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(12/03/14 5:51pm)
What makes a concert successful? Is it the balanced enigma of polished musical acts? Perhaps it’s the nuance and adornment of creative venues? It could even be as simple as having an energetic, lively and devoted crowd. Andrew Eck believes in a synthesis of all these factors, each critical to pulling off an event that will produce change in the greater culture of the community. Coming up this Saturday, Eck and his colleagues with the Corner Concert series will be putting on their third concert of the semester. Already a popular event among Mercer and Macon crowds, this tertiary concert holds immense promise.
One of the most impressive exploits of the Corner Concerts is its ambitious transformation of unseemly downtown spots into exciting and legitimate venue locations. The next scene is the abandoned Shriner Temple, across from City Hall on Poplar Street. You’ve likely passed it by many times, but now you have the rare chance to enter this ominous and exotic space. Built in 1929, the same year as the discovery of King Tut’s tomb, the Temple is thoroughly decorated with Egyptian decal and hieroglyphs. Being entirely emptied out, the massive space truly resembles the interior of an ancient cavernous structure. Luckily enough, it happens to be perfect for a live concert-- possessing a stage, a bar and plenty of open space for crowds to feel comfortable. Truly a remarkable find, this venue will be sure to impress.
Of course, what would the Corner Concerts be without a fabulous line-up consisting of the best acts that Georgia has to offer? The headliner for the evening is New Madrid, an impressive Indie-Rock group with something to offer everyone. They hail from Athens, and anyone who considers themselves a buff of the Georgia music scene must know this group. Opening is White Violet and 100 Watt Horse. The former is another fantastic indie band from Athens, and the latter a one-man solo project delivering feel-good vibes from Atlanta.
These Corner Concerts are always a blast, and this one is sure to be fiery. Whether you’re in need of some inspiration, time away from finals prep or just need something to do, this concert will be one to remember. As usual, a ticket comes with free cover and one free drink at the Hummingbird, who is also catering drinks during the concert.
The Shriner Temple is located at 745 Poplar St and music begins at 7:30p.m. on Dec. 6.Tickets can be bought online at www.cornerconcerts.com, or from Andrew Eck and any of the other members of the crew. Visit the website for any further info on this awesome concert series.
(10/02/14 9:23pm)
It comes to fruition too often that young adults take for granted the companionship of visual art. The habituation of college life leaves us in a state of overly analytical operation, existing primarily to satisfy the academic expectations that govern our efforts as students.
Still, something about the esoteric and often chaotic nature of visual art helps maintain a balance of the psyche, a movement which escorts our spirit and reminds us that we are human. Understanding this paradigm, actively engaging in the art community should become a necessity for every college student. If nothing else, dip a toe into the waters of visual art on occasion so that you do not forget the critical social impact of the medium.
In Macon, there exists a multitude of opportunities for every major, for every workload and for every interest.
The Contemporary Art Exchange is one of the most approachable sources in downtown Macon, subsisting of a variety of youthful and vibrant works of all kinds. Located on the second floor of the massive complex on Mulberry and Second Street, this studio boasts the warmest and most amicable environment for genuine expression.
Upon entering the studio, I was enveloped by a feeling of geniality, one supported by the studio’s utilization of high ceilings and natural lighting. Their studio appears akin to that of any working artist, one where masses of clay and the inevitable dispersion of paint are accepted with pride.
There are no restrictions on the artistic endeavors of the 20 artists involved with the gallery; their exhibitions administer painting, sculpture, film art, musical acts and even theatrical displays. The artists, however, are all passionately united by the purpose to serve the community of Macon, as evidenced by the extroverted enigma that they demonstrate to each and every visitor.
The Contemporary Art Exchange has open house exhibits every first Friday, so do not miss out on the monthly opportunity to delve into new artistic spectrums.
As a development of the New City Church in downtown Macon, The 567 Center for Renewal has proven itself to be one of most hopeful patriots of community art in Middle Georgia.
The 567 began to thrive in 2010, when it moved to its current location at 533 Cherry St. Saturated in the welcoming customs of church on Sunday, The 567 is an unbolted venue that smiles upon every visitor.
The gallery seeks to exemplify and prove the worth of all subjective expression. Thus, The 567 is dedicated to holding a full calendar of events to satisfy all artists and audiences alike. It is nearly impossible to characterize this venue with any simplifications of purpose, for The 567 desires to give all artists a chance at finding recognition.
The venue holds a lovely gathering room for open discussion, a small stage for intimate performances and a subtle gallery for a humble but impressive display of visual art. Coming up, the gallery will be showcasing an exhibit of visual art dedicated to the work of college students around the state.
This gallery surely holds something for everybody, so be sure to check in with their extensive series of upcoming events.
Without a doubt, everyone has either seen or heard of the Macon Arts Alliance. Actively engaged in the community at Mercer, the Macon Arts Alliance seeks not only to display each member’s personal talents but also to keep the citizens of Macon educated in prominent artistic cultures.
It also serves as a welcome home for Mercer students to volunteer or contribute their own vision, providing internship opportunities and spots for visual art in various exhibitions. The ultimate goal of the organization is to educate and unite the many passions existing in Central Georgia.
The Macon Arts Alliance unifies 60 different arts organizations in Central Georgia and is responsible for producing events and exhibitions for each group. Not only does the Macon Arts Alliance gallery have something new every month, but it encourages and inspires each guest to consider contributing their own art to the network of Georgia-based artwork.
Go visit their immaculate gallery, located on First Street in downtown, on any weekday from 11 a.m. to 5 p.m. or on Saturday from 10 a.m. to 4 p.m.
Art stimulates the mind in ways that are difficult to articulate with words. It is necessary, however, to activate this region of the brain to ensure mental fulfillment. If nothing else, some exposure to art will provide an undoubtable relief to the harrowing lethargy that we all face in the daily grind of college life.
(10/02/14 6:19pm)
BREAKING: (Update Sept. 28) The Board of Directors of the Atlanta Symphony Orchestra announced that president and CEO Stanley Romanstein has resigned from his position. Romanstein said in a statement, “I believe that my continued leadership of the A.S.O. would be an impediment to our reaching a new labor agreement with the ASO’s musicians.”
Newly-appointed interim president, Terry Neal, will manage orchestra operations.
***
Any tourist taking a stroll past the Woodruff Art Center in Atlanta would be alarmed and utterly bewildered by the mass of picketers outside Symphony Hall. What’s more perturbing would be the discovery that these frustrated sign-bearers are none other than the members of the orchestra itself. Why are they not in the Hall, rehearsing and performing for their debut concert of the season? The somber and ignoble truth is that the Atlanta Symphony Orchestra has been locked out of the Hall by the management and has ceased operations for an indeterminate amount of time.
The reason for this travesty? There’s no good one. Few of the cases to mirror this event have rational explanations. In 2012, the ASO suffered a preceding lockout, in which disputes over salary and work hours plunged the Orchestra into inequitable purgatory. The ultimate consequences of this particular dispute included pay cuts of $14,000, a lay-off of eight musicians and a reduced season by ten weeks of work. This seemed to transpire due to financial constraints voiced by the management, in which the ASO was told it would have to cut back in order to keep from filing bankruptcy. These financial figures, however, were never made public or even clear to the leaders of the ASO musicians, resulting in some speculation about the managements’ integrity. This is in part due to the nature of system in place, in which the Woodruff Arts Center oversees all the facilities which compose it collectively, so that no museum or performing venue within it may govern itself independently. Thus, an inevitable divergence of opinion is materialized, and the ASO is not allocated its due of perceived significance.
Now two years later in 2014, everyone is even more outraged, and much more curious about the validity of the Woodruff managements’ claims. After a good deal of digging, many truths were revealed about Stanley Romanstein, president of the ASO board. It would appear that Romanstein received nearly $400,000 in compensation for the previous fiscal year. The legitimate purpose behind this compensation is unknown and rather suspicious. Furthermore, Romanstein has consistently delivered poor budgetary plans, so that the ASO is never sure whether it has the allocated funds it needs to afford its season concerts and to pay Orchestra employees. In a multitude of statements issued by ASO members, Orchestra supporters and the Music Director of the Symphony himself, Robert Spano, the management has been belligerently accused of financial incompetence. It has since become the prevailing sentiment that those in charge of the ASO’s budget have not prioritized the ASO as a necessity worth funding, and that the financial situation has been poorly communicated.
Regardless, the sad fact of all this is that our amazing Orchestra has fallen prey to the epidemic of corrosion in classical music entities. Last year the Metropolitan Opera and Minnesota Orchestra suffered similar disheartening bouts. The trend among these crumbling musical forces seems to suggest an inevitable extinction of classical music as it exists today. Though we fight to sustain the prowess of these groups and hope that they continue to inspire abroad, orchestras simply lack commercial appeal in a broad sense. Still, any who understand the integrity and benevolence of classical music realize what a tragedy this truly is and that we cannot simply lie down and let it die. This art form represents a whole way of life for so many, most substantially for those of us majoring in music and for any who encounter music regularly through church or other sources. The Atlanta Symphony is a major player on the stage of the classical music world, so eyes are on them from around the world. Whatever happens with the ASO will determine the next step for the entire realm of music, so it is critical that their plight be dealt with in a just manner. As young students so close to this historic happenstance, it is crucial that we stay alert, and provide our prayers and whatever support we can to help avail the ASO of its woes.
(09/25/14 9:49pm)
It comes to fruition too often that young adults take for granted the companionship of visual art. The habituation of college life leaves us in a state of overly analytical operation, existing primarily to satisfy the academic expectations that govern our efforts as students.
Still, something about the esoteric and often chaotic nature of visual art helps maintain a balance of the psyche, a movement which escorts our spirit and reminds us that we are human. Understanding this paradigm, actively engaging in the art community should become a necessity for every college student. If nothing else, dip a toe into the waters of visual art on occasion so that you do not forget the critical social impact of the medium.
In Macon, there exists a multitude of opportunities for every major, for every workload and for every interest.
The Contemporary Art Exchange is one of the most approachable sources in downtown Macon, subsisting of a variety of youthful and vibrant works of all kinds. Located on the second floor of the massive complex on Mulberry and Second Street, this studio boasts the warmest and most amicable environment for genuine expression.
Upon entering the studio, I was enveloped by a feeling of geniality, one supported by the studio’s utilization of high ceilings and natural lighting. Their studio appears akin to that of any working artist, one where masses of clay and the inevitable dispersion of paint are accepted with pride.
There are no restrictions on the artistic endeavors of the 20 artists involved with the gallery; their exhibitions administer painting, sculpture, film art, musical acts and even theatrical displays. The artists, however, are all passionately united by the purpose to serve the community of Macon, as evidenced by the extroverted enigma that they demonstrate to each and every visitor.
The Contemporary Art Exchange has open house exhibits every first Friday, so do not miss out on the monthly opportunity to delve into new artistic spectrums.
As a development of the New City Church in downtown Macon, the 567 Art Gallery has proven itself to be one of most hopeful patriots of community art in Middle Georgia.
The 567 began to thrive in 2010, when it moved to its current location at 533 Cherry St. Saturated in the welcoming customs of church on Sunday, the 567 is an unbolted venue that smiles upon every visitor.
The gallery seeks to exemplify and prove the worth of all subjective expression. Thus, the 567 is dedicated to holding a full calendar of events to satisfy all artists and audiences alike. It is nearly impossible to characterize this venue with any simplifications of purpose, for the 567 desires to give all artists a chance at finding recognition.
The venue holds a lovely gathering room for open discussion, a small stage for intimate performances and a subtle gallery for a humble but impressive display of visual art. Coming up, the gallery will be showcasing an exhibit of visual art dedicated to the work of college students around the state.
This gallery surely holds something for everybody, so be sure to check in with their extensive series of upcoming events.
Without a doubt, everyone has either seen or heard of the Macon Arts Alliance. Actively engaged in the community at Mercer, the Macon Arts Alliance seeks not only to display each member’s personal talents but also to keep the citizens of Macon educated in prominent artistic cultures.
It also serves as a welcome home for Mercer students to volunteer or contribute their own vision, providing internship opportunities and spots for visual art in various exhibitions. The ultimate goal of the organization is to educate and unite the many passions existing in Central Georgia.
The Macon Arts Alliance unifies 60 different arts organizations in Central Georgia and is responsible for producing events and exhibitions for each group. Not only does the Macon Arts Alliance gallery have something new every month, but it encourages and inspires each guest to consider contributing their own art to the network of Georgia-based artwork.
Go visit their immaculate gallery, located on First Street in downtown, on any weekday from 11 a.m. to 5 p.m. or on Saturday from 10 a.m. to 4 p.m.
Art stimulates the mind in ways that are difficult to articulate with words. It is necessary, however, to activate this region of the brain to ensure mental fulfillment. If nothing else, some exposure to art will provide an undoubtable relief to the harrowing lethargy that we all face in the daily grind of college life.
(09/16/14 11:34pm)
It has been a strenuous past few months for the realm of classical music. Just an hour and fifteen minutes up the road, the Atlanta Symphony makes headlines with its unfortunate inability to find harmony between artists and management. This contention has warranted a grueling struggle and has threatened to shut the orchestra down, should mutual conditions not be met.
Although the paradigm of classical music has been suffering a waning shift, certain anomalies come forward to inspire us of the enduring disposition that the medium still retains. On Friday night, Fickling Hall in the Townsend School of Music was bestowed one of these tokens, as concert pianist Orion Weiss graced the stage with one of the most impressive feats of artistic capability to manifest itself in Macon. Weiss is a mere 34-year-old prodigy, having only graduated from the Juilliard School in 2004. He made his substantial debut as a teenager in 1999, performing the Liszt “Piano Concerto” with the Cleveland Orchestra. Since then, Weiss has performed with every major orchestra in America, from Symphony Hall with the Boston Symphony to Disney Hall with the Los Angeles Philharmonic.
The recital given by Weiss was the inaugural concert of the Joan Stockstill Godsey Concert Series, a new series of keyboard related concerts in honor of the esteemed patron Joan Godsey. Godsey, wife of R. Kirby Godsey, has lived a long life serving selflessly to enhance the under-privileged communities of middle Georgia. During the Civil Rights movement of the 1960s, Godsey volunteered as a music teacher in schools where no one was able to educate. She has been rigorously involved in homeless relief efforts here in Macon for decades, adding just one more humanitarian action to her long resume of charitable feats. She continues her aspirations at Mercer, where she and her husband spearheaded the effort to outfit the Townsend School of Music with a collection of brand new Steinway Pianos. This endeavor seeks to satisfy the long standing ambition to make Townsend an All-Steinway School. Due to the immense achievement that this contribution has made, it seems only fitting that the new keyboard-centered concert series should be named in honor of Joan Godsey.
Following a beautiful ceremony recognizing Godsey’s distinction, Weiss took the stage to demonstrate just how critical her efforts truly are. The first half of the program was filled by Enrique Granados’ “Goyescas,” a dense and descriptive work which was later adapted into an opera. It soon became clear why the work inspired a stage of singers and dancers engaged in some dramatic affair. The piece introduced brilliant themes that seemed to casually characterize images of Spain: a love scene by the river, a peculiar nightingale which visits sporadically and a ballet of young dancers engaged in a spectacle of joy and tenderness. All of this beauty was enveloped in a mass of dense texture and virtuosic demonstration. The complexity of the hour-long score was so immense that it becomes a true wonder that the human brain could possibly hold facility for such a conquest. Weiss, however, defied all logic and expectation as he effortlessly traversed the piano, summoning the full capacity of the instrument to speak his genius. Weiss resembled Glenn Gould as he sang along with every melody, performing the entire masterpiece from memory. It became instantly clear that this story was his to tell, and the voice that we were hearing was the complex and passionate voice of a dedicated artist.
The second half was embodied by Claude Debussy’s “La boîte à joujoux” (“The Toybox”), a musical score set to scenes of a children’s story. Weiss accompanied a slideshow of illustrations and text that characterized the humorous and playful tale. The feature was incredibly entertaining to all ages and all levels of musical intrigue alike. Performed beautifully and flawlessly, Orion Weiss demonstrated that classical music need not embody the stereotype of stuffiness and exclusivity that keeps the medium from maintaining any commercial success. This spectrum of music holds so much life, so much complexity and emotion. The general public needs only to witness the craft for what it can be and to incorporate something meaningful and inspiring. Concerts such as the recital given by Weiss do just that through their ability to sustain an art form of the past and to bring it to the stage with an enriched sense of youth, vibrancy and applicability. As I scanned the hall, I saw smiles, tears and glowing faces in every child, adult and Mercer student. The world of classical music may be facing a difficult path, but it is clear that the path can be paved through an optimistic and devoted transformation, one that seeks to revive our love for classical music.