Written for Professor Norton McNulty's Feature Writing Class
Fall '09 - SUNY New Paltz
He stays up all night producing hip hop beats on his laptop and spends afternoons playing acoustic guitar and singing with friends. For 24-year-old SUNY New Paltz graduate student Dan Morgenstern, music is a job, a hobby, and an integral part of life.
After earning a bachelor’s degree in contemporary music studies from New Paltz, Morgenstern enrolled in the music therapy master’s program and began cultivating his career. He currently interns at ELANT Health and Housing Solutions in Newburgh performing music therapy with patients suffering from social and behavioral disorders.
Through playing music with friends and using music as a healing tool at work, Morgenstern has developed a unique perspective on the medium.
“What is music? Music is Kool Keith - music is birds and bowling alleys - music is sugar cakes and corn flakes. No… music is sounds - music is essential like blood pumping in your veins. If you look at Kate Moriarty’s art you will see music.”
Morgenstern couples this perspective with professional training in accordance with the American Music Therapy Association’s vision. The association’s website says that music therapy is “an established healthcare profession that uses music to address physical, emotional, cognitive, and social needs of individuals of all ages.”
According to Morgenstern, music therapy can be used in place of or in conjunction with medication.
Both the United States Center for Disease Control and Prevention and the National Institutes of Health recognize music therapy as an accepted treatment for certain neurological conditions.
A National Institute of Mental Health report said that Autism Spectrum Disorders, neural conditions that hinder social interactions and verbal and nonverbal, can be treated by behavioral and communicatory approaches - like music therapy - or with medication like Prozac or Zoloft.
According to the United States Food and Drug Administration, side effects of Prozac include seizures and mania - side effects of Zoloft include nausea, diarrhea, and tremors.
Mary Boyle, chair of the music therapy department at New Paltz said that music therapy is only known to induce positive side-effects.
“Often in therapy we talk about collateral effects, which are positive side effects,” said Boyle. “Music may elevate a client's mood and the client may be able to perform better in several spheres.”
“In my own case music has replaced medication,” Morgenstern added.
At ELANT, Morgenstern helps patients with conditions like Alzheimer’s and dementia with respect to cognition, social interactions, spirituality, emotions and overall quality of life. He said that listening activities for relaxation and active musical participation are beneficial to patients.
One patient, a women with severe dementia developed an uncontrollable tick due to the intense antipsychotics she was prescribed. After working with Morgenstern, she replaced a violent clicking noise with improvisational jazz singing.
“During sessions I would get here to scat sing so she would stop clicking,” he said. “I would start singing to her, she’d join… and it seemed to bring her to a more relaxed state of being.”
Morgenstern has been a musician since he could “bang on the pots” in his mother’s kitchen and is overwhelmed each time he witnesses healing power of music.
“It makes me feel great… like I’m accomplishing something real,” he said.
He currently accepts music as his personal therapeutic catalyst by making hip hop beats and recording rap songs in his cluttered one-room apartment. His floor is scattered with digital drum machines, microphones, effects pedals and wires that lead to seemingly unknown terminals.
Morgenstern described the music he makes as a “waste of time” - however it means the world to him.
When asked to elaborate on his music, he paused and became noticeably pensive.
“I play what I want to hear,” he said. “Hip hop music makes you feel so cool. You can just… dance… and everybody looks cool because there’s music goin’ on in your head. Everybody’s so happy… and crazy.”
Morgenstern did not align his love for music with the health field until college. After he discovered music therapy, Morgenstern began appreciating the growing importance of the discipline as well as its personal benefits.
“[Music therapy] can help anybody from burn victims… to people with autism… to people just recovering from any sort of psychological disorder,” he said. “… I get high off their smiles.”
Morgenstern hopes to someday own a private music therapy practice integrating his love for recording with a newfound desire to help at-risk children.
“I feel like I can utilize hip hop… you know, provide recording time to build self esteem and self-accomplishment,” he said. “It’d be so great to teach kids songs then allow them to record or just write songs with them.”
Morgenstern’s current recording setup is modest to say the least. A Kustom KGA 10 watt guitar amp is fed directly to his Macbook. He also wires three digital delay pedals with a Doctor Rhythm DR 770 drum machine and vocals are run through a Radio Shack dynamic microphone.
Morgenstern’s equipment cost him about $2,000 - he hopes to upgrade in the near future.
At the end of a two hour interview accompanied by background music ranging from contemporary jazz to 80’s hip hop, Morgenstern apprehensively said “Make sure you understand that my favorite thing to do is…” he paused. “My favorite thing to do is walk around and listen to music. It just makes me feel really cool.”
Tuesday, December 15, 2009
Sunday, November 15, 2009
student/pro wrestler
Written for Professor Norton McNulty's Feature Writing Class
Fall '09 - SUNY New Paltz
Dan Barry in his full wrestling gear (photo courtesy of Dan Barry)
In his final semester at SUNY New Paltz, Dan Barry spends the majority of his weeks studying in the library and his weekends falling through tables, getting hit with metal chairs and forcing blood out of his face for the entertainment of others.
Aside from studying TV and radio production at New Paltz and maintaining a 3.8 grade point average, Dan Barry wrestles professionally every weekend for multiple independent leagues throughout the northeast. Unlike Olympic-style wrestling, the winner of a professional wrestling match is fixed, but the pain is very real.
“If I jump off the top rope and land with my back in someone’s chest – there’s no way to fake that – it’s going to hurt,” said Barry.
Over the course of his nine year wrestling career Barry has broken his jaw, had teeth knocked out, broken multiple ribs, dislocated his hip and suffered multiple concussions alongside many more injuries he could not remember.
Barry started wrestling when he was 18-years-old. He grew up watching the WWF (now WWE) and WCW on television and after coming upon extra money he decided to take lessons at a local wrestling school in Hicksville Long Island.
“I always imagined myself as a professional wrestler. I guess I’m that kind of daydreamer,” said Barry. “… So when I had the money I signed up and got my butt kicked.”
The first year was the hardest for Barry. His coach, well-known professional wrestler “Mikey Whipwreck” did everything in his power to try to make Barry quit. Barry believed that if he could make it through the first year of conditioning, learning how to fall and developing a humble perspective, he could make it as a pro wrestler.
According to tag-team partner and longtime friend Ken “Scampi” Burger, Barry has progressed greatly and is a natural at the sport.
“His repertoire of moves has gotten wider and wider over the years,” said Burger. “He is one of the most talented guys I’ve ever worked with.”
Although Barry has years of training, spent countless hours in the gym and developed an understanding of how minimize harm to opponents, wrestling takes a toll on his physical health. The folding chairs wrestlers hit each other with are purchased from office supplies stores and the tables that they fall through are made of particle board.
Like the weapons, blood in wrestling matches is real. “Blading,” as it’s known in the industry, is when a wrestler cuts himself with a hidden razorblade during a match and forces blood to drip from the open wound. Normally hidden under wrist-tape or sweat bands, the razor is kept safely tucked in until the predetermined point in a match when the wrestler discretely cuts his own face.
To make the blood more obvious, Barry prepares before a match by practicing a few industry standard techniques.
“One trick is drinking a few beers before a match, it thins the blood. Some guys take a couple of Asprin too,” Barry said.
He tries his best to keep his wrestling life and his academic life separate, but every weekend he cannot avoid them colliding.
“On a Saturday when I should be working on a project I’m driving to the middle of nowhere Massachusetts to wrestle in a show,” said Barry. “Then I’ll spend Sunday laid up in bed recovering.”
Barry does not wrestle for the money primarily because he only makes about $100 per show. According to ProWrestling.com, an all encompassing informative Web site about the culture of professional wrestling, even some of the most unknown televised wrestlers make over $50,000 per year. Barry wrestles because he loves it and, as Burger explains, wrestling is like a drug.
“The boys call it ‘the itch,’” he said. “Wrestling gets under your skin and you can never really quit.”
Barry’s teacher for example, “Mikey Whipwreck” is now in his late 30’s and is currently scheduled for his fourth retirement match.
Of the four major televised professional leagues, (WWE, ECW, TNA and ROH) there are over 200 professional wrestlers. However, Barry is one of the thousands of up and coming athletes supported by one of the hundreds of independent leagues around the world.
Barry’s form of wrestling is misunderstood by some and written off as “fake” by many. After hearing about what Barry puts himself through every weekend, 21-year-old New Paltz student Melissa Kaiser said that she “could never imagine why anybody would do that to themselves.”
When asked why he still chooses to wrestle considering the toll it takes on his body, Barry explained that regardless of his rationale, people who don’t understand the sport will not believe him.
“If you don’t like pro wrestling, no explanation will ever do. If you like pro wrestling no explanation is ever necessary,” Barry said.
Fall '09 - SUNY New Paltz
Dan Barry in his full wrestling gear (photo courtesy of Dan Barry)
In his final semester at SUNY New Paltz, Dan Barry spends the majority of his weeks studying in the library and his weekends falling through tables, getting hit with metal chairs and forcing blood out of his face for the entertainment of others.
Aside from studying TV and radio production at New Paltz and maintaining a 3.8 grade point average, Dan Barry wrestles professionally every weekend for multiple independent leagues throughout the northeast. Unlike Olympic-style wrestling, the winner of a professional wrestling match is fixed, but the pain is very real.
“If I jump off the top rope and land with my back in someone’s chest – there’s no way to fake that – it’s going to hurt,” said Barry.
Over the course of his nine year wrestling career Barry has broken his jaw, had teeth knocked out, broken multiple ribs, dislocated his hip and suffered multiple concussions alongside many more injuries he could not remember.
Barry started wrestling when he was 18-years-old. He grew up watching the WWF (now WWE) and WCW on television and after coming upon extra money he decided to take lessons at a local wrestling school in Hicksville Long Island.
“I always imagined myself as a professional wrestler. I guess I’m that kind of daydreamer,” said Barry. “… So when I had the money I signed up and got my butt kicked.”
The first year was the hardest for Barry. His coach, well-known professional wrestler “Mikey Whipwreck” did everything in his power to try to make Barry quit. Barry believed that if he could make it through the first year of conditioning, learning how to fall and developing a humble perspective, he could make it as a pro wrestler.
According to tag-team partner and longtime friend Ken “Scampi” Burger, Barry has progressed greatly and is a natural at the sport.
“His repertoire of moves has gotten wider and wider over the years,” said Burger. “He is one of the most talented guys I’ve ever worked with.”
Although Barry has years of training, spent countless hours in the gym and developed an understanding of how minimize harm to opponents, wrestling takes a toll on his physical health. The folding chairs wrestlers hit each other with are purchased from office supplies stores and the tables that they fall through are made of particle board.
Like the weapons, blood in wrestling matches is real. “Blading,” as it’s known in the industry, is when a wrestler cuts himself with a hidden razorblade during a match and forces blood to drip from the open wound. Normally hidden under wrist-tape or sweat bands, the razor is kept safely tucked in until the predetermined point in a match when the wrestler discretely cuts his own face.
To make the blood more obvious, Barry prepares before a match by practicing a few industry standard techniques.
“One trick is drinking a few beers before a match, it thins the blood. Some guys take a couple of Asprin too,” Barry said.
He tries his best to keep his wrestling life and his academic life separate, but every weekend he cannot avoid them colliding.
“On a Saturday when I should be working on a project I’m driving to the middle of nowhere Massachusetts to wrestle in a show,” said Barry. “Then I’ll spend Sunday laid up in bed recovering.”
Barry does not wrestle for the money primarily because he only makes about $100 per show. According to ProWrestling.com, an all encompassing informative Web site about the culture of professional wrestling, even some of the most unknown televised wrestlers make over $50,000 per year. Barry wrestles because he loves it and, as Burger explains, wrestling is like a drug.
“The boys call it ‘the itch,’” he said. “Wrestling gets under your skin and you can never really quit.”
Barry’s teacher for example, “Mikey Whipwreck” is now in his late 30’s and is currently scheduled for his fourth retirement match.
Of the four major televised professional leagues, (WWE, ECW, TNA and ROH) there are over 200 professional wrestlers. However, Barry is one of the thousands of up and coming athletes supported by one of the hundreds of independent leagues around the world.
Barry’s form of wrestling is misunderstood by some and written off as “fake” by many. After hearing about what Barry puts himself through every weekend, 21-year-old New Paltz student Melissa Kaiser said that she “could never imagine why anybody would do that to themselves.”
When asked why he still chooses to wrestle considering the toll it takes on his body, Barry explained that regardless of his rationale, people who don’t understand the sport will not believe him.
“If you don’t like pro wrestling, no explanation will ever do. If you like pro wrestling no explanation is ever necessary,” Barry said.
Tuesday, November 10, 2009
40 Under 40 - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The Greater Southern Dutchess Chamber of Commerce will honor 40 professionals for their philanthropy, community service and professional excellent at the fifth annual Forty Under 40 Awards.
Also known as The Shaker Awards, local professionals between the ages of 18 and 40 are nominated until Dec. 31 via the Chamber’s website (http://www.gsdcc.org). Anybody can nominate clients, colleagues and coworkers to be chosen in January and celebrated on Mar. 8 at the Mid-Hudson Civic Center.
Self-nominations are also welcome, said Ann Meagher, President and CEO of the Greater Southern Dutchess Chamber of Commerce.
Forty Under 40 Award winners are chosen from a pool of 80 to 100 entries and judged on three criteria: career accomplishments, professional expertise and community involvement. The judging committee, made up of past Forty Under 40 winners, also considers any unique aspects that might make nominees stand out.
“It would be a mistake if we tried to put people into really rigid packages because people aren’t like that,” said Meagher. “We’re really looking for the full package of leadership.”
Past winners are chosen to judge the competition due to the diversity of professions and backgrounds of nominees. According to Meagher, nominees range in professions from small business owners to accountants to firefighters.
According to a press release, the ultimate goal of this award is to “recognize business people under the age of 40 who balance bottom line results with a desire to participate in charitable and community activities.”
Meagher said “anyone under the age of 40 who has done incredible things in their community” is eligible for the Forty Under 40 Awards.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The Greater Southern Dutchess Chamber of Commerce will honor 40 professionals for their philanthropy, community service and professional excellent at the fifth annual Forty Under 40 Awards.
Also known as The Shaker Awards, local professionals between the ages of 18 and 40 are nominated until Dec. 31 via the Chamber’s website (http://www.gsdcc.org). Anybody can nominate clients, colleagues and coworkers to be chosen in January and celebrated on Mar. 8 at the Mid-Hudson Civic Center.
Self-nominations are also welcome, said Ann Meagher, President and CEO of the Greater Southern Dutchess Chamber of Commerce.
Forty Under 40 Award winners are chosen from a pool of 80 to 100 entries and judged on three criteria: career accomplishments, professional expertise and community involvement. The judging committee, made up of past Forty Under 40 winners, also considers any unique aspects that might make nominees stand out.
“It would be a mistake if we tried to put people into really rigid packages because people aren’t like that,” said Meagher. “We’re really looking for the full package of leadership.”
Past winners are chosen to judge the competition due to the diversity of professions and backgrounds of nominees. According to Meagher, nominees range in professions from small business owners to accountants to firefighters.
According to a press release, the ultimate goal of this award is to “recognize business people under the age of 40 who balance bottom line results with a desire to participate in charitable and community activities.”
Meagher said “anyone under the age of 40 who has done incredible things in their community” is eligible for the Forty Under 40 Awards.
New Paltz Celebration of the Arts - for the Pougkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The word “Art” encompasses more than just drawing and painting, and this fact is recognized and celebrated annually at The Celebration of the Arts (COTA) festival in New Paltz.
Amongst stone houses dating back to the colonization of America, historic Huguenot Street is this year’s venue for hundreds of fine artists, musicians, theater groups, authors, poets, silent auctions, food venders, and children’s activities on Oct. 10.
Alongside the founding of the primary ideology of the festival, the first COTA was produced three years ago by then 15-year-old Noelle Mc Entee at nearby Hasbrouck Park. The initial goal was to celebrate artists of all disciplines and stages in their careers. COTA is currently pursuing, and does not intend on changing that mission.
Although the idea of showcasing a myriad of artists is the predominant theme, artists will also enjoy sharing and networking with each other. According to COTA’s fine art coordinator Melanie Cronin, the networking aspect is important to participating artists.
“Having artists of different skill levels together on one day might lead to meeting someone you never would have, which leads to the next opportunity… artists [have] ended up in galleries due to participation in this,” said Cronin.
Participants as well as guests are encouraged to talk and mingle with neighbors and the eclectic spectrum of talent.
Illustrative painter Eileen Brand Hedley holds the social aspect of COTA as most exciting.
“[COTA] is a good way to check out other peoples’ work… I get inspired,” she said.
The diverse range of exhibitions will forge a unique experience with respect to many different artistic genres. Although paints and canvases are prominent, performances from East Indian dancers, rock and rollers, jazz ensembles, Mexican “folkloric dancers,” and many more will be featured.
The main attraction is Oct. 10, however the festivities have already begun with an attraction called “COTA Corridors.” Throughout the month of September and until Oct. 10, art installations are hung in windows of businesses throughout downtown New Paltz. This gives community members an idea of what to expect should they attend the COTA festival.
SUNY New Paltz Art Education major Karissa Gropper has noticed part of COTA Corridors at a local pizzeria and is now excited about the event. She recognized some artists’ names as former New Paltz students and wondered if her future could be similar.
“I found it interesting to see some people who have gone through the same program and the same process as I’m going through,” said Gropper. “It’s cool to see what kind of art is going on in my own area… I would love to be part of this festival at some point.”
Gropper also noted that this event could have more of an impact on local residents if the school were involved. She was surprised that not one professor told her about the event. Promotional fliers and posters on campus, to her knowledge, were non-existent.
However, Gropper remains confident that the event will be a learning experience for those who attend.
“I like that anyone can apply to be in it…” said Gropper. “There’s going to be a lot of variety.”
COTA is a multifaceted event for the enjoyment of all age groups and interests. Cronin was unable to pinpoint her favorite aspect of the festival.
“The entire event I think really presents well as a whole,” said Cronin. “There isn’t a piece that surpasses the other.”
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The word “Art” encompasses more than just drawing and painting, and this fact is recognized and celebrated annually at The Celebration of the Arts (COTA) festival in New Paltz.
Amongst stone houses dating back to the colonization of America, historic Huguenot Street is this year’s venue for hundreds of fine artists, musicians, theater groups, authors, poets, silent auctions, food venders, and children’s activities on Oct. 10.
Alongside the founding of the primary ideology of the festival, the first COTA was produced three years ago by then 15-year-old Noelle Mc Entee at nearby Hasbrouck Park. The initial goal was to celebrate artists of all disciplines and stages in their careers. COTA is currently pursuing, and does not intend on changing that mission.
Although the idea of showcasing a myriad of artists is the predominant theme, artists will also enjoy sharing and networking with each other. According to COTA’s fine art coordinator Melanie Cronin, the networking aspect is important to participating artists.
“Having artists of different skill levels together on one day might lead to meeting someone you never would have, which leads to the next opportunity… artists [have] ended up in galleries due to participation in this,” said Cronin.
Participants as well as guests are encouraged to talk and mingle with neighbors and the eclectic spectrum of talent.
Illustrative painter Eileen Brand Hedley holds the social aspect of COTA as most exciting.
“[COTA] is a good way to check out other peoples’ work… I get inspired,” she said.
The diverse range of exhibitions will forge a unique experience with respect to many different artistic genres. Although paints and canvases are prominent, performances from East Indian dancers, rock and rollers, jazz ensembles, Mexican “folkloric dancers,” and many more will be featured.
The main attraction is Oct. 10, however the festivities have already begun with an attraction called “COTA Corridors.” Throughout the month of September and until Oct. 10, art installations are hung in windows of businesses throughout downtown New Paltz. This gives community members an idea of what to expect should they attend the COTA festival.
SUNY New Paltz Art Education major Karissa Gropper has noticed part of COTA Corridors at a local pizzeria and is now excited about the event. She recognized some artists’ names as former New Paltz students and wondered if her future could be similar.
“I found it interesting to see some people who have gone through the same program and the same process as I’m going through,” said Gropper. “It’s cool to see what kind of art is going on in my own area… I would love to be part of this festival at some point.”
Gropper also noted that this event could have more of an impact on local residents if the school were involved. She was surprised that not one professor told her about the event. Promotional fliers and posters on campus, to her knowledge, were non-existent.
However, Gropper remains confident that the event will be a learning experience for those who attend.
“I like that anyone can apply to be in it…” said Gropper. “There’s going to be a lot of variety.”
COTA is a multifaceted event for the enjoyment of all age groups and interests. Cronin was unable to pinpoint her favorite aspect of the festival.
“The entire event I think really presents well as a whole,” said Cronin. “There isn’t a piece that surpasses the other.”
Disability Mentoring Day - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Disability Mentoring Day (DMD) was celebrated by Highland and Marlboro school districts with a three-day event schedule geared toward helping disabled individuals find niches within modern work environments.
Sponsored by the American Association for People with Disabilities (AAPD), DMD is celebrated annually on the third Wednesday in October. This year, Darden Restaurants and Dutchess County Outreach collectively sponsored mentoring events on Oct. 19, 20 and 22.
Students from Highland and Marlboro school districts attended job-shadowing events, etiquette presentations and lunch at Darden Restaurants’ Red Lobster and Olive Garden in Poughkeepsie on Oct. 19 and 20.
Students Nick Hoskins and Ann Marie Cusack observed the daily routines of chefs as well as participated in hands-on activities. According to Michael Milliman, Transition Coordinator for Highland and Marlboro school districts, students were excited about finding a possible career as well as simply being at a restaurant.
“Some of them had never gone out to dinner at a restaurant before,” said Milliman. “For them it was something that they had been looking forward to for weeks.”
Mentoring is the gateway to independence for people with disabilities in terms of forgoing reliance on public benefits and finding work, said David Hale, Program Manager for the AAPD.
DMD also helps people with disabilities become more comfortable in their own communities with respect to social interactions and becoming comfortable in work environments.
Many of the Highland and Marlboro students have social anxieties, said Milliman. This program is “making them more well-rounded people just in their daily living.”
The Oct. 22 visit to Dutchess County Outreach was based entirely on community. Disabled students spent the day at the Lunch Box food bank in Poughkeepsie serving meals to the homeless in hopes of bringing a sense of community awareness to students as well as aiding the local homeless.
Similar to its impact on students, DMD can have advantageous implications for employers who may not know much about the disabled community.
“Job seekers are learning skills and the mentors themselves are learning about disabilities which helps change the culture in a workplace to be more accepting and understanding of workers with disabilities,” said Hale.
In Milliman’s opinion, this year’s participants had a great time and the events were successful. Hoskins and Cusack both “came away with a heightened interest in being a chef,” Milliman said.
DMD is an introductory program designed for job seekers to gain preliminary experience and build their resumes. As Hale explained, anybody is welcome to participate.
“That’s the magical thing about mentoring,” he said. “No matter how old or professionally developed you are, people still need mentors in their lives to sort of make the most of their own career.”
According to AAPD’s website, DMD connects nearly 20,000 job seekers with thousands of employers in every U.S. state and territory and in more than 24 countries worldwide each year.
“If you want to work and you self-identify as a person with a disability – welcome to our program,” said Hale.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Disability Mentoring Day (DMD) was celebrated by Highland and Marlboro school districts with a three-day event schedule geared toward helping disabled individuals find niches within modern work environments.
Sponsored by the American Association for People with Disabilities (AAPD), DMD is celebrated annually on the third Wednesday in October. This year, Darden Restaurants and Dutchess County Outreach collectively sponsored mentoring events on Oct. 19, 20 and 22.
Students from Highland and Marlboro school districts attended job-shadowing events, etiquette presentations and lunch at Darden Restaurants’ Red Lobster and Olive Garden in Poughkeepsie on Oct. 19 and 20.
Students Nick Hoskins and Ann Marie Cusack observed the daily routines of chefs as well as participated in hands-on activities. According to Michael Milliman, Transition Coordinator for Highland and Marlboro school districts, students were excited about finding a possible career as well as simply being at a restaurant.
“Some of them had never gone out to dinner at a restaurant before,” said Milliman. “For them it was something that they had been looking forward to for weeks.”
Mentoring is the gateway to independence for people with disabilities in terms of forgoing reliance on public benefits and finding work, said David Hale, Program Manager for the AAPD.
DMD also helps people with disabilities become more comfortable in their own communities with respect to social interactions and becoming comfortable in work environments.
Many of the Highland and Marlboro students have social anxieties, said Milliman. This program is “making them more well-rounded people just in their daily living.”
The Oct. 22 visit to Dutchess County Outreach was based entirely on community. Disabled students spent the day at the Lunch Box food bank in Poughkeepsie serving meals to the homeless in hopes of bringing a sense of community awareness to students as well as aiding the local homeless.
Similar to its impact on students, DMD can have advantageous implications for employers who may not know much about the disabled community.
“Job seekers are learning skills and the mentors themselves are learning about disabilities which helps change the culture in a workplace to be more accepting and understanding of workers with disabilities,” said Hale.
In Milliman’s opinion, this year’s participants had a great time and the events were successful. Hoskins and Cusack both “came away with a heightened interest in being a chef,” Milliman said.
DMD is an introductory program designed for job seekers to gain preliminary experience and build their resumes. As Hale explained, anybody is welcome to participate.
“That’s the magical thing about mentoring,” he said. “No matter how old or professionally developed you are, people still need mentors in their lives to sort of make the most of their own career.”
According to AAPD’s website, DMD connects nearly 20,000 job seekers with thousands of employers in every U.S. state and territory and in more than 24 countries worldwide each year.
“If you want to work and you self-identify as a person with a disability – welcome to our program,” said Hale.
David Haines magic - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Magician David Haines has been showcasing his Las Vegas style illusions across the globe from casinos to cruise ships, from Hollywood to British Columbia since 1990.
On Saturday Oct. 17, Haines will stage a grandiose “illusion spectacular” at the Mid-Hudson Civic Center. Born and raised in Poughkeepsie, this is the first time in 10 years that Haines will perform in his home town and he plans on making it an unforgettable evening.
Haines found magic at the age of eight and has never looked back. As an up and coming magician, he joined the Poughkeepsie chapter (Assembly #35) of the national organization, the Society of American Magicians. As a member, Haines took an oath of respect, fellowship, and commitment to the elevation of the art of magic.
According to the dean of the Society of American Magicians, George Schindler, members of local branches, or “assemblies” are assured camaraderie and a constant stream of idea sharing within local magic communities.
Since cultivating his career locally and internationally, Haines has forged a style based on gaudy performances akin to Las Vegas-style magic productions. Despite the magnitude of his show, Haines maintains fluidity and confidence.
“His style is very smooth, pleasant, and entertaining… [His act] flows very smoothly from one trick to the next,” said Ed Fitchett, a member of the Society of American Magicians – Assembly #35 – since 1942. Fitchett has watched Haines evolve as a magician and is excited about his upcoming gig.
“I’m looking forward to it,” he said. “I’ve got tickets right in the front row.”
According to Haines, the Dutchess County area has never seen anything like the show he is planning. Amongst family, friends, and strangers, Haines wants to “bring Hollywood and Vegas to Dutchess County” through the integration of elaborate sets, large-scale illusions and flashy presentation.
Due to the size and sophistication of this production, teams have spent eight months preparing for the show and will take three full days to set up the venue. According to Haines, the technical aspects of his performance must be executed with precision.
“If the finest details are not in place, there could be serious safety issues,” said Haines.
Haines’s attention to detail, according to Assembly #35’s current president Derrin Berger implies a certain amount of professionalism.
“A lot of time, work and effort go into what he’s doing – it shows,” said Berger. “He cares about what he does. Everything is always very professional.”
This professionalism will become apparent in illusions including, but not limited to: people appearing, disappearing, floating in air, cut in half, close-up magic, comedy, mentalism, a concert-style sound system, intricate lighting fixtures, elaborate backdrops, searchlights beaming miles into the sky outside the entrance, and plenty of audience participation.
Haines holds crowd interactivity as an integral part of his act.
“No matter where in the world I perform, I would just like to entertain,” said Haines “… to know [the audience] can smile and enjoy is magic for me.”
When asked if he was preparing anything special for his homecoming performance, Haines replied simply: “Yes.”
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Magician David Haines has been showcasing his Las Vegas style illusions across the globe from casinos to cruise ships, from Hollywood to British Columbia since 1990.
On Saturday Oct. 17, Haines will stage a grandiose “illusion spectacular” at the Mid-Hudson Civic Center. Born and raised in Poughkeepsie, this is the first time in 10 years that Haines will perform in his home town and he plans on making it an unforgettable evening.
Haines found magic at the age of eight and has never looked back. As an up and coming magician, he joined the Poughkeepsie chapter (Assembly #35) of the national organization, the Society of American Magicians. As a member, Haines took an oath of respect, fellowship, and commitment to the elevation of the art of magic.
According to the dean of the Society of American Magicians, George Schindler, members of local branches, or “assemblies” are assured camaraderie and a constant stream of idea sharing within local magic communities.
Since cultivating his career locally and internationally, Haines has forged a style based on gaudy performances akin to Las Vegas-style magic productions. Despite the magnitude of his show, Haines maintains fluidity and confidence.
“His style is very smooth, pleasant, and entertaining… [His act] flows very smoothly from one trick to the next,” said Ed Fitchett, a member of the Society of American Magicians – Assembly #35 – since 1942. Fitchett has watched Haines evolve as a magician and is excited about his upcoming gig.
“I’m looking forward to it,” he said. “I’ve got tickets right in the front row.”
According to Haines, the Dutchess County area has never seen anything like the show he is planning. Amongst family, friends, and strangers, Haines wants to “bring Hollywood and Vegas to Dutchess County” through the integration of elaborate sets, large-scale illusions and flashy presentation.
Due to the size and sophistication of this production, teams have spent eight months preparing for the show and will take three full days to set up the venue. According to Haines, the technical aspects of his performance must be executed with precision.
“If the finest details are not in place, there could be serious safety issues,” said Haines.
Haines’s attention to detail, according to Assembly #35’s current president Derrin Berger implies a certain amount of professionalism.
“A lot of time, work and effort go into what he’s doing – it shows,” said Berger. “He cares about what he does. Everything is always very professional.”
This professionalism will become apparent in illusions including, but not limited to: people appearing, disappearing, floating in air, cut in half, close-up magic, comedy, mentalism, a concert-style sound system, intricate lighting fixtures, elaborate backdrops, searchlights beaming miles into the sky outside the entrance, and plenty of audience participation.
Haines holds crowd interactivity as an integral part of his act.
“No matter where in the world I perform, I would just like to entertain,” said Haines “… to know [the audience] can smile and enjoy is magic for me.”
When asked if he was preparing anything special for his homecoming performance, Haines replied simply: “Yes.”
Make a Difference Day '09 and Follow-Up - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Make A Difference Day
Make a Difference Day, the most encompassing volunteer day in America, endorses community service from individuals and organizations across the country.
The State University of New Paltz is among the organizations that will be servicing local communities on October 24 as they have for the past six years.
The annual event is sponsored by USA Weekend and according to their Website; 3 million volunteers participated in 2008.
Last year, students and staff at SUNY New Paltz collected food for Meals on Wheels, organized a crafting project for senior citizens and offered a free concert featuring student musical groups from a capella to jazz.
“Overall, we were very happy with our participation and out ability to do what we were able to achieve,” said Michael Patterson, director of student activities and union services at SUNY New Paltz. “We had a lot of participation… and students had a great time.”
This year, Patterson and SUNY New Paltz are planning a number of volunteer activities for students. Among them are a collection campaign leading up to Make A Difference Day and community service activities on the day of the event.
One group of students will be helping the Family of New Paltz stock food in their pantry while another group will be at the New Paltz Youth Center setting up a haunted house.
While Patterson is confident that the students’ collective efforts will do a great deal for the local community, he also hopes that this will not be the last time students participate in volunteer activities.
“Our hope is that we’re making connections for students so that they have an opportunity to go back again,” said Patterson.
Junior at SUNY New Paltz, Christ Thurston is optimistic about this year’s endeavors.
“All of the activities we have planned are going to increase the sense of community amongst our volunteers and provide a great service to the surrounding community,” said Thurston.
Patterson chooses to have the college participate in Make a Difference Day because he believes both students and community members alike will benefit from the experience.
“We think it’s a great opportunity for students to get involved in service,” said Patterson. “It’s a good way to send a message of being a good neighbor in terms of giving back...”
SUNY New Paltz is among the organizations that will notify USA Weekend of their participation on Make A Difference Day. Ten groups, organizations, or individuals will be selected as national honorees and will be featured in the April 2009 edition of USA Weekend.
Alongside the honorable mention, Newman’s Own will donate $10,000 to each of the 10 honorees’ favorite charities.
Volunteer services can be anything from collecting food for a local pantry to rebuilding natural disaster-effected buildings and homes. According to USA Weekend’s Website, being a part of Make A Difference day is inherently simple:
“If you want to participate, just help someone else on the next Make A Difference Day, Saturday, October 24, 2009.”
Make A Difference Day Follow-UP
Communities across the Hudson Valley are preparing for Make a Difference Day, USA Weekend magazine’s national volunteer day.
Individuals and organizations from Mahopac, Newburgh, Rosendale, and Stanfordville are among the communities planning volunteer activities this Saturday, Oct. 24.
According to USA Weekend’s Web site, volunteer projects can range from “collecting truckloads of clothing for the homeless, or… spending an afternoon helping an elderly neighbor or relative.”
Mahopac Central School District in Putnam County will host basketball games, activities and clinics for children of Green Chimneys. The Brewster-based organization is geared toward restoring possibilities for “children with emotional, behavioral, social and learning challenges.” Forty children from Green Chimneys will convene at Mahopac Middle School at 8:30 a.m. for a day of basketball-focused fun.
Sheila Diasparra, Secretary of the Mahopac Athletic Department and organizer of the Make a Difference Day project, maintains that making a difference does not have to be a large production.
“It’s very easy to make a difference,” she said. “It doesn’t take a whole lot of effort to do something tremendous.”
Like Mahopac school district, M, Clifford Miller School in Ulster County and Middle Hope Elementary School in Orange County have plans to give back to local communities.
At M, Clifford Miller School students will create “Art Bags” in the style of artist, Keith Haring. With donations from a local grocery store, students will paint paper bags with respect the portrayal of good deeds ways in which people can make a difference. Bags are then distributed to community members in hopes of facilitating public awareness and civic pride.
Middle Hope Elementary will involve kindergarten through second grade students in visiting a local hospital and animal shelters. Children will make cards and bring doughnuts and cookies to hospitalized veterans as well as collecting canned food to bring to a local animal shelter.
Although schools provide an outlet for volunteer involvement, individuals can also donate their time and effort toward improving community health. Barbara Carson, lifetime Dutchess County resident organized the Hunn’s Lake Food Pantry Run in Stanfordville with support from the Mid-Hudson Road Runners Club, a Lagrangeville “non-profit organization dedicated to supporting running and racing in the Mid-Hudson Valley.”
Participants must donate a bag of non-perishable groceries to be given to local food pantries. This is the second year that Carson is organizing this event in attempt to give back to the community that helped during her time of need.
“It was a struggle between money for child care and bills. I worked 3 jobs and just couldn’t cut it,” she said. “It just feels good to help people when I’ve bee in that position.”
Non-perishable food donations will also be accepted at Fishkill Town Hall, Hopewell Hose Fire House, Stanfordville Town Hall, or directly through Carson.
According to Carson, giving back to the community “just feels like the right thing to do.”
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Make A Difference Day
Make a Difference Day, the most encompassing volunteer day in America, endorses community service from individuals and organizations across the country.
The State University of New Paltz is among the organizations that will be servicing local communities on October 24 as they have for the past six years.
The annual event is sponsored by USA Weekend and according to their Website; 3 million volunteers participated in 2008.
Last year, students and staff at SUNY New Paltz collected food for Meals on Wheels, organized a crafting project for senior citizens and offered a free concert featuring student musical groups from a capella to jazz.
“Overall, we were very happy with our participation and out ability to do what we were able to achieve,” said Michael Patterson, director of student activities and union services at SUNY New Paltz. “We had a lot of participation… and students had a great time.”
This year, Patterson and SUNY New Paltz are planning a number of volunteer activities for students. Among them are a collection campaign leading up to Make A Difference Day and community service activities on the day of the event.
One group of students will be helping the Family of New Paltz stock food in their pantry while another group will be at the New Paltz Youth Center setting up a haunted house.
While Patterson is confident that the students’ collective efforts will do a great deal for the local community, he also hopes that this will not be the last time students participate in volunteer activities.
“Our hope is that we’re making connections for students so that they have an opportunity to go back again,” said Patterson.
Junior at SUNY New Paltz, Christ Thurston is optimistic about this year’s endeavors.
“All of the activities we have planned are going to increase the sense of community amongst our volunteers and provide a great service to the surrounding community,” said Thurston.
Patterson chooses to have the college participate in Make a Difference Day because he believes both students and community members alike will benefit from the experience.
“We think it’s a great opportunity for students to get involved in service,” said Patterson. “It’s a good way to send a message of being a good neighbor in terms of giving back...”
SUNY New Paltz is among the organizations that will notify USA Weekend of their participation on Make A Difference Day. Ten groups, organizations, or individuals will be selected as national honorees and will be featured in the April 2009 edition of USA Weekend.
Alongside the honorable mention, Newman’s Own will donate $10,000 to each of the 10 honorees’ favorite charities.
Volunteer services can be anything from collecting food for a local pantry to rebuilding natural disaster-effected buildings and homes. According to USA Weekend’s Website, being a part of Make A Difference day is inherently simple:
“If you want to participate, just help someone else on the next Make A Difference Day, Saturday, October 24, 2009.”
Make A Difference Day Follow-UP
Communities across the Hudson Valley are preparing for Make a Difference Day, USA Weekend magazine’s national volunteer day.
Individuals and organizations from Mahopac, Newburgh, Rosendale, and Stanfordville are among the communities planning volunteer activities this Saturday, Oct. 24.
According to USA Weekend’s Web site, volunteer projects can range from “collecting truckloads of clothing for the homeless, or… spending an afternoon helping an elderly neighbor or relative.”
Mahopac Central School District in Putnam County will host basketball games, activities and clinics for children of Green Chimneys. The Brewster-based organization is geared toward restoring possibilities for “children with emotional, behavioral, social and learning challenges.” Forty children from Green Chimneys will convene at Mahopac Middle School at 8:30 a.m. for a day of basketball-focused fun.
Sheila Diasparra, Secretary of the Mahopac Athletic Department and organizer of the Make a Difference Day project, maintains that making a difference does not have to be a large production.
“It’s very easy to make a difference,” she said. “It doesn’t take a whole lot of effort to do something tremendous.”
Like Mahopac school district, M, Clifford Miller School in Ulster County and Middle Hope Elementary School in Orange County have plans to give back to local communities.
At M, Clifford Miller School students will create “Art Bags” in the style of artist, Keith Haring. With donations from a local grocery store, students will paint paper bags with respect the portrayal of good deeds ways in which people can make a difference. Bags are then distributed to community members in hopes of facilitating public awareness and civic pride.
Middle Hope Elementary will involve kindergarten through second grade students in visiting a local hospital and animal shelters. Children will make cards and bring doughnuts and cookies to hospitalized veterans as well as collecting canned food to bring to a local animal shelter.
Although schools provide an outlet for volunteer involvement, individuals can also donate their time and effort toward improving community health. Barbara Carson, lifetime Dutchess County resident organized the Hunn’s Lake Food Pantry Run in Stanfordville with support from the Mid-Hudson Road Runners Club, a Lagrangeville “non-profit organization dedicated to supporting running and racing in the Mid-Hudson Valley.”
Participants must donate a bag of non-perishable groceries to be given to local food pantries. This is the second year that Carson is organizing this event in attempt to give back to the community that helped during her time of need.
“It was a struggle between money for child care and bills. I worked 3 jobs and just couldn’t cut it,” she said. “It just feels good to help people when I’ve bee in that position.”
Non-perishable food donations will also be accepted at Fishkill Town Hall, Hopewell Hose Fire House, Stanfordville Town Hall, or directly through Carson.
According to Carson, giving back to the community “just feels like the right thing to do.”
Mohonk Preserve Accomodates Seniors - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The Mohonk Preserve has always been a place in which visitors of all ages and demographic orientation can hike, climb, bicycle, and enjoy the beauty of the Shawangunk Mountains.
In conjunction with the Ulster Savings Charitable Foundation, the Mohonk Preserve will invest money from their newly secured grant to make the preserve more senior-citizen-friendly.
The ideology behind this “Seniors Project” is to make currently existing programs more accommodating to senior citizens as well as create new programs in which seniors can act as both participants and organizers.
This idea spawned due to the increasing number of senior citizens in Ulster County coupled with the preserve’s desire to bring all demographics to the outdoors.
“There is definitely a growing senior population in the county,” said Nadia Steinzor, Communications Director at Mohonk. “So we want to do our best and our part to connect them to the amazing outdoor resources that the county has to offer…”
A main focus of the “Seniors Project” is connecting seniors with younger generations. Ideally, the generational gap will be obscured by a mutual appreciation for the outdoors as well as spending time with loved ones.
“Part of our thinking is that grandparents have a lot of free time and are spending a lot of time with their grandkids. A lot of people of the grandparent generation grew up spending time outdoors and we’re doing a lot at the preserve to try to inspire the ideas of studying and enjoying nature,” said Steinzor.
Details regarding the adaptation of existing programs as well as the introduction of new programs are currently being hammered out and will kick off in 2010.
According to Jeffrey Wood, Executive Director of the Ulster Savings Charitable Foundation, the organization has nothing but confidence in the Mohonk Preserve’s upcoming endeavors.
“[The ‘Senior Project’] is an opportunity to expand their reach and obtain more users,” said Wood. “They’re a community outreach organization and this gives them a great opportunity to do that.”
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The Mohonk Preserve has always been a place in which visitors of all ages and demographic orientation can hike, climb, bicycle, and enjoy the beauty of the Shawangunk Mountains.
In conjunction with the Ulster Savings Charitable Foundation, the Mohonk Preserve will invest money from their newly secured grant to make the preserve more senior-citizen-friendly.
The ideology behind this “Seniors Project” is to make currently existing programs more accommodating to senior citizens as well as create new programs in which seniors can act as both participants and organizers.
This idea spawned due to the increasing number of senior citizens in Ulster County coupled with the preserve’s desire to bring all demographics to the outdoors.
“There is definitely a growing senior population in the county,” said Nadia Steinzor, Communications Director at Mohonk. “So we want to do our best and our part to connect them to the amazing outdoor resources that the county has to offer…”
A main focus of the “Seniors Project” is connecting seniors with younger generations. Ideally, the generational gap will be obscured by a mutual appreciation for the outdoors as well as spending time with loved ones.
“Part of our thinking is that grandparents have a lot of free time and are spending a lot of time with their grandkids. A lot of people of the grandparent generation grew up spending time outdoors and we’re doing a lot at the preserve to try to inspire the ideas of studying and enjoying nature,” said Steinzor.
Details regarding the adaptation of existing programs as well as the introduction of new programs are currently being hammered out and will kick off in 2010.
According to Jeffrey Wood, Executive Director of the Ulster Savings Charitable Foundation, the organization has nothing but confidence in the Mohonk Preserve’s upcoming endeavors.
“[The ‘Senior Project’] is an opportunity to expand their reach and obtain more users,” said Wood. “They’re a community outreach organization and this gives them a great opportunity to do that.”
Naughty By Nature in Poughkeepsie - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Tearing up Billboard and R&B/Hip Hop Charts since 1991, Naughty by Nature has been dubbed the “Kings of the Anthem.” Uninterested in abdicating their throne, the hip hop trio is releasing a new album and playing a string of “Legends of Hip Hop” shows in the upcoming weeks.
On Saturday September 12, 2009, accompanied by Coolio, Tone-Loc and Rob Base, Naughty by Nature will take the stage at the Mid-Hudson Civic Center with its original lineup: Treatch, Vinnie, and DJ Kaygee.
The group met at East Orange High School in East Orange, New Jersey in the 1980s. The three grew up in what they consider “the hood,” and were surrounded by the hip-hop lifestyle.
For Naughty by Nature, music evolved from a hobby to a career when their original act was discovered by rapper/producer Queen Latifa at a high school talent show. After being signed to Latifa’s label, Tommy Boy Records, they released their self-titled debut album in 1991… it was certified platinum by ’92.
The group did not expect sudden success and certainly never anticipated making a living out of music.
“I never anticipated making music for a living… I’m a hobbyist,” said Vinnie. “I got involved through things like beat-boxing and break-dancing. When it came time for music we all got together for a talent show and It went over so well that it was the challenge of our high school peers saying we couldn’t make it as a band that really got me involved in music and the challenge of being successful.”
Although the trio toured together for years, they have worked on personal projects as well. DJ Kaygee has not recorded with the band since their ‘99 album Nineteen Naughty Nine. He has instead been concentrating on the production end of the music industry for artists like Zhane, Notorious B.I.G. and Luther Vanross.
Treatch has split concentration between hip-hop and film acting and Vinnie has been concentrating on business ventures like the Naughty by Nature merchandise store and a new mobile device by Windows. He considers himself the “Russell Simmons” of the band. Regardless of Kay Gee’s absence, Treatch and Vinnie have never stopped touring together.
“We tour every month of the year…. Some months are lighter than others but basically we tour all year,” said Vinnie.
Naughty by Nature is accompanying their “Legends of Hip Hop” tour with the release of a new record called Anthem Inc. this fall. Like the tour, this will be the group’s first endeavor since 1999 with Treatch, Vinnie, and DJ Kaygee contributing. Although singles like “Get to Know Me Better” give off an edgier vibe than their early ‘90’s party hits, Kaygee assured that the new sound is simply a product of creativity and evolving production techniques.
Vinnie agreed by stating that “With music and being creative you can’t get boxed into one shell. Being creative is about doing something that you feel comfortable with… something you should try to attack…”
Although the members of Naughty by Nature never expected their lives o pan out the ways that they did, their September 12 “Legends of Hip Hop” show at the Mid-Hudson Civic Center will certainly be a milestone for the hobbyists turned seasoned-veterans.
“This was a hobby turned career turned… your peers and fans calling you “legends…,” said Vinnie. “It’s something we never anticipated and something that we never called ourselves. It’s just an accolade that I guess was earned and put upon us by the people.”
This article was written for a concert that was canceled two days beforehand.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Tearing up Billboard and R&B/Hip Hop Charts since 1991, Naughty by Nature has been dubbed the “Kings of the Anthem.” Uninterested in abdicating their throne, the hip hop trio is releasing a new album and playing a string of “Legends of Hip Hop” shows in the upcoming weeks.
On Saturday September 12, 2009, accompanied by Coolio, Tone-Loc and Rob Base, Naughty by Nature will take the stage at the Mid-Hudson Civic Center with its original lineup: Treatch, Vinnie, and DJ Kaygee.
The group met at East Orange High School in East Orange, New Jersey in the 1980s. The three grew up in what they consider “the hood,” and were surrounded by the hip-hop lifestyle.
For Naughty by Nature, music evolved from a hobby to a career when their original act was discovered by rapper/producer Queen Latifa at a high school talent show. After being signed to Latifa’s label, Tommy Boy Records, they released their self-titled debut album in 1991… it was certified platinum by ’92.
The group did not expect sudden success and certainly never anticipated making a living out of music.
“I never anticipated making music for a living… I’m a hobbyist,” said Vinnie. “I got involved through things like beat-boxing and break-dancing. When it came time for music we all got together for a talent show and It went over so well that it was the challenge of our high school peers saying we couldn’t make it as a band that really got me involved in music and the challenge of being successful.”
Although the trio toured together for years, they have worked on personal projects as well. DJ Kaygee has not recorded with the band since their ‘99 album Nineteen Naughty Nine. He has instead been concentrating on the production end of the music industry for artists like Zhane, Notorious B.I.G. and Luther Vanross.
Treatch has split concentration between hip-hop and film acting and Vinnie has been concentrating on business ventures like the Naughty by Nature merchandise store and a new mobile device by Windows. He considers himself the “Russell Simmons” of the band. Regardless of Kay Gee’s absence, Treatch and Vinnie have never stopped touring together.
“We tour every month of the year…. Some months are lighter than others but basically we tour all year,” said Vinnie.
Naughty by Nature is accompanying their “Legends of Hip Hop” tour with the release of a new record called Anthem Inc. this fall. Like the tour, this will be the group’s first endeavor since 1999 with Treatch, Vinnie, and DJ Kaygee contributing. Although singles like “Get to Know Me Better” give off an edgier vibe than their early ‘90’s party hits, Kaygee assured that the new sound is simply a product of creativity and evolving production techniques.
Vinnie agreed by stating that “With music and being creative you can’t get boxed into one shell. Being creative is about doing something that you feel comfortable with… something you should try to attack…”
Although the members of Naughty by Nature never expected their lives o pan out the ways that they did, their September 12 “Legends of Hip Hop” show at the Mid-Hudson Civic Center will certainly be a milestone for the hobbyists turned seasoned-veterans.
“This was a hobby turned career turned… your peers and fans calling you “legends…,” said Vinnie. “It’s something we never anticipated and something that we never called ourselves. It’s just an accolade that I guess was earned and put upon us by the people.”
This article was written for a concert that was canceled two days beforehand.
New Directions '09 - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Housed in the former residence of Poughkeepsie painter and print-maker Thomas Barrett, the Barrett Art Center will kick off the 25th annual New Directions Contemporary Art Exhibit this Saturday.
Spanning until Saturday Nov. 21, this national juried event will feature 57 pieces chosen from over 700 submissions. Among the “cutting edge” contemporary pieces are paintings, photographs, prints, sculptures, and abstract mixed media pieces.
Considering the diversity of work and the judiciary presence of Joan Young, Associate Curator of Contemporary Art at the Guggenheim Museum in Manhattan, New Directions ‘09 ensures a museum quality exhibit right on Noxon Street in Poughkeepsie.
Akin to the spectrum of work, the participants themselves come from different cities and artistic backgrounds. According to Laurie Clark, Exhibition Director at the Barrett Art Center, artists included in New Directions range from ages 18 to 80 and are from cities from Poughkeepsie to Denver, Colo.
“You get to see pieces from all over the country,” said Clark. “It gives people an opportunity to see work that they might have to go to many different galleries to see.”
According to Young, the judicial decisions were made with a focus on creating a professional atmosphere while representing each medium respectively.
“I wanted the range to represent the people who submitted work,” she said. “I think it’s a very diverse exhibition in terms of media and conceptual approaches.”
Although paintings, photographs and prints will hang beneath 175-year-old hand-carved wood door frames and adjacent to rustic 1830’s furniture, Clark is confident that the quality of work in this show will rival that of a mainstream Manhattan exhibit.
She said that the work is very professional and that “when visitors come into the art center, they’ll feel like they’re in a New York City gallery.”
Clark is also excited and enthusiastic about the 14 Hudson Valley residents whose pieces were chosen for the event.
One such artist is New Paltz resident Jim Adair. Adair’s 12-year art career has consisted of painting for leisure in his studio, teaching watercolor at the Barrett Art Center and hanging his work during their only national juried event.
Like Clark, Adair is confident about the professionalism of work in this exhibit. He is also honored that he is considered among such unique and diverse artists.
“It’s pretty high quality work,” said Adair. “… So you always feel good if you can make it in.”
The number of local artists involved in this show endorses the significance of community-oriented art centers. Community members are welcome to view and submit work, as well as study different disciplines of art at the Barrett Art Center.
“We’ve seen people start as amateur artists develop their skills, begin to show at Barrett, and then go on to show at other galleries,” said Clark. “That’s what a community art center should do.”
Although cash prizes are ultimately awarded to the three best pieces in the show, Adair does not concern himself with the possibility of money. He notes that there is little money in the art business; so hoping for recognition over cash will yield more significant rewards.
From this perspective, Adair cares little about the competitive aspect and more about the manner in which the exhibit will impact visitors as well as other artists.
“It’s going to be a nice show and people will be influenced by it,” he said. “The more the merrier in this business.”
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Housed in the former residence of Poughkeepsie painter and print-maker Thomas Barrett, the Barrett Art Center will kick off the 25th annual New Directions Contemporary Art Exhibit this Saturday.
Spanning until Saturday Nov. 21, this national juried event will feature 57 pieces chosen from over 700 submissions. Among the “cutting edge” contemporary pieces are paintings, photographs, prints, sculptures, and abstract mixed media pieces.
Considering the diversity of work and the judiciary presence of Joan Young, Associate Curator of Contemporary Art at the Guggenheim Museum in Manhattan, New Directions ‘09 ensures a museum quality exhibit right on Noxon Street in Poughkeepsie.
Akin to the spectrum of work, the participants themselves come from different cities and artistic backgrounds. According to Laurie Clark, Exhibition Director at the Barrett Art Center, artists included in New Directions range from ages 18 to 80 and are from cities from Poughkeepsie to Denver, Colo.
“You get to see pieces from all over the country,” said Clark. “It gives people an opportunity to see work that they might have to go to many different galleries to see.”
According to Young, the judicial decisions were made with a focus on creating a professional atmosphere while representing each medium respectively.
“I wanted the range to represent the people who submitted work,” she said. “I think it’s a very diverse exhibition in terms of media and conceptual approaches.”
Although paintings, photographs and prints will hang beneath 175-year-old hand-carved wood door frames and adjacent to rustic 1830’s furniture, Clark is confident that the quality of work in this show will rival that of a mainstream Manhattan exhibit.
She said that the work is very professional and that “when visitors come into the art center, they’ll feel like they’re in a New York City gallery.”
Clark is also excited and enthusiastic about the 14 Hudson Valley residents whose pieces were chosen for the event.
One such artist is New Paltz resident Jim Adair. Adair’s 12-year art career has consisted of painting for leisure in his studio, teaching watercolor at the Barrett Art Center and hanging his work during their only national juried event.
Like Clark, Adair is confident about the professionalism of work in this exhibit. He is also honored that he is considered among such unique and diverse artists.
“It’s pretty high quality work,” said Adair. “… So you always feel good if you can make it in.”
The number of local artists involved in this show endorses the significance of community-oriented art centers. Community members are welcome to view and submit work, as well as study different disciplines of art at the Barrett Art Center.
“We’ve seen people start as amateur artists develop their skills, begin to show at Barrett, and then go on to show at other galleries,” said Clark. “That’s what a community art center should do.”
Although cash prizes are ultimately awarded to the three best pieces in the show, Adair does not concern himself with the possibility of money. He notes that there is little money in the art business; so hoping for recognition over cash will yield more significant rewards.
From this perspective, Adair cares little about the competitive aspect and more about the manner in which the exhibit will impact visitors as well as other artists.
“It’s going to be a nice show and people will be influenced by it,” he said. “The more the merrier in this business.”
Met Opera - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The Metropolitan Opera House is known for its stunning renditions of the most famous operas ever composed. On Saturday, Oct. 10, The Bardavon Opera House on Market St. will be the second best seat in the house for The Met’s performance of Tosca by Giacomo Puccini.
Thanks to high definition video and satellite technology, The Bardavon and Upac will receive transmissions of select Met opera performances on their respective video screens every Saturday from Oct. 10 to May 1.
Chris Silva, Executive Director at The Bardavon describes the first installment of The Met: Live in HD as “powerful and relentless” and one of the grandest operas of all time – chock full of some of “the greatest music ever written.” He believes that the elephants, horses, and the huge number cast will help Tosca translate well to the big screen.
“I think one of the reason’s The Met us starting with [Tosca] is because it’s a real audience favorite,” said Silva.
Since the premier in 2006, The Met: Live in HD has won an Emmy Award, a Peabody Award and the IBC International Honour for Excellence for its “contribution to the creative, commercial or technical advance of the electronic media industry, on a global scale.”
According to Silva, the technology used for the transmissions creates stellar sound and picture. Dolby 5.1 surround sound is coupled with an 800-lumen projector to create a clear and concise broadcast. Ten cameras are also employed at The Met to capture different angles and give remote audience members a more unique experience.
“The HD image on the big screen is so incredibly clear,” said Silva. “… The whole movement of everything is just gorgeous.”
LaGrange resident and life-long opera fan Frank Doherty has yet to see a “Live in HD” transmission, but has seen performances at both The Met and the Bardavon and is excited about the new technology.
“I have an HD television but it’s not quite the same I guess,” said Doherty. “… I think this may be the future of the way people see opera.”
Doherty, who helped save The Bardavon from a wrecking ball over 30 years ago, believes that the Live in HD series can have beneficial impacts for The Bardavon, The Met, and the local opera community as a whole.
“This is a way to see the very best opera not live and on stage but as close as you can get,” he said. “I’m sure that the Met is making some money off of it and I’m sure they need the money too – I think it’s a great opportunity all around.”
General Manager of The Met, Peter Gelb endorses Doherty’s opinion in a recently written statement.
“Beyond [Live in HD’s] artistic value, it’s also become a valuable marketing tool, reinforcing the Met’s relationship with its global audience and helping to raise the profile of opera,” said Gelb
The Bardavon and Upac are now two of 900+ theaters in 42 countries to receive live feeds from The Met. The first performance, Tusca on Oct. 10, is one of nine operas being fed to theaters around the world.
Although this is the first year that The Bardavon and Upac are part of The Met: Live in HD, Silva is confident about the attendance and offers local opera fans a bit of advice.
“Tickets are available and people should buy soon,” he said. “I think we’re going to pack the house… I really do.”
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The Metropolitan Opera House is known for its stunning renditions of the most famous operas ever composed. On Saturday, Oct. 10, The Bardavon Opera House on Market St. will be the second best seat in the house for The Met’s performance of Tosca by Giacomo Puccini.
Thanks to high definition video and satellite technology, The Bardavon and Upac will receive transmissions of select Met opera performances on their respective video screens every Saturday from Oct. 10 to May 1.
Chris Silva, Executive Director at The Bardavon describes the first installment of The Met: Live in HD as “powerful and relentless” and one of the grandest operas of all time – chock full of some of “the greatest music ever written.” He believes that the elephants, horses, and the huge number cast will help Tosca translate well to the big screen.
“I think one of the reason’s The Met us starting with [Tosca] is because it’s a real audience favorite,” said Silva.
Since the premier in 2006, The Met: Live in HD has won an Emmy Award, a Peabody Award and the IBC International Honour for Excellence for its “contribution to the creative, commercial or technical advance of the electronic media industry, on a global scale.”
According to Silva, the technology used for the transmissions creates stellar sound and picture. Dolby 5.1 surround sound is coupled with an 800-lumen projector to create a clear and concise broadcast. Ten cameras are also employed at The Met to capture different angles and give remote audience members a more unique experience.
“The HD image on the big screen is so incredibly clear,” said Silva. “… The whole movement of everything is just gorgeous.”
LaGrange resident and life-long opera fan Frank Doherty has yet to see a “Live in HD” transmission, but has seen performances at both The Met and the Bardavon and is excited about the new technology.
“I have an HD television but it’s not quite the same I guess,” said Doherty. “… I think this may be the future of the way people see opera.”
Doherty, who helped save The Bardavon from a wrecking ball over 30 years ago, believes that the Live in HD series can have beneficial impacts for The Bardavon, The Met, and the local opera community as a whole.
“This is a way to see the very best opera not live and on stage but as close as you can get,” he said. “I’m sure that the Met is making some money off of it and I’m sure they need the money too – I think it’s a great opportunity all around.”
General Manager of The Met, Peter Gelb endorses Doherty’s opinion in a recently written statement.
“Beyond [Live in HD’s] artistic value, it’s also become a valuable marketing tool, reinforcing the Met’s relationship with its global audience and helping to raise the profile of opera,” said Gelb
The Bardavon and Upac are now two of 900+ theaters in 42 countries to receive live feeds from The Met. The first performance, Tusca on Oct. 10, is one of nine operas being fed to theaters around the world.
Although this is the first year that The Bardavon and Upac are part of The Met: Live in HD, Silva is confident about the attendance and offers local opera fans a bit of advice.
“Tickets are available and people should buy soon,” he said. “I think we’re going to pack the house… I really do.”
Taste of the Hudson Valley - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Gourmet food, internationally renowned wines, unique auction lots, live music and a backdrop of Hudson Valley foliage are just a few endearing aspects of the Taste of the Hudson Valley wine and epicurean arts festival and fund-raiser.
On Sunday Nov. 8, The Grandview in Poughkeepsie will host the 21st Taste of the Hudson Valley in hopes of raising money for current and prospective projects at the St. Francis Hospital in Poughkeepsie.
Sponsored by the St. Francis Health Care Foundation, the hospital’s philanthropic branch, the Taste of the Hudson Valley couples wines from around the world with decadent dishes from regional restaurants.
Viscount Wines and Liquor of Wappingers Falls will donate wine and restaurants from across the tri-state region will provide an all-you-can-eat array of food.
According to Nicholas Shannon, Special Events Coordinator of the St. Francis Health Care Foundation, the quantity of participating venders as well as the quality of food and wines has increased and improved apace with the duration of the event’s existence.
“Our restaurant participation has really upped this year,” said Shannon. “The quality and amount of wine and food that you’re going to get at the event…you really can’t find anywhere else.”
Venders are assigned two wines with which they must focus unique dishes. Lola’s Café and Catering of Poughkeepsie is complimenting two red wines with beef short ribs with a cauliflower puree and New Zealand baby lamb with an Indian spiced carrot puree.
Chef and Owner of Lola’s Edward Kowalski is excited about preparing his dishes as well as mingling with other chefs over their respective concoctions.
“The Taste gives us an opportunity to walk around and see what everyone else is doing,” said Kowalski. “Chefs are competitive by nature... everybody pulls out the top guns (for the Taste)”
While sampling local food and exotic wines, guests are also invited to participate in live and silent auctions benefiting St. Francis Hospital. Auction lots include travel excursions, one-of-a-kind gifts, sports and music memorabilia and bottles of wine featured at the event.
Guests and venders will also enjoy live music from the Hudson Valley’s own Michael Dell Orchestra.
Alongside fund-raising for one of the busiest trauma centers in New York State and the ever-expanding Eileen M. Hickey Cancer Center at St. Francis, the Taste of the Hudson Valley facilitates the notion of community.
According to Robert Lane, President of St. Francis Health Care Foundation, the Taste of the Hudson Valley “can either help with construction or purchasing a piece of equipment that can allow a physician to literally save someone’s life.”
“We try to do as much as we can with the community,” said Kowalski. “St. Francis is right in our back yard so we always try to do whatever we can for them.”
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
Gourmet food, internationally renowned wines, unique auction lots, live music and a backdrop of Hudson Valley foliage are just a few endearing aspects of the Taste of the Hudson Valley wine and epicurean arts festival and fund-raiser.
On Sunday Nov. 8, The Grandview in Poughkeepsie will host the 21st Taste of the Hudson Valley in hopes of raising money for current and prospective projects at the St. Francis Hospital in Poughkeepsie.
Sponsored by the St. Francis Health Care Foundation, the hospital’s philanthropic branch, the Taste of the Hudson Valley couples wines from around the world with decadent dishes from regional restaurants.
Viscount Wines and Liquor of Wappingers Falls will donate wine and restaurants from across the tri-state region will provide an all-you-can-eat array of food.
According to Nicholas Shannon, Special Events Coordinator of the St. Francis Health Care Foundation, the quantity of participating venders as well as the quality of food and wines has increased and improved apace with the duration of the event’s existence.
“Our restaurant participation has really upped this year,” said Shannon. “The quality and amount of wine and food that you’re going to get at the event…you really can’t find anywhere else.”
Venders are assigned two wines with which they must focus unique dishes. Lola’s Café and Catering of Poughkeepsie is complimenting two red wines with beef short ribs with a cauliflower puree and New Zealand baby lamb with an Indian spiced carrot puree.
Chef and Owner of Lola’s Edward Kowalski is excited about preparing his dishes as well as mingling with other chefs over their respective concoctions.
“The Taste gives us an opportunity to walk around and see what everyone else is doing,” said Kowalski. “Chefs are competitive by nature... everybody pulls out the top guns (for the Taste)”
While sampling local food and exotic wines, guests are also invited to participate in live and silent auctions benefiting St. Francis Hospital. Auction lots include travel excursions, one-of-a-kind gifts, sports and music memorabilia and bottles of wine featured at the event.
Guests and venders will also enjoy live music from the Hudson Valley’s own Michael Dell Orchestra.
Alongside fund-raising for one of the busiest trauma centers in New York State and the ever-expanding Eileen M. Hickey Cancer Center at St. Francis, the Taste of the Hudson Valley facilitates the notion of community.
According to Robert Lane, President of St. Francis Health Care Foundation, the Taste of the Hudson Valley “can either help with construction or purchasing a piece of equipment that can allow a physician to literally save someone’s life.”
“We try to do as much as we can with the community,” said Kowalski. “St. Francis is right in our back yard so we always try to do whatever we can for them.”
The Big Read - 2009 - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The annual nationwide event known as The Big Read kicks off on October 3 and will run throughout the month of October with a focus on influencing students and community members to adopt reading as a central part of their lives.
With a primary goal of encouraging literacy and restoring reading to the center of American culture, The Big Read focuses on a single book each year. This year, Their Eyes Were Watching God by Nora Neale Hurston will be the piece on which daily events across Dutchess County will be centered.
The ideology behind The Big Read is based on the declining desire to read within the teenage demographic. According to Wendy McNamara, Public Information Officer of the Poughkeepsie Public Library District and primary organizer of Dutchess County’s participation in The Big Read, the 14 – 25-year-old age range is becoming less and less interested in reading.
McNamara believes that focusing attention on one book is a good way to win over this age group.
“I hope it opens their eyes to the fact that a book is not just words on paper,” she said. “There’s a whole world and culture around every book.”
McNamara also believes that the events organized for this year’s Big Read will facilitate new perspectives on interpreting literature. Their Eyes Were Watching God will be discussed with respect to many different disciplines by a multitude of authorities.
Lectures and presentations at scattered Dutchess County locations will analyze the book through linguistic, anthropological, racial, historical and of course, literary lenses. According to Dr. Eve Dunbar, assistant professor of English at Vassar College, this eclectic group of perspectives will give guests a better chance to submerge themselves in the story.
“All of those different points of view offer different ways to enter into the novel,” she said. “ Depending on what your interests are, [The Big Read] offers all of these opportunities.”
One presentation is based on the film adaptation of Their Eyes Were Watching God. Associate Professor of English at Dutchess Community College, John Desmond will be discussing the nuances associated with the adaptation of the book to the big screen.
Desmond believes that his presentation will open eyes to the fact that “a faithful adaptation isn’t necessarily a good one.” When a book is made into a film, a new art form is created.
“We’re moving from words on a page to two other languages: sound and picture,” said Desmond. “So what we’re looking at is how a narrative transfers to this new medium.”
In accordance with McNamara and Dunbar’s opinions, Professor Desmond believes that this alternative perspective on a piece of literature will lead to students and guests to understanding it better.
Desmond is also optimistic that his, and his colleagues’ presentations will be enriching not just for students, but for the community is a whole. He believes that when a community is completely submerged in a piece of literature through a myriad of events creates and maintains a sense of camaraderie amongst neighbors.
“Our middle name is community,” said Desmond. “And this is one of our ways in which the college reaches out to the community.”
When asked which event in The Big Read she was most excited about, McNamara replied: “It’s like asking me to pick my favorite child…”
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
The annual nationwide event known as The Big Read kicks off on October 3 and will run throughout the month of October with a focus on influencing students and community members to adopt reading as a central part of their lives.
With a primary goal of encouraging literacy and restoring reading to the center of American culture, The Big Read focuses on a single book each year. This year, Their Eyes Were Watching God by Nora Neale Hurston will be the piece on which daily events across Dutchess County will be centered.
The ideology behind The Big Read is based on the declining desire to read within the teenage demographic. According to Wendy McNamara, Public Information Officer of the Poughkeepsie Public Library District and primary organizer of Dutchess County’s participation in The Big Read, the 14 – 25-year-old age range is becoming less and less interested in reading.
McNamara believes that focusing attention on one book is a good way to win over this age group.
“I hope it opens their eyes to the fact that a book is not just words on paper,” she said. “There’s a whole world and culture around every book.”
McNamara also believes that the events organized for this year’s Big Read will facilitate new perspectives on interpreting literature. Their Eyes Were Watching God will be discussed with respect to many different disciplines by a multitude of authorities.
Lectures and presentations at scattered Dutchess County locations will analyze the book through linguistic, anthropological, racial, historical and of course, literary lenses. According to Dr. Eve Dunbar, assistant professor of English at Vassar College, this eclectic group of perspectives will give guests a better chance to submerge themselves in the story.
“All of those different points of view offer different ways to enter into the novel,” she said. “ Depending on what your interests are, [The Big Read] offers all of these opportunities.”
One presentation is based on the film adaptation of Their Eyes Were Watching God. Associate Professor of English at Dutchess Community College, John Desmond will be discussing the nuances associated with the adaptation of the book to the big screen.
Desmond believes that his presentation will open eyes to the fact that “a faithful adaptation isn’t necessarily a good one.” When a book is made into a film, a new art form is created.
“We’re moving from words on a page to two other languages: sound and picture,” said Desmond. “So what we’re looking at is how a narrative transfers to this new medium.”
In accordance with McNamara and Dunbar’s opinions, Professor Desmond believes that this alternative perspective on a piece of literature will lead to students and guests to understanding it better.
Desmond is also optimistic that his, and his colleagues’ presentations will be enriching not just for students, but for the community is a whole. He believes that when a community is completely submerged in a piece of literature through a myriad of events creates and maintains a sense of camaraderie amongst neighbors.
“Our middle name is community,” said Desmond. “And this is one of our ways in which the college reaches out to the community.”
When asked which event in The Big Read she was most excited about, McNamara replied: “It’s like asking me to pick my favorite child…”
A Call to Peace - for the Poughkeepsie Journal
All articles with headlines that include "for the Pughkeepsie Journal" are unedited. They were put through rounds of editing before going to publication. This is the article as I wrote it.
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
In post World War II Japan, Masahisa Goi coined a phrase that best translates to five English words – “May peace prevail on earth.”
The World Peace Prayer Society has based the ideology of their organization around that phrase. On September 19, 2009 their vision will be shared with community members during the “Call to Peace” ceremony at the World Peace Sanctuary in Wassaic.
Founded by Goi in 1955 the World Peace Prayer Society has been holding events focused around this ideal for over 20 years. Initially, the ceremony started as Goi’s desire to see his slogan on buildings, pillars and carved in stone.
After Goi’s passing in 1983, his daughter, Masami Saionji began organizing gatherings in the United States. Locally, the World Peace Prayer Society hosts the “Call to Peace” ceremony on an annual basis.
According to Ann Marie Williams, Executive Assistant at the World Peace Prayer Society, the five-word slogan alongside the locality of the event endorses community and congregation amongst neighbors.
The celebration will feature a Native American ceremony, individual honors to each state in America, and a flag ceremony featuring flags from every country in the world to symbolize unity amongst nations. These events will all be focused on the nuances and subtleties of the organization’s mission.
“The seedling to our mission, and why we feel it works, is that peace starts within,” said Williams. “There is effectiveness once the consciousness of humanity makes the shift and we can’t do that unless everyone is on board. The ceremonies are interactive for that reason.”
The “Call to Peace” ceremony can be experienced by community members of all ages. Alongside discussion, rituals, and silent prayer, the festival will feature family-friendly activities like instructional calligraphy booths, food vendors, a petting zoo, and musical entertainment.
Among the musical acts attending are the Byakko Choir from Japan, the Peace is Possible Chorus from Litchfield, Conn., and Pawling composer and pianist Chris Farrell who wrote the music for the festival’s anthem.
“The idea behind it is that they energy of the prayer would be heard around the world as opposed to being focused on an individual face or group,” said Farrell. “It is to embrace the concept of the prayer as a call to peace.”
Williams is hopeful that coupling activities with intellectual discussion will facilitate a peaceful community-oriented state of mind.
“…Being in the moment, feeling the joy, and making the difference when you can. I know I’m coining someone’s phrase ‘think global and act local,’” She said
Cindy Snow of Eastern Province Photographic Society has been given a booth at the gathering for the past five years. She takes donations from guests in support of art scholarships that her organization administers.
From her visits to the “Call to Peace” ceremony over the past half-decade, she has a newly adopted existential perspective.
“I think we’re all in the same boat,” said Snow. “If we all keep sharing the oars, we can get there a lot faster… if everyone keeps paddling, we’ll get there.”
Williams explains that the subject matter associated with the organization’s defining phrase might seem dense or overwhelming to some. However she is confident that her organization’s ideology is easily adoptable.
“We tend to over-intellectualize and our message is as simple as the act that it represents,” said Williams
This article appeared either in print or online - it is now in the Poughkeepsie Journal archives.
In post World War II Japan, Masahisa Goi coined a phrase that best translates to five English words – “May peace prevail on earth.”
The World Peace Prayer Society has based the ideology of their organization around that phrase. On September 19, 2009 their vision will be shared with community members during the “Call to Peace” ceremony at the World Peace Sanctuary in Wassaic.
Founded by Goi in 1955 the World Peace Prayer Society has been holding events focused around this ideal for over 20 years. Initially, the ceremony started as Goi’s desire to see his slogan on buildings, pillars and carved in stone.
After Goi’s passing in 1983, his daughter, Masami Saionji began organizing gatherings in the United States. Locally, the World Peace Prayer Society hosts the “Call to Peace” ceremony on an annual basis.
According to Ann Marie Williams, Executive Assistant at the World Peace Prayer Society, the five-word slogan alongside the locality of the event endorses community and congregation amongst neighbors.
The celebration will feature a Native American ceremony, individual honors to each state in America, and a flag ceremony featuring flags from every country in the world to symbolize unity amongst nations. These events will all be focused on the nuances and subtleties of the organization’s mission.
“The seedling to our mission, and why we feel it works, is that peace starts within,” said Williams. “There is effectiveness once the consciousness of humanity makes the shift and we can’t do that unless everyone is on board. The ceremonies are interactive for that reason.”
The “Call to Peace” ceremony can be experienced by community members of all ages. Alongside discussion, rituals, and silent prayer, the festival will feature family-friendly activities like instructional calligraphy booths, food vendors, a petting zoo, and musical entertainment.
Among the musical acts attending are the Byakko Choir from Japan, the Peace is Possible Chorus from Litchfield, Conn., and Pawling composer and pianist Chris Farrell who wrote the music for the festival’s anthem.
“The idea behind it is that they energy of the prayer would be heard around the world as opposed to being focused on an individual face or group,” said Farrell. “It is to embrace the concept of the prayer as a call to peace.”
Williams is hopeful that coupling activities with intellectual discussion will facilitate a peaceful community-oriented state of mind.
“…Being in the moment, feeling the joy, and making the difference when you can. I know I’m coining someone’s phrase ‘think global and act local,’” She said
Cindy Snow of Eastern Province Photographic Society has been given a booth at the gathering for the past five years. She takes donations from guests in support of art scholarships that her organization administers.
From her visits to the “Call to Peace” ceremony over the past half-decade, she has a newly adopted existential perspective.
“I think we’re all in the same boat,” said Snow. “If we all keep sharing the oars, we can get there a lot faster… if everyone keeps paddling, we’ll get there.”
Williams explains that the subject matter associated with the organization’s defining phrase might seem dense or overwhelming to some. However she is confident that her organization’s ideology is easily adoptable.
“We tend to over-intellectualize and our message is as simple as the act that it represents,” said Williams
Swine Flu? Screw You - Little Rebellion Column - 11/3/09
his article can also be accessed at http://www2.newpaltz.edu/little-rebellion/?p=2500
Anybody who has watched the news on television or read a newspaper in the past eight months has seen the words “swine flu” more than a few times. It seems as though every media outlet is saturated with coverage of a virus no more dangerous than seasonal influenza.
In June, The World Health Organization (WHO) instituted a “phase 6″ pandemic alert with regard to the H1N1 virus, commonly known as swine flu. This simply means that the virus has the potential to spread from human to human and has facilitated community level outbreaks in at least two countries.
According to the United States Center for Disease Control and Prevention (CDC), “designation of this phase will indicate that a global pandemic is under way.”
When any disease or virus substantially exceeds what is expected, based on recent experience on a global scale, it is considered a pandemic by WHO. Considering this definition, the distinction of “pandemic” is dependent primarily on expectations. Given the fact that little was known about the H1N1 virus before 2009, just a few deaths internationally could imply the virus’ pandemic status.
Among the sea of newscasts, newspaper articles, special reports and breaking updates, it can be difficult for a consumer to decipher what the swine flu actually is let alone the implications of its presence.
According to the CDC, swine flu is simply a new mutation of regular seasonal influenza viruses, which inherently mutate seasonally.
It spreads the same way – “through the coughs and sneezes of people who are sick with the virus.” And symptoms include “fever, cough, sore throat, body aches, headache, chills and fatigue. In addition, many people also have reported nausea, vomiting and/or diarrhea.”
It sounds like the flu to me…
Is what seems to be a regular flu-like virus worth so much media coverage?
Should citizens around the world be rushing to doctors for first dibs on vaccinations?
Or are we all just caught up in a saturated medium?
There seems to be much confusion with regard to the lesser of two evils: possibly contracting a moderately debilitating virus or introducing a syringe worth of a brand new vaccine for the immune system to deal with.
Although there have been deaths caused by the H1N1 virus, we still know little about its abilities for infecting a notable percentage of the world population.
For example, 13,000 Americans have died due to complications from seasonal flu viruses since January, according to a United Press International article. The CDC stated that worldwide annual deaths from seasonal flu are estimated between 250,000 and 500,000.
Only 302 Americans between April and July and 292 between August and October have died as a result of the H1N1 virus, the CDC said in an Oct. 24 report. At a rate of 300 deaths every four months, swine flu casualties will barely dent the almost half million annual seasonal flu deaths.
In a more extreme case, Australia has yet to report an H1N1-related death despite its recent swine flu outbreak even though between 1,000 and 2,000 people die annually from seasonal flu viruses, according to a Sydney Morning Herald Article.
According to a Melbourne, Australia publication called The Age, the swine flu has been exaggerated by WHO in terms of its death rate. An expert in epidemiology from Stanford University, Dr. Shelley Salpeter, said swine flu “is just like an ordinary flu. There is nothing fancy about it in terms of its mortality.”
Still, the media is saturated with tips, updates and prevention methods regarding the swine flu. The CDC’s Web site has even gone as far as giving citizens tips on how to properly wash their hands after using the bathroom. The CDC also has informed the American public to “cover your mouth and nose with a tissue when coughing or sneezing.”
Maybe it’s just me, but these seem like pretty standard practices. Do we really need a government organization instructing us on simple hygienic practices?
I am not opposed to the CDC keeping the public informed about new developments concerning a new virus, which they have been doing weekly since April. I am opposed to the notion that we are too dumb to take care of ourselves.
As far as I am concerned, the symptoms are less serious than many other widespread illnesses and prevention methods are based on practices that infants have mastered.
Yet headlines like “The right prescription; Preparedness and integrated response” and “Stay safe from swine flu with 3 simple steps” continue to line the front pages of publications around the world.
I believe that this can be attributed to the simple fact that fear sells.
If a headline is not warning the public of the dangers of the H1N1 virus, it suggests dangers associated with the vaccine.
If people have nothing to be afraid of, are they less likely to pay attention to breaking news?
I cannot succinctly quantify this – however I am confident that when people are afraid, they are more willing to read and watch the news.
As far as the dangers of the H1N1 virus go – I am not worried about contracting it. And if I do, I will take a few days off, drink some extra orange juice and take a regular regiment of echinacea.
As far as the current news media’s arguable exploitation of the pandemic – I am both disappointed with and unwilling to believe most of it. If and when I am genuinely concerned about a disease or virus, I would much rather trust an organization like the CDC or an accredited scientific journal over USA Today or MSNBC.
On June 19, The Washington Post published an article called “A Flu by Any Other Name.” In this piece, scholars renamed the swine flu with a focus on “avoid[ing] defaming Mexico or speaking ill of pigs.”
One of my favorites was proposed by Esther Gulli, who works at the University of California at Berkeley. She proposed the name “CNN flu,” since “they truly made it what it is today.”
Anybody who has watched the news on television or read a newspaper in the past eight months has seen the words “swine flu” more than a few times. It seems as though every media outlet is saturated with coverage of a virus no more dangerous than seasonal influenza.
In June, The World Health Organization (WHO) instituted a “phase 6″ pandemic alert with regard to the H1N1 virus, commonly known as swine flu. This simply means that the virus has the potential to spread from human to human and has facilitated community level outbreaks in at least two countries.
According to the United States Center for Disease Control and Prevention (CDC), “designation of this phase will indicate that a global pandemic is under way.”
When any disease or virus substantially exceeds what is expected, based on recent experience on a global scale, it is considered a pandemic by WHO. Considering this definition, the distinction of “pandemic” is dependent primarily on expectations. Given the fact that little was known about the H1N1 virus before 2009, just a few deaths internationally could imply the virus’ pandemic status.
Among the sea of newscasts, newspaper articles, special reports and breaking updates, it can be difficult for a consumer to decipher what the swine flu actually is let alone the implications of its presence.
According to the CDC, swine flu is simply a new mutation of regular seasonal influenza viruses, which inherently mutate seasonally.
It spreads the same way – “through the coughs and sneezes of people who are sick with the virus.” And symptoms include “fever, cough, sore throat, body aches, headache, chills and fatigue. In addition, many people also have reported nausea, vomiting and/or diarrhea.”
It sounds like the flu to me…
Is what seems to be a regular flu-like virus worth so much media coverage?
Should citizens around the world be rushing to doctors for first dibs on vaccinations?
Or are we all just caught up in a saturated medium?
There seems to be much confusion with regard to the lesser of two evils: possibly contracting a moderately debilitating virus or introducing a syringe worth of a brand new vaccine for the immune system to deal with.
Although there have been deaths caused by the H1N1 virus, we still know little about its abilities for infecting a notable percentage of the world population.
For example, 13,000 Americans have died due to complications from seasonal flu viruses since January, according to a United Press International article. The CDC stated that worldwide annual deaths from seasonal flu are estimated between 250,000 and 500,000.
Only 302 Americans between April and July and 292 between August and October have died as a result of the H1N1 virus, the CDC said in an Oct. 24 report. At a rate of 300 deaths every four months, swine flu casualties will barely dent the almost half million annual seasonal flu deaths.
In a more extreme case, Australia has yet to report an H1N1-related death despite its recent swine flu outbreak even though between 1,000 and 2,000 people die annually from seasonal flu viruses, according to a Sydney Morning Herald Article.
According to a Melbourne, Australia publication called The Age, the swine flu has been exaggerated by WHO in terms of its death rate. An expert in epidemiology from Stanford University, Dr. Shelley Salpeter, said swine flu “is just like an ordinary flu. There is nothing fancy about it in terms of its mortality.”
Still, the media is saturated with tips, updates and prevention methods regarding the swine flu. The CDC’s Web site has even gone as far as giving citizens tips on how to properly wash their hands after using the bathroom. The CDC also has informed the American public to “cover your mouth and nose with a tissue when coughing or sneezing.”
Maybe it’s just me, but these seem like pretty standard practices. Do we really need a government organization instructing us on simple hygienic practices?
I am not opposed to the CDC keeping the public informed about new developments concerning a new virus, which they have been doing weekly since April. I am opposed to the notion that we are too dumb to take care of ourselves.
As far as I am concerned, the symptoms are less serious than many other widespread illnesses and prevention methods are based on practices that infants have mastered.
Yet headlines like “The right prescription; Preparedness and integrated response” and “Stay safe from swine flu with 3 simple steps” continue to line the front pages of publications around the world.
I believe that this can be attributed to the simple fact that fear sells.
If a headline is not warning the public of the dangers of the H1N1 virus, it suggests dangers associated with the vaccine.
If people have nothing to be afraid of, are they less likely to pay attention to breaking news?
I cannot succinctly quantify this – however I am confident that when people are afraid, they are more willing to read and watch the news.
As far as the dangers of the H1N1 virus go – I am not worried about contracting it. And if I do, I will take a few days off, drink some extra orange juice and take a regular regiment of echinacea.
As far as the current news media’s arguable exploitation of the pandemic – I am both disappointed with and unwilling to believe most of it. If and when I am genuinely concerned about a disease or virus, I would much rather trust an organization like the CDC or an accredited scientific journal over USA Today or MSNBC.
On June 19, The Washington Post published an article called “A Flu by Any Other Name.” In this piece, scholars renamed the swine flu with a focus on “avoid[ing] defaming Mexico or speaking ill of pigs.”
One of my favorites was proposed by Esther Gulli, who works at the University of California at Berkeley. She proposed the name “CNN flu,” since “they truly made it what it is today.”
Infotaining Ourselves to Death - Little Rebellion Column - 10/29/09
This article can also be accessed at http://www2.newpaltz.edu/little-rebellion/?p=2332
Individuals within the college-aged demographic are sometimes familiar with the term “infotainment” – the blending of entertainment and informative programming.
Infotainment is packaged as satire, propaganda and, in some cases, news.
Within the modern journalism community the term has a negative connotation. Infotainment is viewed by many as propaganda designed to mislead the consumer and/or cater to what the unintelligent mind desires. Where this outlook may not be completely ludicrous, I do not blame infotainment for misinformed consumers – I blame misinformed consumers for misinformed consumers.
Many infotainment programs like “The Daily Show” and “The Glenn Beck Program” openly admit that they are not news outlets.
However some soft news programs like “60 Minutes” or NBC’s “Dateline” which are generally puff or shock value-based entertainment, are packaged as need to know news.
“The Glenn Beck Program” is obviously tilted to the right and features the slogan “The Fusion of Entertainment and Enlightenment.” Jon Stewart is a comedian conducting a satirical newscast about the debaucheries of contemporary news media. Programs like “Dateline” are presented as news and are generally accepted as news.
None of these programs do what the initial purpose of journalism is: to keep the public informed about relevant social, political and economic topics for the purpose of maintaining a democratic state.
However “The Glenn Beck Program,” “The Daily Show” and “Dateline” are perceived by many as actual news. Is this successful infotainment? Or is this failure of the assumed intelligence of consumers?
From the perspective of network and cable television stations, this notion is a clash between giving people what they need (the traditional ideology of news) and giving people what they want (infotainment).
Old school journalists and those in academic settings argue that there is no place in contemporary media for infotainment. However, I believe that telling someone what they “need to know” is unfair.
Yes – We needed to know when the World Trade Center was attacked.
Yes – We needed to know about Eliot Spitzer’s embezzlement of government money to pay for call girls.
But there needs to be room for consumers to choose what they want to know as well. I will be the first to state that Glenn Beck is an idiot and Jon Stewart is simply a comedian; but their popularity does not imply the downfall of credible news sources.
If anything, news media outlets are becoming more encompassing considering the current 24-hour consumption capabilities.
Infotainment programs are not responsible for the decline of intelligent consumers. Audience members unwilling to seek out credible news and/or accept credible news are responsible for the decline of intelligent consumers.
Just as journalists have a certain amount of responsibility to keep the public informed, consumers have a certain amount of responsibility to encourage the relevance of the medium. As I stated, credible news outlets exist – however, the more consumers choose “The Glenn Beck Program” over “Morning Edition,” the less chance credible outlets have of surviving.
I am comfortable with giving the people what they want – even if it’s trash – but the people must also maintain a certain amount of dignity and not mistake entertainment for news.
In an article titled “Your Moment of Zen?: Exploring the Possibility of Political Enlightenment Via Infotainment,” Kent State Communications graduate student Rekha Sharma discusses possible implications of certain types of media consumption.
“The consumption of infotainment could indeed be a liberating experience for individuals with disciplined minds and a goal of political praxis. But it could just as easily constitute a mere form of relaxation for the politically ignorant who wish to bypass critical thought in favor of passivity, or worse, cynical apathy,” she said.
We can blame Comedy Central and Fox News for producing entertainment-based information programs. However, we must then be prepared to blame consumers for ingesting these programs as relevant and credible.
Individuals within the college-aged demographic are sometimes familiar with the term “infotainment” – the blending of entertainment and informative programming.
Infotainment is packaged as satire, propaganda and, in some cases, news.
Within the modern journalism community the term has a negative connotation. Infotainment is viewed by many as propaganda designed to mislead the consumer and/or cater to what the unintelligent mind desires. Where this outlook may not be completely ludicrous, I do not blame infotainment for misinformed consumers – I blame misinformed consumers for misinformed consumers.
Many infotainment programs like “The Daily Show” and “The Glenn Beck Program” openly admit that they are not news outlets.
However some soft news programs like “60 Minutes” or NBC’s “Dateline” which are generally puff or shock value-based entertainment, are packaged as need to know news.
“The Glenn Beck Program” is obviously tilted to the right and features the slogan “The Fusion of Entertainment and Enlightenment.” Jon Stewart is a comedian conducting a satirical newscast about the debaucheries of contemporary news media. Programs like “Dateline” are presented as news and are generally accepted as news.
None of these programs do what the initial purpose of journalism is: to keep the public informed about relevant social, political and economic topics for the purpose of maintaining a democratic state.
However “The Glenn Beck Program,” “The Daily Show” and “Dateline” are perceived by many as actual news. Is this successful infotainment? Or is this failure of the assumed intelligence of consumers?
From the perspective of network and cable television stations, this notion is a clash between giving people what they need (the traditional ideology of news) and giving people what they want (infotainment).
Old school journalists and those in academic settings argue that there is no place in contemporary media for infotainment. However, I believe that telling someone what they “need to know” is unfair.
Yes – We needed to know when the World Trade Center was attacked.
Yes – We needed to know about Eliot Spitzer’s embezzlement of government money to pay for call girls.
But there needs to be room for consumers to choose what they want to know as well. I will be the first to state that Glenn Beck is an idiot and Jon Stewart is simply a comedian; but their popularity does not imply the downfall of credible news sources.
If anything, news media outlets are becoming more encompassing considering the current 24-hour consumption capabilities.
Infotainment programs are not responsible for the decline of intelligent consumers. Audience members unwilling to seek out credible news and/or accept credible news are responsible for the decline of intelligent consumers.
Just as journalists have a certain amount of responsibility to keep the public informed, consumers have a certain amount of responsibility to encourage the relevance of the medium. As I stated, credible news outlets exist – however, the more consumers choose “The Glenn Beck Program” over “Morning Edition,” the less chance credible outlets have of surviving.
I am comfortable with giving the people what they want – even if it’s trash – but the people must also maintain a certain amount of dignity and not mistake entertainment for news.
In an article titled “Your Moment of Zen?: Exploring the Possibility of Political Enlightenment Via Infotainment,” Kent State Communications graduate student Rekha Sharma discusses possible implications of certain types of media consumption.
“The consumption of infotainment could indeed be a liberating experience for individuals with disciplined minds and a goal of political praxis. But it could just as easily constitute a mere form of relaxation for the politically ignorant who wish to bypass critical thought in favor of passivity, or worse, cynical apathy,” she said.
We can blame Comedy Central and Fox News for producing entertainment-based information programs. However, we must then be prepared to blame consumers for ingesting these programs as relevant and credible.
Major Label, Minor Support - Little Rebellion Column - 10/10/09
This article can also be accessed at http://www2.newpaltz.edu/little-rebellion/?p=2190
I thought I’d follow up my last piece with another article about the music industry. I have been a musician for about eight years and in 2006 I traveled to the midwest and back with a rock ‘n’ roll band.
As many musicians who have been on tour could say: “It was the best and worst time of my life.”
I played a show every night in a new city in front of new people that somehow knew the words to the songs I was playing. It was an experience like nothing I had ever felt before.
Although we were signed to Rust Records, (now nonexistent) an imprint of Universal Music Group, I managed to walk into my parents house after a month on the road flat broke. I spent $200 on food, cigarettes, gas, parking tickets and numerous other expenses.
Considering contemporary business models, how can a record company afford to pay for an entire record’s production and promotion, like Rust did for the band I was in, but not pay for expenses like gas and food while a band is touring to promote the record paid for by the same label? This makes no sense to me, especially considering the fact that a record label will make absolutely no money, or possibly lose money, if an album does not sell.
I know some independent record companies offer tour support to artists, but certainly not the ones who really need it. In my experience, I have only heard of mid-level bands (and bands on major labels) receiving tour support as well as making over $400 a night from venues. When I was traveling, we were grateful when we got $100 to split between five of us.
It is apparent that the odds are stacked against musicians once they enter the recording industry.
It seems like only artists who are established enough to make a couple hundred dollars a night from ticket sales are eligible for tour support. However, smaller non-established signed bands don’t get anything – then when it comes time to tour, they have no money to put in their gas tank to promote the record that the label dropped thousands on.
Artists cannot even use record sales as a financial crutch.
When a label pays for the production and advertising of an album, the musicians do not see a dime in royalties until the label recoups their losses. We must also consider that it’s 2009; when was the last time you bought an album?
In an Advertising Age article titled “Marketers, Musicians Could Make Beautiful Music Together,” P.T. Black discussed a current trend in the Chinese record industry that I can imagine the American industry adopting.
Given the amount of music that gets pirated, Chinese artists receive endorsements by and make money from advertising sponsorships.
“The downside is there is little support for non-mainstream music.” Black said. “Social-networking technologies are slowly compensating for that, reducing the cost of promotion and connecting bands’ fan bases. But there is another opportunity – advertisers stepping beyond pop and working with non-mainstream young artists. It’s not easy.”
In theory this is a way around the hypocrisies of the American mainstream record industry. However, as Black explained there is not much of a market for non-mainstream music in the eyes of major advertisers; and as I explained in my last piece: tailoring music to a predetermined format for the sole purpose of making money is unfair to consumers and musical integrity alike.
The do-it-yourself (DIY) age of recording is upon us. Artists are creating, recording and distributing music from their own homes. But how much money are they making? I can say with confidence that generally DIY artists cannot earn a living wage.
It is possible to be a professional musician and live comfortably – ask anyone who has “made it;” from Stan Getz to Green Day.
From personal experience I am positive that getting signed to an independent label and trying to climb the ladder to success is certainly not the best way to do it.
I thought I’d follow up my last piece with another article about the music industry. I have been a musician for about eight years and in 2006 I traveled to the midwest and back with a rock ‘n’ roll band.
As many musicians who have been on tour could say: “It was the best and worst time of my life.”
I played a show every night in a new city in front of new people that somehow knew the words to the songs I was playing. It was an experience like nothing I had ever felt before.
Although we were signed to Rust Records, (now nonexistent) an imprint of Universal Music Group, I managed to walk into my parents house after a month on the road flat broke. I spent $200 on food, cigarettes, gas, parking tickets and numerous other expenses.
Considering contemporary business models, how can a record company afford to pay for an entire record’s production and promotion, like Rust did for the band I was in, but not pay for expenses like gas and food while a band is touring to promote the record paid for by the same label? This makes no sense to me, especially considering the fact that a record label will make absolutely no money, or possibly lose money, if an album does not sell.
I know some independent record companies offer tour support to artists, but certainly not the ones who really need it. In my experience, I have only heard of mid-level bands (and bands on major labels) receiving tour support as well as making over $400 a night from venues. When I was traveling, we were grateful when we got $100 to split between five of us.
It is apparent that the odds are stacked against musicians once they enter the recording industry.
It seems like only artists who are established enough to make a couple hundred dollars a night from ticket sales are eligible for tour support. However, smaller non-established signed bands don’t get anything – then when it comes time to tour, they have no money to put in their gas tank to promote the record that the label dropped thousands on.
Artists cannot even use record sales as a financial crutch.
When a label pays for the production and advertising of an album, the musicians do not see a dime in royalties until the label recoups their losses. We must also consider that it’s 2009; when was the last time you bought an album?
In an Advertising Age article titled “Marketers, Musicians Could Make Beautiful Music Together,” P.T. Black discussed a current trend in the Chinese record industry that I can imagine the American industry adopting.
Given the amount of music that gets pirated, Chinese artists receive endorsements by and make money from advertising sponsorships.
“The downside is there is little support for non-mainstream music.” Black said. “Social-networking technologies are slowly compensating for that, reducing the cost of promotion and connecting bands’ fan bases. But there is another opportunity – advertisers stepping beyond pop and working with non-mainstream young artists. It’s not easy.”
In theory this is a way around the hypocrisies of the American mainstream record industry. However, as Black explained there is not much of a market for non-mainstream music in the eyes of major advertisers; and as I explained in my last piece: tailoring music to a predetermined format for the sole purpose of making money is unfair to consumers and musical integrity alike.
The do-it-yourself (DIY) age of recording is upon us. Artists are creating, recording and distributing music from their own homes. But how much money are they making? I can say with confidence that generally DIY artists cannot earn a living wage.
It is possible to be a professional musician and live comfortably – ask anyone who has “made it;” from Stan Getz to Green Day.
From personal experience I am positive that getting signed to an independent label and trying to climb the ladder to success is certainly not the best way to do it.
Who is Talented? Who Stinks? - Little Rebellion Column - 10/8/09
This article can also be accessed at http://www2.newpaltz.edu/little-rebellion/?p=1998
Audio production hardware and software have progressed significantly giving modern recordings a smooth crisp sound. But what kind of a toll has this new technology taken on the record industry as a whole?
It’s hard to say with complete certainty, but conclusions can be drawn from noticeable trends, and I’ll tell you one thing: neither musicianship nor corporate integrity have blossomed from this carrion flower.
Today anybody can become a producer. Simply buy a Macbook and an audio editing program called Garageband is already installed for you. Garageband is essentially a stripped-down version of Pro Tools, the program that is found in almost every professional recording studio in the world.
Once either of these programs are mastered, a user will be able to produce professional sounding music, voice-overs, homemade sound effects… anything you want. I see nothing wrong with this. In fact, I think it’s great.
The demon lies within plug-ins, which are add-ons that can be downloaded or purchased and applied within the software. My main gripe is with vocal tuning plug-ins.
The most commonly used vocal tuner is Auto-Tune by Antares Audio Technologies. With this plug-in, all the engineer has to do is enter the key or even the exact note desired and the software does all the work. Regardless of what note the vocalist sings, the predetermined note will be what comes out of the microphone.
This isn’t a tool utilized only by the untalented or the lazy, feeding vocals through Auto-Tune during recording sessions is almost an industry standard.
I can’t help but ask the question: Is this cheating?
Sure, it isn’t necessary for artists to use such tools. But if the technology is there, why not utilize it? Especially if it will make the final product sound better.
My problem is that regardless of technical ability or talent, anyone can now sound like a rock star. From a major record label’s perspective the script writes itself: find a pretty face, offer them a contract to sing marginally updated versions of last year’s chart toppers, let the computer handle the musicianship and release their album as the “next Abbey Road.”
Due to the coupling of technology like, but certainly not limited to, Auto-Tune and the trendsetting power of major record labels, today it seems as though almost every mainstream rock and roll band sounds undeniably alike and the timbres of every pop diva’s voice are almost identical.
This becomes confusing to the consumer. Who is talented? Who stinks? Who is honest? What is good music?
Believe me, I understand that art is subjective and what sounds like recycled Hollywood garbage to one person may be the anthem to another’s ear.
Be that as it may, I believe that music, as an art, should maintain a certain amount of dignity and integrity. I feel that the industry should have enough concern for the advancement of the art to not allow mediocre, digitally perfected music to flood the airwaves.
Over the past five years artists have taken the power back from record labels. Modern technology allows artsits to produce from their own studios, distribute via the internet and profit directly from the consumer.
My problem is that the technology is still being abused. In my eyes, there are plenty of good and honest musicians in today’s music scene. However, they take a lot more time to uncover than independent artists who simply choose to ride the coattails of T-Pain or Panic! At the Disco.
Once again, the evolution in technology is not the issue- I dislike the trend of profiting from dishonesty and others profiting from recycled applications of it. I don’t believe that using a vocal tuner is dishonest, instead I believe that using a vocal tuner if you don’t know how to sing on key is dishonest.
Lying to prospective fans is ultimately unfair to both parties.
Audio production hardware and software have progressed significantly giving modern recordings a smooth crisp sound. But what kind of a toll has this new technology taken on the record industry as a whole?
It’s hard to say with complete certainty, but conclusions can be drawn from noticeable trends, and I’ll tell you one thing: neither musicianship nor corporate integrity have blossomed from this carrion flower.
Today anybody can become a producer. Simply buy a Macbook and an audio editing program called Garageband is already installed for you. Garageband is essentially a stripped-down version of Pro Tools, the program that is found in almost every professional recording studio in the world.
Once either of these programs are mastered, a user will be able to produce professional sounding music, voice-overs, homemade sound effects… anything you want. I see nothing wrong with this. In fact, I think it’s great.
The demon lies within plug-ins, which are add-ons that can be downloaded or purchased and applied within the software. My main gripe is with vocal tuning plug-ins.
The most commonly used vocal tuner is Auto-Tune by Antares Audio Technologies. With this plug-in, all the engineer has to do is enter the key or even the exact note desired and the software does all the work. Regardless of what note the vocalist sings, the predetermined note will be what comes out of the microphone.
This isn’t a tool utilized only by the untalented or the lazy, feeding vocals through Auto-Tune during recording sessions is almost an industry standard.
I can’t help but ask the question: Is this cheating?
Sure, it isn’t necessary for artists to use such tools. But if the technology is there, why not utilize it? Especially if it will make the final product sound better.
My problem is that regardless of technical ability or talent, anyone can now sound like a rock star. From a major record label’s perspective the script writes itself: find a pretty face, offer them a contract to sing marginally updated versions of last year’s chart toppers, let the computer handle the musicianship and release their album as the “next Abbey Road.”
Due to the coupling of technology like, but certainly not limited to, Auto-Tune and the trendsetting power of major record labels, today it seems as though almost every mainstream rock and roll band sounds undeniably alike and the timbres of every pop diva’s voice are almost identical.
This becomes confusing to the consumer. Who is talented? Who stinks? Who is honest? What is good music?
Believe me, I understand that art is subjective and what sounds like recycled Hollywood garbage to one person may be the anthem to another’s ear.
Be that as it may, I believe that music, as an art, should maintain a certain amount of dignity and integrity. I feel that the industry should have enough concern for the advancement of the art to not allow mediocre, digitally perfected music to flood the airwaves.
Over the past five years artists have taken the power back from record labels. Modern technology allows artsits to produce from their own studios, distribute via the internet and profit directly from the consumer.
My problem is that the technology is still being abused. In my eyes, there are plenty of good and honest musicians in today’s music scene. However, they take a lot more time to uncover than independent artists who simply choose to ride the coattails of T-Pain or Panic! At the Disco.
Once again, the evolution in technology is not the issue- I dislike the trend of profiting from dishonesty and others profiting from recycled applications of it. I don’t believe that using a vocal tuner is dishonest, instead I believe that using a vocal tuner if you don’t know how to sing on key is dishonest.
Lying to prospective fans is ultimately unfair to both parties.
Journalists: Evolve and Create - Little Rebellion Column - 10/8/09
This article can also be accessed at http://www2.newpaltz.edu/little-rebellion/?p=1811
As many who read or watch the news have noticed, the medium is evolving rapidly.
Due to a combination of consumer demand and technological advances, news has become a 24 hour, instantaneous, interactive information portal that can be accessed from the palm of your hand.
This is not a bad thing. As I mentioned in a previous piece, there is no need to fight evolving media. A lot of journalists and journalism students have doubts about the future of the industry. However, I believe that fighting the consumers’ collective need for constant information is pointless and that journalism has a future, provided reporters adapt.
The consumer base in America seems to share the same mantra in terms of media consumption: “instant gratification.”
The idea of instant gratification as it relates to the American consumer society is summarized in an article by Ken Blackwell for The Washington Times entitled “Addicted to Debt; The Culture of Instant Fixes.”
“We have become a culture addicted to instant gratification and a fixation on the material. Increasingly, concepts such as duty, self-denial, hard work, delayed gratification, and patience have been swept away,” Blackwell said.
If this is indeed public opinion, then the journalism industry as a whole must contribute to the collective enlightenment of our communities.
I have been interning with the Poughkeepsie Journal for the past six weeks. I now see first-hand how the entire production process, including the effort that drives the process, is catered to keeping readers informed as quickly and efficiently as possible. I witness how stories are built from small briefs via newswire to 750 word features. I have also seen reporting on national events done almost exclusively from the field.
I now have a newfound infatuation with the Associated Press. I’ve always known what it is and its general ideology. However, I now see how newswires translate to stories: newswire reporters constantly check newswire co-ops like the AP and repost briefs on the now integral newspaper Web site.
From there, depending on how pertinent the story is, a beat reporter may follow up the brief by doing further reporting and writing a full article. The newly crafted piece is then posted on the Web site, printed in the following day’s paper or both.
According to the AP’s Web site, the co-op is now owned by 1,500 U.S. daily newspapers. It also houses “a 24-hour continuously updated online news service, a state-of-the-art television news service and one of the largest radio networks in the United States.”
Although the AP is a valuable tool for reporters, stories can go through a similar process without the aid of wire services. Reporters sometimes go to sites, do their reporting and e-mail 100 word briefs to editors. The brief appears on the Web site and when the reporter returns to the newsroom a follow-up piece is written for the Web site or print publication.
Keeping pace with the industry’s evolution and the need for instant gratification can be tedious yet remains integral if there should be any hope for the intellectual advancement of consumers.
I work with a reporter named John Barry. He is the music beat writer for the Poughkeepsie Journal and a product of our own SUNY New Paltz Journalism program. Over the course of his 15 year journalism career, Barry has come to embrace the business’ evolution.
He never goes anywhere without his journalism travel kit: a bag containing a notepad, his iPhone, digital voice recorder, camera and a laptop.
“Anything that’s going to allow me to get news to my readers quicker, I couldn’t love more,” said Barry. “All this technology is helping me.”
Barry spent last week residing in and reporting from the Woodstock Film Festival. With his kit, Barry was able to take and upload pictures, keep in touch with his editor, report, write and post articles on his blog daily.
Barry has adapted and believes that the medium’s evolution is “very elemental – I’ve embraced it and you have to embrace it or just go find another job.”
The state of American consumerism may demand a lot from reporters. However, there is no reason that need should go ignored considering the resources available.
John Barry believes that reporters must commit, embrace and adapt.
“If you’re a good journalist, the changing media is part of the story,” Barry said.
As many who read or watch the news have noticed, the medium is evolving rapidly.
Due to a combination of consumer demand and technological advances, news has become a 24 hour, instantaneous, interactive information portal that can be accessed from the palm of your hand.
This is not a bad thing. As I mentioned in a previous piece, there is no need to fight evolving media. A lot of journalists and journalism students have doubts about the future of the industry. However, I believe that fighting the consumers’ collective need for constant information is pointless and that journalism has a future, provided reporters adapt.
The consumer base in America seems to share the same mantra in terms of media consumption: “instant gratification.”
The idea of instant gratification as it relates to the American consumer society is summarized in an article by Ken Blackwell for The Washington Times entitled “Addicted to Debt; The Culture of Instant Fixes.”
“We have become a culture addicted to instant gratification and a fixation on the material. Increasingly, concepts such as duty, self-denial, hard work, delayed gratification, and patience have been swept away,” Blackwell said.
If this is indeed public opinion, then the journalism industry as a whole must contribute to the collective enlightenment of our communities.
I have been interning with the Poughkeepsie Journal for the past six weeks. I now see first-hand how the entire production process, including the effort that drives the process, is catered to keeping readers informed as quickly and efficiently as possible. I witness how stories are built from small briefs via newswire to 750 word features. I have also seen reporting on national events done almost exclusively from the field.
I now have a newfound infatuation with the Associated Press. I’ve always known what it is and its general ideology. However, I now see how newswires translate to stories: newswire reporters constantly check newswire co-ops like the AP and repost briefs on the now integral newspaper Web site.
From there, depending on how pertinent the story is, a beat reporter may follow up the brief by doing further reporting and writing a full article. The newly crafted piece is then posted on the Web site, printed in the following day’s paper or both.
According to the AP’s Web site, the co-op is now owned by 1,500 U.S. daily newspapers. It also houses “a 24-hour continuously updated online news service, a state-of-the-art television news service and one of the largest radio networks in the United States.”
Although the AP is a valuable tool for reporters, stories can go through a similar process without the aid of wire services. Reporters sometimes go to sites, do their reporting and e-mail 100 word briefs to editors. The brief appears on the Web site and when the reporter returns to the newsroom a follow-up piece is written for the Web site or print publication.
Keeping pace with the industry’s evolution and the need for instant gratification can be tedious yet remains integral if there should be any hope for the intellectual advancement of consumers.
I work with a reporter named John Barry. He is the music beat writer for the Poughkeepsie Journal and a product of our own SUNY New Paltz Journalism program. Over the course of his 15 year journalism career, Barry has come to embrace the business’ evolution.
He never goes anywhere without his journalism travel kit: a bag containing a notepad, his iPhone, digital voice recorder, camera and a laptop.
“Anything that’s going to allow me to get news to my readers quicker, I couldn’t love more,” said Barry. “All this technology is helping me.”
Barry spent last week residing in and reporting from the Woodstock Film Festival. With his kit, Barry was able to take and upload pictures, keep in touch with his editor, report, write and post articles on his blog daily.
Barry has adapted and believes that the medium’s evolution is “very elemental – I’ve embraced it and you have to embrace it or just go find another job.”
The state of American consumerism may demand a lot from reporters. However, there is no reason that need should go ignored considering the resources available.
John Barry believes that reporters must commit, embrace and adapt.
“If you’re a good journalist, the changing media is part of the story,” Barry said.
Social Networking is For Twits - Little Reellion Column - 10/1/09
This article can also be accessed at http://www2.newpaltz.edu/little-rebellion/?p=1649
The concept of social networking has been evolving rapidly over the past 10 years. Remember commenting, blogging and picture sharing? Now 140 characters or less is all it takes to become an internet celebrity.
Twitter’s Web site states that its main function is to “stay connected with friends, relatives, and coworkers.” However, it seems as though our generation is more interested in morbidly stalking celebrities and obsessing over mundane chunks of information.
Let’s think about this for a moment: Why would anyone be interested in what others are doing every minute of the day? More importantly, who feels compelled to update the world on their most insignificant happenings throughout the day?
I got news for you, kids. Nobody cares when you brush your teeth or where you do your homework.
I know I’ll meet with some combatants saying things like “People don’t only post about insignificant things, some only ‘tweet’ when something relevant happens.”
Well, to you I say: Call your friends and family on the phone to talk about your good grade in Freshman Comp. Why do you care if a bunch of cyber-friends are interested in you? Isn’t the attention of your immediate loved ones enough?
I don’t want to completely shun the idea. As many students in the Communications and Media department know, there is no reason to fight evolving media. Twitter is the future just like Facebook was the future five years ago. Political candidates can update citizens during speeches and meetings and sports bloggers can keep their readers posted on their opinions play by play. There certainly are people of interest that might be in high demand on a Web site like Twitter.
Take for example, our president. Nobody has graced the front page of the New York Times more in the past 9 months than President Barack Obama. We hear about when he makes a speech, when his wife wears a red dress or when his little girls bump their heads. It seems like President Obama is in high demand, does it not?
Then why in the world is he number 11 on Twitterholic.com, a Web site that keeps real-time tallies on the most popular Twitter users. Obama “Tweets” almost every day but has still fallen behind in terms of “Followers” to names like Ryan Seacrest, Britney Spears, Shaquille O’Neal and of course, Ashton Kutcher.
That’s right America. Your president is less popular than the guy from That 70’s Show and Punk’d in a social network targeting the same demographic that was chanting “change” last November.
This notion is a prime example of the attention economy as laid out by Advertising Age media columnist Simon Dumenco. In a piece titled The Real Meaning of Ashton Kutcher’s 1M Twitter Followers, Dumenco explains that the more time consumers invest in catering to people like Kutcher’s need to be popular, the less the readers actually benefit.
“The Many are actually investing their mind share –their currency in the attention economy –in a way that leads, for the most part, to the enrichment of ‘The Few,’” explains Dumenco. “To put it rather cynically, a certain portion of ‘The Many’ are getting ripped off-deprived of more and more of their mind share for little or no gain (or possibly a big loss).
Dumenco then wraps up his article by stating that if the pinnacle of the attention economy is Kutcher, then another bailout is needed.
This issue does not only idle with the uneducated and the bored.
I was sitting in class last week when I noticed a Twitter trend. I couldn’t avert my eyes from three kids who were browsing Twitter during a lecture. One was visiting pages of celebrities like Lil’ Kim and Kanye West, another was constantly refreshing his own Twitter page (the background of which is plastered with shirtless pictures of himself), and the last was clicking between tabs of her Twitter page and her Facebook page.
I was shocked.
I’m no saint. I browse the internet sometimes during classes in computer labs. But never have I found myself in an academic setting, with a professor lecturing and Lil’ Kim’s latest musings in front of me.
The scene culminated with about three minutes left in class when one of the Twitterholic students raised their hand. I watched in awe as he engaged in a poorly worded, unintelligent, yet topically relevant conversation with the professor as he updated his Twitter status.
The point is: I’m frustrated. I’m not frustrated at the fact that there is a Web site that’s only purpose is to make insignificant people aware of insignificant facts. I’m frustrated that a technology with such potential for constructive application is primarily used for such shallow, childish purposes.
The concept of social networking has been evolving rapidly over the past 10 years. Remember commenting, blogging and picture sharing? Now 140 characters or less is all it takes to become an internet celebrity.
Twitter’s Web site states that its main function is to “stay connected with friends, relatives, and coworkers.” However, it seems as though our generation is more interested in morbidly stalking celebrities and obsessing over mundane chunks of information.
Let’s think about this for a moment: Why would anyone be interested in what others are doing every minute of the day? More importantly, who feels compelled to update the world on their most insignificant happenings throughout the day?
I got news for you, kids. Nobody cares when you brush your teeth or where you do your homework.
I know I’ll meet with some combatants saying things like “People don’t only post about insignificant things, some only ‘tweet’ when something relevant happens.”
Well, to you I say: Call your friends and family on the phone to talk about your good grade in Freshman Comp. Why do you care if a bunch of cyber-friends are interested in you? Isn’t the attention of your immediate loved ones enough?
I don’t want to completely shun the idea. As many students in the Communications and Media department know, there is no reason to fight evolving media. Twitter is the future just like Facebook was the future five years ago. Political candidates can update citizens during speeches and meetings and sports bloggers can keep their readers posted on their opinions play by play. There certainly are people of interest that might be in high demand on a Web site like Twitter.
Take for example, our president. Nobody has graced the front page of the New York Times more in the past 9 months than President Barack Obama. We hear about when he makes a speech, when his wife wears a red dress or when his little girls bump their heads. It seems like President Obama is in high demand, does it not?
Then why in the world is he number 11 on Twitterholic.com, a Web site that keeps real-time tallies on the most popular Twitter users. Obama “Tweets” almost every day but has still fallen behind in terms of “Followers” to names like Ryan Seacrest, Britney Spears, Shaquille O’Neal and of course, Ashton Kutcher.
That’s right America. Your president is less popular than the guy from That 70’s Show and Punk’d in a social network targeting the same demographic that was chanting “change” last November.
This notion is a prime example of the attention economy as laid out by Advertising Age media columnist Simon Dumenco. In a piece titled The Real Meaning of Ashton Kutcher’s 1M Twitter Followers, Dumenco explains that the more time consumers invest in catering to people like Kutcher’s need to be popular, the less the readers actually benefit.
“The Many are actually investing their mind share –their currency in the attention economy –in a way that leads, for the most part, to the enrichment of ‘The Few,’” explains Dumenco. “To put it rather cynically, a certain portion of ‘The Many’ are getting ripped off-deprived of more and more of their mind share for little or no gain (or possibly a big loss).
Dumenco then wraps up his article by stating that if the pinnacle of the attention economy is Kutcher, then another bailout is needed.
This issue does not only idle with the uneducated and the bored.
I was sitting in class last week when I noticed a Twitter trend. I couldn’t avert my eyes from three kids who were browsing Twitter during a lecture. One was visiting pages of celebrities like Lil’ Kim and Kanye West, another was constantly refreshing his own Twitter page (the background of which is plastered with shirtless pictures of himself), and the last was clicking between tabs of her Twitter page and her Facebook page.
I was shocked.
I’m no saint. I browse the internet sometimes during classes in computer labs. But never have I found myself in an academic setting, with a professor lecturing and Lil’ Kim’s latest musings in front of me.
The scene culminated with about three minutes left in class when one of the Twitterholic students raised their hand. I watched in awe as he engaged in a poorly worded, unintelligent, yet topically relevant conversation with the professor as he updated his Twitter status.
The point is: I’m frustrated. I’m not frustrated at the fact that there is a Web site that’s only purpose is to make insignificant people aware of insignificant facts. I’m frustrated that a technology with such potential for constructive application is primarily used for such shallow, childish purposes.
Hiatus
yeah yeah... I haven't written in a long time. I'm interning with the Poughkeepsie Journal, taking 14 credits and writing a weekly column for the online school newspaper. Give me a break! I decided to make this into an e-portfolio so I'm going to start posting my professional work. Enjoy.
Tuesday, April 14, 2009
Pleasure Beach
Every word of this story is true. Enjoy...
Pleasure Beach
It was the last day of spring break and I woke to a loud knock on my bedroom door. “Are you coming or not? We’re leaving soon,” Paul said. I knew what he was talking about, but I wasn’t sure how to answer. Relunctently, I got out of bed, put on my boots, two pairs of socks, my best blue jeans and several layers of shirts. I walked into the living room with my hatchet brandished on my shoulder and stated “Let’s kill some fuckin’ zombies.”
The destination was Pleasure Beach, a mile-long strip of beach off the coast of Birdgeport Connecticut separated from the mainland by the Long Island Sound. Pleasure Beach was formerly a vacation spot for people who can afford vacation spots. In 1993, “vandals” burnt down the bridge that connects the beach to the mainland. Rather than rebuild the bridge, government officials in Birdgeport gave citizens only a few weeks to evacuate and take with them what they could. Since then, it has been a haven for anarchists, junkies and “hooligans” to use drugs and smash things. This place is a ghost town… there isn’t a single window that isn’t shattered, there isn’t a single door that isn’t kicked in and there isn’t a single house that can be considered reparable. Understand why wanted to check it out?
Me, Paul, Jamie, and Eric packed up the beat up Accord and began our journey unsure of what we would encounter. The car ride was like all car rides: shitty music, cigarettes and body odor. After two hours and one bathroom break we were in Bridgeport. We drove around for about two hours trying to figure out how to get even remotely close to this place. Directly across from Pleasure Beach is a swamp and Paul was convinced that we could simply wade through the swamp until we found a land bridge. After about 50 wrong turns, we found a place to park and started our trek. We walked for two hours through this smelly death trap of a swamp. The phrase “land bridge” began to make me sick to my stomach… it doesn’t exist…
Finally we ran into two older gentlemen carrying cameras and what looked like surveyors equipment walking along a gravel path that lined the swamp. “Do you know how to get to Pleasure Beach?” I asked desperately. I was met with a statement that both thrilled me and disappointed me. “Oh sure… just drive past the airport on the main drag, park in the parking lot at the end of the road and hike along the beach for about a mile.”
… Fuck… two hours, precious energy, and perfectly good socks completely wasted.
We were down but certainly not out. We followed the gravel path that took us back to the car in about 20 minutes.
Let’s recap: It took us 2 hours to wade through the swamp and 20 minutes to walk the gravel path back to the car. Moving on…
We hopped back in the car and continued on. Luckily it took us almost no time to find the parking lot. We parked, suited up, and started walking towards Pleasure Beach which was now in plain sight. It was about 4pm on a March afternoon, so hiking along a beach was cold; cold but beautiful… Light waves crashed against white sand and pastel shells were stacked like staircases indicating tidal patterns. While observing the aesthetics, we almost forgot about the eyesore we were about to see. Before we knew it there it was: Pleasure Beach in all of its graffitied glory.
Without missing a beat we invited ourselves into the first house we saw. We gawked in disbelief as we stared at a sea of broken glass, pealing wallpaper and beds with questionably stained linens. We wandered through it taking in every aspect of destruction. Jamie was taking pictures to document the madness, Eric was looking for souvenirs and Paul was looking for things to break. I’ve never used the phrase “maybe you shouldn’t touch that” so much in my life. I meandered my way through the wreckage in complete disbelief. Why are there clothes in closets? Why is the furniture still in the living room? Why are there dishes still in the cabinets? Why did these people have to leave in such a hurry? Questions were floating around in my mind like driftwood in the Sound. Regardless of how bizarre the placement of inorganic matter was, I couldn’t stop asking myself what could be around the next corner. A junkie shooting up? A dead body? Maybe a psychotic squatter with more weapons than common sense… It didn’t matter. We were there and we had to take it all in.
We continued through a few more houses taking pictures and asking each other rhetorical questions. In one house the floor was scattered with markers, crayons and children’s games and toys. All I could think about was how I wish I could make more sense of it than a miniature zombie apocalypse. The fourth house was the last house we would see that day. Jamie and I were in the living room as Eric and Paul explored the second floor and back porch. Jamie heard a crash, which ended up being Eric in the other room trying to scare us. It worked… Jamie and I ran for the front door unwilling to seek out the origin of said disturbance. We were met at the door by a Glock-9 and an emphatic yell: “Get your fucking hands up.”
Without thinking I said “Shit!” and threw my hands in the air. It was the cops…
Apparently one of the houses had burnt down the day before and local Police Department had been combing the beach for arsonists. They patted us down and made snide remarks like “if something in your pocket sticks me you’re going to have a bad day.” I couldn’t help but think “if something in my pocket sticks you, you’re going to have a worse day…”
It wasn’t just one cop, it was four. And they didn’t just come in the front door they had us flanked from the back door too. They condescendingly interrogated us assuming that we read the Birdgeport Times. “Didn’t you hear about the place that burnt down yesterday?”
“What happens when a place like this catches on fire? How do you expect us to get a fire truck out here?”
“How would you like it if someone walked into your house and just started smashing shit?”
“Don’t you have things to take pictures of in New York?”
Apparently they were unable to see the appeal of a town that has been completely frozen in time. I’ve never gotten a gun pointed in my face before, so I was a bit frazzled and couldn’t come up with any intelligent answers to their questions. Paul, however, is very good at dealing with cops. He was honest, articulate, and respectful. More than I can say about myself. Ultimately we were never arrested and only giving $92 trespassing tickets and sent on our ways. Before walking away we heard one of the cops mutter “It looks like we have more work to do” as two other kids walked towards us from the horizon.
The walk back to the car was quiet. If anyone said anything it was either a profanity or something like “I can’t believe this.” I certainly couldn’t believe it. Never once did we pass a sign that said “no trespassing.” Never once did we have to hop a fence and never once did we think we were doing anything illegal. Even if we were to set one of those hellholes on fire, would it be awful? When I use the term “irreparable” I really mean it. Not a single pane of glass wasn’t shattered and the wood in the unkempt houses had been severely warped from a lack of maintenance. If visiting this place is so awful, why not put up a no trespassing sign? Why not build a fence? Why leave such a, as one of the cops said, “shithole” so easily accessible?
From this clusterfuck of events, I have reached one conclusion. It’s all a scam… God knows why they never rebuilt the bridge and shipped people out so fast, but I think I know why they don’t put up No Trespassing signs. It’s a step away from entrapment. Bridgeport is one of the most impoverished cities in Connecticut. What better way to gain revenue than leave an appealing eyesore in plain view and ticket everyone who sets foot on the property….
Fuck the Police.
Pleasure Beach
It was the last day of spring break and I woke to a loud knock on my bedroom door. “Are you coming or not? We’re leaving soon,” Paul said. I knew what he was talking about, but I wasn’t sure how to answer. Relunctently, I got out of bed, put on my boots, two pairs of socks, my best blue jeans and several layers of shirts. I walked into the living room with my hatchet brandished on my shoulder and stated “Let’s kill some fuckin’ zombies.”
The destination was Pleasure Beach, a mile-long strip of beach off the coast of Birdgeport Connecticut separated from the mainland by the Long Island Sound. Pleasure Beach was formerly a vacation spot for people who can afford vacation spots. In 1993, “vandals” burnt down the bridge that connects the beach to the mainland. Rather than rebuild the bridge, government officials in Birdgeport gave citizens only a few weeks to evacuate and take with them what they could. Since then, it has been a haven for anarchists, junkies and “hooligans” to use drugs and smash things. This place is a ghost town… there isn’t a single window that isn’t shattered, there isn’t a single door that isn’t kicked in and there isn’t a single house that can be considered reparable. Understand why wanted to check it out?
Me, Paul, Jamie, and Eric packed up the beat up Accord and began our journey unsure of what we would encounter. The car ride was like all car rides: shitty music, cigarettes and body odor. After two hours and one bathroom break we were in Bridgeport. We drove around for about two hours trying to figure out how to get even remotely close to this place. Directly across from Pleasure Beach is a swamp and Paul was convinced that we could simply wade through the swamp until we found a land bridge. After about 50 wrong turns, we found a place to park and started our trek. We walked for two hours through this smelly death trap of a swamp. The phrase “land bridge” began to make me sick to my stomach… it doesn’t exist…
Finally we ran into two older gentlemen carrying cameras and what looked like surveyors equipment walking along a gravel path that lined the swamp. “Do you know how to get to Pleasure Beach?” I asked desperately. I was met with a statement that both thrilled me and disappointed me. “Oh sure… just drive past the airport on the main drag, park in the parking lot at the end of the road and hike along the beach for about a mile.”
… Fuck… two hours, precious energy, and perfectly good socks completely wasted.
We were down but certainly not out. We followed the gravel path that took us back to the car in about 20 minutes.
Let’s recap: It took us 2 hours to wade through the swamp and 20 minutes to walk the gravel path back to the car. Moving on…
We hopped back in the car and continued on. Luckily it took us almost no time to find the parking lot. We parked, suited up, and started walking towards Pleasure Beach which was now in plain sight. It was about 4pm on a March afternoon, so hiking along a beach was cold; cold but beautiful… Light waves crashed against white sand and pastel shells were stacked like staircases indicating tidal patterns. While observing the aesthetics, we almost forgot about the eyesore we were about to see. Before we knew it there it was: Pleasure Beach in all of its graffitied glory.
Without missing a beat we invited ourselves into the first house we saw. We gawked in disbelief as we stared at a sea of broken glass, pealing wallpaper and beds with questionably stained linens. We wandered through it taking in every aspect of destruction. Jamie was taking pictures to document the madness, Eric was looking for souvenirs and Paul was looking for things to break. I’ve never used the phrase “maybe you shouldn’t touch that” so much in my life. I meandered my way through the wreckage in complete disbelief. Why are there clothes in closets? Why is the furniture still in the living room? Why are there dishes still in the cabinets? Why did these people have to leave in such a hurry? Questions were floating around in my mind like driftwood in the Sound. Regardless of how bizarre the placement of inorganic matter was, I couldn’t stop asking myself what could be around the next corner. A junkie shooting up? A dead body? Maybe a psychotic squatter with more weapons than common sense… It didn’t matter. We were there and we had to take it all in.
We continued through a few more houses taking pictures and asking each other rhetorical questions. In one house the floor was scattered with markers, crayons and children’s games and toys. All I could think about was how I wish I could make more sense of it than a miniature zombie apocalypse. The fourth house was the last house we would see that day. Jamie and I were in the living room as Eric and Paul explored the second floor and back porch. Jamie heard a crash, which ended up being Eric in the other room trying to scare us. It worked… Jamie and I ran for the front door unwilling to seek out the origin of said disturbance. We were met at the door by a Glock-9 and an emphatic yell: “Get your fucking hands up.”
Without thinking I said “Shit!” and threw my hands in the air. It was the cops…
Apparently one of the houses had burnt down the day before and local Police Department had been combing the beach for arsonists. They patted us down and made snide remarks like “if something in your pocket sticks me you’re going to have a bad day.” I couldn’t help but think “if something in my pocket sticks you, you’re going to have a worse day…”
It wasn’t just one cop, it was four. And they didn’t just come in the front door they had us flanked from the back door too. They condescendingly interrogated us assuming that we read the Birdgeport Times. “Didn’t you hear about the place that burnt down yesterday?”
“What happens when a place like this catches on fire? How do you expect us to get a fire truck out here?”
“How would you like it if someone walked into your house and just started smashing shit?”
“Don’t you have things to take pictures of in New York?”
Apparently they were unable to see the appeal of a town that has been completely frozen in time. I’ve never gotten a gun pointed in my face before, so I was a bit frazzled and couldn’t come up with any intelligent answers to their questions. Paul, however, is very good at dealing with cops. He was honest, articulate, and respectful. More than I can say about myself. Ultimately we were never arrested and only giving $92 trespassing tickets and sent on our ways. Before walking away we heard one of the cops mutter “It looks like we have more work to do” as two other kids walked towards us from the horizon.
The walk back to the car was quiet. If anyone said anything it was either a profanity or something like “I can’t believe this.” I certainly couldn’t believe it. Never once did we pass a sign that said “no trespassing.” Never once did we have to hop a fence and never once did we think we were doing anything illegal. Even if we were to set one of those hellholes on fire, would it be awful? When I use the term “irreparable” I really mean it. Not a single pane of glass wasn’t shattered and the wood in the unkempt houses had been severely warped from a lack of maintenance. If visiting this place is so awful, why not put up a no trespassing sign? Why not build a fence? Why leave such a, as one of the cops said, “shithole” so easily accessible?
From this clusterfuck of events, I have reached one conclusion. It’s all a scam… God knows why they never rebuilt the bridge and shipped people out so fast, but I think I know why they don’t put up No Trespassing signs. It’s a step away from entrapment. Bridgeport is one of the most impoverished cities in Connecticut. What better way to gain revenue than leave an appealing eyesore in plain view and ticket everyone who sets foot on the property….
Fuck the Police.
Thursday, March 5, 2009
This is an essay I wrote about why The Wire is awesome. Enjoy.
The HBO original series The Wire has gained much acclaim since its premier in 2002. This police crime/drama chronicles the underground drug trade in Baltimore Maryland from the perspectives of drug dealers, police officers, and political figures. Journalists Maureen Ryan of the Chicago Tribune and Tim Goodman of the San Francisco Chronicle agree that it was one of the best shows on television during its reign (2002 – 2008). They explain that The Wire earns its prowess from its dense storylines, literary writing styles, and relevant social criticism. All of these elements are prevalent in the second episode of season one entitled “You Cannot Lose if You Do Not Play.”
In this episode, the density of the show becomes apparent. In Goodman’s article, “Yes, HBO’s ‘Wire’ is Challenging. It’s Also a Masterpiece,” a “dense” television show is one that can be difficult to follow because of the intricacies associated with serial storylines. He claims that density is a good thing and that “expecting the series to be simple, easy or unchallenging is a ridiculous notion” (Goodman). “You Cannot Lose if You Do Not Play” picks up where the last episode left off with controversy surrounding a dead murder witness. The program’s density comes into play when storylines begin to overlap. The audience follows D’Angelo Barksdale, a street level drug dealer, as the police arrest him and coax him into writing an apology letter to the family of the dead witness. This occurrence implies that Barksdale might be affiliated with the murder. At the same time, viewers begin learning about how corrupt the narcotics unit really is: Crooked cops perform false arrests and drunken shakedowns. Finally, throughout the duration of the episode, Colonel Daniels complains to and bargains with superior officers in relation to the personnel in his narcotics unit.
These overlapping plots are not a bad thing, Goodman argues; television programs are more entertaining when they stimulate audience members’ minds. Goodman also discusses the pity he has for viewers that are too lazy to attempt to follow The Wire: “It's viewers who should worry that they are missing the absolute best of what television has to offer merely because it requires effort” (Goodman). Where he admits that The Wire can be difficult for new viewers to follow, Goodman believes that the show is not too complex for intelligent audience members to understand.
The main element that makes The Wire easier to follow is the literary style in which the show is written. In Ryan’s article, “Hooked by ‘The Wire’,” the storytelling is described as being “gripping” and the series is compared to a “meaty novel.” Goodman agrees by describing the plot of The Wire as one that “continues to move slowly, with intricate strands of story revealing themselves at a leisurely pace, like a good, well-crafted book. No, check that -- like a great novel.” (Goodman). In “You Cannot Lose if You Do Not Play,” literary styles become apparent throughout the episode.
A recurring literary theme in this episode and the entire series is a chant echoed by the low-level drug dealers. Whenever a street dealer sees a police officer they yell “5-0” which then gets echoed by every other dealer in the vicinity. The repetition of this phrase becomes expected by the audience and analogous with the camaraderie associated with the drug-dealing community. Foreshadowing is also present in “You Cannot Lose if You Do Not Play.” At one point, D’Angelo Barksdale visits his uncle, drug kingpin Avon Barksdale. D’Angelo hands his son over to Avon, at which point Avon refers to the child as his “little soldier.” The word “soldier,” as it’s used on the street, means drug dealer and/or gang member. Avon’s statement leads the viewers to believe that the family will be raising their children as drug-dealing gang-bangers.
The idea of breeding children for a life of crime also exemplifies the idea of social commentary contributing to the quality of The Wire. Again, Ryan and Goodman agree that the presence of social commentary is a defining element of the program. Ryan states that “The Wire steers clear of preaching, but it’s impossible not to see the graft and wheeling and dealing that goes on in the higher echelons of Baltimore’s power structure without also seeing parallels in the petty larceny on the street corners and the theft and betrayals among the city’s drug dealers” (Ryan). Goodman believes that The Wire does an exemplary job of explaining modern drug wars, racial issues, poverty, and political corruption. He goes on to illustrate that “Few series in the history of television have explored the plight of inner-city African Americans and none -- not one -- has done it as well” (Goodman).
“You Cannot Lose if You Do Not Play” is filled with socially critical elements that are both obvious and abstract. A less apparent socially relevant instance occurs towards the end of the episode. Officer McNulty is shown drinking beer in his car. He sees two men trying to break into a car. He tries to stop them, but instead he drunkenly stumbles down a hill. He couples his embarrassing spill with an open chuckle while looking at his police badge. This act leads viewers to imply that police officers are imperfect. They have problems, flaws, and do not always act as responsible authority figures.
Later in the episode, Officer Pryzbylewski pistol whips a young boy for leaning on his car. This obvious act of brutality leads to a formal complaint from the boy’s mother. In order to minimize damage, Colonel Daniels coaches Pryzbylewski on how to lie to Internal Affairs, should they contact him. When asked why Pryzbylewski struck the boy, he replies with “because he pissed me off.” Daniels then says “No, Pryzblewski, he did not piss you off. He made you fear for your safety and that of your fellow officers… Go practice…” The obvious social criticism implies that repercussions can be avoided if a crooked cop conducts himself in the right manner. It is made apparent that a police officer has more credibility than a young black boy from the Baltimore housing projects. This idea may be inherently unjust, but more often than not, it is true.
A television show should embody certain criteria to a quality program. The Wire is a dense show that combines literary storytelling and relevant social commentary to intrigue viewers. Journalists Maureen Ryan and Tim Goodman concur that the advent of these criteria helps illustrate why The Wire is a quality program. An episode called “You Cannot Lose if You Do Not Play” embodies density, literary storytelling and social commentary; therefore, this episode can be considered an exemplary installment of a complex and quality series
The HBO original series The Wire has gained much acclaim since its premier in 2002. This police crime/drama chronicles the underground drug trade in Baltimore Maryland from the perspectives of drug dealers, police officers, and political figures. Journalists Maureen Ryan of the Chicago Tribune and Tim Goodman of the San Francisco Chronicle agree that it was one of the best shows on television during its reign (2002 – 2008). They explain that The Wire earns its prowess from its dense storylines, literary writing styles, and relevant social criticism. All of these elements are prevalent in the second episode of season one entitled “You Cannot Lose if You Do Not Play.”
In this episode, the density of the show becomes apparent. In Goodman’s article, “Yes, HBO’s ‘Wire’ is Challenging. It’s Also a Masterpiece,” a “dense” television show is one that can be difficult to follow because of the intricacies associated with serial storylines. He claims that density is a good thing and that “expecting the series to be simple, easy or unchallenging is a ridiculous notion” (Goodman). “You Cannot Lose if You Do Not Play” picks up where the last episode left off with controversy surrounding a dead murder witness. The program’s density comes into play when storylines begin to overlap. The audience follows D’Angelo Barksdale, a street level drug dealer, as the police arrest him and coax him into writing an apology letter to the family of the dead witness. This occurrence implies that Barksdale might be affiliated with the murder. At the same time, viewers begin learning about how corrupt the narcotics unit really is: Crooked cops perform false arrests and drunken shakedowns. Finally, throughout the duration of the episode, Colonel Daniels complains to and bargains with superior officers in relation to the personnel in his narcotics unit.
These overlapping plots are not a bad thing, Goodman argues; television programs are more entertaining when they stimulate audience members’ minds. Goodman also discusses the pity he has for viewers that are too lazy to attempt to follow The Wire: “It's viewers who should worry that they are missing the absolute best of what television has to offer merely because it requires effort” (Goodman). Where he admits that The Wire can be difficult for new viewers to follow, Goodman believes that the show is not too complex for intelligent audience members to understand.
The main element that makes The Wire easier to follow is the literary style in which the show is written. In Ryan’s article, “Hooked by ‘The Wire’,” the storytelling is described as being “gripping” and the series is compared to a “meaty novel.” Goodman agrees by describing the plot of The Wire as one that “continues to move slowly, with intricate strands of story revealing themselves at a leisurely pace, like a good, well-crafted book. No, check that -- like a great novel.” (Goodman). In “You Cannot Lose if You Do Not Play,” literary styles become apparent throughout the episode.
A recurring literary theme in this episode and the entire series is a chant echoed by the low-level drug dealers. Whenever a street dealer sees a police officer they yell “5-0” which then gets echoed by every other dealer in the vicinity. The repetition of this phrase becomes expected by the audience and analogous with the camaraderie associated with the drug-dealing community. Foreshadowing is also present in “You Cannot Lose if You Do Not Play.” At one point, D’Angelo Barksdale visits his uncle, drug kingpin Avon Barksdale. D’Angelo hands his son over to Avon, at which point Avon refers to the child as his “little soldier.” The word “soldier,” as it’s used on the street, means drug dealer and/or gang member. Avon’s statement leads the viewers to believe that the family will be raising their children as drug-dealing gang-bangers.
The idea of breeding children for a life of crime also exemplifies the idea of social commentary contributing to the quality of The Wire. Again, Ryan and Goodman agree that the presence of social commentary is a defining element of the program. Ryan states that “The Wire steers clear of preaching, but it’s impossible not to see the graft and wheeling and dealing that goes on in the higher echelons of Baltimore’s power structure without also seeing parallels in the petty larceny on the street corners and the theft and betrayals among the city’s drug dealers” (Ryan). Goodman believes that The Wire does an exemplary job of explaining modern drug wars, racial issues, poverty, and political corruption. He goes on to illustrate that “Few series in the history of television have explored the plight of inner-city African Americans and none -- not one -- has done it as well” (Goodman).
“You Cannot Lose if You Do Not Play” is filled with socially critical elements that are both obvious and abstract. A less apparent socially relevant instance occurs towards the end of the episode. Officer McNulty is shown drinking beer in his car. He sees two men trying to break into a car. He tries to stop them, but instead he drunkenly stumbles down a hill. He couples his embarrassing spill with an open chuckle while looking at his police badge. This act leads viewers to imply that police officers are imperfect. They have problems, flaws, and do not always act as responsible authority figures.
Later in the episode, Officer Pryzbylewski pistol whips a young boy for leaning on his car. This obvious act of brutality leads to a formal complaint from the boy’s mother. In order to minimize damage, Colonel Daniels coaches Pryzbylewski on how to lie to Internal Affairs, should they contact him. When asked why Pryzbylewski struck the boy, he replies with “because he pissed me off.” Daniels then says “No, Pryzblewski, he did not piss you off. He made you fear for your safety and that of your fellow officers… Go practice…” The obvious social criticism implies that repercussions can be avoided if a crooked cop conducts himself in the right manner. It is made apparent that a police officer has more credibility than a young black boy from the Baltimore housing projects. This idea may be inherently unjust, but more often than not, it is true.
A television show should embody certain criteria to a quality program. The Wire is a dense show that combines literary storytelling and relevant social commentary to intrigue viewers. Journalists Maureen Ryan and Tim Goodman concur that the advent of these criteria helps illustrate why The Wire is a quality program. An episode called “You Cannot Lose if You Do Not Play” embodies density, literary storytelling and social commentary; therefore, this episode can be considered an exemplary installment of a complex and quality series
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