.

 

Music Line Up:

  • Columbia Community Drum Circle - 2pm-3pm

  • Gentle Jack - 3pm-4pm

  • Big Sky Revival - 4:30pm-5:30pm

  • Stillhouse - 6pm-7pm

  • JGBCB - 7:30pm-10pm

 

Participating Vendors:

  • Bang Back Pinball Lounge

  • Blue Pizza

  • Booze Pops Columbia

  • Columbia Fireflies

  • Crowntown Cannabis (formerly Charlotte CBD Five Points)

  • Grizzly Belle

  • High Life Smoke Shop

  • Kombi Keg

  • Nessy's Naturals

  • Pelican's SnoBalls

  • Philly Flava II

  • Revyved Records

  • Something Special

  • Stolon Superfoods

 

There will be street closures that day from 10am-11:59pm. The 2000 Block of Greene Street starting at the stage in front of CJ’s down to Harden Street will be closed and blocked off. The main fountain plaza at 747 Saluda Avenue, Saluda Avenue in front of Starbucks and Saluda’s and the Saluda Avenue loading zone between the fountain and the Harden Street parking lot will be closed and blocked off as well. 

COVID-19 protocols will be encouraged for all festival participants and vendors due to the City of Columbia’s Mask Ordinance. Please see full details of the ordinance at columbiasc.gov. Cash will be accepted, but please bring credit/debit cards for your primary form of payment. Per SC Code of Laws Section 23-31-235, NO CONCEALABLE WEAPONS ALLOWED. 

For more information on JerryFest, please visit FivePointsColumbia.com/JerryFest. You can also follow the festival on Facebook @FivePointsSC, Twitter @FivePointsSC and Instagram @FivePointsSC.

 

SC Philharmonic Celebrates Return to its “Groove” With Launch of the 2021/2022 Masterworks Series

“With our ongoing focus on  women composers and composers of color, it is important to bring attention to these composers from the past as well as the present …,”

- Morihiko Nakahara

Morihiko Nakahara - photo by Kevin Kyzer

Morihiko Nakahara - photo by Kevin Kyzer

The South Carolina Philharmonic presents Mendelssohn’s “Scottish”  Symphony Saturday, October 9, 2021, 7:30 PM at the Koger Center for the Arts. This first  concert of the 2021/2022 Masterworks Series features Fanny Mendelssohn-Hensel’s Overture  in C Major, Andrea Gabrieli and Mark Scatterday’s Aria della battaglia, Vivaldi’s Concerto for  Four Violins in B minor and Felix Mendelssohn’s Symphony No. 3 in A minor, op. 56,  “Scottish.” The Vivaldi spotlights SC Phil Concertmaster Mary Lee Taylor Kinosian, and SC Phil  musicians Ashley Horvat, Damir Horvat and Sophie Wang. All concerts this season will be  presented in person and livestreamed. 

Following a season of production challenges because of COVID, Music Director Morihiko  Nakahara mused on the most thrilling way for the SC Philharmonic to return to the Koger Center  for the 2021/2022 Masterworks Series. “Frankly there are many ways for orchestras to celebrate  ‘the return to normalcy,” said Nakahara. “One could feature a huge piece to raise the roof like  Beethoven's 9th, or one could enlist a marquee guest artist. We're taking another approach that  says: ‘this is our musical family, and welcome back to our musical home, both in-person and  virtually.’” 

Nakahara went on to explain that the first concert of the season is continuing the organization’s  artistic goals, while also celebrating the talent within the community. “With our ongoing focus on  women composers and composers of color, it is important to bring attention to these composers from the past as well as the present,” said Nakahara. “We also wanted to create fun ways for  our musical family to get back into the groove, like highlighting several of them in a solo role.  We are doing this with the Vivaldi on this program, and the Bach on the next program. We also  get to highlight various sections of the orchestra in the Gabrieli piece - for example, our winds  and brass sections.” 

The concert will be bookended by pieces that were composed by siblings Fanny and Felix  Mendelssohn. This pairing has been a longtime goal of Nakahara’s. Felix Mendelssohn remains  one of Maestro’s favorite composers since his days playing the clarinet. He believes that the  "Scottish" Symphony highlights the well-documented aspect of Mendelssohn's creative output  as a painter, and expects listeners to hear, see and smell what the composer must have  experienced when becoming inspired in Scotland. Though history doesn’t reveal much about  how Fanny Mendelssohn-Hensel’s Overture in C Major came to be, Nakahara believes listeners can sense Fanny’s joy and excitement in writing for a full orchestra, which makes it a stunning  opener for this concert and for the season. 


Mendelssohn’s “Scottish” Symphony will be presented on Saturday, October 9, 2021 at 7:30 PM  at the Koger Center for the Arts.

Tickets may be purchased at scphilharmonic.com or by calling  the Koger Center Box Office at 803-251-2222.

Audiences are encouraged to visit the Koger  Center’s website to learn about all safety protocols for in-person performances:  kogercenterforthearts.com

The SC Philharmonic will continue to follow CDC and  University of South Carolina guidelines for the safety of the audience and musicians.

For  October 9, audience members will be required to wear masks and are asked to watch the  performance virtually if they are not vaccinated. 



Columbia Representing at the Rock 'n' Roll Hall of Fame with Capital City Playboys, Hot Lava Monster & Students of the Columbia Arts Academy

When Marty Fort does something, he does it big and he does it right., as evidenced by the more than 1700 families who have enrolled their students in the Columbia Arts Academy, Fort’s multi-instrument arts education facility founded in 2003.

This weekend, Fort is doing what seems to come naturally to the artist/entrepreneur. He, his school, and a couple of his favorite SC bands are taking over the Foster Theatre at the Rock and Roll Hall of Fame in Cleveland, Ohio. And while the most obvious audience of fans, friends, and family may not all be able to be there to cheer them on, (it should be noted that Jasper Project board president Wade Sellers will be on site, in a working capacity, of course), the rest of us can still watch the performance via a live stream either at home or a one of Fort’s three music schools in Columbia, Irmo, or Lexington where live stream parties will be held.

Shane Manning

Shane Manning

Fort is super proud of his students, including one young man, 17-year-old guitarist Shane Manning, son of Shannon and Shawn Manning, who Fort identifies as “an amazing player” who is “on his way to great things if he keeps it up.” There are a total of eight kids taking this once-in-a-lifetime adventure with Fort and they will be performing with their instructors as well as each other.

Hot Lava Monster

Hot Lava Monster

In addition to the kids, Fort is taking along favorite local bands Hot Lava Monster—Patrick Baxley, Wes Pellerin, Jon Hawkins, Mike Schaming—and Capital City Playboys, with whom he plays himself, and they will also be performing

Capital City Playboys -

Capital City Playboys -

Capital City Playboys, whose membership also includes Kevin Brewer and Jay Matheson, recently opened for Cowboy Mouth at the Main Course on Main Street in Columbia and will be performing at the Art Bar on Saturday August 14th along with Greenville’s Silver Tongue Devils and Deaf Web’s Blues Intrusion.

Saturday August 7th

11am - 4pm

https://www.columbiaartsacademy.com/

Columbia Operatic Lab is Everything 2021 Needs from a Badass Opera Company

“This is not your Mee-Maw’s opera …”

Columbia Operatic Laboratory is delighted to be back at Art Bar at 8:00 PM on Friday, August 20 to present a “Notoriously Hot *and Bothered*” concert and the original opera “Four Singers Walk into A Bar.”

The concert will feature music from opera and musicals that will take you from the heat of passionate love to the flames of anger, to the pits of Hell, and back to the sweltering heat of our fair city. Who knows what you will hear or what special guest stars may appear?

Four Singers Walk into a Bar tells the story of four singers who walk into a bar to sing and try to pick up dates. While they sing in foreign languages, there is a handy-dandy live translator to provide an English translation and a bit of color commentary. Columbia Operatic Laboratory founding member Maria Beery wrote the show as a way to make a recital of arias and scenes more interesting by weaving a plot through them. While the music is hundreds of years old, the stories are current and relatable.

This is not your Mee-Maw’s opera, and you do not need a music degree to enjoy a special evening of live entertainment.

columbia operatic lab group.jpg

Performers for the evening include singers Maria Beery, Michael Brown, Evelyn Clary, Jennifer Mitchell, and Craig Price, translator Andrew Skaggs, and collaborative pianist Bradley Fuller.

Art Bar is located at 1211 Park Street in Columbia.  There will be a $5 cover, and donations will be gratefully accepted.

Columbia Operatic Laboratory, Inc. is a 501-c3 nonprofit aimed at providing arts educating in the field of opera. For more information, follow us on Facebook and Instagram.

Photo Credits – Michael Brown and Jerryana Williams-Bibiloni

The Concert Truck Returns to Columbia for South Eastern Piano Festival

“Something changed for me in that moment,” Luby says, “and I started to question why concerts always happen in concert halls. Spaces started to look different to me … everywhere I went seemed like a great place to have a concert.”

The Southeastern Piano Festival’s “Piano X” initiative aims to find alternative and nontraditional ways of connecting people to piano music. This year’s headline features a show on the go.   

The aptly named Concert Truck will be returning to its Columbia roots on Monday, June 14th to perform at Boyd Plaza at 8pm. The box truck is a mobile music venue, fully furnished with lights, a sound system and, of course, a piano.  

The South Eastern Piano Festival (SEPF) is an annual event that is both education and performance based, featuring shows from some of the world’s best pianists and serving to train some of the nation’s top youth pianists. This year, the festival takes place from June 12 - 20 at the University of South Carolina’s concert halls.  

The Concert Truck, however, takes the music hall experience outdoors. 

According to Marina Lomazov, SEPF founder and artistic director, the truck erases the “invisible formality” of traditional piano performances, leaving more space for interaction between the audience and performers.  

Lomazov noted that not everyone can afford tickets to concerts or is comfortable in a formal music hall environment. The truck brings the experience to people so that they can embrace the music for themselves or at least have enough exposure to appreciate it. “The people who play on the truck … passionately love the music and they want to share that love with as many people as they can,” Lomazov says.  

The people who will be performing on the truck next week are its founders: Susan Zhang and Nick Luby.  Zhang herself is an alum of the Southeastern Piano Festival and attended as a participant when she was a teenager. Both Zhang and Luby studied piano at UofSC and were students of Lomazov and her husband Joseph Rackers.  

Luby first had the idea for the truck while traveling. He had the habit of practicing piano in churches while on the road, and one day found that his playing had drawn a small crowd from the street. “Something changed for me in that moment,” Luby says, “and I started to question why concerts always happen in concert halls. Spaces started to look different to me … everywhere I went seemed like a great place to have a concert.”  

Luby started researching mobile concert halls only to realize that they didn’t exist. That’s when he approached Zhang with the notion of the Concert Truck.  

The truck debuted its first show on a bright summer morning around five years ago for an audience of nearly 200 people — many of whom had never experienced classical piano before.  

The Concert Truck really took off when the pandemic hit.  

“Suddenly you could not be inside a concert hall. And that’s when their idea really exploded” Lomazov says. The duo began collaborating with major companies such as the Kennedy Center, the Washington National Opera, and the Dallas Symphony, to name a few. They hardly had a break in the past year, sometimes performing up to three concerts a day.  

Recently, Zhang and Luby signed on with artist management company Opus 3 which is, according to Lomazov, “as high as you can go in the world of classical music, of music in general … it’s a real success story.” 

As the Concert Truck continues to tour, Zhang and Luby want to challenge what is expected from a classical piano concert. “Working with organizations during this time is really exciting because we can work with them to push on those boundaries as well,” Zhang says.  In the future, the two want to focus on local collaborations and connecting more deeply with the communities they serve.

-Stephanie Allen

Tom Coolidge to Play Music at O'Hara's Public House in Lexington - Tuesday Night

Local singer-songwriter and musician Tom Coolidge asked Jasper to help him let folks know that he has a gig this Tuesday night at O’Hara’s Public House Lexington and he wants to see all his friends & enemies there!

Tom Coolidge writes, sings, and plays songs representing suburbicana music and Lexington, SC, is his home. According to Coolidge, when he’s not playing with a local band, he “conducts his acoustic musical mischief all around the state performing his brand of tasty home-style tunes. Some are original and others represent seldom-heard classics of his time.”

 

Coolidge says “Fun” is his prime musical directive and that some of the songs played have rough edges, but all represent authenticity and enjoyment of his craft.”

In 2011, he released his first CD, 'Bout Time, a compilation of original songs and tunes, accompanied by many friends and local talents.

 He is available for house concerts, special events, parties, barbecues, celebrations and memorials where volume can be subdued and reasonable. 

Coolidge is currently playing with his own band, LEFTOVERS, as well as collaborating with numerous local acts.

Two new CD-EPs are in the works for summer 2021 release.

Saul Seibert on Jealousy

As Kyle Petersen described him in a 2018 profile he wrote on Saul Seibert and his older brother Zach Seibert for Jasper Magazine, “… Saul is a consummate frontman, with a steady intensity that crackles with a voodoo-like mysticism punctuated by unfettered, anxious hollers that bring to mind the most wiry aspects of early post-punk.”

greeneyedjealousy.jpg

It’s hard enough being an artist and dealing with the difficulties the outside world sends your way — money problems, relationship challenges, and the general drama of daily life as a human — but when you add in all the internal battles specific to being an artist, a person whose job is basically interpreting life, processing feelings, and sharing it with the world, it can get seriously rough.

Saul Seibert has been at this battle for a while now. The 44-year-old musician and, let’s-face-it, philosopher, has become one of the Columbia music scene’s leaders, of late, cranking out stellar albums and hard-hitting performances alongside Scott Tempo in the band, Boo Hag.

This morning on social media, Seibert shared his take on dealing with one of the demons most of us don’t even want to admit we have caged up in the back room of our minds — Jealousy. Jasper was moved and asked Seibert if we could wrap his words of wisdom up in a tidy little package and share them with our readers.

He graciously agreed, and here you have it.

Competition motivated by jealousy can often be the Achilles heel of any artist or progressive movement and it's ugly. Guard your heart from such an insidious seduction. Here are a few things you can do to avoid such a pitfall.

1. Posture yourself in such a way so as to learn from those who have gone before you and ask questions.

2. Don't trust all your judgments and seek out council from your peers and other proven people in the art community.

3. Don't pretend. People are smart and can spot a poser.

4. It's ok to be an asshole, (the industry will make you one and that's ok) … just don't be a dick. There's no excuse for that.

5. Apologize and ask for forgiveness.

6. Fail. It's good to fail.

7. Sometimes the critics are right and sometimes they are wrong … either way they are in general paid to write about what you do. Take it on the chin and put it in box under the bed. Remember they can't do what you do.

8. Build relationships with younger players and performers and model the movement you want.

9. Look up the definition of "Service".

10. You are dying. Remember that. In general, that can kill a jealous mood.

Saul Seibert and his beautiful mom, Brenda Seibert. “She taught this outlaw kindness.” — Saul Seibert

Saul Seibert and his beautiful mom, Brenda Seibert.

“She taught this outlaw kindness.” — Saul Seibert

Jasper Talks with Cellist Idris Chandler about Covid, Challenges for Classical Musicians of Color, How South Carolina Treats Black Artists, and Mr. Rogers Neighborhood

“South Carolina has a special responsibility due to its past, to check racism, biases, and judgement in the continued effort to support black communities. In my opinion we should be given, yes given, more education, guidance, grace, and support because of the history of white supremacy in South Carolina.”

Idris chandler 2.jpg

JASPER: Thanks for agreeing to chat with us about your life as an artist, Idris.

Can we start with learning a little about your background like where you’re from, where you went to school, and how you got to Columbia, SC?

CHANDLER: Thanks for asking me to participate. I’m a native of Columbia, born at Richland Memorial. I went to Brennan and Lyon Street Elementary, Crayton and Gibbs Middle and Eau Claire High Schools.

“I love wooden instruments. The resonance and beauty of the material is fascinating. Something that people build out of trees makes such special sounds.”

 

JASPER: Who have been your biggest influences as a musician?

CHANDLER: I am a fan of so much music. I fell in love with classical music in middle school, but grew up singing everything on the radio, especially R&B, and listening to reggae which my father played constantly though I didn’t understand why he loved it so much.  

A pivotal moment was seeing Yo-Yo Ma on Mr. Rogers Neighborhood. I listened to him speak so calmly about music and the cello and watched an intimate performance with him and Mr. Rogers who seemed so appreciative and fascinated. I think my parents got me a cassette tape of his Cello Suites and I was hooked. I pretty much taught myself how to play the first few weeks.

 

JASPER: In addition to playing cello, I know you play a number of additional string instruments, as well. Can you talk a little about that, please?

CHANDLER: Starting on the violin in 5th grade I switched to cello at Crayton and was amazed at the sound of this huge instrument. In 9th grade I picked the violin back up and even played it in the District Orchestra for a time. Having gone to USC to pursue an education degree and a performance certificate, I had to play the other string instruments (viola and bass) which I also have grown to admire, but I don’t play them as often or as well as the cello. I love wooden instruments. The resonance and beauty of the material is fascinating. Something that people build out of trees makes such special sounds. I generally play cello professionally and explore the others in my private studio. 

I’m teaching myself guitar and tenor guitar, though I’m not very good. One day I’d like to own all the guitars related to bowed strings like the mandolin and madola.

 

JASPER: I first learned about your work when I heard Day Clean several years ago and was blown away by your technique and musicality. That was a duo with you and Marcus Thomas, right? Is Day Clean still a thing?

CHANDLER: DayClean!!!! Sorry for yelling. The duo was me and Marcus who plays guitar. He’s an amazing soul, hip-hop, lyricist and songwriter. He currently leads worship and teen ministry in Virginia. I wrote string arrangements for the album and sang backup. It was and still is my favorite thing and I’m proud because it’s good music that speaks to people. I always wanted to do more than classical music and the time with Marcus was my education. He moved a couple times, and I blame him for being allergic to creating long distance! We still play occasionally.

 

JASPER: Where else do you perform?

CHANDLER: COVID has made things difficult obviously, but I usually play with the Resonance String Quartet, EdgeWire Music, and several regional orchestras which this year includes the North Charleston Pops. Like many musicians, in normal times, I’m also contracted for engagements including, studio recording, and other live concerts and shows.

“Navigating the emotions of this time has been difficult. Being unable to perform with my colleagues and friends, keeping track of my family, staying healthy, then watching hundreds of thousands of people die in the richest nation in the world, questioning how a musician and teacher can be of service during this time.”

 

JASPER: Can you tell us a bit about your personal practice and rehearsal schedule? (I think non-artists are always surprised by how many hours/week a performing artist logs in.)

CHANDLER: These days I’m averaging about an hour and ½ a day. I’d love to play for myself more! As I’m also an educator, most of my time is spent devising curriculum strategies. The pandemic has changed the way we teach, so a lot of my work has been revising the curriculum to teach online. The entire job has changed. Sometimes when people ask what I do it seems insignificant to say I practice, research, study, write and create. But that’s the life.

 

JASPER: What has been one of your greatest challenges as a classical musician and how have you overcome it?

CHANDLER: The biggest challenge is making a living. I’m learning as a musician to be flexible and versatile. It’s helpful to be open to new opportunities, while being discerning about the ones you except. Being a classical musician is about being business minded, a skill that doesn’t come easy to me, but I’m learning.

JASPER: And you’re a teacher, as well, is that right? Can you talk a bit about what and who you teach, and where?

CHANDLER: Yes, I was counseled that if I wanted a career I needed to teach. Low and behold, teachers don’t get paid much. And while teaching in the public school I realized that I couldn’t perform as much. Playing the instrument that I love became the sticking point. I decided if I couldn’t perform then I didn’t want to teach. I found that teaching privately and performing is a workable balance for me. I teach violin, viola, cello & bass to students from typically 7 to 70 years old. Though recently I started a really focused 4-year-old violinist and it has been a pleasure and an education. It’s reminded me how interested I used to be in early childhood music ed. at USC but didn’t have space for it. I’ve maintained a private studio at Freeway Music studios for over 10 years. Generally, beginner to advanced students, though my most advanced students are on cello.

JASPER: I also understand that you’ve had the privilege of performing with some pretty big superstars. I’d love to hear more about your brushes with greatness – what can you tell us?

CHANDLER: Ha! Not too many brushes, but as a bowed strings musician I’ve gotten to meet a variety of artists from Ray Charles and Valerie June to Pablo Casals and Edgar Myer. I’ve also performed with Edwin McCain, Lou Rawls, Tasha Cobbs Leonard, Mannheim Steamroller, Trans Siberian Orchestra, and many more but I need to do better at keeping track. I’m not the most star struck guy. I’m pretty quiet when it comes to meeting people and doing my job, but it’s cool the stages you get to share with great artists especially when you play in the orchestra. When I was a kid, one of my few dreams was to perform on tour with Janet Jackson. Fingers crossed…

 

JASPER: How has the COVID-19 pandemic impacted you as an artist?

CHANDLER: I wish I could say I’ve had time to catch up on unfinished projects and self care but its not the case. As with most people I lost income as 99% of performing was cancelled and several students had to quit. Juggling which bills to pay and calling companies for assistance became imperative. I’m thankful to have an education background so teaching has kept my head above water. Many of the students were able to transition to virtual lessons, but it’s not lost on me that technology is difficult if not nonexistent for many.

I volunteer as the worship leader at church as well. Moving our worship services online has been a very difficult endeavor, with a weekly deadline. The learning curve has been steep with countless hours of trial and error. As an artist, feeling inadequate to encourage the congregation has also been a struggle.

Navigating the emotions of this time has been difficult. Being unable to perform with my colleagues and friends, keeping track of my family, staying healthy, then watching hundreds of thousands of people die in the richest nation in the world, questioning how a musician and teacher can be of service during this time. It’s been a huge weight. I’ve had to trust that God will work for good even in these difficult times.

“I have however, experienced racism in spaces where I am known as well, but it’s South Carolina so you get used to it.”

~~~

“As I’ve gotten older, I’ve realized that not seeing yourself in the world has been a hindrance.”

JASPER: Have you found ways to problem solve some of the constraints COVID has presented?

CHANDLER: I’ve pivoted to different aspects of the profession including arranging and composing and keeping my chops up so that when restrictions are lightened, I’ll be ready to play. Also outlining ideas and creating pages for a string method book, creating videos to use my YouTube page better and overall trying to figure out how to make more income with the skills I have. It’s so tempting to want to pivot to a different field or add another hustle, and maybe there’s a time for that; but one of the pitfalls of being an artist is doing too many different things, and I definitely succumb to that. Being a classical musician requires more creativity due to its place in our culture. I’m trying to stay open to the possibilities.

“It’s difficult to be a classical musician unless you have means. So, wealth inequality keeps black musicians from the profession.” 

JASPER: What are your thoughts about being a working artist of color in the SC Midlands? Does the community of artists in general give you the support you need? If not, where do you get your support? Your sense of community? 

CHANDLER: This is a difficult question. The classical community has been as “supportive” as it can be; they know me because I grew up here. I have however, experienced racism in spaces where I am known as well, but it’s South Carolina so you get used to it. In college I had teachers who were outwardly racist toward me for which I had to receive counseling. It was where I “learned” that those that have control over you can determine the outcome of your circumstances. I also had very generous professors for whom I’m very grateful.

It’s been a solitary existence. I’ve struggled with being one of the only black male string players working in Columbia. I can count on one hand how many there are. As I’ve gotten older, I’ve realized that not seeing yourself in the world has been a hindrance. Without “stars” to reach, some personalities can languish in mediocrity, in the median, waiting for someone to tell them they can do “it” or recreating the wheel because there are few mentors. I wish it wasn’t like this, but it’s human. I want to grow to be an artist that sees what hasn’t been and isn’t afraid to try. I need to work smarter, not harder.

I believe that if SC and more locally Columbia wants to be a thriving city, that locals and tourists enjoy it will need to support the arts and entertainment in a more substantive way, by supporting artists. A specific issue that I experienced was not being able to find affordable housing. It took me a year to find an agency that would rent me the cheapest apartment I could find in a pleasant area. There is a lack of concern for artists in this regard. If artists can’t find affordable housing it must follow that they won’t be able to live here and add to the culture of our city. I’d rather not argue about the profession that I chose and my work ethic as I’m sure many readers will immediately question. Being an artist is a profession that has always required a bit of subsidy and/or help from patrons. I just hope that Columbia isn’t a place where only those that can afford to be artists; that come to the table with a level of wealth can make it work.

 

JASPER: How prevalent are classical musicians of color? How do the challenges of being a classical musician differ for artists of color – or do they? And if they do, what are your recommendations for meeting these challenges? 

CHANDLER: There are more and more of us. In my opinion being in the classical music industry is difficult for everyone involved. It is a niche that is only now beginning to appeal to a wider audience mostly due to those entertainers who are trying to expose the art, with more contemporary styles and genres. However strictly “classical” music is still an artform that needs to be considered an investment not for its revenue stream but for its cultural and spiritual significance to our society.

It’s difficult to be a classical musician unless you have means. So, wealth inequality keeps black musicians from the profession. In fact, I’ve counseled students to be discerning when considering music as their only career option, for fear that they’ll have some of the same struggles that I’ve faced.

More positively I’ve participated in a few Black Classical Conferences like the Sphinx and Colour of Music organizations and its really nice to see you’re not alone; so nice to sit next to someone that has had similar experiences, someone you can look up to, or help inspire.

“I think it’s interesting that we pay so little for art, but the tools of the trade are so expensive.” 

JASPER: As a culture, what needs to happen for us to see more young men and women of color pursuing careers in classical music?

CHANDLER: Columbia has a history of providing string education, particularly in the public schools. We should have more black musicians performing after high school. Many of things I’ve mentioned are barriers to this. Access to quality instruments is important. I got into a disagreement some time ago with a lawyer who claimed that anybody can succeed in this field if they work at it. I proposed that without means its difficult to pursue this career. The students that cultivate the best sound usually have a good instrument, whether they purchase or borrow it. Most black students borrow their instrument if the school provides it, or they don’t play. In most cases it will be the cheapest instrument the district deems it should spend, which won’t sound good and will not encourage the best from a student. When the year is over, they return it. The end. Communities that value this art form invest in it.

I think it’s interesting that we pay so little for art, but the tools of the trade are so expensive. Owning a good, bowed instrument is like owning a car. I was trying to explain how expensive quality instruments are, including all the accessories and maintenance. I’m grateful for being given the opportunity to acquire an instrument through many donors when I was in college. It’s an intermediate cello that I play professionally, a $4000 instrument and bow that I still play to this day. Where would I be without the generosity of thoughtful patrons?

We also need to be able to make and see more opportunities for success. I pray that the biases of the business community don’t make it hard for black artists to present their work and make a decent living doing so. Classical music is a small niche. It’s not beloved and sought after in the popular sphere. There are unique challenges for an art form that is in the minority culturally. Let’s take this a step further. Are rap artists, whose art informs popular culture, being given a chance to showcase their art in Columbia? When they are, are they treated equitably? More widely are black businesses being prejudged for the clients they might attract? Is it assumed that a black artist will not provide a quality experience? Are black artists being admonished to succeed without avenues to hone their skills? We know that white entrepreneurs are allowed to fail, but if they are black the judgement is disproportionate, and second chances are less likely. I wonder sometimes if I play less than perfect if I will be called again. There’s a level of doubt and anxiety that is perpetuated by all the things we encounter as black artists. It takes a lot to be confident under the pressures of this culture. I don’t have all the answers, but we can at least consider these types of issues when we are planning events and making spaces for artists.

When people move here, the complaint I here is that there is a lack of diversity and variety in the arts and entertainment. Could we be missing out as a city? I can’t speak for other groups, but I believe and will espouse that South Carolina has a special responsibility due to its past, to check racism, biases, and judgement in the continued effort to support black communities. In my opinion we should be given, yes given, more education, guidance, grace, and support because of the history of white supremacy in South Carolina.

JASPER: So, what’s next on the horizon for you, Idris?

CHANDLER: I’ll continue to push forward in business and my art. I find myself doing lots of things for other people, which is fun and informative, but I’d like to publish work and create art of my own. I have lots of interests and projects to finish. I’m passionate about making things whether it be art, music or students that thrive in their endeavors. I’d love to study abroad.

I’m very grateful that we are at a place where we feel it important to talk about race. In South Carolina, this willingness is long overdue and must be continued in the face of objections. Thanks for this platform. Thanks for highlighting the arts in Columbia, and thanks again for having me.

 

JASPER: Thank you so much for agreeing to take part in this unique interview form.

 

THANKS TO THE 2021 MEMBERS OF THE JASPER GUILD

Please support stories like this by JOINING the JASPER GUILD today!

CORONA TIMES: Local Musician Ahomari Talks New Music and the Importance of Expression as a Black, Queer Artist and Human Being

“The environment in 2020 is not new to me except for the pandemic…I’ve always been Black and Queer and have been able to create regardless.”

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Throughout the COVID-19 pandemic, Jasper has been checking in on local artists, seeing what they’ve been creating, and ensuring their voices get heard. I was able to have a virtual interview with local musician, Ahomari, about their new EP, Girl Kiss II (September 2020), and their creative process this year. The 29-year-old artist shared their raw experiences with music making, the importance of saying what needs to be said, and some advice for fellow Black creators.

 

Jasper: Ahomari, I don’t believe we’ve met, but I’ve enjoyed discovering your work through this writing process! Can you tell me what first led you to music as a form of expression?

Ahomari: Music has been my everything since I was a little kid. When albums would come through the house, I’d read all the liner notes. Would make little lists of my favorite producers and songwriters. I would make loops of my favorite parts from the instrumental breaks in songs from CD to cassette tape. I guess you could say I was sampling, but I honestly didn’t know what I was doing. Think I was like 9. Songwriting started at 8, but it was very simple and mostly nonsense.

 

Jasper: So, music was your first form of creation then? 

Ahomari: My first mode of creation was visual. My mom taught how to draw, and I was always either drawing horses or fashion designs. My mom can do fashion design, and I think I inherited some of that from her though I have no fashion sense. I used to also write little books. Like full on stories with chapters and shit. My brain these days is kind of fried but that’s not of my own doing. The human body is weird. 

 

Jasper: That it is. Did you, or do you, have any major artistic influences that inspire your music making? Or perhaps experiences that continually show up in your work?  

Ahomari: Most of my inspiration is taken from all the music I grew up with but these days it’s mostly Missy Elliott, Janet Jackson and Arthur Russell. A lot of my music is about my experiences as a queer and how it’s like to navigate with everything going on in my head. 

 

Jasper: When you take what’s in your head and transform it into music, do you typically produce in a specific genre, or do you like to play around?  

Ahomari: I don’t really know what genre is for me personally. It’s all electronic, I guess. I don’t take mainly from one genre. I’ve always wanted to be a pop star, but nothing I make comes out grand like an NSYNC or a Samantha Mumba. It comes its own way. I do want to make a full-on punk Stooges type album, a Post Punk album, a R&B album, a Country album, a like 00s Boyband Pop album.

 

Jasper: How would someone know when they put on a record that that’s Ahomari? 

Ahomari: People have tried to compare me to other artists, and I’ll never understand why. I don’t think I sound like anyone but me. When you hear me, you know it’s me because I’m never current. I’m never in line. Nor am I conventional in any aspect of my being and creatively though I try and fail. 

 

Jasper: Would you say your discography so far is unconventional too?  

Ahomari: Everything so far is just an experiment until I get there. I don’t like most of my discography. I love the stuff I did in Blue, Girl, but I end up hating most of my music after releasing it because it never sounds the way I want it to. My discography is disjointed like my music. It exists and it doesn’t at the same time. 

 

Jasper: Well, I know you just released a new EP – Girl Kiss II, right? What all went into making this?  

Ahomari: Girl Kiss II started the same time I made the first Girl Kiss project. I don’t have a process. I create when I feel like it. I didn’t know I was gonna release anything. I was done with music to be honest. This also brought my first collabs. I’m mostly 100 percent involved with everything, but this project has a song produced by someone else and I also share writing credits, which is not something I usually do. Thankful to Quiet Year—without them I’d probably be caught in a loop.  

 

Jasper: Having good collaborators is great! How do you go about finding people to work with?  

Ahomari: I just be knowing people to be honest. All my friends are talented.

 

Jasper: You said you were done with music. What stories said, “we need to come out” that resulted in Girl Kiss II?

Ahomari: A lot of the music on Girl Kiss II is old and reworked. One story that needed to come out into this album was that I’m scared of most things human. For a long time, my music has been me being a robot. I deliver my songs like a robot. No emotion as a solo artist. With the music I’m working on currently, I’m allowing myself to express emotion and be fun. 

 

Jasper: That’s awesome! How did you choose what would be the most expressive and fun in this album? Why these songs?  

Ahomari: Why not these songs? They’re good songs. Selecting these songs was so easy, though it did go through multiple changes, and I almost didn’t release it, but this album is the most me. This and Blue, Girl are the projects I’m most proud to be a part of. What I made with Sean, Marcy and Kiwyon was so special. It’s the most free I had ever been vocally and lyrically. I really miss it. I miss being in a band. Anyone need a vocalist and writer? Hit me up! 

 

Jasper: On that note, tell me a bit about your process as a vocalist and writer.  

Ahomari: I write almost every day in my notes app. I used to keep notebooks on top of notebooks since I was like 11, but I threw them all away. Still remember some of the songs. They were cute. These days I’m working with Eric Fury, so when he sends me a song, I go through my notes to see what could work mostly. Nothing complicated. Writing comes pretty easy to me. My brain won’t shut up. 

 

Jasper: How do you navigate through your brain? How do you know when you’ve picked the right words?  

Ahomari: I know I’ve picked the right words when I know it’ll upset someone or myself. I have a song called “Dressed in White” that may be my next single, and the lyrics go, “I’ll hate your white girlfriend instead because it’s better than what I’m feeling.” It’s about queer people of color who exclusively date White people. That’s a complicated conversation. It’s rooted in so many things including self-hate. 

 

Jasper: You did something a lot of people haven’t been able to do lately – you made something. How do you feel the environment of 2020—rife with BLM, a global pandemic, and a divisive election—affected your creative process?  

Ahomari: The environment in 2020 is not new to me except for the pandemic being a thing. I’ve always been Black and Queer and have been able to create regardless. It’s just new to people who “care.” When I started talking about this stuff years ago, Columbia wanted me to shut up. I don’t know why they care now. Should of cared far before Donald Trump was in office.

 

Jasper: No, you’re absolutely right. If there are any creators in a similar place, what would you tell them? 

Ahomari: Advice to other Black creatives would be to take care of yourselves first. It’s not easy, but it’s essential to remaining. 

 

Jasper: Lastly, how are you? As a human, as a creator—how is your soul? 

Ahomari: My soul is still here despite what it looks like. 

 

If you’d like to support Ahomari’s work, you can peruse their music and purchase Girl Kiss II from their Bandcamp at ahomari.bandcamp.com. You can also support them through contributions at PayPal.Me/Ahomari. 

 

—Christina Xan

 

REVIEW: Fierce & Fabulous Cabaret - an Entertaining Concert with Potential for Growth

by Frank Thompson

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   (As always, I open with the disclaimer that I am a frequent director and a member of the Board of Trustees for Workshop Theatre.)

   The Fierce & Fabulous Cabaret, running through Sunday at Workshop’s new home at Cottingham Theatre on the Columbia College campus, bills itself as “celebrating the women of Broadway,” and there’s certainly no shortage of celebrated talent onstage. Featuring several well-established Midlands-area chanteuses alongside a few new faces/voices, last Saturday evening’s performance brought the audience to its feet more than once with multiple show-stopping bravura turns by some of the best female vocalists in town.  The acoustics at Cottingham are nice and hot, and while live mics are utilized, I doubt if even half the cast needs any amplification. These ladies know how to project and sell a song, and if you’re looking for a showcase of outstanding music plucked from Broadway hits from the 1950s to today, you’ll find it at The Fierce & Fabulous Cabaret.

   Following a full-cast rendition of  “I’m A Woman” from Smokey Joe’s CaféRegina Skeeter sets the bar high with “Home,” one of the lesser-known but most vocally powerful ballads in The Wiz. (This was my first time seeing Skeeter perform, and she delivers strength as well as a sense of dreamy wonderment to her turn in the spotlight.)  Columbia legend Valdina Hall absolutely soars with Sondheim’s  “Send In The Clowns,” and Robin Gottlieb’s signature number, Cabaret, quite literally had the crowd shouting for an encore. The second act rocks open with Katrina Blanding  delivering  Dreamgirls  “And I’m Telling You I’m Not Going” with her usual powerhouse voice and innate storyteller’s gift for conveying a song’s emotional foundation. On Jason Robert Brown’s  “I Can Do Better Than That,”  Emily Northrop engages the audience from intro to post-applause, demonstrating  not only impressive vocals but also an understanding of  true cabaret technique, and Mandy Applegate Bloom’s  “She Used To Be Mine” from Waitress brings down the house in classic eleven-o’clock-number style.

   The rest of the cast offers solid work across the board, and there truly isn’t a weak link, though those mentioned above are particular standouts. While watching the performance, I began to realize that I was missing the sense of an overall emotional arc, framing piece, or central theme to segue the audience from each number to the next. Some of the performers simply took the mic and started singing, others utilized a few lines of dialogue, and a few (see above) took a moment to connect with the audience. If this sounds nit-picky, it’s because The Fierce And Fabulous Cabaret is of such high quality, I truly hope it comes together as a more thematically cohesive piece. Who are these women? Are they the actual people we see onstage? If so, great! I would suggest having each song tied to the singer's life experience, allowing a glimpse of the real-life woman known to many only as her onstage personae.  (Gottlieb and Northrop are particularly skilled at bonding with the audience, as is Emily Clelland, who relates a personal experience that motivated her as a performer, followed by an enthusiastic song-and-dance rendition of  “If They Could See Me Now” from Sweet Charity.)  A few of the pieces, while quite splendidly performed, seemed randomly inserted. Kathy Seppamaki’s  “Christmas Lullaby” (Songs For A New World) is one of the best-sung ballads in a show full of A-list talent, but feels somewhat out of place between two comedic bits, and without context . Lou Boeschen’s  “On The Steps Of The Palace” (Into The Woods) is lovely, and dovetails nicely into Rodgers and Hammerstein’s  “Stepsisters Lament,” yet nothing is said about the Cinderella myth. This would have been a perfect opportunity to comment on any number of themes relevant to modern womanhood. Once I realized that I was seeing a sort of hybrid concert/cabaret, I just sat back and enjoyed the music, all the while thinking how interesting it is to watch the artistic process unfold. With a stronger sense of identity and a commitment to one specific reality/style, The Fierce And Fabulous Cabaret could easily tour as a professional show. The talent is there, the music is solid and representative of classic and contemporary Broadway, and the basic structure is in place. All it needs is a more defined sense of identity and an answer for “why is each song in its particular spot?”

   The set is simple and sleek, designed by Patrick Faulds to provide tiered seating for the cast, who stay onstage the entire show. As usual, Dean McCaughan’s steady hand keeps sound well-balanced and smooth, though I was disappointed to see that the production utilizes pre-recorded music tracks instead of live accompaniment. For future gigs, I would suggest a single pianist who could also serve as a narrative voice, presenter, and general point of connection between the singers and their audience.

   The Fierce And Fabulous Cabaret is well worth your time and money exactly “as is,” and I strongly recommend you see it now. With a little scripting revision and specific motivation behind each number, it could have a significant future, and you’ll want to catch this act from the very start of its evolution.

   There are only three performances left, Friday and Saturday at 8pm, and Sunday at 3pm. Tickets can be purchased by calling (803) 799.6551 or visiting Workshoptheatre.com

-FLT3

JAY Music Finalist Marina Alexandra hosts Southern Guitar Festival Competition

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Guitar Gala is an elegant evening that will feature wine tasting, delicious dining from Dupre Catering, comedy and superb performances by such popular musicians as  Ukrainian-born guitarist,  Marina Alexandra, Charleston based guitarist, Chris Teves, Tony Lee (drums),  nationally recognized soprano, Janet Hopkins, and award winning actress Martha Hearn Kelly from Trustus theater.

Janet Hopkins

Janet Hopkins

Renowned dramatic mezzo-soprano Janet Hopkins, a 16 year veteran of the New York Metropolitan Opera, continues to thrill audiences on her concert tour of symphonic stages across America. Recent performances include The Defiant Requiem (Verdi Requiem) at the Kennedy Center in Washington DC,  El Amor Brujo (South Carolina Philharmonic), Beethoven’s Ninth Symphony (Bowling Green Symphony Orchestra, Kentucky) and Alexander Nevsky (West Shore Symphony Orchestra, MI).

Known for her innovative style and approach to bringing classical music to broader audiences, Miss Hopkins won critical acclaim from the New York Times and USA Today for the limited edition ARIA. A first-of-its-kind music and fine wine project, ARIA is the marriage of a world class wine personally blended by Miss Hopkins with Tulip Hill Winery and her recording of well known classical Italian love songs at historic Capitol Records in Hollywood. The boxed set was an immediate mainstream hit.

Miss Hopkins made her debut at the Metropolitan Opera during the 1991 – 1992 seasons. Since then, opera lovers have appreciated her diverse repertoire on the world’s greatest stage.

She debuted at The Met in The Ghost of Versailles, and has since returned many times over the years, pleasing audiences in Die Walküre, Die Frau ohne Schatten, Der Rosenkavalier, Katya Kabanova, Elektra, Jenufa, Il Barbiere di Siviglia, War and Peace, Les Mamelles de Tiresias, L’Enfant et les Sortileges, Khovanschina, Doktor Faustus,The Makropulos Case, Lady Macbeth of Mtsensk, The Bartered Bride, and Parsifal. Miss Hopkins has toured Japan three times with The Met in Der Rosenkavalier, Die Walküre, and Rigoletto. While in Japan the mezzo-soprano sang a series of solo recitals in Tokyo, garnering much critical acclaim.

Away from touring and performing, Miss Hopkins enjoys her position as a member of the voice faculty at the University of South Carolina in Columbia.

 

Marina Alexandra

Marina Alexandra

Marina Alexandra has established herself as a dynamic performer with a powerful stage presence. Finger Style Guitar Magazine described her as an “amazing player that commands the guitar with world-class technique and musicianship that is uncommon.” Marina Alexandra was listed by the Aaron Shearer Foundation as one of the most influential female classical guitarist in America.

She has received awards in several guitar competitions including the Music Teachers National Association State and Regional Competitions and semifinalist in the 6th annual Edwin H. and Leigh W. Schadt National String Competition for classical guitar. Marina has a concert career spanning the last fifteen years, taking her to Piccolo Spoleto Festival, National Public Radio, Allentown Radio, and hundreds of venues including colleges, guitar festivals and museums throughout USA.  She has released three albums   including; Timeless Enchantment (Baroque, Classical, Modern, and Latin-American music) , A Moment of Magic (modern music by Russian composer, Nikita Koshkin) and Americas from North to South (flute and guitar music). Her albums received high praises from such prestigious music magazines as Soundboard, Classical Guitar (UK) and American Record Guide.

Marina Alexandra was born in the Ukraine, where she began her guitar studies at the age of six. In 1996 she immigrated with her family to the United States, and in 1998 she was awarded an assistantship to earn her Master of Music degree at the University of South Carolina.  She has served on the faculties of Furman University, University of South Carolina- Aiken, SC, Wingate University, and Columbia College.  Her students have been awarded scholarships to attend music schools such as the Eastman School of Music, Peabody Conservatory, and University of Southern California.  Under Marina’s direction, many students have also received top prizes in national guitar competitions.

Marina performs regularly on stages throughout the southeast United States. In addition to her concert solo career, Marina Alexandra participates in the group Duo de Vista (with flutist Teri Forscher-Milter).

Marina is a major contributor to the guitar community on both the local and national levels. Mrs. Alexandra is the founding president of the Guitar Muse Society, which  hosts yearly concert and educational events in Columbia, SC.  Mrs. Alexandra is also the artistic and executive director of the Southern Guitar Festival and Competition, which attracts participants from all over the US and abroad. Mrs. Alexandra plays a major role in advocating for the arts, she was invited to be on the planning committee for Midlands Art Conservatory (SC) as well as grant approval  committee for the  South Arts non-profit organization, that represents nine Southeastern states.

REVIEW: Toro y Moi @ The Senate, 11/17/2018

By: Kyle Petersen; Photos by: Bree Burchfield

Toro y Moi performing at The Senate, November 2018. PC: Bree Burchfield

Toro y Moi performing at The Senate, November 2018. PC: Bree Burchfield

More than most, Toro y Moi is a musical act that reinvents itself with every album cycle. Since the pre-Causers of This days when Chaz Bundick (Chaz Bear?) played shows half behind a DIY laptop and keyboard combination as a chillwave progenitor to the almost-jammy guitar pop of 2015’s What For?,  the Toro y Moi project has constantly tested its own boundaries, trying on various permutations of dance-centric indie rock, funk and pop as if flipping through an exceptionally-curated record collection.

Bundick, a Columbia native who led the sharp indie rock quartet The Heist & the Accomplice in his college days at USC, adapted his live band to each of the singular aesthetic visions of his recordings each time he flipped the dial, adding drummer Andy Woodward and bassist Patrick Jeffords and then, later on, guitarist Jordan Blackmon and then keyboardist Anthony Ferraro to the proceedings. That core nucleus carried him far, even through the beats-oriented pop of 2013’s Anything in Return, but at a certain point it felt like the touring version of the band stood resolutely apart from the studio creations, and that Bundick was pretty fine with that.

Then came last year’s Boo Boo, a moody pop affair that showed traces of The Weeknd-style R&B and the grimy grandeur of some of Toro’s hip-hop production on the side. As ambient and inscrutable as that album could get, it was among the most consciously pop the project had yet leaned. Too, it was difficult to imagine the live band translating many of these songs to the stage. That Bundick didn’t tour on the effort seemed right and would ultimately prove prescient.

This Columbia show was the final date on the first string of non-DJ sets Toro y Moi had played since Boo Boo and comes in conjunction with the release of an advance single, “Freelance,” ahead of a full-length in early 2019. And it’s clear we’re getting a very different Toro experience going forward. Now performing without Blackmon and with Jeffords on synths as much as bass, Bundick is stepping fully into the frontman role, often drifting decisively away from the keys to roam the stage and lean into the considerable power of his vocal hooks rather than laying low in the groove. It’s a move he could have made at arguably any point in his career thus far, but it fits the new material particularly well, placing him in the lineage of artists like Frank Ocean and Sampha whose auteur styles and left-field melding of pop and R&B manage to command large audiences.


PC: Bree Burchfield

PC: Bree Burchfield

Venturing through much of Boo Boo and new material from the forthcoming album amid a smattering of older tunes that fit the new direction, Bundick was as confident as a performer as I can ever remember seeing him. Even amid the most sweaty, dancefloor-ready vamps of the past, there’s always been something fundamentally bedroom producer about him, that felt like a masterful musician reimagining the music swimming around in his brain while saddled in front of the computer screen.

And that’s probably still who he is at heart but, for the first time, it’s possible to imagine that quiet, bespectacled oddball from around the way as the most unlikely thing of all—not just a nationally renowned indie artist, but a genuine pop star.

This might be some hell of a new record.

 

Les Merry Chevaliers & Death Becomes Even the Maiden Kick Off Jasper's Happy Hour Concert Series Wednesday Night atTrustus

The Jasper Project

Happy Hour Series

The Merry Chevaliers

The Merry Chevaliers

The Jasper Project is kicking off a new series of early evening fun on Wednesday with our first ever Happy Hour Concert featuring Les Merry Chevaliers and Death Becomes Even the Maiden.

The purpose of this series is to provide a mid-week time to listen to original local music, have a drink with friends, and still get home in time to put your kids to bed and not wreck your sleep schedule for the rest of the week. This is also an important fundraiser for Jasper Magazine.

We were thrilled when Alex Ruskell of the Merry Chevaliers volunteered their band to play and we are crazy appreciative of their generous contribution of time and time, as well as that of Heyward Sims and Death Becomes Even the Maiden, who will be opening for the Merry Chevaliers. (Blog post on DBETM coming up next.)

Come on out to Trustus on Wednesday night. Doors open at 6 for a cash bar, happy hour snacks, with music starting about 7.

Tickets are $10 at the door – or, join the Jasper Guild at any level and get in for free AND become eligible for the drawing of a pair of tickets to this year’s 2nd Act Film Festival coming up on November 7th.

Now, some words of wisdom from our featured musicians --

Jasper:  First of all, who are the Merry Chevaliers, what instruments do the band members play, and what are the members’ unique missions in the band?

 

LMC: Les Merry Chevaliers are France’s 14th favorite punk/pop band.  Les members are:

            Pierre Balz – rhythm guitar, glockenspiel, digeridoo – unique mission is to be fifth most handsome band member.

            Guillaume Guillotine – lead guitar -- unique mission is to be fourth most handsome band member.

            Garique Le Freaque – drums -- unique mission is to be third most handsome band member.

            Count De Monet – vocals -- unique mission is to be second most handsome band member.

            Menage O’Shea – Bass -- unique mission is to be most handsome band member.

 

Jasper:  Where did the concept of the Merry Chevaliers come from and how did you guys go about actualizing the idea into a musical group?

LMC: After a long night of drinking sweet claret and reading Rimbaud, the idea of dressing in French frippery and playing the dulcet tones of punk rock sprang fully formed from Pierre’s head like fair Athena in her gossamer robes.  While it is likely a violation of several sumptuary laws, the powdered wig hides Pierre’s bald spot.  The band formed when Pierre wrote some songs and asked his friends to sing along.  When they wouldn’t, he asked these guys.

 

Jasper:  How long have you been together?

LMC: We’ve been together for a year and a half, and have played shows in Columbia, Charlotte, Charleston, and Greenville.  We’ve also been featured on WUSC’s Columbia Beet, WXRY’s Unsigned, and Sirius XM’s Goldie’s Underground Garage.

 

Jasper: What kind of music do you play and why?

LMC: We play power pop punk – because we like it and think it’s fun for audiences to sing along and jump around to.

 

Jasper: What are your musical backgrounds and what do you guys do for day jobs?

LMC: Mssrs. La Freaque and O’shea have played in many other area bands.  The other three are rank amateurs.  For day jobs, we are all men of leisure.

 

Jasper: What do you want people to experience from your concerts?

LMC: Life can feel pretty dark sometimes – we’d just like people to have a little break to have some fun, dance, and laugh.

 

Jasper: What’s next for the Merry Chevaliers after the Jasper Happy Hour concert? 

LMC: We are working on our follow-up to 2017’s Never Mind the Baguettes, Here’s Les Merry Chevaliers! The current working title is Plus Grands Succes Volume Trois, and it will feature the world-wide mega hits “Faster than the Speed of Sexy,” “I Ruined Coitus for You,” “Sex Sommelier,” and “I’d Punch King Kong in the Balls for You.”

 

Jasper:  What did we not ask that you’d like our readers to know?

LMC: As part of David Hasselhoff’s divorce settlement, he kept possession of the nickname “Hoff” and the catchphrase “Don’t Hassle the Hoff.”

 

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If you or your band would like to participate in Jasper’s Happy Hour Concert Series - a fundraiser for Jasper Magazine - hit up Cindi Boiter or Kyle Petersen.

Rosewood Art and Music Festival: The Celebration of SC Art and Artist Through a One-Day Festival

 

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By: Jasper Intern Hallie Hayes

David Britt, the event director for the Rosewood Art and Music Festival (RAMF), describes this art festival as “a one-day, micro-urban festival that was conceived as a way to showcase South Carolina’s talented emerging artists and to help elevate the cultural scene in Columbia.”  The festival celebrates the arts locally in Columbia, SC, and it is an event that any who take pride in SCs local arts, along with simple fun, must experience.

RAMF is an annual fun-for-all festival that takes place in the Rosewood area of the city. Now in its eighth year, the festival will held this Saturday, September 29 from 11:00 a.m. to 7:00 p.m.  Parking will be available at Rosewood Baptist Church any time after 12:00 p.m. and admission to the festival free.

Not only does this event support SC art, but it supports the artists who create the magic we have the opportunity to experience, as well.

“Every art purchase made will help support a hard-working, independent SC artist,” Britt explains, “and helps them continue to develop their craft.”

The visual artists showing at RAMF are assembled by Alexandra White, also known as “Abstract Alexandra.” White makes the event a pleasant experience for those involved, making sure that they are met with proper expectations.

“She is the one who curates all of the artists and does a ton of work to make our festival a professional experience for all involved,” the event director says on White. “Her vision and eye for talent have been crucial to elevating the festival’s growth and making the event a great venue for our SC artists to get some of the recognition that they are very deserving of.”

The festival has hosted poets at the event in the past, but this year it will be hosting its first poetry competition where cash prizes will be awarded. The poets entered into the competition have been organized by Stephanie Suell. 

“Stephanie Suell has done a great job organizing the poets this year,” Britt states.  Attendees of the festival will have the opportunity to hear this year’s poets read their poetry in between band sets.

As seen in the title of the festival, music is also a large part of the event.  RAMF will showcase different artist and genres throughout Saturday, giving each band their own set time located on one of two stages.

“We have a completely new line up of music artist this year with some of Columbia’s best up and coming bands,” Britt says on this year’s lineup.

 You can find the lineup of musicians and poets for the day below.

The Rosewood Art and Music Festival works hard to make this event a pleasant experience for all attendees, and to simply celebrate the gifted artists that Columbia is lucky to call members of the community, all free of charge.

“I would want people to know that we have been working hard to produce a great event,” Britt explains,” the artists have been working hard to produce great art and I think anyone who attends will be glad they did.”

Find the lineup for this year’s Rosewood Art and Music Festival below:

CALLIOPE STAGE

12:00 - 1:00 pm - Slim Pickens
1:00 pm - Poetry - Marie Grady
1:30 - 2:30 pm - Autocorrect
2:30 pm - Poetry - John Starino
3:00 - 4:00 pm - Daddy Lion
4:00 pm - Poetry - Patrice Pino
4:30 - 5:30 pm - The Dead Swells
5:30 pm - Poetry - Colette Jones
6:00 - 7:00 pm - Ashes of Old Ways

APOLLO STAGE

11:30 - 12:30 pm - Julia Beckham Duo
12:30 pm- Poetry - Alfonso Ross
1:00 - 2:00 pm - McKenzie Butler Band
2:00 pm - Poetry - William Hilliard, Jamez Tisdale
2:30 - 3:30 pm - The Runout
3:30 pm - Poetry - Tribal Raine
4:00 - 5:00 pm - Husband
5:00 pm - Poetry - Patricia Marvin
5:30 - 6:30 pm - Alien Carnival
6:30 pm - Poetry - Constance Johnson

Conundrum and ifArt Host Concert

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Id M Theft Able & Reflex Arc @ ifArt on June 25

 

 

Conundrum Music Productions is pleased to announce a concert by the Portland Maine noise artist Id M Theft Able, at ifArt Gallery on Monday, June 25.   Sharing the bill will be Reflex Arc and bigSphinx.

 

Id M Theft Able performs within and without the realms of noise, avant improvisation, sound poetry, and performance using voice, found objects, electronics, and whatever else is available. He has given hundreds of performances across 4 continents in settings ranging from the humblest of squats to the fanciest of festivals.

 

Reflex Arc is a two-piece experimental & improvisational band from Raleigh, NC. Crowmeat Bob plays a variety of horns & sometimes electric guitar while Ginger Wagg plays a variety of body parts, spaces and emotional states.

 

bigSphinx is a solo project of local laptop improvisor Tom Law.

 

The door will open at 8:00pm, and a $7 admission fee will be collected at that door.  The music will commence at 8:30pm.  ifArt Gallery is situated at 1223 Lincoln Street, Columbia, South Carolina 29201.   Further information can be obtained on the World Wide Web at conundrum.us, or by using a telephone to dial (803) 250-1295. 

 

 

Id M Theft Able: https://idmtheftable.bandcamp.com/

Reflex Arc: http://www.gingerwagg.com/reflex-arc

bigSphinx: http://bigsphinx.com/tomlaw.html

News from the Rosewood Art & Music Festival -- OPEN CALL to Artists & Poets

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Calling all painters, sculptures, photographers, upcycled artists, potters and more for the 8th annual Rosewood Art and Music Festival

Applications open June 1, 2018.

Professional, amateur & emerging creators may complete the free application online at RosewoodFestival.com June 1st to August 1st.  

Artists may apply to participate in multiple activities; Exhibitor, Pop-up Gallery/Juried Show and/or Poetry contest. Application, Categories and Guidelines are found online at RosewoodFestival.com

 

On the application Exhibitors will select either individual booth or communal visual arts tent. The communal visual arts tent is a shared space for artists who may be new to the festival scene, have a smaller body of work, or may prefer to live paint.

The Pop-up/Juried Tent is for two-dimensional and three-dimensional visual artists ready to compete for over $2000 in prizes.

The Poetry contest is for writers and poets seeking to be published and more.

On Saturday September 29, 2018, from 11am-7pm, thousands will descend into the Rosewood Neighborhood of Columbia, SC for the 8th Rosewood Art & Music Festival. Multiple stages with live music throughout the day provides a pleasant festival experience. Sit and listen, grab your dance shoes, or simply enjoy the sounds as you take in the visual arts and celebrate Southern arts and culture.