Anya M. Wassenberg's Blog: Art & Culture Maven, page 52

Latin Alternative Music Conference and the Latin Grammy Awards® 20th Anniversary Joint Concert - Summerstage NYC July 13 2019

From a media release:

The Latin Alternative Music Conference and the Latin Grammy Awards®
Celebrate their 20th Anniversaries with a Joint Concert at Summerstage, Central Park
July 13, 2019 - 2–7 p.m. in New York City
Concert to Feature ChocQuibTown, Vicente García, Guaynaa, and Macaco

The Latin Recording Academy®, in association with the Latin Alternative Music Conference, announced today a joint concert featuring Latin GRAMMY® winners ChocQuibTown; three-time Latin GRAMMY winner Vicente García; emerging artist Guaynaa; and Latin GRAMMY nominee Macaco as part of their 20th anniversary celebrations. The concert will take place on Saturday, July 13 from 2–7 p.m. at SummerStage, Central Park in New York City.

The Latin Alternative Music Conference (LAMC) returns for the 20th time to New York City this summer from July 9–13, boasting dynamic panels, powerhouse showcases, and a wide range of events. With past conferences averaging more than 1,250 music industry attendees and 25,000 concert fans each year, this LAMC promises to be yet another exciting year.

"We are thrilled to kick off our anniversary festivities in New York City, a city that symbolizes what Latin music has become — a fusion of many sounds and cultures, joined by common languages bringing the world together," said Gabriel Abaroa Jr., President/CEO of The Latin Recording Academy. "We launched the Latin GRAMMY Awards® 20 years ago to spotlight the great work of music makers in various Latin genres, and since then they have become the premier international showcase for diversity, relevance, and excellence of Latin music. This great mix will be on display during this special summer concert.”

Tomas Cookman, founder of the The Latin Alternative Music Conference (LAMC) says, "We’ve had the pleasure of being supporters and friends of the Latin GRAMMYs for these past two decades, and we thought it was fitting to celebrate both of our milestone 20th anniversaries together at the LAMC’s big, free show at SummerStage, Central Park. The show's lineup is a testament to the diverse sounds in Latin music and to the crossroads where the LAMC’s efforts to promote and nurture left-of-center genres of Latin music meets the Latin GRAMMY celebration of Latin music in all its shapes, forms, and sounds. And what better way to celebrate que un verano en Nueva York!"

The concert is one of many Latin Academy events scheduled ahead of the 20th Annual Latin GRAMMY Awards. The Biggest Night in Latin Music® will air Thursday, Nov. 14, live on the Univision Network from the MGM Grand Garden Arena in Las Vegas. The three-hour telecast will begin at 8 p.m. ET/PT (7 p.m. Central), preceded by a one-hour pre-show at 7 p.m. ET/PT. The nominees for the 20th Annual Latin GRAMMY Awards will be announced on Tuesday, Sept. 24.

"We are thrilled to host this year's 20th anniversary celebration with The Latin Alternative Music Conference (LAMC) and The Latin Recording Academy, two of Latin music’s most important advocates. LAMC has been one of SummerStage's longest running and most valuable partnerships," said Erika Elliott, Executive Artistic Director, SummerStage. "And, like all years prior, the breadth and quality of talent we will be presenting
together is unparalleled."



ABOUT THE FEATURED ARTISTS: 
ChocQuibTown is a Colombian hip-hop group composed of Carlos "Tostao" Valencia, Gloria "Goyo" Martínez, and Miguel "Slow" Martínez. The band's music draws influence from a wide variety of modern genres, including hip-hop and more recently electronica, combined with traditional genres such as salsa, Latin jazz, and Afro-Latin rhythms. At the 16th Annual Latin GRAMMY Awards, the group won for Best Tropical Fusion Album for El Mismo.

Vicente García is a Dominican musician, singer and composer. At the 18th Annual Latin GRAMMY Awards, he was awarded Latin GRAMMYs for Best New Artist, Best Tropical Song for "Bachata En Kingston,"and Best Singer-Songwriter Album for A la Mar.

Guaynaa (Jean Carlos Santiago) is an emerging urban artist from Puerto Rico. He launched his career in 2017 with the single "María,"which featured powerful and painful lyrics that touched the hearts of many after the devastation of Hurricane Maria.Today, Guaynaa has recorded more than 30 songs produced by DJ Nelson and Angelo Torres.

Macaco (Daniel Carbonell de las Heras) is an influential Spanish artist who mixes rap, rhumba, pop, funk, and reggae in his work. He was nominated for a Latin GRAMMY in the Best Alternative Song category for "Moving" at the 10th Annual Latin GRAMMY Awards.

ABOUT THE LATIN ALTERNATIVE MUSIC CONFERENCE: 
Now in its 20th year and often called the "Sundance of Latin music," the Latin Alternative Music Conference (LAMC) features industry panels with special guests and experts, showcases, and other events. Additionally, LAMC provides free concerts at SummerStage and BRIC Celebrate Brooklyn, plus intimate private concerts at various venues around New York City. The LAMC was founded with the aim of bringing together the Latin music community, a community that over the years has grown, evolved and redefined the idea of mainstream music. The panels, exhibitors, networking opportunities and multitude of activities during the week, both at the conference site and the showcases around the city, have been the catalyst for many a career, and personal as well as professional growth. Whether you are new and getting your foot in the door or have been part of this wonderful industry for years and are looking to continue to connect with colleagues, create opportunities and innovate, the LAMC provides a forum to take those next steps. We hope you can join us in celebrating this very special anniversary.

From the LAMC Conference 2018:

Anya Wassenberg - aka Anya Mia - You Can Have My Husband cover

A Blues Interlude 

Some shenanigans from the past holiday weekend at the Masque in Hamilton, Ontario. (You Can Have My Husband But Please) Don't Mess With My Man written by Dorothy LaBostrie for Irma Thomas and her album of the same name.

My cover version with David Battrick on guitar, Gerald James Myers on drums and Jon Ingalls on bass recorded Sunday, June 30, 2019 by Vesna Trkulja,

Classic California: Capitola Venetian Hotel

Classic California:
Capitola Venetian Hotel
• Find Out More

If you're looking for a classic California beach holiday, Capitola is out of the usual tourist melee, and offers a mile of sandy beach with a picturesque small town feel. While it may seem off the beaten path, it's only five miles to Santa Cruz and its famous beach boardwalk, and another hour or so through the mountains to San Jose. The beaches of Monterey Bay lie about 40 miles to the south along the coast.
The beach at Capitola, CaliforniaEverything is within walking distance in Capitola, including shops, restaurants, art galleries, and more, all along the waterfront. Surfing is naturally a popular local sport, and beginners will find it a good place to learn.
Among the annual events that draw visitors and locals are the Begonia Festival, Art and Wine Festival, and the famous Wharf to Wharf race. Capitola offers the friendliness of a laidback small beach town with a sophisticated and artistic flair.

The Capitola Venetian
This historic property overlooks the beach and the wooden wharf. Built in the 1920s, the Capitola Venetian is about five minutes walk from the Esplanade, Capitola's main shopping and dining area.

The colourful boutique hotel on the beach offers all-suite accommodation in a Mediterranean style. The decor features hand carved doors from Venice, and modern amenities for a casual beach vacation.

Note: The kitchens are not stocked with dishes or cookware. You are welcome to bring your own or rent kits from the hotel.

Stay in touch:
https://www.facebook.com/Capitolavenetian/

Capitola Venetian Hotel1500 Wharf Rd, Capitola, CA 95010, USA•+1 831-476-6471

Mixto Block Party - The True Flavour Of Toronto! Sunday July 7th 2019

From a media release:

Mixto Block Party - The True Flavour Of Toronto!
Sunday July 7th, 2019, 2pm - 11pm
• Tickets are $10 Online
• Stay in Touch

On July 7th, 2019, the parking lot of Lynx music in Toronto’s central west-end will be transformed into a massive BLOCK PARTY!

Imagined and produced by a collective of local artists and presenters who have joined together to host a festival that brings old school flavour to a new school location! The day-into-night event highlights Toronto's “mixed” nature through regional and international programming that spans across the festival, from the musical talent to the food vendors.

WHAT: An afternoon and night of music, food, dancing, children's activities, art, performances, installations, and community vibes.

WHERE: The parking lot at Lynx Music, 260 Emerson Avenue, Toronto

WHEN: Sunday July 7th, 2019, 2-11pm, event is rain or shine!
         
FOOD BY: 
Chocosol - Bean-to-bar dark chocolate and beverages
Alijandro’s - Mexican Middle Eastern fusion food truck
Five Points Hot Chicken - Traditional Nashville fried chicken
FeasTO - Canada’s first dumpling food truck

LIVE MUSIC BY:
47soul السبعة و أربعي - Palestinian electro shamstep (Co-presented with Aga Khan Museum)
Bangerz Brass - Heavy cypher style hip-hop brass band
Maracatu Mar Aberto- Afro-Brazilian percussion and song
T.dot Batu- Toronto's original samba reggae bloco
Soukustek- Energetic Afro-Colombian champeta



DJs:
General Eclectic- Polyrhythmic, tropical dance floor sounds
Tamika- Dancehall, demobs, reggaeton and afrobeats
Win- Deep global house
Higher Heights Djs - Reggae dub-wise soundsystem

HOSTED BY: 
Tamar Ilana - Multi-talented singer and dancer, internationally raised Toronto native, leader of Ventanas

SPECIAL GUESTS: 
Ahmed Moneka - Baghdad-born, Toronto-based percussionist and vocalist
Flavia Nascimento - Brazilian-Canadian composer, percussionist, vocalist, and clown

ADDITIONAL PROGRAMMING BY:
FaceArt - beautiful and unique face and body painting
MiniPong - Toronto’s original on-site ping pong animators
Live Green TO - Eco-focused kids activity

$10 general admission TICKETS If $10 is prohibitive, a Mixto pay-what-you-can link available to all without judgment or prejudice.
Funded in part by the Toronto Arts Council, co-presented by Aga Khan Museum, Lula Music and Arts Centre, Polyphonic Ground, and media partner CIUT. 
With additional support from Carpenters Local 27, The Toronto Palestinan Film Festival, Chocosol, and Turner Fleischer Architects Inc.

ABOUT UMA NOTA CULTURE:
Uma Nota is a reference point for world citizens and lovers of music and culture. It is a unique event series focusing on Afro-Brazilian, Latin, Caribbean, funk and soul music provided by both live acts and DJs. Unpretentious, open-minded, lively and fun, Uma Nota is a place where people come together to dance, united by a polyrhythmic, tropical vibe. Alongside the music, our events have included a wide range of cultural activities and programs. These elements might include interactive workshops in dance or percussion; family-friendly programs; film screenings; custom-made video projections, stage design and thematic decor; vivid parades; dance performances; ping-pong; live painting; cultural talks and panels; visual arts markets and food vendors; art and photo exhibitions and more.

Travel Tips: Can We End Carry On Chaos?

Travel Tips: Can We End Carry On Chaos?
I am blessed with strong relationships, with good people who all live far away from me. It means I've become an expert on flying and traveling cheap, which in turn means I've experienced the decline of air travel over the last decade or so. But, you don't have to fly economy these days to become embroiled in the chaos of carry on luggage.

Carry On Luggage
Fees for carry on bags came from the fallout of the 2008 recession, and the resulting jump in fuel prices. As anyone who has traveled has experienced, however, the fees have had a perhaps unintended effect as people over-stuff and over burden themselves with their two bag carry on limit in order to avoid checking bags at all. There are problems from the start.
They don't police their own policy - the standard rule was supposed to be: one bag for the overhead locker, and one for the under seat area. But, no one seems to put anything under the seat unless they're forced to, and I've yet to see airline personnel say anything to people who are carrying two large backpacks or suitcases each - even three.It often gets full, and they have to check them anyway - how does this save money, time or fuel? And why are their bags free, when checked bags are not?Long lines and slow moving lines boarding the plane, in reverse when the plane lands - because there's never quite enough room.
New Directions
American and some other airlines have adopted a new class of economy ticket that doesn't include any carry on luggage space - just the space under the seat in front of you. In the case of American, the ne cheap seats also include the privilege of boarding the plane last, and not choosing your seat. Ideal for single travelers, but questionable for families and certainly not romantic.
In contrast, some airlines are giving early boarding priority to passengers who don't put anything into the overhead baggage bins. If you want to encourage the practice, why make it a classist issue? :)Some airlines, like Swoop and Ryanair, now charge a very basic fee for the ticket, with additional fees for both carry on AND checked luggage. In fact, Swoop charges more for carry on bags than checked.Some airlines have also adopted smaller carry on standard sizes and weights, and are now weighing the bags before boarding.Some trials have begun with a kind of bag valet process, where the airline personnel put your luggage in the bin for you.It's not just an issue of fairness or an airline cash grab. It's also about safety. One way or another, it can't continue the way it is. I'm in favour of any policy that takes the emphasis off carry on and restores some kind of sanity to the proceedings.

Latin Jazz: Wayne Wallace - The Rhythm of Invention (Patois Records on June 7, 2019)

From a media release:

Latin Jazz:
Wayne Wallace - The Rhythm of Invention
(Patois Records on June 7, 2019)
Wayne Wallace blends chamber orchestra, jazz horns, spoken word, and his acclaimed Latin Jazz Quintet on The Rhythm of Invention
Trombonist and Afro-Caribbean scholar upends tradition to honor jazz greats and mentors

• Buy it on Amazon
• Stream it on Spotify

On his previous album, the critically adored Canto América, Wayne Wallace broke with his own tradition to co-lead a chamber orchestra featuring horns, winds, a double string quartet, and an array of vocalists. On The Rhythm of Invention - slated for release by Patois Records on June 7, 2019 - Wallace set an equally ambitious goal: to combine these added resources with his Latin Jazz Quintet, whose albums have garnered three of Wallace's four previous GRAMMY nominations.

"I wanted to come up with a way of coherently mixing the quintet with the brass and strings from Canto," explains the esteemed trombonist, innovative arranger, and notable educator. That desire now finds voice in a dazzling set of new compositions and classic jazz standards (and even one impressive mashup) on which Wallace uses the expanded sonic palette of an orchestra to highlight the strengths of his core conjunto. Undergirding it all is an effortlessly instructive survey of Latin rhythms, from the familiar to the arcane, that reflect Wallace's lifelong study of these sounds.

"I wanted to retain the energy of Canto without repeating it," he explains. To do so, he chose to redirect the music's focus onto the quintet, while retaining the almost tangible richness of brass chorales and the elegance of string ensemble writing; peppering the proceedings are solos from such luminaries as Mary Fettig (flute) and Melecio Magdaluyo (baritone saxophone). Wallace also features rapper and spoken-word artist Akida Thomas on the title track, where he contributes a spontaneously composed ode to this music - and to the spirit of all music - that also utilizes an interview with Wallace's colleague and mentor, the late Dr. David Baker.

To tie all this together, Wallace came up with a three-layered approach, built upon the foundational expertise of his longtime musical co-conspirator, percussion master Michael Spiro. "The concept was to have Michael play four congas" - the usual conga setup has three at most - "and to have him play as melodically as possible." As a result,  "A good way to hear the record is to listen all the way through and focus on Michael, and then to drummer Colin Douglas's cymbal work - and then put it together. It's like a history of Latin music." From there, Wallace created a second layer by highlighting the other members of the Latin Jazz Quintet's rhythm section, pianist Murray Low and bassist David Belove, and leaving space for his own forceful yet lyrical trombone solos. Only then did he add the composed material; the vital frosting to this multi-tiered concoction, it draws its flavors from the previous ingredients.



As its title suggests, the album doesn't lack for inventiveness. One case in point is Wallace's arrangement of the durable Paul Desmond composition "Take Five," which famously contains five beats in each measure (instead of the usual four). After some research, Wallace realized that no one had previously recorded this song with a clave rhythm, the heartbeat of Latin music - despite the fact that the clave itself comprises five notes (within four beats). The finished product marries these two views of musical time; add in a Santeria-derived coro section sung by the quintet, and you have a memorable new take on a 60-year-old jazz hit.

Another example comes on "So Softly," in which the ancient pop standard "Softly as in a Morning Sunrise" - from the 1928 operetta The New Moon - slides seamlessly into Miles Davis's "So What," written three decades later. The idea to combine them arose from one of the Latin Jazz Quintet's earliest experiments, in which the band presented these two songs as a medley; but, says Wallace, "After time I pleasantly found that the two melodies worked conversationally without detracting from each other. This inspired the idea of re-imagining them as a mashup" - an idea that, he points out, "stretches back to the beginnings of recorded music."

Less complex (but no less inventive) are several homages, including Wallace's slightly shrouded cover of "Vamanos Pa'l Monte" one of Eddie Palmieri's biggest hits. Although this version mimics the blend of trombone and flute that characterized Palmieri's famous band La Perfecta, "The melody is really an extrapolation of what Eddie wrote," says Wallace. (But anyone who knows the original will recognize it as the framework of this arrangement.) Meanwhile, the completely unexpected inclusion of "In a Mist" - an impressionistic piano composition by the legendary early-jazz cornetist Bix Beiderbecke - represents a sort of personal triumph for Wallace. "It took me eight years to figure out how to arrange it, because it's just so idiosyncratic and challenging," he admits. "The original piece was a kind of collision between ragtime and danzon rhythm; I tried to combine the danzon with clave to get a Cuban feel. And I thought that a string quartet was applicable because it would bring out the sonorities in a modern way" - not to mention hinting at the classical roots of Beiderbecke's small masterpiece.

The album highlight is the title track, which brings together funk, bata, and traditional Cuban rhythms and encompasses three generations of musical wisdom. On one end is Dr. David Baker, "the father of jazz education," with whom Wallace worked closely as a professor at Indiana University before Baker's death in 2016, and whose resonant voice is heard, midway through the track, discussing the essence of jazz rhythm. On the other end is Wallace's son-in-law, Akida Thomas, channeling the music to speak of The pulse gyrating through the system . . . Boom-clacks all rolled into one, stay connected through the soul of the drum. "There's this crazy counterpoint between the strings and the horns," Wallace says; "it's some of the most texturally adventurous writing I've done. Akida just listened to the track and started writing." The invention took on a rhythm of its own.

But The Rhythm of Invention refers to something altogether different from the riot of Afro-Latin beats and layered percussion that characterize the album. For Wallace, the rhythm of invention is the pace that allows him to be open to creativity: the tempo "that allows a space for the muse to be available to me," as he puts it. It is the rhythm of a gentle river, slowed but not stilled: the "flow" that banishes mere busy-ness in favor of reflection and, yes, invention. "That's when I get the best ideas," he says; in fact, the "Take Five" arrangement "literally came to me when I was pulling weeds out of my garden."

When you slow the rhythm enough, you can better see the speed of thought.

Lea Love Drops New EP - The Way I Am (Mensch House Records / June 14, 2019)

From a media release:

Lea Love Drops New EP - The Way I Am
(Mensch House Records / June 14, 2019) 
• Stream it on Spotify

Soulful R&B/reggae singer Lea Love has just released her new EP “Way I Am,” on Friday, June 14th via Mensch House Records! Combining full bass lines, sensual lyrics, and warm harmonies, Lea creates an environment of hypnotic and sweet sonic bliss for listeners to enjoy. The empowering title track off the EP, “Way I Am,” dropped on Friday, May 10th and radiates self acceptance and self love. Other standout singles from the EP include the playful tune “No Feels,” and the sultry track “Set The Mood” Feat. Jemere Morgan.

Born and raised in Oceanside, CA, singer-songwriter Lea Love’s multi-layered artistry draws from her rich Hawaiian, Japanese, and Samoan heritage. She began writing at the age of 10, often drawing inspiration from many types of musical genres. This diversity is evident in her songs, which ranges from R&B/soul to island reggae to pop. Her other recent single, “Doctor", is also available now on iTunes, Spotify, and Amazon, and has received critical acclaim.

Recorded in Carson, CA, Way I Am paints the picture of an independent woman who isn’t afraid to live out loud. Lea’s recent single release, “Set the Mood” is a saucy track that inspires listeners hips to move, and captures the heat of a passionate love affair. "One Too Many" is an honest account of giving into that one person that drives you crazy, with a little liquid courage. “I’m a hopeless romantic, so it’s a fun record about those moments you have a bit too much fun and get a little too carried away by your feelings for someone else,” Lea says. “Murdera” is a strong track about the inherent power women carry within themselves, an ode to heartbreakers everywhere.

Reflecting on The Way I Am, Lea says, “I am excited to announce my very first EP, “Way I Am”, will be dropping this June! I can’t wait to share my music with you all. It has truly been a labor of love, and it’s inspired by all my life experiences thus far. Catch me at my release party on June 15th at Mayfair Hotel! Be one of the first to see live performances of the new records and more!”

The Way I Am Tracklisting: 
1. One Too Many
2. Way I Am
3. Black and White
4. No Feels
5. Set the Mood ft Jemere Morgan
6. Murdera

Online:
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Facebook
Website

UK's celebrated jazz group EMPIRICAL on their first ever North American Tour Summer 2019

From a media release:

UK's celebrated jazz group
EMPIRICAL
is embarking on their first ever North American Tour
Summer 2019
• Check out their catalogue on Cuneiform Records

One of the UK's hottest young jazz bands is on tour in North America as we speak. Formed in 2007, Empirical have quickly established themselves as one of the UK's most explorative and exciting groups in modern jazz.
Left to right: Lewis Wright - Vibraphone, Shaney Forbes - Drums, Tom Farmer -Double Bass, Nathaniel Facey - Alto SaxThis dynamic London-based collective takes influence from a variety of  styles, but has managed to craft their own distinct sound built on improvisation, collaboration and shared music vision, earning them critical acclaim. Their innovative approach to music and the unique ways in which they engage their audience, has helped them attract new listeners.



In 2016, the band organized a week-long "Pop-up Jazz Lounge" at Old Street Underground Station in London, showcasing the group's ability to push the aesthetic and conceptual boundaries of jazz in a way that appeals to both new listeners and veterans of the genre. They later brought these pop-ups to other cities within the UK. Now, in 2019, Empirical is bringing their high energy performances to the United States and Canada on their first North American Tour.

Empirical has become one of Europe’s top jazz ensembles by creating a bracing sound rife with roiling emotion. The quartet builds on the extroverted improvisational ethos of the 1960s New Thing, embracing oblique harmonies, translucent textures and jagged, quick shifting rhythms. Featuring Nathaniel Facey (alto saxophone), Shaney Forbes (drums), Lewis Wright (vibraphone) and Tom Farmer (bass), Connection is the fifth Empirical album, the first to feature only the quartet with no guests, and the first released outside of their home base of England. It captures the ensemble at its most pure and potent.

“Each of our previous albums was an experiment, where we included various guests from a string quartet to a pianist to bass clarinet,” Farmer says. “This time we went into a great sounding studio with just the four of us. It’s an accurate representation of what we’re doing now, what our gigs sound like. This is our expression.”
Empirical Jazz - Photo - Chris BakerThe tour continues through June:

Sunday June 23, 2019
Rhizome 7:00 PM   
6950 Maple St, NW Washington DC

Tuesday June 25, 2019 & Wednesday June 26, 2019
Dizzy's Club 11:15 PM   
10 Columbus Circle New York, NY

Friday June 28, 2019
Edmonton Jazz Festival 7:30pm / 9:15pm   
11 Tommy Banks Way Edmonton, AB

Alabama Artists at the Birmingham Museum of Art

Alabama Artists
at the Birmingham Museum of Art
On my second visit to the Birmingham Museum of Art, I decided to focus on local artists - those who were native to Birmingham and Alabama. Now, my list isn't exhaustive by any means, but does illustrate the breadth of style and talent of the artistic community.
School of Beauty, School of CultureAcrylic & glitter on stretched canvas, 2012Born in Birmingham in 1955, Kerry James Marshall grew up in South Central Los Angeles, and now makes his home in Chicago. He is a graduate of the Otis College of Art and Design, and taught at the School of Art and Design at the University of Illinois in Chicago. His work in painting, sculpture, collage, video, and photography examines Black subjects, race, and history.
Head Wrap (gele) 2014 Abiola Sholanke is a Nigerian-American artist born in Birmingham, Alabama in 1978. Her headwraps are based on traditional West African designs.
Reparations NowMixed media, 2002 Reparations Now (detail)Mixed media, 2002Sculptor Joe Minter was born in Birmingham in 1943, and still makes his home and career there. His found object sculptures are inspired by his father's life - a man who had become a mechanic in the army in WWI, but was unable to use his skills back home because of Jim Crow laws.
Milk, Flour, One Egg, SaltB/W digital photographsfrom the Momma Jackson's Biscuits seriesPhotographer Celestia Morgan was born in Birmingham in 1981. According to her bio, her work typically revolves around retrospect imagery. She graduated with a BFA in photography from the University of Alabama at Birmingham, and earned an MFA from the University of Alabama at Tuscaloosa.  Alabama God DamnSilver gelatin print, 1965Photographer James 'Spider' Martin was born in Fairfield, AL in 1939, and died in Blount Springs, AL in 2003. He became renowned for his work in documenting the Civil Rights Movement in 1965, in particular the marches from Selma to Montgomery during that period. Martin also worked for The Birmingham News as a photographer.
Alabama Folk Potteryfrom the 19th and 20th centuriesUsing traditional methods that date back to before the Civil War, Alabama's rich folk pottery tradition continues. Once an art that flourished throughout the state, folk potters use a variety of influences in their work, and are known for distinctively southern styles of stoneware finishing, including an alkaline glaze that uses lime or wood ashes.

Blyth Theatre Festival Jumbo opening 45th season June 12 to August 10, 2019

From a media release:

Blyth Theatre Festival
Jumbo opening of Festival’s 45th season
June 12 to August 10, 2019
• Buy Tickets

BLYTH, ON – The world premiere of one of the biggest stories in the history of South Western Ontario, the story of Jumbo the elephant’s fateful final performance, opens the Blyth Festival’s 45th Season.

In Jumbo, playwright Sean Dixon, who brought Blyth Festival audiences plays steeped in local lore like The Wilberforce Hotel, Lost Heir, and The Outdoor Donnellys, now focuses on the legendary story that September night in 1885, when P.T. Barnum’s Greatest Show on Earth stopped in St. Thomas, Ontario. When the circus cars were packed up, an unscheduled freight train travelling unbrakeably fast through the railyard ended the career and the life of the biggest superstar in the world...but not before he gave his final spellbinding performance.

The play bursts on the stage with live circus acts, acrobats, a massive puppet, original music and a vibrant set reminiscent of Barnum’s fabled circus.

“This play will be like nothing we’ve seen before on the Blyth Festival stage. Our Circus Master, Manon Beaudoin, has created a circus within a play that will leave audiences giggling in awe,” said Gil Garratt, who is the artistic director of the Blyth Festival and director of Jumbo.

Returning to the Blyth Festival stage for Jumbo are actors: Peter Bailey (The Wilberforce Hotel and World Without Shadows), Tiffany Claire Martin (The Devil We Know), Michael McManus (Ceili House), Tony Munch (Wing Night at the Boot, Our Beautiful Sons, and many others). Newcomers making their Blyth debut: Kurtis Leon Baker, Julie Tamiko Manning, Lucy Meanwell and aerialist Mark Segal.

The creative team for Jumbo is: Eric Bunnell, set and costume designer; Leigh Ann Vardy, lighting designer; Deanna H. Choi, sound designer and composer; and Gemma James-Smith, puppet designer and constructor. Stage management by Heather Thompson and Katerina Sokyrko.

Reserve your seats for this amazing local story by calling the Box Office at 519.523.9300, Toll Free 1.877.862.5984 or online at blythfestival.com.

JUMBO | June 12 – August 10
DATES OF NOTE
June 12 – CKNX Night at 8pm – SOLD OUT
June 13 – Preview at 8pm
June 14 – Opening Night at 8pm
Aug. 10 – Closing performance at 8pm

COUNTRY SUPPERS
Selected Fridays and Saturdays – Enjoy a home-cooked meal served at a local venue at 6:15pm
Tickets are $22 each and may be booked by calling the Blyth Festival Box Office

SOCIAL MEDIA
Follow us on Facebook and Twitter: #bfJumbo #bf2019