Andy Sternberg's blog

Public [Dis]service Message: Regular People Use the Library for Internet Access EVERY DAY!

Andy Sternberg — Fri, 27 Aug 2010 04:23:54 +0000

Beverly Hills Public Library is open seven days a week. Some spaces are exclusively for public internet use. No books on these shelves. | Photo by Andy Sternberg/LAist

LA Public Libraries are closed on Sundays and Mondays due to unruly budget cuts. This includes the historic Central Library – a downtown landmark and one of the largest libraries in the country – in addition to all 70 LAPL branches. Beverly Hills, Santa Monica and Burbank patrons can access their library’s resources 7 days a week.

How do we fix this? LA City Council President Eric Garcetti told me last month (in a Twitter reply) that the library cuts signify about $10 million in savings for the city “…and I am working to see if this 15% cut can be mitigated as soon as economy/receipts pick up.”

This is an issue that should irritate everyone who feels part of the community as it affects education, jobs, and the digital divide, not to mention the amount of waste contributed to people who are forced to buy new books because the library is closed on their day off.

As long as our elected officials are corrupting our tax dollars for personal and professional gain, we should not allow them to take away our communities’ most precious resources (a far more valuable allocation of taxes, dontcha think?). This shouldn’t require a costly amendment that, if passed, would add a $39 parcel tax to our plate.

Most of us (reading this now) sit in an office all day and have relatively unlimited access to anything we want while we sell/study/teach/direct/produce/arrest/compute. But everybody’s got a close friend who has lost their job/house/car/mind as a result of this shitty economy. Look at the photo above. There are no longer books on those shelves, replaced by a row of computer stations, packed with people checking their email, searching for jobs, reading LAist and otherwise using a high-speed broadband internet-connected computer — free of charge.

Where else can you do that?

Originally posted at LAist.

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Photos and More From CitizenGulf LA – August 25 2010

Andy Sternberg — Thu, 26 Aug 2010 02:23:56 +0000

You'll see more and more content here as the night goes on. And come on down -- it's going to be fun and it's going late -- here are the details.

Unable to attend a CitizenGulf Benefit tonight? You can still donate directly by clicking the icon below. Tag your tweets and photos #CitizenGulf so we can see them here. Thanks for your support.

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Help Raise $$ and Rock Out with Big Moves, Le Switch, Hiram Rimmer, Stranger Danger DJs + more at #CitizenGulf LA Weds. 8/25 in Santa Monica

Andy Sternberg — Tue, 24 Aug 2010 22:28:11 +0000

I've already blogged about this but if you're reading this then you can very easily help spread the word! It will be a great time for a good cause. Thanks! The main DEETS: The Central Social Aid & Pleasure Club -- 1348 14th Street, Santa Monica (former 14 Below space, now fully revamped and reopened) An 18-minute Katrina documentary will be screened at 8pm, introduced by the (Venice-based) filmmakers. 3 bands will perform! Le Switch, Big Moves, and Hiram Rimmer. Stranger Danger DJ duo will bookend the night's music to keep us dancing until bar close at 2. Bar opens at 5 for happy hour. Event start is 7:30. There will be an entire room of art inspired by and depicting the Gulf Coast from Katrina in August 2005 to the present day Oil Spill disaster. Some will be available for a charity auction. HOW MUCH: Just $10 toward a fund set up specifically for this CitizenGulf National Day of Action. Citizen Effect and Catholic Charities of New Orleans will put forth all of the proceeds from these 20 events toward extending an after school program that was started in New Orleans after Katrina into coastal parishes and provide fifty children with a safe environment that will give participants access to interactive learning opportunities, self-esteem building workshops, therapeutic art activities and other activities and services needed by the children affected by the spill. There will also be a food truck in The Central's private lot -- Dante Food Truck All the main details and RSVP at http://citizengulfla.eventbrite.com (shorturl: http://bit.ly/CitGulfLA) The TWEETS: 3 bands 2 DJs 1 food truck. Original film + art. Will YOU be there Wed. 8/25 to support Gulf kids? http://bit.ly/CitGulfLA Weds. @TheCentralSAPC $10 Gulf Coast Benefit @BigMoves @LeSwitch @HIRAM_RiEMMER_ 2 DJs original film + art + @kfcrip http://bit.ly/CitGulfLA Los Angeles! #CitizenGulf is tonight! $10, help gulf kids, enjoy 3 bands 2 DJs, food truck, art, film. http://bit.ly/CitGulfLA Let's support education for Gulf Coast children - 5th anniversary of Katrina; families distressed from BP Oil Spill - http://bit.ly/CitGulfLA What Your $10 #citizengulf Donation Does: The After School Assembly Program to benefit the kids of fishermen http://bit.ly/dwaZ19 Join us! 1 day left until #citizengulf! $10, help fishermen's kids get a better ed, enjoy summer's last party. Register today! http://bit.ly/citgben Thank you for your support on #citiznegulf. Don't forget to register. $10 goes a long way to help a Gulf child. http://bit.ly/citgben Thanks!

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Join Us Wednesday August 25th for #CitizenGulf’s National Day of Action to Support Education for Families Affected by the Oil Spill

Andy Sternberg — Mon, 23 Aug 2010 15:09:38 +0000

Online event registration for CitizenGulf LA: A Night of Music, Art and Film to Benefit Gulf Coast Families powered by Eventbrite

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Facebook Causes’ Disruptive Wall Threat is Just an Annoying, UX-Inhibiting Lie

Andy Sternberg — Fri, 20 Aug 2010 17:45:20 +0000

It's really just another lesson in why you should never but an exact public date on a launch. Of course in this case it's the date for a "disappearance" or removal, but as I predicted last month and as has occurred in the past, Facebook is once again guilty of writing threats on innocent people's walls and then neither following up on them, nor cleaning up.

Without meaning to be too critical -- I'm just sayin'. And, as long as I can have this badge on my wall it would be nice if my friends could still use it to click through and learn more about the, uh, Cause!

Posted via email from Andy Sternberg's posterous

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Now in its 6th Year, RadioLab is Still the Greatest Podcast on Air

Andy Sternberg — Thu, 19 Aug 2010 07:34:13 +0000

In February of 2005, WNYC - New York City's main NPR station, launched its first episode of Radiolab with Jad Abumrod. OK, actually the first episode was months earlier. Abumrod had actually produced numerous Radiolab-like segments since joining NPR in 2002, many on Kurt Andersen's amazing, long-running Studio 360 program. The most recent episode is titled "Words": Radiolab is a workshop in the aural experience - it is, at its core, a program that explores the essence of radio, from story arc to research to interview to post-production and mixdown. Any given episode will surprise you in its clarity, weirdness, and attention to detail. My first reaction to listening -- I became a regular listener to the podcast (you can subscribe here for RSS, xml, or iTunes) in 2005 -- was amazement at how much effort, creativity, and likely attempts at perfectionism went into the editing and remixing of the audio. An hourlong Radiolab is without fail a stimulating and thought provoking experience, rooted in the great voices, delivery, and smartypants adeptness of hosts Jad Abumrod and Robert Krulwitch. My love affair with this program is capped by how well it uses the latest technology - since the early days of podcasting, Radiolab has been made available in multiple formats for download and streaming as well as across many NPR member stations nationwide. We've come to expect this from NPR programming since the grand ol' days of RealAudio streams. But this show stands apart in that it takes the story and the sound and the experience to extreme levels, show after show. I don't have a TV nor do I care to watch one. I listen to programs like this. Stock up your music-playing receptacle with multiple episodes from the archives before your next road trip and you will not be disappointed. Even P Diddy listens to Radiolab twice. One of my all-time favorites is "Numbers" (mp3: Other faves include Memory and Forgetting (mp3). Listen to the segment below on amnesia and Musicophilia with Oliver Sacks: Finally, music... Musical Language (mp3) just reading the first graf of the show notes is mesmerizing as it is:

What is music? How does it work? Why does it move us? Why are some people better at it than others? In this hour, we examine the line between language and music, how the brain processes sound, and we meet a composer who uses computers to capture the musical DNA of dead composers in order to create new work. We also re-imagine the disastrous 1913 debut of Stravinsky’s Rite of Spring…through the lens of modern neurology.

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New Kickstarter Call-Out: State of the Re:Union

Andy Sternberg — Tue, 17 Aug 2010 14:25:49 +0000

UPDATE: Just got an email that my funds went through! After a whole month SOTRU hit its Kickstarter fundraising goal with just two minutes to spare! Congrats! Having just heard that one of my recent Kickstarter investments, CicLAvia, has been funded, a new project has conveniently crossed my path and if you're into it too, you've got a few days left to chip in a few bucks.

State of the Re:Union (SOTRU) is a public media show that seeks to unify its audience by telling the stories of real people through an innovative exploration of a city, detailing how things come together and what pulls them apart. Each radio episode, host Al Letson travels to a different American city or town and explores how community is created. Who are the people who help bring it together? What are the issues they face? How does the culture of an area shape the people and vice versa? Through a unique mix of storytelling, cultural excavation, music and multimedia, SOTRU brings community to life. -- Read more | website | Facebook | Twitter.

Kickstarter is a groundbreaking concept in microdonations and in awesome website and community. You pledge to donate the amount you choose -- with great incentive rewards for various dollar amounts -- and the money is taken via your Amazon.com account only if the fundraising goal is met. State of the Re:Union is closing in on 50% funded with only 4 days remaining (after a month on the site) so let's give it a boost by August 21st! Here's a piece on First Avenue in Minneapolis from the State of the Re:Union YouTube channel: Updates on other projects I've invested in: CicLAvia aims for a city-sanctioned bicycle takeover of the LA streets at least one day a year (inspired by ciclovía), and will take place this year along Wilshire Boulevard on October 10 (10.10.10). Another recent Kickstarter project I backed has been funded as well -- however, the Invisible Children Take Away Shows in Uganda trip has been postponed following a terrorist attack on the final day of World Cup that killed Invisible Children volunteer Nate Henn (R.I.P.). Thanks, Rekha, for pointing this out!

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Did Amazon.com’s $3.99 Sale Really Push Arcade Fire to No. 1?

Andy Sternberg — Mon, 16 Aug 2010 17:26:21 +0000

According to this not-so-informed New York Times article, why yes! But there are several reasons why this is complete rubbish -- unless of course this is paid promo for Amazon.com's digital download store -- the most obvious of which is this paragraph:

Neither Merge nor SoundScan would say what proportion of the band’s sales last week came from Amazon, but the discount clearly helped: 62 percent of the album’s sales were as digital downloads, according to Billboard — more than twice as many as the band’s last album, “Neon Bible,” had in its first week in 2007.

NOWHERE does the article mention that the band is selling digital downloads (in multiple formats) as well as physical copies directly from arcadefire.com via a Topspin Media widget. Considering the band's loyal fan base, I'd imagine that a good chunk of the purchases (and preorders) were made here, whether directed by the band (or Merge's) newsletter or fans' natural tendency, especially after being treated to some teaser tracks earlier in the year at the band's site.
Topspin Media would not release numbers revealing only that sales were "not insignificant" It seems to me -- in the history of all products -- that #1 does not automatically go to the least expensive unless of course it is of a quality worthy of topping the charts (great advertising and brand loyalty helps too). So before you go ahead and write a headline as misinformed as: "Arcade Fire at No. 1 Due to Discount on Downloads" with no facts to back it up, why not consider that it's a very good record and long-awaited release from a band that has never really let down its fans in the way that #2 Eminem has (with a string of recent duds preceding "Recovery"). (Note: some editor wisely altered the headline to include the qualifier "Helps" -- Amazon Digital Discount Helps Arcade Fire Hit No. 1 -- but "Due to Discount" still appears in the html title field). Personally, I rarely use iTunes as I somewhat despise the platform and 95 times out of 100 I can get any digital download for cheaper (and at higher quality, DRM-free) at Amazon.com. True, Amazon.com offered The Suburbs for $3.99 in release week compared to $9.99 at iTunes as the article notes. Again, the article fails to mention that the full-album download is also available at the band's website for $7.99. If I were the editor I would have completely scrapped this column, which also includes the completely unqualified (and not elaborated upon) statement: "Amazon’s boost is usually gratefully accepted by artists and record labels. But some record executives also worry that the fire-sale pricing may further devalue recorded music." Dear Ben Sisario, are you sure you didn't get a $50 Amazon.com gift card or writing this column? ;-) Thanks, Nicole, for flagging this.

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Win ‘Maybe the Best Trip Ever’ from Black Star Beer

Andy Sternberg — Thu, 12 Aug 2010 16:17:29 +0000

Hey friends, I'm working on a fun campaign that can turn into a TOTALLY AWESOME adventure for you and your friends, assuming you enjoy beer, river rafting, VIP private dinners and courtside seats, private jets to Vegas cabanas and the like. For one winner and FIVE friends! Since you may need a break from all that madness, 6 round trip tickets on Virgin America are thrown in as well. ENTER TODAY - the sweeps ends August 19th. Go on, it's easy -- enter at http://bit.ly/MAYBETHEBESTTRIPEVER and tell your friends - maybe they'll take you if they win! Spread the word - ReTweet @blackstarbeer or just click this: Want beer, private jets and Vegas w/ friends? Enter to win @blackstarbeer's http://bit.ly/MAYBETHEBESTTRIPEVER today #MTBTE Again, enter on the sweepstakes tab at this Facebook page: http://facebook.com/blackstarbeer Bullet-point synopsis and today's press release below! http://bit.ly/MAYBETHEBESTTRIPEVER - One winner gets taken -- along with five friends to:

Whitefish, Montana to visit the Great Northern Brewery, home of Black Star Beer,
- fly fishing with the masters,
- river rafting on the Flathead River, and
- hiking and camping in Glacier National Park
Private jet to California's capital for a VIP experience with a pro basketball team
- 6 courtside seats to a game
- a suite with dinner provided by a world-renowned chef
- photos with the dance team
- shopping spree
Private jet to Las Vegas
- Poolside cabana and suite at the Palms Resort and Casino
6 Round trip tickets on Virgin America
- because you'll need a vacation from this vacation!

Want beer, private jets and Vegas w/ friends? Enter to win @blackstarbeer's http://bit.ly/MAYBETHEBESTTRIPEVER today #MTBTE
Enter by August 19th to Win Black Star Beer's Maybe the Best Trip Ever Press Releases (PDF) - August 12, 2010 | June 29, 2010.

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From the Archives: Chicago Jazz Scene, Turn of the Century

Andy Sternberg — Wed, 11 Aug 2010 21:05:22 +0000

It's often dawned on me that my early scribblings on the web may someday disappear without a trace yet I continuously forget to archive said posts -- for posterity if nothing else. Well today I listened to this blistering set from last week's Newport Jazz Festival and was transported to ten years ago, Empty Bottle, Tuesday night Vandermark Five sessions and the frenetic rhythm from the band set up living room style disrupting the magic in the air. Love how that sound pumps through my veins and so does the rest of the world. Ken Vandermark continues blazing trails across Europe, Africa, and the Middle East while basing himself in Chicago with many of the same cats. I keep up with Ken via his daily Twitter and Facebook updates which highlight the daily undertakings of a creative troubadour in brief, diary-like entries. I still subscribe to the chi-improv Yahoo! group for sentiment. Little has changed in Chicago I imagine -- although my visits are too rare. (Save for the tragic death of Malachi Ritscher and the recent passing of Fred Anderson). Still a few active venues and occasional improv backrooms shifted throughout the town and Peter Brötzmann, Ab Baars and the finest European improvisers still come over almost every year and the Chicago contingent of the Tentet visits Europe at least once a year. Thanks to NPR for recording this set by Vandermark's Powerhouse Sound combo and making it available for download, you can listen to it right here. Powerhouse Sound features Vandermark on reeds with longtime collaborator Nate McBride on electric bass; Jeff Parker, guitar and John Herndon, drums - both of whom are known for their work with Tortoise. Below, three articles I wrote in 1998 for Centerstage.net relating to the Chicago Jazz scene. Still buried in some closet -- minidiscs of interviews that I conducted with several of the players for a piece I never completed. There's a nice long interview with Fred Anderson there and hopefully i'll find it and when I do I'll post it for all to share. Poster above by Dan Grzeca via this webpage NOTE: These were all published in 1998 in spite of the 2001 datestamp. 2nd Annual Festival of Jazz and Improvised Music at Empty Bottle Music is the architecture of sound against silence. Friday May 04, 2001. By Andrew Sternberg "Music is the architecture of sound against silence," insisted percussionist Andrew Cyrille as I walked into the Empty Bottle and whispered "one Blue Ribbon," awaking the bartender from his atmospheric trance. The magic of improvised music is seldom celebrated, however, those who indulged in the 2nd Annual Festival of Jazz and Improvised Music May 8-10 at the Empty Bottle were treated to one of the finest free jazz festivals west of New York City. In its second year of celebrating the magic of improvised music (through the festival as well as the weekly Chicago Improvisers Series), the Empty Bottle shortened this year's festival from four days to three, yet magically lowered the cost of admission while increasing the level of talent. This year's festival was jumpstarted by Bottle mainstay Ken Vandermark and friends' tribute to free jazz icon, Joe Harriot. An incredibly talented saxophonist, Harriot left his homeland of Jamaica to further develop his mastery of the instrument in hard bop combos and subway corridors in London. Hard bop eventually grew to restrictive for Harriot and he proceeded to become an underground legend within free jazz. Vandermark, along with Jeb Bishop on trombone and Kent Kessler on drums filled the Bottle with an impressive, dramatic spinoff on the concepts of Harriot. Though the lobby was filled with various CDs for sale, none could be found of Harriot, who, as Vandermark reiterated, "is extremely underground." If Vandermark's quartet brought clarity to confusion, the sight and sounds of one man on stage made attention to detail a bit easier. Gargantuan tenor saxophonist Evan Parker brought harsh silence to the audience, which seemed too focused on directing their energy towards the stage to even bother shuffling their feet much less ordering a beer. The tone emanating from Parker's saxophone was indescribably blissful and emotional and he would shine even brighter Saturday night, in a variety of improvised duets. A series of five to ten minute improvisations by mixed duets within and without the evening's cast of performers offered some of the most awe- inspiring sounds of the festival. The Dutch duo of Peter van Bergen (playing a giraffe-like contrabass clarinet), and b-flat clarinetist Ab Baars, overwhelmed not only the crowd but also themselves as their improvisation flourished to a sudden end and embrace. Baars then embarked on a more modal adventure with fellow Dutch reedsman, Peter Van Bergen. Evan Parker teamed up with veteran Joe McPhee expressing bright waves of music through sheets of sound on their duelling saxes. Andrew Cyrille brought not only his lyrical brand of percussion to the festival, but also his experience as a university professor in California, giving a history lesson of sorts before each solo composition he performed on drums. Kenny Clarke, who was the main innovator of the improvisational bop style of drumming in the late 40s, had worked with Cyrille, and he did not hide the influence and guidance Clarke adorned him with. After closing his mindblowing set with an invite to Evan Parker to "blow for Art Blakey" on the original "Rhythmical Space," he left with only one question. "Doesn't everybody want a drum kit now?" Most would settle for half the rhythm and brilliance he displayed. For American jazz artists it has been a priviledge to play to the appreciative audiences of Amsterdam since Miles Davis made an exodus with Kenny Clarke in the late 50s and eventually spent some time recording with various Dutch combos. Thanks to various grants from the Hague and the Netherland-America Foundation in New York, the Empty Bottle was very lucky to give its patrons the opportunity to hear the incredible talent emerging today from Holland. In addition to performances by Ab Baars, those who stuck it out until the end were fortunate to hear the Clusone Trio. Following a book release party for Kevin Whitehead's "New Dutch Swing," the Clusonians represented exhibit A. Led by veteran drummer Han Bennink, they were possibly the most colorful act of the weekend as far as timbre, diversity, and personality goes. Augmented by American alto saxist Michael Moore and cellist Ernst Reijseger, the Clusone Trio went anywhere and everywhere their predecessors dare go and beyond, dabbling in swing and bop while dangling on the jagged edge of improvisation. Chicago was once the hub of the expressive and eclectic improvised works of the Art Ensemble, Sun Ra and others. However, the recent resurgence of interest in the form which began in New York City in the early 90s and is again gaining prominence in Chicago. Whereas the eight day improvisatory extravaganza known as the Vision Festival takes place in late May in Greenwich Village for $20 per day, it is incredibly fortunate to have a three day festival (at about half the price) at an intimate venue in our own Ukrainian Village. You needn't wait till next year's festival or fly out to New York to sample or indulge in free jazz and improvised music. Recommended for anyone with an interest in creative improvisation are the Empty Bottle's weekly Chicago Improvisers Series, nearly all of the weekend engagements at Rituals, and the Steppenwolf Theater's Traffic Series. ---------- Ken Vandermark and Friends Taking a weekly trip into improvisation. Friday May 04, 2001. by Andy Sternberg Chicago has always been noted for its regional contributions to the birth and development of jazz in the 1920s. However, it is impossible to ponder jazz history without considering the Art Ensemble of Chicago and Sun Ra. Also, the evolution of the Association for the Advancement of Creative Musicians (AACM) and similar Chicago based proponents of avant-garde jazz in the 1960s that have stretched the envelope of modern jazz above and beyond anywhere NASA ever dared to go. Today, this head-turning, freeform music style is as fresh as ever, and the strongest vindicators of this idiom can be witnessed weekly at Chicago's own Empty Bottle. Though predominantly known for a mellow atmosphere, loud rock 'n' roll, and reasonably priced beer, one of the more elusive gems offered at Bruce Finkelman's Empty Bottle can be shared by those who journey out midweek to look and listen. What exactly is there to do on a Tuesday night anyway? Since late 1996, Tuesday nights have maintained the Bottle's reputation for both beligerence and comfort with the innovative wizardry of the Vandermark 5. Featuring Ken Vandermark on saxes and bass clarinet (DKV Trio, NRG Ensemble, Crown Royal), Mars Williams on tenor sax (Liquid Soul, NRG Ensemble), and Jeb Bishop on trombone and electric guitar, the Vandermark 5 has a range of side projects and creative variances that are woven within and without the compositions they perform. Rounded out by the venerable rhythm section of Kent Kessler on bass and Tim Mulvenna on drums, the group is able to reel off Vandermark's complex tunes with a feeling that lends to the brilliance and oneness of collective improvisation. They play several compositions from their 1997 release on Chicago's Atavistic label, Single Piece Flow , including "Limited Edition," a seemingly mellow 6/8 blues beginning with a bowed bass vamp. However, like many of the songs one is likely to hear at a Tuesday night Vandermark 5 session, any predictability that "Limited Edition" begins with succumbs to the collectively morphing outward boundaries of the players and their instruments. A screeching duel takes place between the reeds of Williams and Vandermark, the drums gradually take on a rock feel in an odd rhythm, and Bishop caps the entire escapde with a blistering, distorted guitar solo. Music is also performed from the quintet's upcoming album, expected in stores by late spring, which Vandermark considers some of the freshest music he has ever recorded with any ensemble. When you visit the Empty Bottle on a Tuesday night, you can expect an incredibly relaxing and musically rewarding evening. The rock stage is left in the background and the musicians join the audience on the floor, surrounded by couches. For only three dollars you can clear your mind of midweek stress and have the opportunity to see one of Chicago's most innovative and talented bands. ------- Duke Ellington International Conference Friday May 04, 2001 by Andrew Sternberg Few musicians are appreciated around the world as greatly as Edward Kennedy "Duke" Ellington. While many of his compositions are instantly recognizable and reason enough for celebration, it is his impressive music, life, and legacy that attracted musicians, scholars and fans worldwide to the 16th annual Duke Ellington International Conference May 6-10 in Chicago. The conference served not only as a means for discussing and expanding upon Ellington's music, but also as a festive tribute to his accomplishments and legacy. In addition it spotlighted the relevance of Chicago to his career. Though Duke "paid rent in New York City, he was truly a citizen of the world," Stanley Dance once proclaimed, and his love affair with Chicago began with an engagement at the Savoy Ballroom in 1930. He returned countless times. Following Ellington's passing, 11 prominent Chicago-based music scholars, including Gunther Schuller and Dick Buckley, developed the Ellington Study Group. From this group the reality of the Ellington International Conference was born. This year the conference returned to its birthplace for the second time in 16 years. The five-day conference drew scholars, media, and Duke aficionados from around the world, and took them on a tour from the South Side neighborhoods historic for jazz, to Joe's Be-Bop Café on Navy Pier, Symphony Center, the Art Institute and elsewhere. Famous jazz historian Gunther Schuller lectured on Duke's innovations in composition, which were often 20 years ahead of their time. Poet Gwendolyn Brooks and guitarist Kenny Burrell spoke as well, in addition to international historians, teachers, and Ellington alumni. The more adventurous could hear Burrell pay musical tribute to Duke throughout his week-long stint at the Jazz Showcase. The highlight of the weekend was undoubtedly Friday night's performance of Ellington's musical, "My People." It was performed only once previously, as Ellington's presentation at the Century of Negro Progress Exposition at the Arie Crown Theatre in 1963. Duke considered this major concert production one of the most important events in his life. Not only was the 1998 production a worthy tribute to Duke's life, music, and cultural significance, it was so impressive that it could have been a long-running musical. "My People," was not easily staged. In fact, with only parts of the manuscript preserved on a truncated recording of the musical, noted transcriber Charlie Harrison had little resource for translating the original tapes to paper. With the help of Duke's granddaughter, Mercedes Ellington, who redeveloped the choreography, the making of "My People" became an inspiration for all involved, culminating in a one night stand at the New Regal Theater. "It recalls the enormous sense of pride we all felt at being associated with such a magnificent composition and such an important figure as Duke Ellington," proclaimed production coordinator Barbara Wright Pryor, a cast member in both the 1963 and 1998 performances. The eloquently renovated New Regal Ballroom, at 79th and Stony Island, was sold out for the performance of "My People." Beginning promptly at 8, the mostly black-tie wearing audience was treated to an opening set by the DownBeat Upstarts; an educational outreach program developed in the Spring of 1997 by Leslie Lowrey. Although this ensemble of South Suburban high-schoolers had only played together for one year, director Dave Griesemer helped to re-create the full, hot sound of Ellington's orchestras. With Shawn Johnson deftly emulating Cootie Williams' vibrato on "Concerto for Cootie," and Tiffany Anderson's graceful solo on "Prelude to a Kiss," these students were adept soloists at their instruments and deserved the solid standing ovation they received at the end of their set. After an intermission, it was immediately apparent that the audience was in for a treat. The rising curtain revealed a 16-piece orchestra, and the conga-based work song "Jungle Triangle" began the festivities. Seemingly nude dancers streamed across the stage in flesh-colored leotards. They were soon joined by a silhouette of monstrous figurines, which gradually morphed into members of the Leigh Morris Chorale dressed in assorted work-clothes on a scaffold with symmetrical staircases. "From slum to song, our hearts beat as one," sang Barbara Wright Pryor, after reading from a book of rhyme on a quest to find reason in good heritage. This diversion from the opening gospel-like numbers created a festive childlike ambience among the young dancers. Duke's personality became omnipotent as a disco-ball dropped and a celebration began to a tune containing a 'Duke of Earl" style vocal bass solo. The cast danced in pairs as chants of freedom erupted from within the orchestra's most upbeat number of the night. It was bone-chillingly obvious that this must be one of the most important and special creations of Ellington. The stage cleared to a crackling record of Duke declaring, "My people... building America into the most powerful nation.... Cotton... Sugar... My people were at the front lines for the first time, the Spanish American War.... A hero is a symbol of glamour and glamour is attractive." It is no secret that "My People" was an ode to Martin Luther King Jr. and a pervasive statement on civil rights. The album was recorded on the same day as the March on Washington, and Ellington actually traded a manuscript of the concert for a plaque from King himself. The performance continued with dramatic yet playful blues numbers, theoretically an ode from Ellington to the philosophies of W.C. Handy. "The blues is a one-way ticket from your love to nowhere," repeated Lucius Bell, Jr. in "Blues at Sundown," part of a medley of classic blues style choruses he traded with Roberta Thomas. The stage once again transformed into a showcase of workers of all trades and professions, belting out "King Fit the Battle of Alabam'," a gospel-style number accented by the tribal rhythms of the bass, conga, and cymbal. The performance closed with the spoken vignette, "Purple People-Green People," in which Mercedes Ellington echoed her grandfather's original thoughts concerning the unnecessary cruelty of war. Eventually, she reiterates, both sides lose and whether purple or green, "the blood is all red." The finale consisted of rhetorical questions asked by Joya Sherill, playing the same role as she did in the original performance 35 years prior. "What color is virtue, what color is love, what does karma have to do with behavior?" she wondered aloud. The centennial celebration of the birth of Duke Ellington had just begun and will continue for the next year and a half at various locations including the Smithsonian in Washington, DC and the Lincoln Center in New York.

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