It’s 1924. You have tickets to the Ballets Suédois production of Relâche at the Théâtre des Champs-Élysées in Paris. It’s a new ballet by avant-garde artist Francis Picabia, with choreography by Jean Börlin. It’s shocking and bawdy. Erik Satie’s musical score adds to the irreverence, pulling from popular tunes and “raunchy army songs.”
What started as a business relationship with Rod Zdebiak of Stewart McKelvey 25 years ago has turned into something closer to a friendship. In fact, you may see Rod pulling shifts at the Sound Symposium merch table! Thanks to Business & Arts NL for highlighting this invaluable partnership.
By Annie Corrigan
It’s been two days since I saw Susan Alcorn and Amy Brandon perform at D.F. Cook Recital Hall. The music was still in my bones, but I had no words to describe it. That’s not exactly right. I had a whole slew of words, but none of them did the performance justice. The music was unsettling, but that wasn’t a bad thing. It was anxiety-inducing at times, but a full-body reaction to music is usually the sign of something worth hearing. Amy Brandon played a standard guitar with, what was that, a scrub brush? And suddenly she transported us to an icy, barren, electro-alien planet.
Courtesy of Gayle Young
Instruments where stones vibrate to create music have been played all over the world since ancient times. Sometimes the stones are carved and tuned, organized like a marimba, sometimes they are suspended as chimes. Gayle Young prefers stones that are rugged and plucked directly from their natural environment.
There were five mugs of tea and a plate with two types of cookies. Each knitter had her skein of yarn — pink for Heather, green for Sarah, khaki for Christine, and eggplant for Theresa. Sheila brought an in-progress blanket made with beautiful multicolored yarn. They grabbed their needles… and plugged them into the amplifier.