Announcing the Jasper Project's THE ART OF ONE BOOK 2024 CONTEST for Literary, Visual, and Musical Arts!

The Art of ONE BOOK 2024 – Cassie Premo Steele’s BEAVER GIRL!

Want to bring your own interpretation of 2024’s ONE BOOK  selection? The Jasper Project has an opportunity for YOU! Read Cassie Premo Steele’s Beaver Girl, then write a poem, paint a picture, or craft a piece of music with or without lyrics.

Entries

A panel of experts in the art of your entry will review submissions and choose winners in the following categories:

·         Poetry

·         Visual Art

·         Original Music

Winners will receive prizes, be featured in the Fall 2024 issue of Jasper Magazine, and be celebrated at the ONE BOOK 2024 Round-Up Party on Sunday, September 22nd at the One Columbia Co-op! DEADLINE JULY 1, 2024!

All submitted work must be original, family friendly, and capable of being performed or displayed in an outdoors setting. Both 2D and 3D work will be considered for the visual art competition.

Submission Instructions

Email your files to submissions@jasperproject.org. In the email please include your name, mailing address and phone number. Submissions are limited to 3 entries in each arts category.

Include the following attachments in your email:

·         Poetry – Word Document or PDF

·         Visual Art – Hi-res photos or scanned image of your work.

·         Music – MP3 or WAV (If files are under 150 mb you can attach them to the email). For larger files please send a Google drive, Dropbox or One Drive link. Youtube, Vimeo and Sound Cloud links are also fine.

Black Nerd Mafia Presents All My Friends are Dope – An Immersive Interactive Art Experience

“All my friends are dope, you could pull a name out of a hat and whatever name you pulled would be amazing”

This brag about members of Black Nerd Mafia’s artist collective, The Cool Table, from founder and Jasper Project board member, Kwasi Brown, last year was the inspiration for their upcoming event: All My Friends are Dope – An Immersive Interactive Art Experience. Returning for a second year on Saturday, April 6th at the Ernest A. Finney Cultural Arts Center, the experience features a variety of art disciplines. The event starts at 5pm and features a panel conversation, poets, visual artists, and live music. The lineup includes Tam the Vibe, Eezy Olah, Kenya T, Airborne Audio, Cre the Creative, Wannapoundjuu, Niyah Dreams, Moonkat Daddi, Kuma The Ambassador, Yyusri, Dooozy, AC3 Sage, Bugsy Calhoun, Roc Bottom Studios, Dogon Krigga, Jakeem Da Dream, Dr. Napoleon Wells, Deidra Morrison Wells, and TBRH Co-Heaux. There will also be food trucks and vendors as well.

Check out the video below from last year’s event and learn more about Black Nerd Mafia in the Fall 2023 Issue of Jasper Magazine.

Facebook Event

THE JASPER PROJECT PARTNERS WITH THE SC PHILHARMONIC ON THE ART OF SYMPHONY

“Eyes closed, I listened to the piece and was surprised by the immediate imagery I experienced …” - Eileen Blyth

The Jasper Project is delighted to announce a collaborative project with the South Carolina Philharmonic – THE ART OF SYMPHONY.  

When Chad Henderson, marketing director for the South Carolina Philharmonic, first posited the idea for the Art of Symphony project to Jasper, they were immediately intrigued. As Henderson explained, the SC Philharmonic had scheduled an upcoming concert on April 27, 2024, at the Koger Center for the Arts, around which the SC Phil hoped to engage with local visual artists. The concert would feature: Karen Tanaka’s Rose Absolute, Tchaikovsky’s Variations on a Rococo Theme, Op.33, and Shostakovich’s Symphony Number 5 in D Minor, Op. 47 and be conducted by Morihiko Nakahara featuring guest artist Sterling Elliott on cello. Henderson proposed that the music be divided into 14 singular sections and the Jasper Project invite and work with 14 of the Midlands’ finest visual artists, who would each respond to a unique piece of music artistically.

The newly created art will be projected on screens during the live performance of each of the 14 sections of music, as well as presented as an arts exhibition in Jasper’s Nook Gallery on the grand tier level of the Koger Center for the Arts.

The Art of Symphony Art Exhibition will open on Thursday evening, April 18, 2024, with a reception that is open to the public from 5:30 – 7 pm. The Art of Symphony Symphonic Convergence of Music & Visual Art will take place on Saturday, April 27th with the concert at 7:30 pm and a Meet the Artist Reception in the Nook Gallery at 6 pm. 

In keeping with the Jasper Project’s founding priority of cultivating multidisciplinary collaboration, Jasper will also publish a book of the featured art, entitled The Art of Symphony, which will be available for purchase at both events. 

The 14 visual artists participating in the project include Fred Townsend, Wilma King, Lori Isom- Starnes, Eileen Blyth, Stephen Chesley, Thomas Washington, K. Wayne Thornley, Alejandro Garcia-Lemos, Anthony Lewis, Lindsay Radford Wiggins, Michael Krajewski, Keith Tolen, Regina Langston, and Laura Garner Hine. Garcia-Lemos created an animated short in response to his designated section of music which will be shown on monitors in the Koger Center lobby before the concert, during intermission, and at The Art of Symphony Art Exhibition opening on April 18th. 

Eileen Blyth, who created Overheard Overhead in response to the first movement of the Shostakovich Symphony No. 5, said, “Eyes closed, I listened to the piece and was surprised by the immediate imagery I experienced. I was eye level before a roof top. Bird-like objects dipped and soared. Buildings stretched tall and then wide, up and down, back and forth. Objects moved in harmony. I saw the Maestro in my painting directing the symphony of shapes, lines, and color.”

Wilma King, who painted in response to the third movement of the Shostakovich said, “This project, much like a symphony itself, goes deep into the hearts, minds, talents, and expressions of myriad artists, culminating the various parts and facets into this paramount event.”

For more information visit JasperProject.org or SCPhilharmonic.com.

OVERDUE: CURATED FOR THE CREATIVE SET FOR FRIDAY, MARCH 15th - in connection with The Jasper Project's BIG TINY GALLERY featuring 20+ Jasper Artists!

Join Richland Library for This FREE, After-Hours Program

WHAT: Overdue

WHEN: March 15 | 7-11 p.m.

WHERE: Richland Library Main(1431 Assembly St., 29201)

WHO: Adults, ages 18 & olderExperience a night of creativity and entertainment at Richland Library's Overdue: Curated for the Creative event on Friday, March 15, from 7 - 11 p.m. at Richland Library Main (1431 Assembly St., 29201). Join Richland Library after hours for interactive activities like block printed stickers, zine making with Eden Prime, and more! Be entertained with live music performances by Dear Blanca, Niecy Blues, and Katera. Enjoy delicious food from Dae's Delicious Dogs and drinks from the cash bar by Transmission Arcade. This free event, open to those ages 18 and up, promises an evening of artistic exploration and community engagement.

Attendees of Overdue will have the first opportunity to view Richland Library's newest exhibit, Jasper Presents: A Big Tiny Gallery. The Big Tiny Gallery is a collection of small artworks created by a collection of local artists previously showcased in The Jasper Project’s online exhibition series. Over the years, Jasper's Tiny Gallery series has allowed artists to show a selection of smaller pieces offered at affordable prices. The exhibit will be on view in the gallery from March 15 - April 26th. A closing reception for the gallery is scheduled for April 19, 2024.

A complete list of activities, musicians and partners is available online.

This event is sponsored in part by the Richland Library Friends and Foundation.

For questions, please contact Tacara Young at 803-351-5616 or tyoung@richlandlibrary.com.


Congaree Trio featuring Hometown Talents of Phillip Bush, Claire Bryant, and Ari Streisfeld perform with Dan Sweaney at ACKC

From our friends at the Arts Center of Kershaw County …

The Arts Center of Kershaw County is proud to announce a performance by the Congaree Trio entitled Spring Romance. Spring Romance is described by the group as "a luscious program of romantic music for strings and piano." The program features an incredible mix of pieces by Lili Boulanger, Felix Mendelssohn, and Antonin Dvorak.

Made up of USC School of Music professors Phillip Bush (piano), Ari Streisfeld (violin), and Camden-native Claire Bryant (cello), this trio is a testament to the world-class talent that can be found right here in South Carolina.

In this performance, they will be joined by guest violinist Dan Sweaney. Sweaney is a renowned violist and educator with an extensive background in music education and performance, having studied and performed across the United States and Europe. Sweaney has performed with the Camerata Salzburg at major venues and festivals globally, and has collaborated with violinist Annette-Barbara Vogel, earning critical acclaim for their recordings.  Currently, he serves as an Associate Professor of Viola at the University of South Carolina.

 Thursday, March 7, 2024
6:00 pm (doors open), 7:00 pm (performance)
Wood Auditorium
$25 (adults), $15 (students) 
 
Part of the Claire Bryant & Friends Series. 

Purchase Tickets

CALL FOR VOCALISTS to Sing the National Anthem for the Columbia Fireflies at Segra Park

Are you looking to join the ranks of the greatest performances of the National Anthem? A list that starts with Whitney Houston, encompasses Jimi Hendrix, Luther Vandross, Chris Stapleton, and more? Now’s your chance!

The Columbia Fireflies have opened auditions for 66 chances to sing the *Star Spangled Banner at their home games this season, but you must schedule an audition for that opportunity by calling or emailing John Oliver at 803-888-3007 or joliver@columbiafireflies.com.

Soloists, duets, and assembled vocalists in any group size are encouraged to step up, but singers under the age of 18 must be accompanied by an adult.

*Controversial ever since it was written in 1814 by the attorney and amateur poet, Francis Scott Key, The Star Spangled Banner began as a poem that was set to the music of a popular British tune by John Stafford Smith, and adopted as the US National Anthem in 1931 under President Herbert Hoover. Thankfully, the third stanza of the poem, which references slavery, is rarely sung.

The ART BAR Brings Back One of the Baddest-Assed, Pearl-Clutching Acts Around -- BERNIE LOVE'S TRIBUTE TO ELVIS

Don't miss this Tribute to ELVIS Sat March 2nd at the Art Bar!

Bernie Love featuring Patrick Baxley, Jay Matheson, Marty Fort, and Kevin Brewer delivers the goods.

Early 9 p.m. show, 21+ Comedian Mike Reed kicks things off.

Bernie Love only offers this show about twice a year, so come on out!

More at www.bernieloverocks.com

A Musical Mosaic of the South – Short Stories, vol. 1 by David Garner and Greg Stuart By Emily Moffitt

The University of South Carolina’s School of Music is filled to the brim with ambitious creative minds, all leading the newest generations of musicians while simultaneously maintaining their own artistic endeavors. One of the newest projects born from the walls of the Assembly Street building is Short Stories, vol. 1, a new collaborative album by David Garner and Greg Stuart. Garner and Stuart are both Associate Professors at the School of Music, with the former teaching Composition and Theory and the latter teaching Experimental Music Performance and Music Literature. This album is composed of original accompaniments by Garner and Stuart, performed along archived recordings of Southern folk songs. 

Ever since his graduate school years, Garner found the genre of American roots music fascinating, and he continues to use the genre as source material and inspiration for his own work. The existing relationship with the genre led Garner on the path to creating Short Stories, vol. 1, but he notes that “I don’t know that there was a single ‘a-ha’ moment to start this project, but rather a thousand small discoveries that built up over many years.” Short Stories, vol. 1 utilizes recordings from the Southern Mosaic: The John and Ruby Lomax 1939 Southern States Recording Trip collection, which Garner has worked with since 2016, composing a piece called “DwnByThRckyMtns” that was also built around a recording from the collection.  The Lomax collection is a massive one, containing nearly 700 sound recordings, field notes, dust jackets, and other pertinent manuscripts that encompass a 6,500-mile trip taken by the eponymous travelers. Garner notes that listening to the original recordings before his renditions is not necessary but worthwhile. “I think some listeners might enjoy hearing the original field recordings in order to hear how the recordings were transformed in our album,” Garner says. “There are many thousands of hours of incredible early 20th century field recordings...these recordings might not be beautiful on the surface—with amateur performers and grainy, crackly recordings—but I find they are all so intriguing and rich with history, meaning, and culture.” 

When asked about the process of choosing which pieces to adapt, Garner mentions that he has kept a list of favorite recordings over the seven years he has worked with the collection. The six he chose were picked after “lots of play and experimentation to see which ones would work well in these transformed settings.” He took into consideration the particular nuances, shapes, timbres, and emotions of each recording, then set on the journey to create something new but still complementary. Garner started making entirely electronic settings for the pieces he chose a few years prior, but it was not until the fall of 2023 that he brought them to Stuart’s attention after working on a new composition together, and the duo followed through to create Short Stories. Garner shares an interest in archival field recordings and has played pieces that incorporate recorded sound as well as pieces that focus on timbre and noise elements. After long periods of brainstorming, structured improvisation, and testing what worked and what did not, the duo came to conclusions that achieved their ideas yet allowed room for the addition of piano, vibraphone, and percussion: the path to creating a finished piece finally laid bare. The structured improvisation is a key aspect of the creative process for this album. Garner says, “A few of the pieces are almost completely written out in traditional notation, but most of them are left much more open for improvising using a set of guidelines that we follow—note choices, rhythms, chords, gestures—we are improvising within predetermined time spans.” Garner also values the power of nostalgia and acknowledges the power it holds to shape how someone listens to music; he says “I think I have been fascinated by nostalgia and have felt it deeply my whole life; it is so important in music and so crucial to how I listen.” With the nature of the album’s contents focusing on folk music and storytelling, it is natural for the listener to also long for a time and place they may or may not have been to before, yearning to listen to a new voice that could remind them of another. This is intentional on Garner’s behalf—in his own words, he is also fascinated by the cultural and societal nostalgia that influences and informs how we listen to older music. 

Amplifying marginalized voices is a key goal for Short Stories, vol. 1. Many of the folk songs featured stem from southern African American communities, and Garner’s work celebrates that. The listener is beckoned into feeling a sense of longing and contemplation, with a vein of Southern Gothic darkness and mystery throughout. The pure emotional connections made via this music show through on "Lost Train," where the recorded voices are but a suggestion, looped in as an additional undercurrent to Stuart and Garner's instrumentation. On "All The Way Round" takes a Livingston, Alabama field recording that sounds like a playground chant and lays it bare in its repetitive style against minimalist accompaniment." Garner continues to compose pieces that surround the histories of other recordings in the Lomax collection, which also includes work from white and Mexican American performers. Garner beautifully describes the importance of a collection like this in his description of the album: “I hope to give forgotten voices another chance to be heard, histories to be told, and to highlight moments of particular beauty that might otherwise be overlooked. Embedded in every crackly field recording is a wealth of knowledge, experience, history, and humanity from which we can learn.”

You can listen to Garner and Stuart’s album on YouTube here. The album will be released on all streaming platforms starting January 24; Garner and Stuart will also perform the album in two concerts at Emory University and the University of Georgia on January 24 and January 26, respectively. 


Dinner and a Show: Koger Center for the Arts 35th Anniversary Celebration

The Koger Center for the Arts will celebrate their 35th anniversary of bringing the arts to the Midlands in January 2024. While the official anniversary date is January 12, the real celebration takes place on the 30th with an exclusive wine and food tasting event and a performance by The Four Phantoms.

“35 Years, 5 Tastings” is a ticketed pre-show event complete with a five-course sampler of fine French cuisine and wine. Tickets are $75 per person and do not include entry into The Four Phantoms. Guests at this event will be treated to a private performance by Kaley Ann Voorhees, the youngest woman to perform on Broadway as Christine Daaé, and the following menu:

·         Course 1: Mirepoix-foie gras stuffed local Manchester Farm quail, black winter truffle aged port reduction, leek-basil confit.

o   Wine pairing - Lucien Albrecht Cremant Brut

·         Course 2: Galangal-scallion crusted U-10 diver scallops, star anise basmati, black sesame dusted carrot straw, white miso-mirin pan jus

o   Wine pairing - Henry Fessy Vire clesse Maitre Bonhome 2019

·         Course 3: Coriander-cranberry venison loin, butter poached crispy brussel sprouts, mousseline fingerling, cappuccino Norwegian goat cheese & gin cream sauce, lingonberry cream fraiche

o   Wine pairing - Chateau Saint Roch Grenache Syrah

·         Course 4: Sous vide grass-fed New Zealand baby rack of lamb, pave potato, legume de provine timbale, petit lemon-thyme lamb demi-glaze

o   Wine pairing - French Blue Bordeaux Rouge Bien Ensemble 2019

·         Course 5: Cardamom-infused overnight pear tart, dark & milk chocolate mousse, almond crisp, cognac cherry compote, William pear schnapps vanilla bean ice cream

o   Wine Pairing - Louis Latour Coteaux Du Verdon Rouge Les Bastides 2019

Sponsorship opportunities are available for this event – if you are a business owner interested in participating or sponsoring, please contact Karen Magradey at (803) 777-9781.

The Four Phantoms is a production in the Koger Center Presents series of programming. Four Broadway legends that have portrayed the iconic leading role of the Phantom in The Phantom of the Opera will unite for a magnificent performance that celebrates the legacy and music of Broadway. The production features Brent Barrett, Franc D'Ambrosio, Marcus Lovett, and Ciarán Sheehan, with special guest star Kaley Ann Voorhees. The group will perform music from The Phantom of the Opera, Chicago, Les Mis, Sweeney Todd, and more! Fans of Broadway won’t want to miss out on this performance. Ticket prices range from $38 to $63.

Tickets for both events are available on the Koger Center for the Arts website, over the phone at (803) 251-2222, in person at the box office, or on the official Koger Center for the Arts phone app.

DAVID WILCOX IN CONCERT AT TOL COFFEEHOUSE December 16th

Singer songwriter David Wilcox will be performing at the TOL Coffeehouse concert this Saturday, December 16th at 7:30pm. Wilcox, a Coffeehouse favorite, will present a program including some songs off his newest album “My Good Friends.” The TOL Coffeehouse is located at 6719 North Trenholm Road, Columbia, SC 29206. Tickets are $27 when ordered on line before the concert. Tickets at the door are $29.

Wilcox, who has appeared at the Coffeehouse many times over the past several years, always draws a large enthusiastic audience. In fact, the way Wilcox feels about every tune on My Good Friends proves this is indeed a fan-requested labor of love. “I am grateful for the community that sustains me – my good friends,” he says. “These are the kind of friends that get you through difficult times. The kind of friends that you go to for a fresh perspective when the future looks grim. These songs grew out of conversations with friends, and they hold ideas that I like to have around.”

Tickets are available through The TOL Coffeehouse website tol-coffeehouse.square.site, Facebook page and by scanning the QR code on the poster and other printed materials. Doors open at 6:30pm for Groucho’s deli sandwiches, coffee, and home baked goods. Music begins at 7:30pm.

Due to heightened security please limit the size of purses and handbags. No backpacks are allowed. All bags will be subject to search. To keep everyone healthy we are using ionizing devices on each of our HVAC units. As air flows past the ionizing devices, positive and negative ions actively treat the supply air, reducing bacteria and viruses in the coil and living space This increases the efficacy of our MERV 8 filter. 

Out of respect for our hosts at Tree of Life, we ask that no pork or shellfish food items be brought inside the building.

On a Musical Mission The Musical Method Bringing An Indie Film to the Big Screen

When it came time to plan his third indie horror film project, Columbia filmmaker Christopher Bickel admits that he took an unusual route to get to the upcoming Pater Noster and the Mission Of Light, which involves a psychedelic thrift store record find that leads the main characters to a forgotten but murderous cult. 

Rob and Shauna Tansey, who supplied all the cool cars in Bad Girls sent me a message one day, at a point where I still had not figured out what I was going to do for the next movie,” Bickel says. “They had acquired an old school bus that they were planning on painting in psychedelic colors, like Ken Kesey’s ‘Furthur’ bus, and told me if I ever needed it for a movie, they’d have it available. So basically, I wrote a movie around the bus.” 

In Bickel’s creative mind, if you have a bus that looks like a hippie cult transport vehicle, you obviously need a cult to ride in it, and if it’s truly psychedelic, the music should be as well. 

“I based some of it off of The Source Family, a famous cult that had their own house band called Ya Ho Wa 13, and I found one of their records at a thrift store around that same time so I was obsessing over that rare, valuable record–so I wanted the cult in my movie to be like that, and have their own band.” 

Bickel spent many years immersed in the punk and noise scene via his time with In/Humanity, Guyana Punchline, and Anakrid, so his thoughts went immediately to what the music that band might make would be like, and for that part of the process, he called in his many musical friends.

“Before the script was even done I knew that there was going to be an album’s worth of music from the ‘band’ in the movie, so I started asking around, told them what I wanted to do–that I wanted it to sound like music a cult would have made in 1972, if they were a little ahead of their time, and these are some of the themes in the movie–and I asked them all to get together and bring in their ideas for songs.” 

The sessions at the Jam Room included a cast of musicians in and around Columbia, from Sean Thomson to Marshall Brown, Joe Buck Roberts, Stan Gardner, Kevin Jennings, Gina Ercolini, Alex McCollum, Darby Wilcox, Kevin Brewer, Tom Coolidge, and more, over what Bickel describes as a ‘miraculous’ two days. 

“It should have been awful, but I feel like it’s the best record that’s ever come out of Columbia,” Bickel says. “Everyone showed up the first day and all the songs they had come up with were great. Everyone just played on each other’s stuff, adding parts, and locking in quickly. We came up with the basic bones for the entire album in those two days.” 

As part of the promotional push to finish financing the film production and distribution, Bickel shot individual music videos for the album tracks and began releasing them once a week in November–two are out so far, with another due each week until they are all available online.

“Come Out and Sing, Father,” sets the scene perfectly of a slightly off kilter, cult choir sing-along. It’s a composition by guitarist and songwriter Joe Buck Roberts, who sings the lead atop a chorus of multiple voices and instruments including a zither, flute, violin, and more. 

“A World Of Our Own,” increases the psychedelia with a song composed and sung by Stan Gardner that echoes the ‘80s paisley underground, but with a more danger-filled undercurrent. 

It is the multiple levels of input from musicians such as Gardner, Roberts, and others that makes Bickel heap praise on how things turned out. 

“There are three people that I think are mega-geniuses who worked on the music–not that everyone wasn’t amazing,” Bickel says. “Sean Thomson, Joe Buck Roberts, and Marshall Brown. Sean has a couple of instrumental pieces that he did which are perfect for the film, and Marshall gets the psychedelic stuff but he also gets the pop stuff and he and Sean both can just come up with so much on the spot, for songs they didn’t even write, had just heard for the first time and their parts just came right out.” 

Of the remaining tracks yet to see full release, there are some that verge on Hawkwind psych-metal, hippie flower power era songcraft powered by Greenville’s soulful alt-country singer Darby Wilcox, and plenty of trippy, cult-ish chanting and vocalizing. Tim Cappello, the shirtless sax player from the ‘80s movie The Lost Boys, plays sax on one song, even. It’s a heady mixture of musical montage-making that’s potent even without the eventual pairing of the film visuals.  

The craziest part of this story isn’t that a bunch of cool music got made for an indie film, however. It’s that the film isn’t even done, and Bickel himself hasn’t quite figured it all out yet.

“The film is not edited yet, and I haven’t put it all together so I’m not exactly sure where the music will fit, or even if all of it will fit,” he admits. “There will be some pieces that may not be in the movie at all, but I still consider them part of the ‘world’ of the film.”  

It is that world-building that is the most intriguing part of making this film, Bickel adds, and how each step has led to the next in its creation. 

“It was important to me that I had the world established first,” he says. “I have the short film in the can, ‘Wunderlawn,’ and the music kind of informed what we did for the short film, and then the short film has informed what we did in the feature. When we came together to do the shooting for the feature, there was already a world established for the actors to draw on for their performances.” 

So, why do it in such an odd sequence? For Bickel, it comes down to one word: money. 

“In a way it would make a lot more sense if the music came out closer to the release of the movie,” he says. “Because I don’t have any money, I have to raise money to finish the movie and the music has been the best way to support that effort– ‘Here’s something entertaining for free, and if you like it you can buy the record of it and if you buy the record of it that will pay for finishing the movie, which is the ultimate goal.” 

Each film he has made, Bickel has raised the stakes, and the budget, to realize his vision for the next one. 

“The first two were around $15-16,000 budgets, just enough to pay the actors and feed everybody. This one is coming in around $20-25,000,” He reveals. “Some of that came from donations before we started, there was also a little profit from Bad Girls and then the rest is what I’m trying to raise now. It would be nice if I could make enough to keep doing them.”

Harbison Theatre Kicks Off New Season with Jim Brickman

Harbison theatre kicks off it’s new season of diverse entertainment options with a concert by Jim Brickman on September 15th at 730 PM.

Best-selling solo pianist Jim Brickman has earned a name for himself with 21 number one albums, 32 Top 20 radio hits, and two Grammy nominations. His star-studded vocal collaborations have crossed genres to feature luminaries like Martina McBride, Donny Osmond, Kenny Rogers, Olivia Newton-John, Johnny Mathis, and Kenny Loggins. 

A true romantic by nature, Brickman tells stories through emotive ballads and sweet sounds. Harbison Theatre is the perfect intimate setting to enjoy his hit songs “Love of My Life,” “Valentine,” and “Angel Eyes.” Grab the ones you love and settle in for an uplifting evening that is sure to bring everyone together.  

*Student, senior (over age 60), or military personnel will receive a $5 discount on signature series shows at check out. Bundled discounts are available when you purchase tickets for three or more shows at a time. Please contact the Box Office at 803.407.5011 for more details. 

Tickets are $50 and are going FAST!

Get yours today!

Indie Artist TiffanyJ Presents a Premiere Night of Music and Film during Suicide Prevention Month

TiffanyJ is thrilled to announce her highly anticipated Album Release & Film Premiere event for "Solbird Sessions Live." This extraordinary evening promises a fusion of live music, cinematic artistry, and a unique ALL DENIM AFFAIR experience, all set to take place at Spotlight Cinemas Capital 8. 

The event will be a celebration of music, creativity, and community, showcasing the culmination of TiffanyJ's musical journey through her third album which was recorded live in concert at South Carolina ETV in May. TiffanyJ, a Columbia native, musical artist, and inspirational personality, has hopes to encourage those, like herself, dealing with mental health challenges through the power of her melodic artist expressions. This project has been successfully crowdfunded. 

Event Highlights:

  • Date: Wednesday, September 13, 2023

  • Time: 7pm

  • Venue: Spotlight Cinemas Capital 8, 201 Columbia Mall Blvd Ste 211, Columbia, SC 29223

  • Dress Code: ALL DENIM AFFAIR

  • Tickets: Starting at $10

  • Featuring:

    • Pink Carpet: Capture the essence of guests arriving in their denim best.

    • Live Music by Rod Foster & Company: Immerse yourself in live soulful, jazzy tunes that will set the perfect tone for the night.

    • Feature Film Presentation: Experience the captivating transformation of a live concert on the big screen, featuring exclusive behind-the-scenes and documentary footage. Witness the concert's power unfold before your eyes.

    • Album Merchandise: Exclusive album merchandise will be available for fans to take home a piece of the experience.

 

The event acknowledges support from the South Carolina Arts Commission and Every Black Girl, Inc. Solbird Entertainment invites music enthusiasts, cinema lovers, and all those seeking an extraordinary night of entertainment to join this exceptional celebration. 

Tickets are available at sslpremiere.eventbrite.com, and with limited seating, early reservation is recommended to ensure participation in this immersive musical and cinematic experience. The “Solbird Sessions Live” album will be released worldwide on all digital media outlets on Friday, September 15, 2023

Want to know more about TiffanyJ? Watch for Kevin Oliver’s feature story on her in the fall 2023 issue of Jasper Magazine!


About TiffanyJ: Indie Soul Artist TiffanyJ has one of the most unique and incomparable musical styles and sounds. Her powerful voice alone engages listeners both young and old. TiffanyJ is a singer and songwriter creating a soulful approach to melodic art that is guaranteed to uplift those who witness her gift.

 

ALBUM REVIEW: Decadence - Book of the Redeemed by Kevin Oliver

Decadence

Book Of The Redeemed

Self-released

 

There comes a time in the shelf life of a heavy rock band when the sum total of its experience and commitment adds up to a career defining moment, whether it’s that hit song that connects with a mass audience, or just an artistic statement that is so clearly above and beyond anything else they’ve done to that point. For Columbia’s Decadence, this new album Book of the Redeemed is the latter–an astounding, bracing listen that reveals more depth and meaning with every page that’s turned. 

The band has been a stalwart presence on the local and regional heavy music scene for a while, and this release was a long time coming–now we know why. Not only is the production and songwriting top notch, singer Scott McGrady’s lyrics are deeply personal. This had to be a difficult set of songs to write and record, not to mention let loose into the world for others to judge if they are worthy or not (They are.). 

Decadence straddles that line between commercial appeal and unapologetic, raw power better than most, and the production on the new songs showcases the intensity of the band’s sound, with stop-start arrangements that drop out completely, then blast back moments later with even more unrestrained fury. Drummer Ben Burris and bassist Ryan Wicker have played together long enough now they move and groove like a single unit, powering the monster riffs that cut through each tune. McGrady has a decent singing voice when the song calls for it, but most of these tracks require his most angst-laden, guttural near-screams. 

The content of the lyrics is as intense as the music, and McGrady has said online that there is an intentional running theme present, related to a friend who dealt with abandonment, pain, and anger, and moving on from that. “Abandonment” relates a story of being placed in foster care, inserting a line out of a childhood prayer to really drive home the innocence lost in the process:

 

Strangers tuck me in my bed

Shuffled through this castoff’s deck so

Now I lay me down to rest

Left alone through your abandonment

 

The most furious track is “Take Your Shot,” which addresses that person with a problem that won’t allow anyone to help, or even admit they need help in the first place. It’s like the band pours that frustration directly into the stacked guitar riffs of Dustin Welch, as McGrady sings: 

 

Tell me how to understand

Why you need to live this way

While I watch you take another shot at what this could have been

 

The somewhat title cut “Redemption” is the slowest, most melodic one of the bunch. McGrady channels Roger Daltrey of the Who, circa “Behind Blue Eyes,” as he sings the chorus in triumph: 

 

And now I see

A new dawn rising

I feel redemption

And I’ll leave

It all behind me

Won’t let it blind me

 

This is the sound of someone, or maybe some band, that’s gone through hell, come out the other side intact, now appreciating but not dwelling on the experience. Sounds a lot like they’ve been redeemed, doesn’t it? 

 

Decadence releases Book of the Redeemed officially this Saturday, with a release show at New Brookland Tavern that will also feature The Baldwin Massacre, Ozmyridis, and Sorrow Of Silence. 

 

Don’t Call It A Comeback: The Redemption of Shekeese Tha Beast

by Kevin Oliver

 

On Fat Rat Da Czar’s classic 2009 release Cold War 2, “Do Whud I Do” opens with DJ Shekeese The Beast shouting “Can you hear me out there? We back!” before Fat Rat intones, “If you knew what I knew, then you could do what I do.” The partnership between the two Columbia, South Carolina hip-hop artists made them a marquee act and flag-bearers for the genre across the southeast for nearly twenty years, before Shekeese, in his own words, “went dormant” and focused on other business pursuits. Last year, as Fat Rat Da Czar readied a new campaign of hip-hop shows and productions, he re-enlisted his former DJ to appear on stage with him again and just like that, Shekeese Tha Beast was back as hype man extraordinaire and hip-hop ambassador. In a recent conversation with Jasper, Sherard Shekeese Duvall opened up about his entry point into hip-hop, the other pursuits that have occupied his time, and how he has come full circle to reconcile his disparate, multiple pasts into a unified future with a mission to bring South Carolina hip-hop into a new generation. 

Before he was Shekeese Tha Beast, he was just a kid named Sherard, growing up in the neighborhood–but it was the formative experience of his life, he says now in retrospect.

“I grew up in Ridgewood behind Eau Claire High School, so it was a super, super black experience,” Duvall says. “The only time we saw white folks was when we went downtown.” It was a childhood surrounded by family, who shaped his worldview from an early age.

“My family was huge, and there were relatives on both my mom and dad’s sides who were into music, art, sports, politics, it was all there. I had an uncle who was political but also into Stevie Wonder, he gave me Malcolm X books when I was a kid. I had another uncle who played guitar, my grandfather played piano, so art, music, and all this stuff was all around me.”

It was a specific moment that led directly to hip-hop for Duvall, however, a purchase his mother made.

 “She bought me a 45 of LL Cool J’s ‘Candy’ and on the back side was ‘Go Cut Creator Go’ and it blew my mind, I didn’t know how they were making those sounds,” He says. “Prior to that it was seeing the video for Run DMC’s ‘Rock Box’, and I couldn’t figure it out, like was the band the DJ on top of the car? That’s what made me want to be a DJ.”

As an entry point into hip-hop, it turned out to be the right one for Duvall as high school turned into college and beyond. 

“After I got out of Columbia High, I met all the guys in Beat Junction Project, and around that time I also met Fat Rat Da Czar. The Beat Junction Project was doing its thing around Columbia, and he was doing his, and Streetside had put out a record that I was spinning at WUSC-FM.” As a student DJ, Shekeese Tha Beast was born and the show “Non-Stop Hip-Hop” put him on the airwaves weekly, featuring lots of local hip-hop talent in addition to his own DJ skills. His reputation grew, he hosted shows on Hot 103 and the Big DM, and Fat Rat came back around.

 “Fat was coming out with a mixtape, and they were looking for a DJ for it,” Duvall says. “Not sure that one ever came out, but shortly after that he went on to start doing his solo stuff and we ended up collaborating on the mixtape ‘Fat Rat Is Dead,’ which was the beginning of the whole Shekeese Tha Beast and Fat Rat Da Czar thing.”

 It was a perfect collaboration, Shekeese says, which explains the longevity of the relationship that endures to this day.

 “We have a lot in common when it comes to not only how we saw hip-hop but also how we thought about opportunities and hard work, it was just a similar perspective that clicked.”

There were multiple releases that flowed after that, from the “Cold War” series of traditional hip-hop albums with Shekeese as hype man and DJ while Fat Rat dispensed rhymes and wisdom using his instantly recognizable flow. For a time, the pair was synonymous with South Carolina hip-hop, and credit is certainly due to them for all they’ve done to promote and support the genre within the state. Then Shekeese Tha Beast went silent, at least as a performing personality. The reasons behind that dormancy were both personal and professional, he reveals.

 “Unintentionally, the separation with that part of me had to do with its popularity,” He says. “I was all over the radio, people knew me from that, from TV, doing the Love Peace and Hip Hop festival, all of that added to the notoriety and recognition.” What was happening behind the scenes, however, was that he was pursuing a professional career as a filmmaker and videographer, first with Genesis Studios and then with his own, still thriving operation as OTR Media Group. 

 “For the film stuff I felt like it needed to be different, so I was Sherard Duvall, not Shekeese Tha Beast, in that world,” He says. “When OTR came along I was still of the mind to keep things somewhat separate, because I didn’t want to enter rooms as Shekeese, I wanted to be Sherard, to be taken seriously as a business owner and not have it be like ‘Oh, the DJ is here.’”

For Duvall, the link between his hip-hop DJ persona and the work he was doing as a short film specialist and documentary filmmaker wasn’t immediately apparent, but it slowly dawned on him that he wasn’t doing anything all that much different after all.

 “Hip-hop is a storytelling form, and OTR Media Group is built around storytelling in everything we do, from media literacy to media strategy work, nonfiction, short and long form media content,” He says. “Hip-hop is incredibly dense, we’re able to use a lot of words, mesh a lot of styles together, and we’re able to connect with more people in more ways than you can with a lot of other forms of music.”

 In 2023, Sherard Shekeese Duvall, the filmmaker, husband, and father re-emerged as Shekeese Tha Beast on stage with Fat Rat Da Czar for several performances, something that Duvall says he’s enjoyed even more than he thought he would.

 “Stepping back into the Shekeese Tha Beast thing has been one of the most joyous times in my life,” he says. “It was weird when I put it down because there was an article in the paper about me quitting, people didn’t know what to call me anymore, I treated it like ‘that thing I used to do’--but I realized when I was back on stage that I had been neglecting a part of myself; I’m hip-hop through and through and it made me feel whole to be on stage again.”

 It’s the example and the role model, even mentor that he can be for the next generation that’s driving Shekeese Tha Beast now, he says–starting with his own son. 

“Until recently my son had never experienced Shekeese Tha Beast, he was too young to remember me taking him to meet KRS-One or Lauryn Hill,” Duvall says. “He’s eleven now and I took him to the show we did at the Music Farm in Charleston. Him seeing me do that might not register now, but he’s a creative, free spirit kid and it might matter later on when he’s thinking, ‘You know, it’s alright that I’m left of center, that I’m different, because my dad is super different.’” 

For now, Duvall says being “back” just means he’s whole, that his work in film and in the community will go hand-in-hand with his hip-hop persona and all that it entails.  

“I feel like Shekeese Tha Beast is back for all the right reasons,” He says. “Where I find comfort now is in being a hip-hop ambassador for South Carolina. It’s more beneficial to the culture of our state to celebrate the diversity instead of nitpicking what is and isn’t hip-hop. So, all I can tell you is that wherever South Carolina hip-hop is, that’s where you’ll find Shekeese Tha Beast.”

A Small Part of the Change – An Interview with Columbia Operatic Laboratory

By Emily Moffitt

Pictured from left to right COLab members, Christopher Lopez-Moore, Jennifer Mitchell, Jerryana Birch-Bibiloni, Joseph Birch, and Bradley Fuller

July welcomed a new Artist in Residence at the Richland Library—or rather, 5 of them! Columbia Operatic Laboratory (COLab) is a 501(c)(3) organization that started in 2015, initially created as a project through Spark, a music leadership initiative at the University of South Carolina’s School of Music. The group will serve as Artist-in-Residence at the Library from July to December; this is the group’s first artist residency. We spoke to board members Joseph Birch, Jerryana Birch-Bibiloni and Jennifer Mitchell about their goals for the rest of the year, what they will offer and life at the library.

The first couple weeks were dedicated to getting acclimated to life at the library, but COLab immediately felt welcome among the staff. The board noted that many of the librarians held an appreciation for opera. “It is encouraging to know that there’s already a love for the art form held here,” Birch-Bibiloni said. “We really want to connect with the other departments here and have a lot of big ideas on how to achieve that.” Their rehearsals make the guests walking around the second level stop in their tracks and tilt their head towards their meeting room, and strangers stop by their office hours to ask questions about their passion for opera. The board has taken this as an extremely good omen, giving them the platform to prove that opera is in fact, the complete opposite of a boring art form.

As part of the expectations for Artists in Residence, the group has created a curriculum of free workshops that caters to all the age groups that the library aims to work with. Mitchell will host a prop making workshop in the children’s area where kids will get to create their own props inspired by The Pirates of Penzance, which they will get to take home with them. For both younger audiences and parents, Mitchell states that she is extremely excited about their group story time event in November. “We’re hosting an aria and story time event where we read stories to young kids and listen to arias that correlate with the content of the story,” Mitchell said. “This provides early exposure to the world of opera for the young audiences while also helping defeat the stigma around the genre for adults, too.” COLab continues to look for more vocalists to support and welcome to their family, and they have an open audition day as part of their library schedule on August 28. “We always want to make sure that we have a safe and welcoming space for all of our performers,” Birch-Bibiloni said. “We hope that this invitation to audition expands our reach to audiences we do not always connect to as well.”

The desire to disperse the stigmas surrounding opera and to foster support for the library motivates COLab to make the absolute most of their residency. Mitchell has made note of the immense number of “statement questions” they have received and takes the opportunity to reiterate that all one needs to get into opera or to learn how to sing, is to simply want to learn. “We get a lot of questions asking about how we got into the field, and people are always surprised to hear just how much work is involved with opera outside of just singing and performing. Singing is not just a skill that someone is born with; if you want to be able to sing, you can absolutely learn how to do it!” The drive that the COLab board harbors to help develop the cultural landscape of Columbia is palpable; Birch made a poignant point about COLab in relation to the greater city limits: “COLab is a very communal project and mission for a misunderstood art form. We’re a small part of the change it always goes through and sharing it through a direct line of communication to the cultural scene of Columbia is meaningful. It is also an opportunity to marry the missions of both us and the Richland Library, which we have always been big supporters of as a system.” There are many moving parts behind an opera and putting one together. COLab has managed this challenge with aplomb as they continue to perform at venues of all kinds around Columbia, from churches to local dive bars, with the same effervescence and care. Their end-of-year performance of The Pirates of Penzance is a big production of theirs that the board decided to bring back, and it also functions as a sing-along for the audience to participate in. The production has always focused on community, but with their library residency in full swing, the board is able to make it even more community oriented from the beginning, incorporating rehearsals and opportunities to learn the lyrics into their outreach curriculum. COLab is filled with hard workers and catalysts for cultural change, and it’s a beautiful thing to witness.

The full schedule of COLab’s educational events can be found on their Facebook page as well as the Richland Library’s calendar of events. Their next event is an informational session where audiences can learn more about COLab’s mission on August 24, from 6-7 p.m. They will also have a percent day at Sweetwater’s Coffee and Tea on Park Street on August 25. There is a plethora of educational resources available on behalf of the Richland Library and COLab about the art of opera for any interested audiences, including a “summer reading list” of books related to the field available for checking out.

Music for All Ages–The Columbia Arts Academy Celebrates its 20th Anniversary

By Liz Stalker

Saturday, August 12th, the Columbia Arts Academy will be hosting open houses at all of their locations to celebrate their 20th Anniversary! The open houses will take place that day from 3-6 p.m., and the public is encouraged to stop by any of the three locations spread throughout the Columbia area: the Columbia Arts Academy (Rosewood Dr.), the Lexington School of Music (Barr Rd.), and the Irmo Music Academy (Lake Murray Blvd.). The festivities will include free food, tours, and an “instrument petting zoo” where guests can get a taste of the various instruments the school provides lessons for. As a part of the celebration, the school will also be giving away door prizes, including a grand prize of a year of free music lessons!  

Starting in 2003 as a small-scale studio with founder Marty Fort as the only instructor to 30 students, the Columbia Arts Academy has since grown into the largest private music school in the state of South Carolina. The journey has involved plenty of ups and downs. In fact, when Fort first acquired the Rosewood space, he had a lot of work to do to make it habitable for his business. “When I started Rosewood,” he says, “there were rats, there was broken glass, there was no carpet, no wall. It was $60,000 on a Visa and a MasterCard to get Rosewood off the ground.”  

But get it off the ground he did, with the school expanding into a second location just a decade later in 2015. This expansion was necessary as the Columbia Arts Academy had hit 500 students and counting, a huge milestone for the company, though it pales in comparison to the over 1700 students the school now serves.

 The school offers instruction for an incredibly wide range of instruments–piano, guitar, voice, bass, drums, banjo, ukulele, violin, and even mandolin. Fort himself is well-versed in most, if not all, of these instruments. In the spirit of modesty, he admits that violin would likely be his weakest instrument but notes that, “Once you really lock into music, there’s so much crossover.”  

The school also sees an incredibly diverse age range among its students, with the youngest of its pupils being just three and four years old and its oldest musical scholars approaching their eighties and nineties. This broad range of ages reflects the school’s highest purpose: to serve the musical passions of the community at large.

In addition to music lessons, the Columbia Arts Academy has provided opportunities for its students to perform at highly respected and admired venues and performance halls, such as the Rock and Roll Hall of Fame and the Guest House at Graceland. Most recently, students traveled to New York to perform at the Weill Recital at Carnegie Hall.  

Closer to home, the Columbia Arts Academy band, including Fort himself, performed alongside Kirk Hammett, lead guitarist of Metallica, at the Columbia Museum of Art, an opportunity that opened the school up to a massive platform.  

Fort is immensely proud of the growth and success his business has seen over the last two decades. He has such an obvious and enthusiastic love for each location he has been able to bring to life, describing them all as “kind of like kids–they all have their own personalities.” Their perpetuity within the community is a testament to not only his robust work ethic and the excellence of his staff, but the surrounding community’s love and appreciation for music.

“You know, most businesses don't make it five years,” he says. “20 years is a long time, I’m just so proud, and now, I think for me, it's a reset. High fives, we've got a great party planned.”  

Regarding this party, Fort says he’s most excited just to see the community turn out and show their support. “We love it when people come and check us out,” he says. “We work very hard to keep our places nice, clean, looking awesome, and what I'm looking forward to is people coming and saying ‘hi.’” 

For more information visit the Columbia Arts Academy website, or call or text (803)-787-0931.