Eclipsed (theater); ASO

Art at APL

Even though we complain about being too busy, my wife and I had three events in three evenings.

Thursday, June 5: Eclipsed is the third program this season from the Black Theatre Troupe of Upstate NY, after Berta, Berta, and Once On This Island

The description: “‘Eclipsed’ tells the story of five Liberian women and their tale of survival near the end of the Second Liberian Civil War.

“Their lives set on a nightmarish detour by civil war, the captive wives of a Liberian rebel officer form a hardscrabble sisterhood. With the arrival of a new girl who can read—and the return of an old one who can kill—their possibilities are quickly transformed.” It was excellent, but very intense, and occasionally quite funny. Here is a review from the Berkshire Edge.

I was unfamiliar with the Danai Gurira play, which played on Broadway about a decade ago. Here’s a New York Times review from  a 2016 production featuring Lupita Nyong’o.

From here: “Danai got the idea for Eclipsed from a 2003 magazine article featuring a female rebel solider named Black Diamond. The influence from that article, Danai’s own African upbringing, and her research in Liberia helped her to shed a light on enormities that are still issues today.”

I’m looking forward to next season from BTTUNY at the Cap Rep building.

Art

Friday, June 6: The Albany Public Library and Opalka Gallery celebrate the latest Art at APL exhibition, “Sight Specific.” The opening that night at the Pine Hills branch of the APL featured The Pine Hills Band.

“The artists in ‘Sight Specific’ are not directly mapping a place, but employing memory, direct observation, documentation, comparison, or abstraction, to tell stories of familiar places like gas stations, rest areas, basketball courts, backyards, living rooms, landscapes, industrial sites, or neighborhood streets… 

“The exhibition features Michael Bach, Seth Butler, Matt Chinian, Sean Hemmerle, Susan Hoffer, Maeve McCool, Rob O’Neil, Andrew Pellettieri, and Laura Von Rosk.” It’ll be in place through November 8. 

I went by myself because my wife had a work thing.

Symphony

Saturday, June 6: Last year, my wife and I attended almost the entire American Music Festival of the Albany Symphony Orchestra at EMPAC. Indeed, on Thursday night, we were invited to attend the open rehearsal, but we chose to attend the play instead. 

This year, we only attended the American Music Festival, which had the theme of Water Music. It started with What do flowers do at night? by Sophia Jani. A cactus species called the Selenicereus grandiflorus blooms only once a year for one night.

Then  Play: A Concerto For Percussion Quartet, Vocalist & Orchestra by Clarice Assad, which was just wack. The percussionists played glockenspiel, marimba, xylophone, toy drums, bells, rubber chickens, and many other instruments. It was excellent, lots of fun, and semi-autobiographical.   

From here: “Indigo Heaven is a clarinet concerto in all but name, laid out in three movements running 27 minutes. The work is inspired by the open Western vistas described in Mark Warren’s novel of the same title.” It premiered with the Chicago Symphony Orchestra, composed by Christopher Theofanidis, commissioned for the CSO’s principal clarinet, Stephen Williamson, who also played it at the ASO.  

Bobby Ge’s Beyond Anthropocene was commissioned, premiered, and recorded by David Alan Miller and the ASO. The final movement is solastalgia, which is defined as “the distress that is produced by environmental change impacting on people while they are directly connected to their home environment.” It was a workout, especially for the horns.

Concert: No Doubt, 10 July 1997

MxPx, The Selecter

Reading the book 60 Songs That Explain The ’90s by Rob Harvilla reminded me of a concert by the group No Doubt on 10 July 1997 at the arena in downtown Albany. It used to be the Knickerbocker Arena, and now it’s the MVP Arena, but I believe that it was the Pepsi Arena at the time.

I had a friend who was widowed shortly after her first child was born, her husband dying of Agent Orange in the early ’80s. So I occasionally babysat the girl. When the teen wanted to see No Doubt, her mother suggested that I accompany her and four of her friends. I was familiar with the group. My friend dropped us off.

The first group was called MxPx. The sheer constant audio assault was unnerving to me, but the audience seemed to enjoy it.

Then came an English 2-tone ska revival band, The Selecter – I misremembered that it was The Specials, but they had similar roots. I thought they were excellent. Still, a goodly number of the audience literally turned their back on them; they did not like this music. (Here’s Too Much Pressure.)

Not only did I think it was disrespectful, but they were also oblivious to the fact that the roots of the music that No Doubt was playing came from ska. It would be like if, in the 1960s, a white Blues musician such as Eric Clapton in Cream or Keith Richards in The Rolling Stones were the headliners, with the opening act being B.B. King or Albert King, and the audience turned their backs on them. This ticked me off greatly.

Stefani and company

The main act came out, and they were entertaining enough. I remember very distinctly that Gwen Stefani, the lead singer, wanted the boys to sing the line, “I’m just a girl.” Some were uncomfortable, but most did so.

Harvilla says in his book regarding the group, “…which brings us to the sell-out adjacent song that’s only.005 ska… No Doubt is a great many things: zippy new wave monolith worthy of Cyndi Lauper, the Go-Go’s, or the B-52s. [It’s] a delivery system for lead singer Gwen Stefani, the blindingly sunny pop star and wildly out-of-pocket cultural appropriator who combines the appeal of Jessica Rabbit, Olive Oyl, Cher from Clueless…

“It’s not entirely that the band abandoned its roots on this record, but the roots are no longer a focal point. Maybe with Just A Girl, it’s best to imagine No Doubt as a space shuttle with the rocket boosters’ burnout detachment. She’s a true superstar orbit, and in this case, those abandoned rocket boosters just happen to be labeled ska, and everyone in the band, other than Gwen. “

All that said, I’ve never been all that fussy about selling out or “authenticity,” having seen the movie A Complete Unknown about Bob Dylan. The notion of selling out can be pretty darn fuzzy.

BTW, here’s the likely No Doubt playlist of the concert:

  1. Tragic Kingdom
  2. Excuse Me, Mr.
  3. Different People
  4. Happy Now?
  5. Just a Girl
  6. The Climb
  7. End It on This
  8. Total Hate ’95
  9. Hey You
  10. The Imperial March
  11. Move On / Ghost Town
  12. Don’t Speak
  13. Sunday Morning
  14. Spiderwebs
  15. Ob-La-Di, Ob-La-Da
  16. Oi to the World

Sunday Stealing: 10 Questions with Nigel

less world suck

Nigel with Dory and Nemo

Welcome to Sunday Stealing. “Back in 2010, blogger Nigel Vanstone from Away from a Bit asked his readers this series of questions. He said he was tagged by another, unnamed blogger. But I’m not tracing it back any further. Nigel Vanstone is a cool name, and that’s enough for me.”

10 Questions with Nigel

1. What’s your life’s motto?

  • Young Simba: Hakuna Matata?
  • Pumbaa: Yeah. It’s our motto.
  • Young Simba: What’s a motto?
  • Timon: Nothing. What’s a motto with you? [laughs]

Well, THAT’S not it!  Create less world suck, I suppose, per the terms of the Vlogbrothers

2. Where were you living 13 years ago?

Same place we are living now. The daughter was in elementary school, which made the commute from our house to her school really easy.

Green-eyed?

3. Is anyone jealous of you?

I have no idea. I’m working on the theory that there are people who perceive me as easygoing, casual, and engaging, among other things. However, the truth is that I’m only those things in spaces where I feel comfortable, such as at church or the library. In other places, I tend to be shy and cautious, so if people only see me in the gregarious space, I think they may perceive me differently than I perceive myself.

4. Where were you when you heard about the 9/11 terror attacks?

I wrote about this at length in 2008 and subsequently.

5. Do you consider yourself kind?

Most of the time.

6. Can you change your car’s oil?

I’ve done this in the distant past. Could  I do it now? Doubtful.

7. What’s the last thing you heard about your first love?

I received an unexpected email from her in February 2025.  She stumbled across my blog – probably this post – while trying to prove some Binghamton, NY-related television trivia. We’re both in long-term relationships.

8. Have you ever been burned by love?

Oh, heavens, yes. 

9. What was the last thing you paid for with cash?

Indian food from the restaurant a block away, five days ago. He gives a 5% discount for cash. 

10. Do you hug your friends?

It depends on the friend. When I was at my previous church, Trinity United Methodist, there was an older woman named Helen Knapp who referred to me as the Trinity hugger. Then she added, “Which is better than being the Trinity mugger!” She said that a lot, and, oddly, it never got old. I hug some folks at my current church, but especially a 95-year-old woman, who has become more of a hugger later in life.

Pop hits of 1955

“I owe my soul to the company store”

The pop hits of 1955 were pretty conventional compared to what the following years would show. Yes, it was the year of Rock Around The Clock hitting the top of the charts, but it wouldn’t be until the following year when Elvis and others took over that you see the real change. Incidentally, there are 73 weeks of hits because of the conflicting charts.

Cherry Pink And Apple Blossom White – Perez “Prez” Prado and his orchestra, the King of the Mambo (RCA Victor), 10 weeks at #1, gold record, instrumental. Trumpet solo by Billy Regis. From the film Under Water! This  was released on both 45 and 78 rpm

Sincerely (Harvey Fuqua-Allen Freed) – The McGuire Sisters, orchestra conducted by Dick Jacobs (Coral),  10 weeks at #1, gold record. Original R&B release by The Moonglows. Fuqua became a top Motown songwriter.

(We’re Gonna) Rock Around The Clock (De Knight-Freedman) – Bill Haley and his Comets (Decca), eight weeks at #1, gold record. First recorded by Sonny Dae & His Knights. In the spring of ’55, once people heard it played over the titles of the hit movie “Blackboard Jungle,” Haley’s version exploded.

Sixteen Tons (Merle Travis) – “Tennessee” Ernie Ford,  orchestra conducted by Jack Fascinato (Capitol),  eight weeks at #1, gold record.

Love Is A Many Splendored Thing (Sammy Fain-Francis Webster)- Four Aces featuring Al Alberts, orchestra and chorus conducted by Jack Pleis (Decca), six weeks at #1, gold record. From the 20th Century Fox CinemaScope production Love Is A Many-Splendored Thing.

The Yellow Rose Of Texas (D. George) – Mitch Miller with his Orchestra and Chorus (Columbia), six weeks at #1, gold record. Recorded for his 1955 LP “The Confederacy.”

Disney

The Ballad of Davy Crockett (T. Blackburn-G. Bruns- Bill Hayes, orchestra conducted by Archie Bleyer (Cadence), five weeks at #1, gold record. “The song originated with Walt Disney’s wildly popular ‘Davy Crockett’ dramatization, a three-episode Frontier Land segment starring Fess Parker that aired on the new ABC television series ‘Disneyland’ between December 1954 and February 1955.”

Autumn Leaves/Les Feuilles Mortes (Joseph Kosma-Johnny Mercer-Jacques Prevert)- Roger Williams (Kapp), four weeks at #1, gold record, instrumental

Let Me Go Lover – Joan Weber (Hill-J. L. Carson), orchestra and chorus conducted by Jimmy Carroll (Columbia ), four weeks at #1, gold record, from the Studio One TV production. 

Dance With Me, Henry (Wallflower) (James-Otis-Hank Ballard)- Georgia Gibbs, orchestra and chorus conducted by Hugo Peretti (Mercury), 3 weeks at #1, gold record

Hearts Of Stone (Ray-Jackson) – The Fontane Sisters, orchestra and chorus conducted by Billy Vaughn (Dot), three weeks at #1, gold record

Unchained Melody (Alex North-Hy Zaret) – Les Baxter, his Orchestra and Chorus (Capitol), two weeks at #1. From the Hall VBartlett production Unchained.

Learnin’ the Blues (Dolores Vicki Silvers) – Frank Sinatra, orchestra conducted by Nelson Riddle (Capitol), two weeks at #1

Ain’t That A Shame  (Antoine “Fats” Domino- Dave Bartholomew)- Pat Boone, orchestra and chorus conducted by Billy Vaughn(Dot), two weeks at #1, gold record

The B-word license plate

What does this mean?

unions.afl-cio.2013A few weeks ago, my wife parked the car in our neighborhood. She ended up behind an old, dark SUV with what appeared to be a New York license plate. The plate “number” was the B-word.

Of course, it wasn’t a real license plate, as it lacked some of the accouterments, and the font wasn’t quite right. But it was white with blue lettering, with the word “New York” on the top. At a passing glance, it looked close enough. My wife was offended.

I was curious. What is the message here? Was the driver trying to say New York is a terrible place or that life is a terrible thing? Is it a comment about women, or does somebody think this was women’s empowerment?

Moreover,  I’m puzzled why they would replace their license plate with it instead of putting it on a bumper sticker.

We saw it a second time about a week later.

You can’t do that!

A few days after that, I was being dropped off near my house, and the driver noticed this same plate. They said, “You can’t do that!” This wasn’t a question of what the messaging was. It was that, by law, you can’t replace a New York State DMV plate with this phony item. BTW, there was no front plate; NYS has plates on the front and back of the vehicle.

In the city of Albany, code enforcement will not allow a car without proper plates, even in your driveway. If not addressed, the car could be ticketed and eventually towed.   

My friend looked at the registration sticker on the windshield with the real license plate number and immediately called the police on their cell phone. As a public service administrator with years of experience, they have a strong sense of what’s right and wrong. (I’m not a car person, so it would not have occurred to me to look at the registration sticker.)

The next morning, the car was gone. I don’t know whether the owner moved the vehicle or it was towed. A week later, the car returned with the faux plate, slightly crooked because it wasn’t screwed in very well. This has now become fascinating to me. I tell my friend that the car is back, they call the cops, and the car disappears. I haven’t seen it even with its correct plates since.

Ramblin' with Roger
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