Archive for the 'Media' Category



Orthodox? Huh? You mean like that governor of Illinois? No, nope, Ortho-what? Never heard of it…

Along the sensationalist lines of “When Dandelions Attack!” or “When Babies Eat Chili!”, I give you — “When Orthodox Christians Make the News!”

National coverage of Metropolitan Jonah’s election would have been nice, but I guess that’s not as newsworthy as a corrupt governor.

Update, 11 December 2008: One Orthodox Rod takes issue with the other.

One thing — lest we get too caught up in our own self-righteousness and outrage, I think we should be praying for Rod Blagojevich. He needs repentance, forgiveness, healing, and the love of God, just as we all do. “But he’s a corrupt slimeball!” Yes — and there but for the grace of God go I. I am the chief of sinners. “I’m not as bad as he is!” That may be. To quote Tolkien, “To sheep other sheep no doubt appear different.” Anyway — I don’t mean to be preachy, so I’ll leave it here.

By the way, when the movie gets made about Rod Blagojevich’s fall from grace, I think Mike Meyers should play him.

It is evidently more important for a child to know what a chatroom is than a willow tree

Some things are beyond parody. This is truly the ugly side of academia; one wonders if the people involved genuinely think they’re just being descriptive rather than prescriptive.

I know what I’m going to do about it — firstly, of course, no way no how am I going to buy the OUP Junior Dictionary.

Of course, since I have no need (yet) of a Junior Dictionary (it’s a little advanced for my reading level, let’s be honest), that’s a rather empty tactic.

The other component of my response — well, watch this space for details.

(By the way, thanks to to the Telegraph for providing a comma-separated list of all the omitted words. It made pasting them into the Tags field infinitely easier.)

“But I’m keeping the collar” (warning: soda might spray through your nose)

This is a couple of years old now, but it’s hysterical. Having heard the man whom they are (presumably) lampooning in person, let me tell you, they’re right on the mark.

End-of-year appeal from Cappella Romana

In support of an organization which does work I support and believe is very important, I pass on the following.

I’m writing to ask you to make a gift today to support Cappella Romana’s important work in Orthodox music.

This January, the world premiere of Kontakion on the Nativity by Antiochian composer Richard Toensing will require 30 singers — nearly twice our normal size. Individual gifts are critical to ensure our success, making up nearly 50% of the budget; grants and corporate support come only in addition to individual support from people like you.

Your gift of $25, $50, $100 – or whatever amount you choose – gives you a role in the timeless, world-class Orthodox music that you value. Your gift is also tax-deductible as the law provides.

This year, donors in North America giving $100 or more by December 31 will receive a free gift: the CD, Byzantium: 330-1453.

Make a gift today | View YouTube video from “Heart of Kiev”

TAKE PART TODAY

We are asking everyone in Cappella’s family (nearly 4,000 in our worldwide email list) to participate with a gift right now in a true grass-roots effort. It’s more important than ever. We’re saving precious resources by using email and online giving opportunities instead of costly printed materials and postage. If you prefer, feel free to write a check and mail it to our address below.

If you know someone who loves Cappella Romana like you do, be sure to pass on this message by clicking on “forward this email to a friend.”

Thank you for your support,

MariaBOYER_Signature_blue72.gif

Maria Boyer
President
CAPPELLA ROMANA
Voices of Byzantium

Richard here… Just for fun, this seems like as good a place as any to add this performance of Cappella Romana with Ioannis Arvanitis:

Вiчная Пам’ять деслота

Patriarch Alexei II of Moscow has fallen asleep. Memory eternal.

We now return you to your regularly scheduled reality…

December is here. This means any number of things. It means NaNoWriMo is over, it means the semester is almost over, it means West European Studies will hopefully get back to me soon one way or the other, it means we’re hip-deep in the Nativity Fast with the Christmas feast fast approaching, and it means we just got back from a much-needed, if shorter than ideal, vacation over the Thanksgiving break. It also means that a week from today, this blog will be a year old. Sheesh.

There were no natural disasters; I simply did not finish Pascha at the Singing School last week. Between preparing to go on the trip, going on the trip, and Megan getting sick the night before heading out for the trip, it just didn’t happen. I wrote most of Thanksgiving Day, got about 2,000 words into the ending, and I am within spitting distance, I just didn’t get there. My hope is that this weekend I’ll be able to make one last push to finish a first draft. I wrote approximately 11,442 words during November for an average of 381 words a day; not a stunning average by any means, but at least it’s an average, and the bottom line is that it was a busy month without NaNoWriMo. I am on the whole pleased that the event broke me out of the gridlock that had kept me stuck since probably April or May, now I just have to keep myself honest. Next year I might have another project for NaNoWriMo; we’ll see. There is something I’d very much like to write, but this would probably be much longer than 50,000 words, and it would require a lot of skill as a writer I’m not sure I have at this stage of the game. Maybe I’ll be brave enough to give it a shot, and maybe I won’t.

The Thanksgiving break spent in Nashville was fantastic, and a very welcome getaway for us Barrettses. Check out pictures here. As noted, the Daisy Hill Bed and Breakfast (pictured at right με γυναίκα μου) comes heartily recommended by us; do consider them if you’re looking for a place to stay in the area.

Friday we had lunch at The Pancake Pantry with our friend Chelsea; it’s an experience worth having and the food is good, but if you don’t like lines and prefer a quieter dining experience, it probably won’t be your thing. We also saw the replica of the Parthenon, which is impressive, but I gotta say, it loses something being made from poured concrete rather than marble.

Country music is decidedly not my thing, but I nonetheless have to admit that the Country Music Hall of Fame and Museum is a fascinating place to visit. Short version is that it is organized chronologically; you start at the third floor with early folk and gospel and work your way down, and you’re at the present day by the end of the second floor. I find that I am able to relate to and enjoy the early stuff a lot more than the music of the last 30-40 years; it seems to me there came a point where the musicians became very self-conscious and their music subsequently sounds, at least to me, extraordinarily contrived and false. The closer the connection to an actual folk tradition, the more genuine it sounds to my ears — to put it another way, somewhere along the way the musicians decide, “We’re going to play it and sing it this way because that’s what country music sounds like,” whereas before the mindset was perhaps more akin to, “Country music sounds like this because that’s how we play it and sing it.” As a result, at least to me (let me re-emphasize that this is subjective opinion) performers like Garth Brooks sound 100% calculated and processed, with everything intended to support a synthetic sound and persona. None of this is to say that musical forms can’t be codified or that something is inherently lost once there’s a formal idiom or tradition to which one adheres; that’s certainly what most classical is, and it’s definitely what liturgical music generally is. On the other hand, for a genre which — rather arrogantly, I find — claims to be “three chords and the truth”, it seems disingenuous to me that this would become prescriptive rather than descriptive. To quote the much underappreciated movie Singles, “You have an act, and not having an act is your act.” Good music is good music regardless of genre, but poseurs also transcend genre.

Anyway, back to the museum. There were a number of clever uses of speakers and acoustic tiles to create very localized sound exhibits, which in and of itself was interesting to see and hear. One of the things to which I found myself drawn was the archive section being visible in the center of the gallery behind glass; you can see all of their compact shelving, their sound editing stations, everything. It’s actually a useful reminder that the museum isn’t just a tourist attraction; it’s also a professional and scholarly resource. The stuff we see as the general public is really the tip of the iceberg at best.

But then, Elvis’ gold piano is pretty cool, too.

It would have been foolish to visit Nashville without hearing any live music, and we decided to go to a club called The Station Inn to hear The Roland White Band. Roland White is a bluegrass mandolin player who has been there, played that. He’s got a lot of institutional memory, as it were; he knows every song, knows who wrote it and when, and has probably taught somebody how to play it. He also has surrounded himself with a lot of absolutely fantastic younger musicians, most notably David Crow on the fiddle and Richard Bailey on the banjo. His bass player was also really good; tall, skinny younger guy named Andy, but I didn’t catch the last name. If anybody knows his last name, I’d love to know and find out what else he does. It was a show that was a lot of fun to see, and I plan on seeking out one of David Crow’s solo recordings. The Station Inn is also a neat little venue; it’s a dive that has Bud and hot nacho cheese sauce on tap and not much else, but it’s a dive with a long history, and best of all, it’s smoke-free!

On Saturday, we went to Andante Day Spa for much-needed and long-awaited massages, as well as an aromatherapy sauna. If you’re looking for something nice to do with a spouse or even just by yourself, these guys are very classy and quite reasonable for the services. We left there probably more relaxed than we’ve been in a looooooooooong time. Ramona is who did my massage, and I’d go back in a heartbeat.

After massages, we tried to go to Alektor Cafe and Books, the Orthodox bookshop in Nashville, but alas, they were closed unannounced. Perhaps this is not surprising.

Next we spent a couple of hours at the Frist Center for the Visual Arts, seeing their Rodin exhibit as well as their photography and film exhibit. Both were interesting; I’d say I liked the latter more. I don’t really have the vocabulary to discuss sculpture (or much else, let’s be honest) intelligently; let’s just say that to my eyes, Rodin goes beyond glorification of the human body and into the realm of fetishization, and leave it at that for now. The photography exhibit included a section on Moroccan photographer Lalla Essaydi, and that was captivating. She does a lot with Arabic calligraphy on the body as well as on everything else; it was interesting to me for several reasons, and I may talk a bit more about it later.

Vespers, to say nothing of Matins and Divine Liturgy on Sunday, at Holy Trinity was something else; it’s a beautiful church, they’ve got a large number of psaltes who know what they’redoing (three of them evidently having studied wtih Lycourgos Angelopoulos) and as a result they’re able to utilize a traditional two-choir setup, they’ve got a very broad 

demographic and economic base while keeping their practice pretty unapologetically Byzantine, people were nice, and Fr. Gregory is a young convert priest who seems very enthusiastic. Every parish has its problems, to be sure, but these guys seem to have a lot of very good things going on.

After Vespers Saturday we had dinner at a delicatessen called, appropriately enough, Noshville; the food was plenty good, but it was also on the expensive side for what it was — my one complaint. To put it another way, it was authentic New York delicatessen in every way, including price.

Another bit of a walk through Lower Broadway followed, as did some rain. We saw Ryman Auditorium, and we also found something neat for which we weren’t looking was a life-sized statue of Chet Atkins; Megan decided to play air guitar next to him.

We relocated to Tāyst for drinks and dessert; Tāyst is a restaurant with similar goals to those of FARMBloomington, but I’d say with significantly less of a gimmick quotient and without the self-consciousness. They have a terrific bartender, and wonderful desserts — next time we’ll actually try a meal.

Sunday was something of a demonstration that there are no accidents; we had loaded up the car before going to Holy Trinity and intended to just hit the road after Liturgy. Halfway through Liturgy I realized we had forgotten our large bag of Maggiano’s leftovers at the bed and breakfast, which necessitated a return trip to get them. It being 1pm or 

so by this point, we needed to eat something as well; being right in the neighborhood, we decided to return to the Pancake Pantry. While in line, we were chatting about the morning at Holy Trinity, when the two gentlemen, clearly a father and son, turned around to us and said, “Orthodox Christians?” Turned out the son was also Orthodox. We ended up eating breakfast with them and having an awful lot to talk about; it doesn’t seem impossible that we could have met somehow one way or the other — it is a small world when one is Orthodox, after all — but given attendance at different parishes that morning, it was one of things where the odds of running into each other randomly were infinitesimal. Had we not forgotten the food at the bed and breakfast, we would have had no reason to return to that part of town, and it certainly wouldn’t have occurred to us to go the Pancake Pantry again. As I said, there are no accidents, we know some of the same people (although not the ones I would have expected) and hopefully we’ll keep in touch. He’s going to be attending Cambridge University (yes, that Cambridge) next fall for the Institute for Orthodox Christian Studies, and I’ll be very interested to hear about his work.

And with that, we were back on I-65 heading northbound. We had a ball in Nashville, we hope to go back at some point, and we were really happy with where we stayed and what we did. It was a much-need and much-appreciated getaway for us, and hopefully it won’t be another five and a half years before we get to do something like that again. I will say that I wasn’t thrilled to go back to work yesterday, but I also wasn’t exhausted from the vacation as I have often been on little whirlwind trips, so maybe we did something right in that regard.

J. R. R. Tolkien’s favorite band

With a tip of the hat to Rod Dreher, I find myself very intrigued by English folk/roots duo Show of Hands. Rather than attempt to describe them when I’m still getting familiar with their music myself, check out this song, “Roots,” for yourself:

It’s interesting encountering this at a time when I’m rereading The Lord of the Rings for the first time since a number of things began to clarify my own perspective on, well, what we might broadly describe as the things worth preserving (to say nothing of a first trip to England). I now see, as I never could before, Tolkien’s idealization of the English countryside and the attendant way of life — as well as his Catholic faith — as the protagonists every bit as much as Frodo and Sam. Tolkien understood very well the sentiment expressed in the line from “Roots,” “Without our stories or our songs, how will we know where we come from?” His particularly English mythopoeia was, however much of a retrofit as it may have been, his own reclamation effort on that front.

Anyway, if Show of Hands is available via iTunes US, I will be exploring further.

My piece on Warren Central and Matthew Oskay

My brief posting on the tragedy of Matthew Oskay’s death has gotten enough traffic, and enough clicks on the findarticle.com preview of the piece I wrote for Stage Directions that I thought that those mourning Mr. Oskay might appreciate being able to see the whole thing. I’d love to just scan the magazine pages and post those, but I don’t own the copyright to the issue, so I don’t think I can do that. Nonetheless, here is the full text of what I submitted to Stage Directions, before editorial added their own stylistic flourishes and before Mr. Oskay made one or two comments to the effect of, “I know you recorded me saying that, but what I actually meant to say was this…” As I said, the impression I got in my dealings with him was of a young man who loved what he did and who was thrilled to be living the life he had, and I tried to bring that out as much as I could, given that it was an article for a technical theatre magazine.

“To have this facility makes it a dream job,” explains Matthew Oskay, technical director of the Performing Arts Center at Warren Central High School in Indianapolis, Indiana. Indeed, the word that comes leaping to mind throughout the 100,0000 square foot comprehensive complex for the performing arts is, simply, wow.

Built in 1984 thanks to a boom in tax income, the Performing Arts Center boasts a 976-seat main auditorium with a 48×25 proscenium, 60 foot fly loft, and a Barton theater organ, 60×60 black box, fully-equipped scene shop, dance studio, piano lab, ensemble rooms, individual practice rooms, and a music library. Even at twenty-two years old, says Oskay, “I don’t think there’s anything we can’t do in this facility. It has all the bells and whistles you could ever want.” The high school itself is mammoth; at roughly a million square feet, according to Oskay, it is the largest four year (9-12) high school under one roof in the United States.

The stage lighting is managed via an ETC Expression 3 console, the house lights controlled with an AMX board. Also in the mainstage’s booth is a Panasonic Digital A/V mixer WJ-MX20 and a Midas Legend 3000. “The mixer’s very nice, and we’re getting new monitors,” Oskay says. “The reason for going with the Legend rather than the Yamaha M7CL or a digital board is that, from a teaching standpoint, analog is better. It has 40 channels, and it does have programmable scenes, which is great for a big show like Into the Woods. For that, everything was on a program.”

The mainstage’s acoustics, designed with input from faculty, has allowed Warren to stage plays like Noises Off without any amplification whatsoever. Musicals, done with a full orchestra, are a different matter:  “For Into the Woods, we used all Shure Countryman E-6 body mics, with Shure ULX-P Bodypack transmitters. “High school students tend to be a little rough on the body mics, and I’ve found that the Shures withstand the best. They cost a lot, but they last longer and sound better. Plus, their gain before feedback is pretty amazing.”

The next big upgrade for the Warren mainstage will be for recording, projection and video. “We’re getting new LCD projectors so we can do more video. Everybody wants video and PowerPoint these days. We’re getting rack-mounted projector DVD players this summer. We’re slowly building it up.

“We’re going to hang retractable stereo microphones in the mainstage, and then that will go to a Alesis Masterlink digital recorder, from which we can easily burn CDs. Besides that, we’re good to go for the next ten to fifteen years.”

Oskay emphasizes the incomparable educational experience the Performing Arts Center provides. “When students graduate from here, the skill level they have because of the equipment they’re exposed to, the talent they’re exposed to, and this facility in general, is just amazing.

“The shows are run by the students all the way through. They run the sound board, the light board, they stage manage—everything is student run from the time we close the house to the time the show’s over. Unless there’s a big disaster, I just sit in the house and enjoy. There might be a mistake here and there, but it’s better for them to make a mistake and learn from it than for me to sit there and do it for them. We’ll work on it together during rehearsal, but they run it all. I try to set them up so they don’t fail.”

“The most valuable thing to us as students is that we get to do most of it,” says James Horban, a Warren senior. “It’s not just sitting in a classroom.” Justine Weed, also a senior, agrees: “There is a lot of ‘hands on’ in the shows. If you have questions, of course you can ask, but you still do it yourself.”

Both students will pursue technical theater post-high school as a result of their time at Warren. Says Horban: “Getting all the experience has been good because it’s showed us what we want to do. If we didn’t get to apply any of what we learned, we wouldn’t know if we wanted to do it as a career or not.”

“I’ve always known I wanted to be in theater,” concurs Weed, “but without the tech theater program here, I would have probably tried to act.”

“And that wouldn’t have been good for anybody,” chuckles Horban.

For the 2006-2007 school year, Aida is planned in the fall and Peter Pan in the spring, with M*A*S*H* scheduled for the black box. “We’re going to be flying people for Pan,” says Oskay. “I’ve talked to SFX, and I’ve talked to Foy, and I’ve talked to myself, and we’re going to rent the flying harness. We could do it ourselves better and more cheaply, but from a liability standpoint, it makes the most sense to rent. The real challenge is that it’s a huge show, set-wise, and we’re going to build it all ourselves. The other real challenge will be rehearsing the flying scenes.

“We’re going to try to keep Aida somewhat simple because Peter Pan will be so huge. Aida will be a lot about the lighting and sound. We’ll start building the elevator for it this summer. It won’t be complex—it’ll run off of a winch, hook into the raked stage, and go all the way to the basement.”

When asked about his dream show, Oskay replies without hesitation, “Les Miserables. We’d build a turntable, but we wouldn’t just emulate the Broadway production. I have my own ideas as to how we could do it. It’s too easy to just copy the Broadway version.” Is there any show he wouldn’t want to take on? “Peter Pan,” he laughs. “I will not do Grease!. I’d love to workshop a new musical here.”

 “We have a lot of great stuff that I don’t mind sharing. We cross-rent with other area high schools. We even rent lights to some of the professional theaters, and that’s a pretty good moneymaker for us.”

The Center’s educational value is ultimately supreme for Oskay. “For a high school, we manage to compete with a lot of colleges, and I look at it very much as a college prep program. What I have here—you can’t match it.

 “I value the fact that I have everything I need to teach. The facility speaks for itself. It’s about getting the kids to learn.

“Don’t limit yourself because you’re a high school.”

Matthew Oskay, aionia mneme

I was fortunate enough a couple of years ago to be given a professional assignment (rather than writing something on spec) to write a profile of the Performing Arts Center at Warren Central High School in Indianapolis. (Let me offer a disclaimer right now that the first line about a “bonanza of a technical education” was not mine, but rather an editorial addition.) Matthew Oskay, the technical director of the PAC, spent a generous number of hours talking to me, giving me a wonderful tour of the facility, introducing me to students, and so on. He seemed like a really nice, young, hopeful guy who couldn’t believe his own luck, and his students appeared to have a lot of love, respect, and loyalty for him. Mr. Oskay was clearly very excited by the work he did, and he talked about wanting someday to try his hand at designing a production of Les Miserables, as well as workshopping a new musical at Warren.

So, I was shocked to see this article in the Indianapolis Star. Based on the reader comments there, as well as here, it seems that suicide is perhaps a premature conclusion; certainly the man I met did not act as though he had anything other than absolutely every reason to want to live and be happy.

My prayers are with his wife, students, and friends. Memory eternal.

One election thought, and one only

Look, for a variety of reasons, I’m not voting tomorrow. This is not a political blog, so I don’t want to go into detail why, but I have one thought before this time tomorrow night, when it will be all over except for the suing —

I’ve never given the Jeremiah Wright flap any particular currency, and I still don’t. I don’t want to get derailed by that either, I just want to make this particular observation: what does it say about us that we can so easily accept the idea that somebody went to a particular church for years and years and years and didn’t pay any attention to the sermons?

Just a thought. Vote, pray, or both.


adventures in writing alexander lingas all saints bloomington all saints orthodox church american orthodox architecture american orthodox music american orthodoxy Antiochian Archdiocese Antiochian Orthodox Christian Archdiocese of North America Antiochians books byzantine chant cappella romana chant church architecture ecclesiastical chant ethnomusicologists ethnomusicology fellowship of ss. alban and sergius Greece Greek greek food greekness hazards of church music international travel tips ioannis arvanitis joe mckamey john michael boyer kurt sander Latin liturgical adventures liturgical architecture liturgical music liturgical texts and translation liturgy liturgy and life lycourgos angelopoulos medieval byzantine chant Metropolitan PHILIP militant americanist orthodoxy modern byzantine architecture modern greek music music as iconography my kids will latin and greek when they're newborns my kids will learn latin and greek when they're newborns orthodox architecture orthodox architecture is bloody expensive Orthodox choir schools Orthodox Ecclesiology orthodox outreach orthodox travel pascha at the singing school Patriarchate of Antioch Patriarch IGNATIUS IV Patriarch of Antioch publishing random acts of chant richard barrett in greece richard toensing rod dreher sacred music st. vlads st john of damascus society Syriac the Bishop MARK fan club the convert dilemma the dark knight The Episcopacy The Episcopate the only good language is a dead language this american church life travel we need more american saints why do we need beautiful music in churches?

Blog Stats

  • 272,455 hits