Tag Archives: Classical

Expanding on the Jazz vs. Classical Worlds

Duke Ellington

Ludwig von Beethoven

Beethoven

I hope the title above doesn’t sound contentious. I truly don’t believe that there is a battle between the jazz and classical worlds. However, I believe that many musicians do believe that one must make a choice between playing jazz or classical.

Let’s make it very clear here that playing jazz and classical well takes years of practice and devotion. One is not easier than the other and just because a musician can play jazz doesn’t mean they can also play classical and vice-verse. I have one foot firmly placed in the jazz world (I do have a Masters degree in Jazz Studies) and my other foot firmly placed in the classical world (I sub quite often in the Indianapolis Symphony Orchestra) and I work hard maintaining a high playing level in both fields and I never take that for granted.

As I have been traveling down both paths, the more I realize how similar the paths are. When I think about how I want to play jazz, this is what I think about:

1. Playing with a good sound (ALWAYS!!)
2. Playing with good time
3. Playing stylistically correct
4. Playing with good technique
5. Playing with good and clear articulations
6. Playing with a studied knowledge of the music
7. Being a nice person to those around me (so I get hired again!)

The above list are the exact points I think about when I’m playing classical music! So, yes, there are differences between jazz and classical styles, but there are more similarities and those similarities are what I have been working on. And that work has paid off. I do several gigs a month with one of my various jazz groups (Standard(ish) Jazz Trio, Trombononymous, Elevator Up!) and I have won a bass trombone position with the Sinfonia da Camera orchestra in Urbana Illinois.

In future blogs, I will go into detail of what I am practicing for each classical, jazz, bass trombone and tenor trombone. These topics can be useful to musicians on any instrument that want to make themselves as marketable as possible to work as much as possible in these hard economic times.

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A New Chapter

The page has turned.

RBD and mda have both moved on from our untimely departure from our previous jobs (read our blog ‘Struggling Arts Hits Home’ directly after we lost our jobs). mda has found a great new home with the Percussive Arts Society or PAS, where he is now the Director of Marketing and Communications. Congrats to you mda!!

I, however, has gone a slightly different path. Instead of hitting the pavement and going out and looking for another job (hopefully within the arts industry), I decided that since I had enough gigs and money saved up to pay bills through the calendar year, I would invest my time into the bass trombone, tenor trombone, orchestral trombone and jazz trombone. My goal was (and still is) to become a solid player on both the bass trombone and tenor trombone in both the jazz and classical worlds. No small order to be sure.

I’ve always had one foot in the classical world and one foot in the jazz world. I work in both and have been successful in both. But I wanted to be the best all around player. I wanted to be able to go do a small group jazz gig on my tenor trombone, and turn around and win a bass trombone orchestral audition. Well, five months later, I’m getting closer and closer to my goal.

I recently won a position with the Sinfonia da Camera out of Urbana Illinois, conducted by Ian Hobson and I am also on contract with the Anderson Symphony Orchestra in Anderson Indiana conducted by Rick Sowers. These are two small orchestras with a grand total of 12 concerts I’ll play, but its a start and I’ll be blogging about each orchestra as the season unfurls. Each orchestra has a good brass section, clear and easy going conductors and are playing good repertoire so it should be a fun season of playing!

Later this week, I’ll be blogging about working within the Jazz and Classical world and expanding on how I am practicing for each genre!

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The Current Relationship Between Jazz and Classical

So this is nothing new at all.  This has been happening for a very long time.  If you want a history lesson, I will let RBD give the history lesson.  He would be better at that than myself right now.  What am I talking about?  Well that would be musicians crossing over between jazz and classical.  Again, it has happened and will continue to happen.  Heck, RBD does it all the time!

However, I want to touch upon one young composer and jazz musician.  Steve Lehamn.  He, like other young composers, have begun really looking at more of the ‘avant garde’ side of each discipline and how to connect them.  *note: I am not always a fan of the term ‘avant garde’ and yet I find myself using it quite a bit.  Too late to change now…*

And yet, I feel Lehman’s music is still very accessible for people.  There is still an underlying ease of groove, for lack of a better word, whether you are listening to his jazz compositions or contemporary compositions.  It’s people like Steve Lehman that still gets me excited about new music.  Granted, it’s not hard to get me excited when it comes to new music pushing the boundaries of the jazz or classical world; however, this music is even better.  That’s how I have always been, whether we are talking about music, art or literature.

The first video will give you insight into Lehman’s work within the contemporary classical world.  Four great compositions by Steve Lehman. The second video gives you insight into Steve’s compositional process and his work within the jazz world.  I will put in a plug and strongly urge you to check out his album Steve Lehman Octet: Travail, Transformation and Flow (the second video is a live show of music from that album).  It truly is a great album to listen to and feels just as fresh today as it did when released in 2009.

ICElab at LPR | Impossible Flow: Music of Steve Lehman from ICE on Vimeo.

Jazzlink# 8 : Steve Lehman from Josselin Carré on Vimeo.

So take the step and check out some of this new music.  Find these musicians who are pushing the boundaries and making new things.  It really is exciting and there is so much to take in.  It shows that the arts, although not supported like it should be, is still trying to move forward and be a force within humanity.  If enough of us check it out and support it, maybe things will change.

~mda

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LA vs. NYC

This is the time when arts organizations begin announcing next season’s concert schedule.  This is always an exciting time for those who care about these announcements.  However, something showed up in my RSS feeds today about the Los Angeles Philharmonic and the New York Philharmonic and it made me start to wonder….is this a good thing or a bad thing?

First, read this article from Mark Swed of the Los Angeles Times

Now, read this article from Anne Midgette of The Washington Post

So what did you think?  First a little background before I start my discussion.  The NY Phil and the LA Phil has always been considered two of the top orchestras in the US, with good reason.  Last year, each organization selected a new music director: the NY Phil brought on a young legacy conductor Alan Gilbert, while LA Phil selected the younger, international phenom Gustavo Dudamel.

Alan Gilbert of the New York Philharmonic

Gustavo Dudamel of the Los Angeles Philharmonic

Congrats to both organizations and each music director on a perfect choice.  However, my question comes from the two articles.  So let’s discuss…

I am confused by the Los Angeles Times article in that Mark Swed seems to be trying to create a rift between the two organizations by pretty much saying that Alan Gilbert and the NY Phil are only copying what the LA Phil has already done, meaning the NY Phil is either worried about the LA Phil and Dudamel taking too much lime-light from them and have no true artistic merit.  Or maybe I am reading into this a little too much; however, I do not believe I am.  The first time I read through the article, I was taken aback by such phrases as this one: “Many of the New York season’s highlights given top billing in the orchestra’s press release read like LA Philharmonic redux.” Granted, Mr. Swed ultimately gives the NY Philharmonic “its due.” But I think it is too late as the reader has already started to think ‘Well golly-be, the NY Phil is only copying everything that the LA Phil is doing.  How absurd.’

Anne Midgette of The Washington Post approaches each organization with a less-biased look in to each season.  Yet she actually takes a poke at Dudamel, but I don’t think it is in a malicious way.  Here is a snippet:

“Gilbert has from the start clearly had big plans for the Philharmonic and is actively going about implementing them and putting his stamp on the place.” …. “Dudamel is less of a thinker: with ineffable star power.  While I imagine that he welcomes what is going on in L.A.’s lavish cornucopia of a season, I doubt he initiated much of it himself.”

So my question: Is it really important to try and create a rift between the organizations as Swed of the LA Times seems to do in his article?  I think it is probably not the best thing to do, but it does bring a certain amount of publicity, which is always good.  This is obviously the way of the US publicity world these days…create drama and the public will follow.  However, does this not hurt the whole purpose of the arts world and each organization in the long run?  Do we want the orchestras to have a rivalry like those found in the sports world, i.e. Yankees-Red Sox, Cardinals-Cubs, Longhorns-Sooners, Hoosiers-Boilermakers?

What are your thoughts?

-mda

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Renaissance Brothers Top 10 of 2009

It seems that everybody and his/her brother has a Top 10 list. Well so do we! However, our Top 10 list will be much better than all the others.  Why?  Because it is from your Renaissance Brothers.  It will also be better than others because we are writing the Top 10 list while sitting in the new Upland Brewery Tasting Room in Indianapolis.  Upland is hands down one of the best microbreweries in the world (in mda’s humble opinion, it may just be THE BEST).

But we digress.  The Top 10 of 2009.  This list will discuss the 10 best live classical and jazz performances that one or each of the Renaissance Brothers have had the pleasure of enjoying in the greater Indianapolis area. We both enjoy live performances and tend to see quite a few shows each year so we feel we can create a good list for the city.  Without further ado…

– Wagner Das Reingold Indy Opera/ISO at Clowes Hall

You can NEVER go wrong with Wagner.  This was a very interesting production as it was ‘partially staged.’  What does this mean?  Well, the orchestra (the Indianapolis Symphony Orchestra) was on stage throughout the entire opera.  The acting in the opera was done with a video screen for scenery and the vocalists performing on scaffolding.  Sounds strange?  Well, it really wasn’t.  The Indy Opera brought in quite a few well-known Wagnerian vocalists for this production and we are glad they did.  Great stuff right here…plus RBD played in the orchestra.

– Higdon Violin Concerto with the Indianapolis Symphony Orchestra

This was a world premiere of Jennifer Higdon’s Violin Concerto that was performed in February 6th, 2009. Commissioned in conjunction with Curtis Institute of Music and the Baltimore Symphony, the first performance was indeed here in Indianapolis. Played by the great violinist, Hilary Hahn, this concerto started with a bang and never, ever, let up. What was truly amazing is that Hilary played this FOR MEMORY! This night was truly a once of a lifetime experience and I congratulate the Indianapolis Symphony Orchestra for programming such a wildly adventurous piece and am still in awe of the piece itself and Hilary Hahn’s virtuosic performance of the concerto.

– Leisure Kings Big Band Show at The Jazz Kitchen

The Leisure Kings is a two-man operation.  They take 80’s popular music (gangster rap, hair/metal music, Kenny G…you know the usual) and ‘loungifies’ them.  It is one of the most hilarious things one will ever witness.  Now let’s add a 16 piece professional big band to support the hilarity!  That is what happens twice a year at The Jazz Kitchen (generally June & December).


– Marcus Miller at Indy Jazz Fest

So I (mda) have been a Marcus Miller fan for quite a while.  Granted, some of his music becomes a little too ‘smooth’ for me, but damn the man can play.  I originally heard his stuff from the Miles Davis albums but really first got into his music from a Michel Petrucciani-Marcus Miller live album on the Dreyfus label out of France.  Great stuff.  The group he brought to Indy Jazz Fest on Sunday blew away everything else from that day (sorry RBD, who played that day as well).  I set included a great mixture of originals, Miles Davis tunes and even a tribute to the King Of Pop, Michael Jackson.

– Joshua Redman at Clowes Memorial Hall (to begin Indy Jazz Fest)

It seems the new trend for a lot of major jazz artists (especially tenor players) is to work within a trio (tenor, bass and drums). This trend is nothing *new* per se, just consider Gerry Mulligan and Chet Baker’s  piano-less quartet. A small jazz group sans piano really opens up the harmonic structure that the jazz artists have to work with. (Would it be too cynical of me to also suggest that it is cheaper not to worry about one more person on a tour and finding a nice piano for the pianist to play…?) Well, at any rate, Joshua Redman was at Clowes Hall September 19th to kick-off the 2009 Indy Jazz Fest. Along with Josh (on tenor sax) was Greg Hutchinson on drums and Matt Penman on bass. It was easy to tell that this trio has been playing together for a while because they were TIGHT! Playing jazz standards together is a wonderful thing. Playing jazz standards in awkward meters like 7 or 5 tightly is a different story all together! My mouth dropped open at the first downbeat and stayed open for a full 75 minutes! The energy was palpable. The connection between the three musicians was visible. Moments of that performance have been imprinted on my brain and I am happy to say that I will carry those memories until the day I die.

– Les Claypool at The Vogue

OK so this is not really a classical or jazz show per se.  However, the show was amazing and Claypool’s playing is always very improvisational.  His band is an odd collection of top session players in the jazz and rock world and the music is as good as it can get.  Les Claypool defies all genres.

– Frank Glover and Claude Sifferlin at The Chatterbox any Thursday

Frank Glover and Claude Sifferlin have performed together for over 20 years.  They are two musicians that would be on top of the jazz world if they were located in NYC.  Their performances are bordering on sheer genius every Thursday night at The Chatterbox jazz club in downtown Indy.  Frank is releasing a new album in 2010 on the Owl Studios record label.  This is with his new group Kilho and features a 25-piece orchestra.  This WILL BE one of the best albums of 2010.


– Ariade auf Naxos at Clowes Memorial Hall

The Indy Opera company is a hidden treasure in Indianapolis.  The 2009-2010 season is unfortunately one opera short due to the economy.  However, the economy has not hurt the quality of the operas being performed.  Ariadne auf Naxos is a great, late opera from Richard Strauss.  It is a great mixture of comedy and drama.  Of course with the music of Strauss, one knows the opera is going to be great.  The production is especially significant because it featured Indianapolis native, and opera diva Angela Brown.

– Bach B minor Mass at St. Pauls Episcipalian Church

Bach is pure. Bach is beautiful. Bach was a nice nightcap to my 2009. On November 13th, 2009, mda and I (RBD) and our buddy Eric (trumpeter) went to St. Paul’s Episcopal Church for an experience that we will not soon forget. Some say that the acoustics at that church are poor, but I simply loved this performance. All of us in attendance were all impressed and comforted that this performance happened in Indianapolis. The Indiana University Chamber Orchestra and Choir, conducted by Professor William Jon Gray, performed this piece and the audience, at that point in time, the luckiest people on the planet. Such peace and goodwill flowing through the sanctuary was almost overwhelming. Everything was so clear and (dare I say) perfectly executed there were nothing but smiling people leaving that building on the night of November 13th, 2009.

– APA afternoon concerts at Christ Cathedral

The American Pianists Association has a great piano competition for up-and-coming young pianists, which takes place right here in Indianapolis.  The competition included a chamber music portion at Christ Church Cathedral on the circle of downtown Indy where each finalist performed with the Parker String Quartet. Taking place every day for a week during the noon hour (FOR FREE!), this might have been the best concert series in Indianapolis for 2009.  The level of musicianship was absolutely amazing.

Honorable Mention

Magic Flute IU Opera in Bloomington

Opera…you either love it or hate it, or maybe ambivalent about it. Either way, people have opinions, and some of those opinions are about Opera. I (RBD) really enjoy Opera. I’ll always go into it with a positive attitude. Early opera is not my thing, and Mozart is really not THAT early, but still, you know what I mean. I’ve played the Magic Flute twice while at IU so I knew what I was getting into. BOY WAS I WRONG!!! This production was so exciting! The production was done in conjunction with the Atlanta Opera and will be premiered down there in April of this year (2010). I was mesmerized by this production and was sad when the opera concluded. The fact that the music was sung in German and the dialogue was in English was at first jarring, but you soon got over that! I am continually amazed at the production value of the IU Opera Department and was thoroughly thrilled at The Magic Flute!

– Fareed Haque CD release party at The Jazz Kitchen

Fareed Haque was recently awarded the Best World Guitarist of 2009 by Guitar Player Magazine.  He released Flat Planet in March on the Owl Studios record label.  The album received rave reviews, including being top on the JazzWeek world music radio charts and a feature interview on PRI’s The World.  Fareed traveled through Indianapolis for a CD release party at The Jazz Kitchen and blew the roof off the place.  Certainly take advantage of Fareed’s tours around the world.  He always puts on a great show.

– Freddie Hubbard Tribute at Madame Walker Theater (Indy Jazz Fest)

With a line-up that includes Steve Allee on piano, Rufus Reid on bass, Donald Edwards on drums, Rob Dixon on tenor sax, James Spaulding on alto sax and 4 incredible trumpet players: Randy Brecker, Nicholas Payton, Derrick Gardner and Pharez Whitted, one would think that this concert would be easily in our top 10 and not in an ‘Honorable Mention’ category. Although this concert was great consisting of wonderful solos by world-class jazz musicians and incredible new arrangements by David Baker, Steve Allee and Derrick Gardner, the concert was L O  N  G!!!!!! I mean, really long! We’re talking easily 3.5 hours! Now THAT’s a lot of trumpet! We knew it would be a long concert when each player took 10-14 choruses EACH on the first tune, all trying to outdo the other! Whew! It was a journey, with a lot of playing, but sometimes you want to leave the audience wanting more…

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Children’s favorite classical

Symphony Orchestra

One thing that is important to the future of Western Art Music is getting the younger generation connected to the music.  Many orchestras and other organizations accomplish this with the typical instrument petting zoos and “kiddie concerts.”  An article from the Guardian in the UK discussed what are the most popular ‘classical’ works for children and you will notice that the pieces listed are 1. typical for ALL kiddie concerts 2. programmatic and 3. generally related to Disney.  RBD and I (mda) decided we would discuss this list and see if it really is good for an introduction to Western Art Music for children.  So let’s start this:

mda: Hello Rich, how are you this fine evening?

RBD: I’m doing rather well thank you very much. Looking forward to this blog.

mda: So you read the list.  Let me first start with an overall question of “what do you think of the list?”

RBD: Well, I couldn’t help but notice two things: 1. Every piece is connected to a character or story, and as you mentioned, generally via Disney. 2. I’m assuming that anything with an orchestra is considered ‘classical’ to today’s youth. I’m also curious    just how this survey was done. Did the kids get a list from which to choose? Overall, though, anytime a youngster is exposed to classical music, via cartoons, movies, commercials, that’s fine with me….er, well, as long as the kids understand to what they are listening!

An Instrument Petting Zoo!

mda: Yeah, unfortunately the article does not discuss how the list was created.  The programmatic aspect is something that strikes me quite a bit.  Obviously, it is easier to introduce a young child to a piece of music if there is a story to tell/describe/promote.  I am fine with that.  Much like you, any way to introduce a child to the wonderment of classical music is fine by me.  However, by doing this are we ultimately shrinking the amount of music to introduce to the children?  First thought…will this make children expect a story behind each piece?  What about Renaissance music (which I know you are not a fan), or Mozart, or Beethoven?

RBD: Good points. Let’s think about these pieces as ‘gateway’ pieces. As mentioned, these pieces have a story to tell, they depict something via music. Now, in classical ‘kiddie concerts’ why not do the same things with different pieces? Play something ‘sad’. Play something ‘happy’. Show the audience, the children, that music can do a lot more than tell a story! After demonstrating how music can portray different emotions, then the orchestra can ask the kids to make up a story/emotion about another piece that they play. …(and now the ‘idea wheel’ gets moving, but the ‘knowing how to implement it’ wheel is a tad rusty) Maybe even send to the classrooms a week or two ahead of time, a piece of music, or send the kids back to school with a different piece of music, and have THEM make up a story! What does that piece of music say to them? Turn it into a contest/game/fun!! All in the name of getting the youth involved!

mda: Good idea.  Do you think orchestras are doing this?  Obviously you have a little more knowledge with this than I as there isn’t much need for a classical saxophonist in an orchestra.  However, I still feel like it puts too much emphasis on the story in the live performance.  The kids are getting introduced to a non-programmatic work BUT they are listening to it as a recording

Sergei Prokofiev

and not a live performance.  Am I being too picky with this? Also…hang with me here my brain just left……would it be better to introduce the children to music before they witness a live performance?  i.e. they study Prokofiev’s Romeo and Juliet first to understand the music and then use the live performance to strengthen their thoughts and then throw in non-programmatic works to expand their brains?  Answer that and then let’s move on to another question.  If you had the ability to introduce young children to a piece of music…any piece…what would it be?

RBD: Introduce the music to the kids BEFORE they get to the concert? Well, I think that makes the most sense ON THE PLANET! For all of the ‘kiddie concerts’ I’ve done and all the ‘school gigs’ I’ve played, I keep thinking: ‘These kids are REALLY getting into this! They LOVE us!’ Then I think, ‘What if these kids had been exposed to some of this material a week or two ahead of time?’ Can you imagine playing a piece the kids have studied/heard before? They would LOVE it! Why do you think they love ‘pop’ music so much? Well, one reason is because they hear it all the time!!! Anytime you get kids listening to classical music and thinking about classical music, getting them invloved…something good has happened! Now to answer your question…What piece of music would I use to introduce classical music to kids? That’s a good question. I’m going to have to think about that for a few minutes…

(insert 5 minutes here)

…well, there are so many wonderful pieces out there. On one hand you want to present them with something beautiful, and I know we are trying to be idealistic here, but I’m going to try to be practical. Having a piece with a HUGE orchestra and choir are not cost effective. Having a smaller orchestra doesn’t expose the students to all the instruments. So, I’m going to go with…part of or the entire 1st movement of Shostakovitch 5th symphony! Hell to the Y-E-S!! What a great historical place Shostakovitch has in classical history, not to mention Russian history. There are hints of atonality in there, a march and the repression! The pain of creating music under those confines….WOW! So engaging, especially if they get to discuss it before they come to the concert hall. Now, ideally…? Mahler, anything, I’d say Mahler 2, or the fugue at the end of Beethoven 9th. How many lives can be changed with music that powerful? Hmmm….
So, what would you choose?

Ludwig von Beethoven

mda: Well I was going to say Bach B Minor Mass or Beethoven 9…how perfect is Beethoven 9.  You have a great story of the composer, the use of the choir, the ultimate story of Bernstein using it for the fall of the Berlin Wall.  But you bring up an interesting concept with being cost effective these days.  You know….maybe I would chose a Haydn symphony because they generally have a story of some sort hook to them.  How about the Surprise Symphony or the Farewell Symphony?  Now granted, it is pretty structured in the composition, but I think it could be a great introduction.  In perfect world?  I would have to chose Mahler or Bartok!  Bartok I think would be an interesting choice.  It is quite accessible, full of folk music and fun to listen to.  Thoughts?

One of our favorites! Bela Bartok

RBD: Bartok, yeah, I didn’t think about that, of course there are so many pieces from which to choose, anything can work and for a number of reasons. This has been fun my friend!

mda: Thanks for doing this with me.  And please NEVER wear sleeping/lounge pants with dogs on it when you go out in public.  I think I would stop talking to you if that happened.

RBD: Done and Done!

So, what piece of music to YOU think would be great to introduce to our youth? What piece of music would you have liked to have heard when you were young? Were you exposed to classical music as a child? If so, what pieces?

Thanks for reading and sharing

~RBD
~mda

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Mid-Western Sensibility Holding Us Back?

 

midwest6

Mid-West

 

 

I have grown up a Mid-Westerner. Born and raised in Southern Illinois, a few miles from St. Louis Missouri where I would routinely attend St. Louis Symphony Orchestra concerts with my mother and father. In later years, I would perform with the St. Louis Symphony Youth Orchestra in the same hall and even get to perform ‘side-by-side’ with the SLSO musicians. After attending Indiana University, I put down some roots in Indianapolis, IN.

 

I have learned since moving here that the Mid-West has an incredible amount of Artist Talent to offer the country and the world as a whole. I have also learned that most people don’t look locally for the Artistic Talent and usually have a mantra to the effect of: “There’s nothing going on around here.”

This has been bothering me for some time and I’m not sure how to deal with it.

 

Downtown Indy

Indianapolis Skyline

When I first moved to Indianapolis, I was amazed to see all the wonderful musical talent that was around. Then I read an Editor’s Note in the INDIANAPOLIS MONTHLY MAGAZINE. The Editor has a ‘Wish List’ for Indianapolis (this was back in 2002/2003). One item on this ‘Wish List’ was: “I wish a big time successful artist that has roots in Indianapolis would move back here and make Indy his/her home so that we can have a major artist living here to draw attention to our arts scene.” (or something real close to that. The Editor cited ‘John Melloncamp’ as an example.)

 

My first thought was…WHAT? We HAVE a great arts scene here, WHY do we need OUTSIDE VALIDATION? WHY don’t we believe in ourselves?

 

David Robertson

SLSO Music Director: David Robertson

 

 

Being from the St. Louis area, I follow the SLSO and was recently sent this article about David Robertson the musical director of the Symphony there. Here is an exerpt that struck me:

The pairing (Mr. Robinson and the SLSO) prompts another comment, one that cuts to the heart of Midwestern self-deprecation and, perhaps, an inferiority complex. “You know,” Mr. Robertson continued, “it takes somebody from outside St. Louis to come and say, ‘This arch is one of the most inspiring objects in the world.’ Only then do people from here say, ‘Yeah, so it is.’ And it’s the same with the symphony. Only after outsiders praise it do people here go, ‘Oh, yeah, so it is.’ And that’s part of our challenge—to get people here to realize just how amazing this thing is that’s right in their midst.”

And so it is.

(and so I ask again…)
WHY does it take somebody from the Outside looking in to tell US that what we have is GREAT?!!? WHY don’t we believe in ourselves?

As Mid-Westerners are we automatically less aggressive? Are we taught not to raise our voice? Do we naturally demure to the loudest voice?

How do we correct this? How can we be PROUD of our Arts Scene right here in Indianapolis without being pushy, aggressive or arrogant? How can we make Indianapolis a CULTURAL CENTER in this country?

~rbd

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