OPENING RECEPTION
Friday, May 4 from 5-9 PM
Café con Leche across from Clark Park in Detroit  at (313) 554-1744.

EXHIBIT
Friday, May 4-Saturday, June 30

CLOSING RECEPTION
Saturday, June 30 from 6:00-8:00PM

For more information, contact Jennifer Garcia Peacock at elmuseodelnorte@gmail.com.

The exhibit is co-Sponsored by CLAVE, El Museo del Norte, and Café con Leche.

Location: Mexicantown International Mercado (2826 Bagley, Detroit, MI 48216)
Dates: April 13-May 5, 2012
Opening reception: Friday, April 13, 2012 6–9PM, which includes a special musical performance
Closing reception: Saturday, May 5, 2012 6–9PM.

In the spirit of the Detroit Revealed: Photographs 2000-2010 exhibition at the Detroit Institute of Arts and, in partnership with the Southwest Artist Network (SWAN), Beyond Borders is a celebration of the life and vibrancy of Southwest Detroit and the community that individual Latino immigrants call home.

Beyond Borders: Latino Immigrants and Southwest Detroit photography project by Carlos Diaz, included in this exhibit, is a part of a body of work funded by a Kresge Foundation Community Arts Grant and completed in collaboration with LASED.

Also, included in this exhibition are SW Detroit artists: Vito Valdez, Erik Howard, Tom Stoye and graffiti artists from The Alley Project (TAP) and others.

During the exhibition, gallery hours are Saturdays 12-5PM or by appointment.

For more info contact, vvaldez@swandetroit.com

By: José A. Rodríguez

Last week, there was a three-night run at the Park Bar’s Elizabeth Theatre of Detroit News business writer and 2010 Kresge fellow, Louis’ Aguilar’s, multimedia performance The Troublemakers. The performance told the story of Diego Rivera’s struggle to paint the murals at the DIA’s Rivera Court and his wife’s, Frida Kahlo, real start in art, which was born out of the pain that she experienced in Detroit.  Previously, it has been performed in the Rivera Court, itself.  It weaves archival pictures, quoted excerpts, live action and a sound score into a rich tapestry that tells this very important story.

I ended up catching the Wednesday night performance. Each night the cast would change slightly, depending on the performers’ schedule. Wednesday’s eclectic cast included Ozzie Rivera as Diego; Valeria “La Chispa” Montes, as a spirited Frida; and, FOX 2′s Charlie LeDuff as Rev. H. Ralph Higgins, a prominent religious figure and critic of the murals. The Elizabeth Theatre’s smaller size, compared to the DIA, gave the performance a real warmth and intimacy that made the vibrant action pop.

One of the strongest points of The Troublemakers is that it shines equal light on the Mexican art power couple of Diego Rivera and Frida Kahlo. In my experience, much attention was given to Rivera, although in the last few decades Kahlo is, finally, getting her fair share. One of the most fundamental components of their relationship was how, despite their respective turbulence, each could not have succeeded without the other’s support. This dramatic piece really drove this point home.

As a fan of this piece, I was glad to see it return again. If you are lucky enough to hear about another performance of The Troublemakers, you would do yourself a disservice by not seeing this for yourself. If the buzz keeps building, I have no doubts that we will see another performance of this great dramatic piece or, perhaps, see it in another form. Only time will tell.

By: Carolina Andrakovich

Rodgers & Hammerstein’s South Pacific played from May 2–4, 2012 at the Fox Theatre.  This touring production is based on James Michener’s Pulitzer Prize winning book Tales of the South Pacific, which still rings true today as it did sixty years ago.

Set on a tropical island during World War II, the musical tells the sweeping romantic story of two couples and how their happiness is threatened by the realities that love, social prejudices and war pose when the “what will society think” mentality prevails.

The first involves a U.S. Navy nurse, Nellie Forbush, played by Katie Reid and her winter-summer romance with a French plantation owner interpreted by Marcelo Guzzo, a suave Uruguayan with a Latin accent, whose past involvements and quite different socio-economic level put a damper on her decision to love.  For U.S. Navy Airman Joe Cable, played by Shane Donovan, the complicated feelings of entwinement with a girl of a different race added with the pressure of Bloody Mary, a meddling mother played by Cathy Foy-Mahi, who schemes to entice the navy airman into marriage via desire by offering her daughter, Liat, played by Hsin-Yo Liao, for his sexual pleasure.  When the airman is confronted with a marital decision…..well…. things get sticky.

The song sung by Lt. Cable, “You’ve Got to be Carefully Taught” explaining that prejudice is learned during childhood prompted discussion of cutting the song from the original show, but was rejected by Rodgers, Hammerstein, co-writer and producer Joshua Logan and Michener, himself.  So happy regarding their decision because the song adds volumes to the musical and the storyline.

In regards to musicality, the music is sublime.  Favorite songs include classics like “Some Enchanted Evening,” “I’m Gonna Wash That Man Right Outta My Hair,” “Younger Than Springtime,” “Bali Ha’i,” “There is Nothin’ Like A Dame,” “This Nearly Was Mine” and “A Wonderful Guy.”

I found that pitch was slightly unattainable in the upper registers as well as diction for some in the cast.  Marcelo Guzzo’s soft Uruguayan accent was a plus for the role of Emile de Becque, but I found he was concentrating more on singing technique than acting.  I would have liked to see a more tender side when he sang ‘One Enchanted Evening.”

I was especially impressed with the musicianship of Cathy Foy-Mahi.  As Bloody Mary, she applies her voice in a manner true to the earthy, unsophisticated nature of the islander. She’s a slick business woman and a survivor in every sense of the word.  She comes across as tough and persistent and her voice depicts that reality.  Totally believable!

The scene interpretations were not overly worked with the usual choreography, which allowed the viewer to be absorbed into the story line.  The chorus number “There Is Nothin Like A Dame” was an audience favorite.  The physical gestures (facial and corporal) exemplified the feelings they had.  Although no dance steps were incorporated, it was expressed in a realistic manner.  The anguish, desire and heat were obvious, as they showed passion and desire in conjunction with visionary thoughts of their dame, as described in the lyrics.

The original production won 10 Tony Awards and in 1950 won the Pulitzer Prize for drama.  In 2008, The Lincoln Center revived the production and received seven Tony awards including Best Revival.

The sets were beautiful, the costuming added a touch of realism to the period and the lighting was exceptionally done.  South Pacific was a moving and touching production well worth experiencing.  It is truly a musical that speaks to all generations.  With that in mind, it is a journey that has been experienced by many people that swim against the current, challenging the struggles to fit into the world we live in and the racial prejudices that societies impose.  Needless to say, even today, it is still a thought provoking experience.

I have to admit that I wasn’t originally keen on watching The Grammys. Normally, the performances are either staid or crazy.  People that I feel should win awards end up getting robbed.  Need I remind you about Jethro Tull getting a Best Hard Rock/Metal Performance Grammy back in 1988.  These are just a few of many reasons why I generally avoid them.  However, I had a few reasons to listen this year: the return of Adele and the tributes to Whitney Houston.

First of all, I thought that LL Cool J did a great job, as host.  He was subtly charming, yet really had the crowd going.  LL was neither boring nor crazy.  I applauded him for getting his prayer tribute in early so that, while tragic, her death wouldn’t cast too much of a shadow on the rest of the show.  As he reminded us, LL wanted the focus to be on the music.

I was really surprised by performances or appearances by acts that are outside of the typical Top 40 schlock.  Just earlier in the day, I had heard someone mention the Nashville duo, The Civil Wars.  I really ended up digging their bluegrass-folk stylings (only way that I can describe their sound).  Then, there was the combination of David Guetta, Lil Wayne and Chris Brown, alongside the grouping of deadmau5 and Foo Fighters.  House isn’t normally something that I listen to. Nonetheless, I found the music slinky and seductive.

Speaking of Foo Fighters, I was looking forward to their performance.  Over the years, I have become a progressively bigger fan, though first becoming familiar with them through their hit “Everlong.”  I was hoping that they’d play Walk” off of the Thor soundtrack?” Lo and behold, they not only performed it but kicked ass, as they whipped the crowd into a frenzy.

As for tender, this is a great work to describe Jennifer Hudson’s heartwrenching performance of the song that Whitney Houston made so famous, “I Will Always Love You.” As I heard her controlled performance, I could definitely see Houston’s influence. Hudson was subtle where necessary and, then, slowly unleashed her vocal power. This incredibly strong performance hit me in the gut and had me misty. Yes, I admit it.

So all in all, I’d say that the Grammys were slightly above average: a solid 3-3.5 stars out of 5. With LL Cool J as host and the variety of overall good performances, I can definitely say that I was glad to have watched it. As LL said, it was all about the music.

Images:
DSCN0618_120212 by BeFrank, on Flickr

Elvis, Johnny Cash, Jerry Lee Lewis and Carl Perkins all in one room? No, this isn’t the stuff of legend but the gathering that was known in rock n’ roll lore as The Million Dollar Quartet.  It is, also, the name of the musical at the Fisher Theatre that was based on that one magical night.

Played by Billy Woodward, Derek Feeling, Martin Kaye and Billy Woodward, respectively, each actor brought an excellent vivacity to their characters.  As a hardcore Elvis, Johnny Cash and Jerry Lee Lewis fan, I was waiting to see how these actors would do, considering that I’ve suffered through horrible portrayals like Dennis Quaid (Jerry Lee Lewis) in the biopic, Great Balls of Fire.  I almost swore that I was in Memphis’ Sun Studio back on December 4, 1956.

The chemistry between each of the four was incredible.  Ferris did an excellent job as Carl Perkins working to get another hit, after Elvis was recognized for recording his “Blue Suede Shoes.”  Woodward brought a bit of smoldering, yet understated star power as Elvis.  Feeling sounded like the real deal as The Man In Black otherwise known as Johnny Cash.  When he sang Cash hits like “Folsom Prison Blues” and “I Walk The Line,” his vocals sounded like they came from deep within Earth. Lastly, Woodward brought out some great guitar showmanship, while playing sideman on some of Elvis’ songs, even fingerpicking almost like Scotty Moore did on the original recordings.

I definitely don’t want to forget mentioning Christopher Ryan Grant as Studio head Sam Phillips and Kelly Lamont as Elvis’ girlfriend, Dyanne in their great supporting roles. Grant really captured the struggle of Phillips dealing with the success of his first generation of stars and wondering what to do with his piano playing prodigy from Ferriday, LA: Jerry Lee Lewis.

There is still al little bit of time to catch the remaining shows.  I don’t want to give away the show stopping conclusion.  Let’s just say that it involves Carl Perkins and an upright bass.  You’ll have to see it to believe it.  Coming from a guy that’s seen AC/DC using a cannon, I can honestly say that this topped them.  Check out Million Dollar Quartet and you can be a fly on the wall for this first and greatest rock n’ roll jam session.

Author: José A. Rodríguez

The trilogy finds a group of fanatics using science on The Sudarium to try to bring about the Second Coming of Christ.  A woman, Hannah, looking for meaning found, herself, recruited as a surrogate.  Who did she give birth to? This is a question that is discussed and provides much food for thought.  Her son, Mano, years after his birth, finds, himself, drawn in with people trying to impose meaning onto him.  Amidst all of this, the outside world tries to make sense out of the events.

Written by Leonard Foglia, a theatre/opera director and librettist, along with David Richards, theater critic for publications including The Washington Post, The Washington Star and The New York Times. This trilogy that was very hard to put down.  I took these books on a recent road trip and the moments, when I had to put the books down, were agony.

Heavy on religious allusions, it helps to have some sort of background so that the little details are understood.  I have 12 years of Catholic schooling under my belt, which was tremendously helpful.  However, even people without a religious background, would still be able to enjoy this just as much as any other thriller.

I would give the trilogy 4 out of 5 stars.  The books were very well written and engaging.  Each part of the trilogy flowed into the next and formed a coherent tapestry.  It was easy to be drawn into the characters—to root for the heroes, while hoping for the villians’ destruction.  A little slow to develop, these books are a powerhouse.

To get more information on the trilogy, visit the books’ site at The Sudarium Trilogy or buy them at Barnes & Noble or Amazon.   

For this track, Romeo Santos partners up with Usher to create a new crossover hit.

Listen  to “Calentura” from the latest album with collaborations from Tego Calderon & Zully Murillo.

According to Juan Carlos, these issues are not addressed, as they should be in order to have a positive effect in the lives of the people that are involved. The goal of the collection is to create awareness.

Juan Carlos Perez is an immigrant from Guadalajara, Mexico currently residing in Michigan. He developed a passion for capturing beauty and essence from his mother & role-model.

The Quiet Things that No One Ever Knows will be on exhibit in The Atrium at the Southwest Detroit Business Association from November 4, 2011-February 24, 2012.

For more information, you can contact the Southwest Detroit Business Association at 313-842-0986 or email at info@southwestdetroit.com.
A collection of work by Photographer Juan Carlos Perez

Date: Friday November 4, 2011 – Friday February 24, 2012
Time: 6:00pm-5:00pm
Location: 7752 West Vernor