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Grandstand’s Last Stand

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A valued component of Central New York’s entertainment legacy was blown to smithereens on Saturday, Jan. 9, when a series of strategically-placed explosives helped to crumple the New York State Fair’s Grandstand to the ground. The sound could be heard — and even felt — as far away as Bridgeport, serving as testimony to the sheer force that tumbled the multicolored mass of girders and bleachers.

Before the Grandstand went down, Gov. Andrew Cuomo’s pre-show provided some political grandstanding. Flanked by area politicians, including Onondaga County Executive Joanie Mahoney, Cuomo announced plans to cut tax rates for small businesses, freeze Thruway tolls and spend $200 million on upstate airports.

Then came the main event. “The State Fair really is, in many ways, a metaphor for upstate New York,” Cuomo said. “The State Fair is a great institution and the truth is, it needs advancements. It has not had the kind of investment it should have had over the past few years. Parts of it were not competitive anymore, like the Grandstand, which brings a great sense of nostalgia. I have been coming here for many, many years, so there is a real sense of nostalgia about it. But especially from the Grandstand’s point of view, we would have had to invest a lot of money to make it safe again. We would have had to change the entire venue to make it competitive for acts to come.

“And the county, thanks to County Executive Joanie Mahoney, has built a great, new amphitheater, which is exactly state of the art. So this is going to be part of the new fairgrounds, and that’s how I see it. It’s not that it’s a loss. This is about progress, this is about going forward and this is a big step.”

The VIPs then gathered around the plunger, as Cuomo ad libbed, “It is the first time I’ve been part of blowing anything up — physically anyway. I blew up a few things in Albany, but not like this.” The Grandstand’s detonation joined other recent State Fair teardowns such as the nearby series of wooden-built restaurants that hugged the infield fence. New eateries are slated to be built, as well as a recreational vehicle park where the Grandstand once stood tall. An expansive redo of Chevy Court is also in the works, but it’s mind-boggling to imagine that all these renovations could possibly be done in time for the fair’s opening in late August.

While Cuomo wants to look forward, here’s a photographic look-back at the Grandstand’s 40-year heyday, which started when the fair began charging separate admission to the Grandstand’s concerts in 1976. (The fair may have got that idea from the Great American Music Fair, a multi-act rock festival presented in the infield in September 1975, which received much ink from the nattering nabobs of negativism at the Syracuse Newspapers.)

The seemingly endless list of entertainers (many booked by longtime marketing director Joe LaGuardia) includes Bob Hope, Frank Sinatra, Aerosmith, Steve Martin, Robert Palmer, Bill Cosby, Britney Spears, Goo Goo Dolls, Alice Cooper, Jeff Foxworthy, Bob Barker, Regis Philbin, Wayne Newton, Deney Terrio, Whitney Houston, Tina Turner, Wang Chung and plenty more. Plus the Grandstand hosted a number of special events, everything from a Syracuse Crunch hockey game to demolition derbies, boxing cards and tractors pulls, to horse racing at the Syracuse Mile. And what’s wrong with a little nostalgia, anyway?

Watch the destruction of the Grandstand below:

The Jonas Brothers.Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times County Executive Joanie Mahoney.
Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times Alice Cooper.
Michael Davis photo | Syracuse New Times Justin Bieber.
Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times Michael Davis photo | Syracuse New Times Crunch hockey at the fair.
Michael Davis photo | Syracuse New Times Brad Paisley.
Michael Davis photo | Syracuse New Times

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Trump Card

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Back in the day, Hart Seely organized Syracuse’s annual AHOY party. Around Christmastime, local media types and hanger-ons would gather at a mildly seedy bar for loud music, too much beer and the opportunity to cast paper ballots for the Ass Hole of the Year. The candidates usually came from the headlines of the day. For cynical journalists, the AHOY party offered the perfect alternative to the cheery season.

That annual debauchery has gone the way of the seven-day local newspaper, but its spirit lives on. Last month, Seely and a few friends got together to choose the biggest AH of 2015. Donald Trump, Republican presidential frontrunner, lost in a run-off vote to Martin Shkreli. He’s the smirking hedge funder whose company, Turing Pharmaceuticals, bought the rights to an AIDS and cancer medication then jacked up the price from $13.50 to $750 a pill. (The other finalists were Sen. Ted Cruz and Jared, the former Subway guy.)

It’s hard to argue that Shkreli wasn’t deserving, even in that competitive field. But you’d forgive Seely for rooting for Trump, the subject of his new book, Bard of the Deal: The Poetry of Donald Trump (Harper, $15.99/softcover).

“It was a microcosm of the election,” Seely said on an unseasonably warm afternoon before Christmas. “Trump led all night, and in the end, he lost.”

Seely predicts that’s what will happen in November, too. “In the end, he’s not going to be able to close the deal,” Seely said, echoing the title of Trump’s 1987 memoir, Art of the Deal. But Seely, a longtime Post-Standard writer who left the newspaper voluntarily when it restructured in 2013, hopes Trump stays in the limelight long enough to encourage sales of Bard of the Deal.

Hart Seely. Michael Davis photo | Syracuse New Times

Hart Seely.
Michael Davis photo | Syracuse New Times

The book is Seely’s fifth, and the third that capitalizes on found poetry. The literary format takes “existing texts and refashions them, reorders them, and presents them as poems,” explains the Academy of American Poets. “The literary equivalent of a collage, found poetry is often made from newspaper articles, street signs, graffiti, speeches, letters, or even other poems.”

American writer Annie Dillard says writers of found poetry “go pawing through popular culture like sculptors on trash heaps …  by entering a found text as a poem, the poet doubles its context. The original meaning remains intact, but now it swings between two poles. The poet adds, or at any rate increases, the element of delight.”

Seely, who claims he does not understand poetry, first took on the form in Holy Cow, a collection of Phil Rizzuto’s comments. A 1993 New York Times review praised the book (co-edited with comic book writer Tom Peyer) about “America’s favorite daffy uncle” — the former New York Yankees shortstop who spent 40 years as a Yankees announcer.

Seely saw similarities in the language of Rizzuto and former U.S. Secretary of State Donald Rumsfeld, the topic of his 2003 book, Pieces of Intelligence. They “are the same critter: old guys trying to tap dance,” he told Tom Barbash, also a former Post-Standard writer, in a 2012 interview for the online literary outlet The Rumpus. “The difference is that Phil had the grace to stick with what he was meant to do: broadcast Yankees games,” Seely continued. “He didn’t try to run wars. Rumsfeld looked out at the adoring media throngs and drank his own Kool-Aid. He saw himself as wise and whimsical.”

Seely describes his literary scam to Barbash this way: “Take a cultural reference from Column A — let’s say Vagaries of Baseball — and one from Column B — Politics — put them in a blender and press FROTH. Do that, and usually you get something that passes for humor. And if it looks funny, people will laugh, because they don’t want to be left out of the joke.”

An example of Rummy free verse:

As we know/ there are known knowns./ There are things we know we know./ We also know/ There are known unknowns.

Seely laughs when he recites it. The poem got a shout-out last summer in a long piece penned by prolific writer Joyce Carol Oates (a Syracuse University graduate, by the way) for the highbrow literary magazine New York Review of Books about where writers find inspiration.

During his 30-plus years writing for The Post-Standard, and before that, the now-defunct Herald-Journal, Seely found inspiration in the weather, crooks and celebrities. He wrote about eggs frying on the hot pavement and the 50 words Syracusans use for snow. He covered Syracuse Mayor Lee Alexander, disgraced in a $1.5 million kickback scandal. He once interviewed Timothy Leary — the 1960s drug guru President Richard Nixon described as “the most dangerous man in America” — in a bathroom after Leary spoke at SU.

The idea for a book on Trump’s verse came to Seely after the second Republican presidential candidates’ debate in September. Seely spent about 10 weeks reading everything Trump wrote and tracking down transcripts of Trump’s speeches, rushing to meet the deadline for a Dec. 15 book release.

“Journalists are not writing down what he says anymore,” Seely said. “When you write down his words, it’s a different deal than when you get his gestures. He’s a great performance artist.”

Seely shakes his head at Trump’s racism and sexism. “He’s horrible, horrible,” he says. But there’s poetic gold in them thar hills. “Listen carefully, and you will hear the anguished cry of the Poet,” Seely writes in the book’s forward.

“He’s irretrievably drawn to going over the edge,” Seely said. “He doesn’t have to talk about going to the bathroom. He doesn’t have to say ‘schlong.’ But he has to. He’s like a 10-year-old. He has to get the cookies from the cookie jar.”

Seely couldn’t point to a favorite Trumpism in the book: There are just too many examples, and they keep coming. He read “The Whatever Force,” culled from an Aug. 21 Trump rally in Mobile, Ala.:

The reason people like what I’m saying
Is because they want to put that energy,
Whatever the hell
kind of energy it is,
I don’t know
If it’s screwed up,
If it’s good,
If it’s,
whatever it is …
I know how to do things.

“The Vicious,” which appears on the back of the paperback, came from an Aug. 9 Trump appearance on Meet the Press:

I was attacked viciously
By those women,
Of course, it’s very hard for them
To attack me on looks,
Because I’m so good-looking.
But I was attacked very viciously
By those women.

Seely masterfully highlights Trump’s ego, outrageous politics and confusing sentence structure. Consider, for example, “I Got Screwed Out of an Emmy”:

Everybody thought I was gonna win it.
In fact, when they
Announced the winner,
I stood up before the winner was announced.
And I started walking for the Emmy.
And then they announced
the most boring show on television,
The Amazing Race. Piece of crap.

Hart Seely. Michael Davis photo | Syracuse New Times

Hart Seely.
Michael Davis photo | Syracuse New Times

“Trump’s an idiot,” Seely said. “His absolute blind spot is his ego. He’s so drawn to publicity and cameras.”

Trump gets away with racist and sexist comments and downright lies because no one in the media holds him accountable, Seely says. “There is no checks and balances anymore,” he said. “You’re waiting for Edward R. Murrow to call him out. There’s no sheriff.”

Seely repeats that Trump “is not going to win. We all know that.” But if Trump came to town, Seely would be there. “I’d want to see what it’s all about and experience it and have stories to tell,” he said.

And, no doubt, he’d get a few poems to add to his collection.

Renée K. Gadoua and Hart Seely were longtime colleagues at The Post-Standard. She is now a freelance writer and editor. Follow her on Twitter @ReneeKGadoua.

Hart Seely’s Oeuvre

Bard of the Deal: The Poetry of Donald Trump (2015)

The Juju Rules, or How to Win Ballgames from Your Couch (2013)

Mrs. Goose Goes to Washington: Nursery Rhymes for the Political Barnyard (2009)

Pieces of Intelligence: The Existential Poetry of Donald Rumsfeld (2003)

Holy Cow: The Selected Verse of Phil Rizzuto, editor, with Tom Peyer (1993)

2007-Eleven: and Other American Comedies, with Frank Cammuso (2000)

IT IS HIGH, IT IS FAR, IT IS … caught (blog about the Yankees)

His work has also appeared in publications including The New Yorker, The New York Times, The Washington Post, Huffington Post, McSweeney’s and on National Public Radio.

Seely also posts new poems on his Facebook page. Here are a few recent entries:

God’s Amendment

We have to protect
the Second Amendment.
We have no choice.
We have to do that.
It’s very important.
I believe it from
the sacred standpoint.
— Jan. 7, 2016, CNN

On Not Raising
The Question of
Ted Cruz’s Citizenship
I.
I don’t like the issue. I don’t like bringing it up.
It wasn’t me that brought it up.
It was The Washington Post.

II.
They asked me, they went with it.
I wasn’t aggressive with the answer.

III.
How do you run against the Democrat,
and you have this hanging over your head?

IV.
I hope he’s right. I don’t, you know,
I want to win this thing fair and square.

V.
Again, this was not my suggestion.
I didn’t bring this up. A reporter asked me.
— Jan. 7, 2016, CNN

The Astounding Gall
Of the Succubus Who
Calls Herself
Hillary Clinton

She said,

“He’s got a –
“He’s demonstrated a penchant …”

I …
“… demonstrated …
“… a penchant …
“… for sexism?”

Can you believe it?
ME?
— Jan. 1, 2016, ABC News

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Blade Runners

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In the moments following the Frozen Dome Classic in November 2014, Syracuse Crunch owner Howard Dolgon mulled all of the work that went into playing a hockey game before an indoor record crowd of 30,715 at the Carrier Dome and swore he was never going to do something like that again.

He lied.

On Sunday, Jan. 31, and Monday, Feb. 1, the Crunch is hosting the 2016 Toyota American Hockey League All-Star Classic and everything that goes along with it, including the All-Star Skills Competition and the All-Star Classic VIP party with the Grammy-nominated musical act Five for Fighting and nationally known comedians Rob Bartlett and Moody McCarthy.

“I remember what I said to you (the media) after the Frozen Dome. But like (famous boxing promoter) Bob Arum once said, ‘Yesterday I was lying, today I am telling the truth,’” Dolgon said, laughing.

3rf Michael Davis photo | Syracuse New Times

Crunch goalie Kristers Gudlevskis.
Michael Davis photo | Syracuse New Times

“We don’t do what people expect us to do,” Dolgon said. “Nobody ever thought we’d have a hockey game in the Carrier Dome. Nobody ever thought we’d have the first outside game in the AHL (the Outdoor Classic at the New York State Fairgrounds in 2010). We feel the community deserves events like these.”

This is the AHL’s 80th year, and Dolgon said league president and CEO Dave Andrews asked the Crunch “in a very strong way” if it would host the All-Star Classic because of the Crunch’s track record with big events and Syracuse’s standing as an original AHL city in 1936 (Syracuse has had professional hockey off and on since then).

Before saying yes, Dolgon said he surveyed Crunch chief operating officer Jim Sarosy and his staff, and they said they welcomed the challenge. He also solicited buy-in from civic leaders like Onondaga County Executive Joanie Mahoney, county legislators and New York state Sen. John DeFrancisco.

“I remember saying the same thing after the Dome game: ‘No big events for a little bit,’’’ said Sarosy, who’s in his 21st year with the Crunch and 14th overseeing the team’s day-to-day operations. “But as each day goes by, the further away you get from them, the more romantic they become.

“I looked around at our staff here and, coming off the Dome game, felt they could handle it and deserved the opportunity to put the game on,” he added. “And I knew we as a community could handle this and it was too good of a chance to pass up to put the eyes of the hockey world on us for a weekend.”

Indeed, the hockey spotlight will be directly on Syracuse Monday night as the National Hockey League is off after its All-Star Game Sunday, and the AHL All-Star Classic will reach more than 110 million households through Sportsnet in Canada and its TV partners in the United States.

“That we were asked to do it speaks volumes for the community and the franchise, and how the sport of hockey has grown tremendously in this market,” Dolgon said.

So as Syracuse prepares to host its first AHL All-Star Classic since 1998, here are five things you should know about the event before the puck drops Monday night:

C&S Companies VIP Party (Sunday, 4:30 p.m., Pirro Convention Center): Hosted by Moody McCarthy, a Syracuse native, the VIP Party features Five for Fighting and Rob Bartlett as the headliners.

Five for Fighting is actually John Ondrasik, a huge hockey fan whose stage name comes from hockey’s most notorious penalty, a five-minute major for fighting. Among Five for Fighting’s best-known songs are “The Riddle,” “100 Years,” the Grammy-nominated hit “Superman (It’s Not Easy),” and “Chances” from the movie The Blind Side.

Rob Bartlett is a successful stand-up comedian, impressionist, writer, and television and stage actor who is best known for his regular appearances on Imus in the Morning with Don Imus, as he voices and writes bits for popular characters like The Godfather, Fat Elvis and Dr. Phil. His television credits include a recurring role as attorney Milton Schoenfeld on Law & Order SVU and Rob Bartlett’s Not For Profit TV Special that earned Emmy Awards for Best Writing and Best Entertainment Program.

Popular stand-up comedian Matthew “Moody” McCarthy was born and raised in Syracuse, graduated from Corcoran High School and started his comedy career while working for radio station WYYY-FM (Y94). He has made multiple TV appearances, from The Late Show with David Letterman to America’s Got Talent.

“We as a community have a very unique opportunity to show off to the 29 other American Hockey League markets and 30 National Hockey League markets what a wonderful place this is, especially for hockey,” Sarosy said. “We want them leaving here on Tuesday saying Syracuse knows how to throw a party and they have their act together.

“This is more than a hockey game,” Sarosy said, “this is about Syracuse and what we as a community can get done.”

r2fre Michael Davis photo | Syracuse New Times

Crunch defenseman Matt Taormina.
Michael Davis photo | Syracuse New Times

It costs $50 to attend the VIP Party, or less if you also purchase a ticket to the All-Star Classic. There are also free events for fans: The I LOVE NEW YORK Fan Fest on Sunday, noon to 8 p.m., and Monday, 8 a.m. to 7 p.m., at the Pirro Convention Center, and the AHL Hall of Fame Induction and Awards Ceremony on Monday, 11 a.m. to 12:30 p.m., at the Mulroy Civic Center’s Crouse-Hinds Concert Theater, 411 Montgomery St.

The All-Stars: The All-Star Classic will feature some of the best young players in hockey. Of the 679 players who have played in the event since it started in 1995, about 93 percent have spent time in the National Hockey League, including stars such as Patrice Bergeron, Ben Bishop, Troy Brouwer, Ryan Callahan, Zdeno Chara, Logan Couture, Jiri Hudler, Tyler Johnson, Chris Kunitz, Ryan Miller, Gustav Nyquist, Zach Parise, Tuukka Rask, Pekka Rinne, Bobby Ryan, Cory Schneider, Patrick Sharp, Jason Spezza, Eric Staal, P.K. Subban and Mats Zuccarello.

“Every (2016) all-star has either played in the National Hockey League or will soon have long careers in the NHL,” Dolgon said. “In 1998 when we hosted the All-Star Game, our franchise was only 4 years old so I don’t know that our fan base was that knowledgeable. But now they know the level of the talent they’ll be seeing.”

The Crunch will be represented by goaltender Kristers Gudlevskis, defenseman Matt Taormina and center Mike Angelidis, who have all already played in the NHL. The Classic’s honorary captains are two popular members of the Crunch’s original team in 1994: Scott Walker and Mike Peca.

And the All-Star Classic will give Fulton fans another chance to see their favorite son, Portland Pirates forward and Fulton native Rob Schremp. In a November game at the Onondaga County War Memorial Arena, Schremp thrilled the 400 or so fans who traveled from Fulton by scoring a goal in the Pirates’ 4-1 win over the Crunch.

The All-Star Skills Competition (Sunday, 8 p.m., Onondaga County War Memorial): After Five for Fighting ends its set and Bartlett and McCarthy have left them rolling in the aisles, fans will be treated to the All-Star Skills Competition. Unlike the game, this competition will keep the traditional format with All-Stars from the Eastern Conference squaring off against All-Stars from the Western Conference in seven skills events: accuracy shooting, fastest skater, skills challenge relay, hardest shot, breakaway challenge and elimination shootout. For fans who think hockey is all about fighting, this event will change your mind.

The All-Star Classic (Monday, 7 p.m., Onondaga County War Memorial): Instead of the traditional 60-minute game, the All-Star Classic will feature a new format with the all-stars being divided into four teams, one representing each of the league’s divisions. The teams will play a round-robin tournament with six games of nine minutes each; the first half of each game will be played at 4-on-4, and the second half at 3-on-3.

The two teams with the best records at the end of the round-robin tournament will face off for the championship in a six-minute game played at 3-on-3.

“When you’re doing on 5-on-5 with no hitting (as is the case in all-star games), there’s less room on the ice and it’s kind of like four corners in basketball,” Dolgon said. “Our new format is more compelling as it’ll be played at a very high pace and that’ll be great for the fans with the spectacular plays and great saves.”

A limited number of tickets for the All-Star Classic and VIP Party are available and can be purchased at the Crunch office at the War Memorial, 800 S. State St., or by calling 473-4444. Tickets for just the All-Star Classic can be purchased through Ticketmaster.

Prices range from $40 to $60 for the game, and there is a discount for Crunch season ticket holders and for those who also buy a ticket to the VIP Party.
While that may seem pricey to the average fan, Dolgon said it’ll be worth every penny. And this time, he’d like to point out, he isn’t lying.

“It’s more than just the skills competition and the game, it’s the Fan Fest and the VIP event and it’s all at what we believe is a very affordable price point,” Dolgon said. “It’s lower than last year’s (All-Star) game in Utica, and we’re giving people a lot more for their money.”

Fast Fact: The 11th AHL All-Star Classic was played on Feb. 11, 1998, before a sold-out crowd of 6,230 at the Onondaga County War Memorial. Crunch forward Robert Dome had two assists as Team Canada defeated Team PlanetUSA 11-10.

Do You Remember These Crunch Stars?

In 22 seasons, 37 Crunch players have been selected to participate in the AHL All-Star Classic. Here’s the roll call:

  • Lonny Bohonos and Scott Walker (1994-1995)
  • Brian Loney (1995-1996)
  • Larry Courville and John Namestnikov (1996-1997)
  • Robert Dome and Mark Wotton (1997-1998)
  • Valentin Morozov and Boris Protsenko (1998-1999)
  • Harold Druken and Chris O’Sullivan (1999-2000)
  • Mike Gaul (2000-2001)
  • Derrick Walser and Duvie Westcott (2001-2002)
  • Karl Goehring (2002-2003)
  • Aaron Johnson (2003-2004)
  • Alexander Svitov (2004-2005)
  • Andy Delmore and Mark Hartigan (2005-2006)
  • Filip Novak (2006-2007)
  • Derick Brassard, Joakim Lindstrom and Clay Wilson (2007-2008)
  • Nikita Filatov and Derek MacKenzie (2008-2009)
  • Dan Fritsche (2009-2010)
  • Kyle Palmieri (2010-2011, 2011-2012)
  • Mark Barberio, Radko Gudas, Tyler Johnson and Richard Panik (2012-2013)
  • Brett Connolly (2013-2014)
  • Jonathan Marchessault and Vladislav Namestnikov (2014-2015).
  • Mike Angelidis, Kristers Gudlevskis and Matt Taormina (2015-2016)

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Lady Swings the Blues

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Shemekia Copeland was born into a musical family. Her father, Johnny Copeland, was a blues guitarist and singer who encouraged her to follow her own musical path. When she was just 8 years old, he brought her to sing at Harlem’s famed Cotton Club. Although she wasn’t ready for it then, later in her teens, when her father started slowing down, she ramped up.

Copeland has rejoined her former label, Alligator Records, and released Outskirts of Love in 2015. She’s on tour to support the CD, with a stop at Homer’s Center for the Arts on Saturday, Feb. 6. “This record is my third Grammy nomination,” Copeland says. “I’m really excited about that. The album is doing well and I’m real proud of it.”

Why did you split with Alligator?

I left because creatively I needed to find my way. When I was on Alligator, I was making records every two years and then touring on that record for the next two years. It was too quick. I was on the road or in the studio. There was no time to let life happen. Now, so much has happened in my life. It allowed me to grow.

This is my first album back with Alligator since 2006. I started out there, so this was just the natural thing to do. It feels great to be back with them. It’s like going back home.

Shemekia Copeland. Photo by Suzanne Foschino

Shemekia Copeland.
Photo by Suzanne Foschino

What’s happened in the years since?

I was making records on Telarc. I went to Iraq and Kuwait. I saw things that, politically, I didn’t like the way they were happening, in this country and outside of it. The religious hypocrites … it was things I had never talked about before. I started talking about those things on Never Going Back (2009) and continued with 33 1/3 (2012). Now I’ve continued with this one (Outskirts of Love). The conversation got more mature.

What responsibility do you feel musicians have to talk about bigger ideas like this?

If you have an outlet like we do as artists, what you put out into the universe is really important. That’s why I wanted to do songs about domestic violence on 33 1/3. On Outskirts of Love, date rape is a topic. These are things I’m talking about and I love it.

Besides your trips around the world, what else caused the change in content?

Age caused the change in writing. I started making records when I was 17. Aging has been a wonderful thing. I grew up on record. It’s limited what you can talk about as a teenager. As you get older, the conversation opens up a little bit. But even as a young girl, I was still pretty bold in what I was saying. As a blues singer, you can do that. Now it’s opened up for me in that respect. I’m almost 37.

Tell me more about your tour of the Middle East.

I went over with a few artists for a couple weeks. We went around to bases in Iraq and Kuwait and performed for troops. It changed my life. The day I was leaving there was the day Obama was announced the new president. It was just the strangest feeling. There is no mood there, that’s the funny thing. Nobody talks about politics. The people who live there don’t and the soldiers definitely don’t talk about it. It just wasn’t discussed.

What impacted you most from that experience?

How young those kids were at the time. I noticed that. The sacrifice. How some of these guys can’t rent a car in America, but could sacrifice their lives for their country. It’s just amazing.

Tell me how that translated into your songwriting process.

I work with really great songwriters and we just work it out together. John Hahn, I’ve known since I was 8 years old and we’ve been working together for about that long. We talk every day. We’re always coming up with ideas about songs.

Where do you see the blues in 2016?

I try not to think about the state of the blues. As long as I’m here and the other artists coming up are doing this music, it’s going to be fine. It always has been. It’s always stood the test of time. I don’t worry about it.

What else should people know about Outskirts of Love?

Oliver Wood from the Wood Brothers produced my last three records and he’s just brilliant. I really enjoy working with him. He’s unbelievably creative and brings out things in me that I didn’t know were there. I’ve learned that the subtleties in your voice can be just as powerful as the power in it. That’s the best lesson.

Shemekia Copeland performs Saturday, Feb. 6, 8 p.m., at the Center for the Arts, 72 S. Main St., Homer. Tickets range from $15 to $33. For more information, visit center4art.org and Shemekiacopeland.com.

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Missing Inaction

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When Sonoma State University professor Carl Jensen started looking into the new media’s practice of self-censorship in 1976, the Internet was only a dream and most computers were still big mainframes with whirling tape reels and vacuum tubes.

Back then, the vast majority of Americans got all of their news from one daily newspaper and one of the three big TV networks. If a story wasn’t on ABC, NBC or CBS, it might as well not have happened.

Forty years later, the media world is a radically different place. Today, Americans are more likely to get their news from several different sources through Facebook than they would from the CBS Evening News. Daily newspapers all over the country are struggling and, in some cases, dying. A story that appears on one obscure outlet can suddenly become a viral sensation reaching millions of readers at the speed of light.

And yet, as Jensen’s Project Censored found, there are still numerous big, important news stories that receive very little exposure.KB_censored01_WEB

As Project Censored staffers Mickey Huff and Andy Lee Roth note, 90 percent of U.S. news media — the traditional outlets that employ full-time reporters — are controlled by six corporations. “The corporate media hardly represent the mainstream,” the staffers wrote in the current edition’s introduction.

“By contrast, the independent journalists that Project Censored has celebrated since its inception are now understood as vital components of what experts have identified as the newly developing ‘networked fourth estate.’”

Jensen set out to frame a new definition of censorship. He put out an annual list of the 10 biggest stories that the mainstream media ignored, arguing that it was a failure of the corporate press to pursue and promote these stories that represented censorship — not by the government — but by the media itself.

“My definition starts with the other end, with the failure of information to reach people,” he wrote. “For the purposes of this project, censorship is defined as the suppression of information, whether purposeful or not, by any method — including bias, omission, underreporting, or self-censorship, which prevents the public from fully knowing what is happening in the world.”

Jensen died in April 2015, but his project was inherited and carried on by Sonoma State sociology professor Peter Phillips and Huff, who teaches social science and history at Diablo Valley College.

Under their leadership, Project Censored has, at times, veered off into the loony world of conspiracies and 9/11 “truther” territory. A handful of stories included in the annual publication — to be kind — were difficult to verify. That’s caused a lot of us in the alternative press to question the validity of the annual list.

But Huff, who is now project director, and Roth, associate director, have expanded and tightened up the process of selecting stories. Project staffers and volunteers first fact-check nomination that come in to make sure they are “valid” news reports. Then a panel of 28 judges, mostly academics with a few journalists and media critics, finalize the top 10 and the 15 runners-up.

The results are published in a book that was released last October by Seven Stories Press: Censored 2016: The Top Censored Stories and Media Analysis of 2014-2015.

I’ve been writing about Project Censored for 25 years, and I think it’s safe to say that the stories on this year’s list are credible, valid and critically important. Even in an era when most of us are drunk with information, overloaded by buzzing social media telling us things we didn’t think we needed to know, these stories haven’t gotten anywhere near the attention they deserve.

Tim Redmond, a longtime editor of the San Francisco Bay Guardian, is the founding member of the San Francisco Progressive Media Center and editor of that nonprofit organization’s publication 48 Hills.

1. Half of global wealth owned by the 1 percent

We hear plenty of talk about the wealth and power of the top 1 percent of people in the United States. But the global wealth gap is, if anything, even worse. And it has profound human consequences.

Oxfam International, which has been working for decades to fight global poverty, released a January 2015 report showing that, if current trends continue, the wealthiest 1 percent will control more wealth than everyone else in the world put together.

As reported in Project Censored, “The Oxfam report provided evidence that extreme inequality is not inevitable, but is, in fact, the result of political choices and economic policies established and maintained by the power elite, wealthy individuals whose strong influence keeps the status quo rigged in their own favor.”

Another stunning fact: The wealth of 85 of the richest people in the world combined is equal to the wealth of half the world’s poor combined.

The mainstream news media coverage of the report and the associated issues was spotty at best, Project Censored notes: A few corporate television networks, including CNN, CBS, MSNBC, ABC, Fox and C-SPAN covered Oxfam’s January report, according to the TV News Archive. CNN had the most coverage with about seven broadcast segments from Jan. 19 to 25, 2015. However, these stories aired between 2 and 3 a.m., far from primetime.

Sources: Larry Elliott and Ed Pilkington, “New Oxfam Report Says Half of Global Wealth Held by the 1%,” The Guardian, Jan. 19, 2015, tinyurl.com/mqt84tg.

Sarah Dransfield, “Number of Billionaires Doubled Since Financial Crisis as Inequality Spirals Out of Control–Oxfam,” Oxfam, Oct. 29, 2014, tinyurl.com/nzox3t8.

Samantha Cowan, “Every Kid on Earth Could Go to School If the World’s 1,646 Richest People Gave 1.5 Percent,” TakePart, Nov. 3, 2014, tinyurl.com/worldswealthiest.

2. Oil Industry Illegally Dumps Fracking Wastewater

Fracking, which involves pumping high-pressure water and chemicals into rock formations to free up oil and natural gas, has been a huge issue nationwide. But there’s been little discussion of one of the side effects: the contamination of aquifers.

The Center for Biological Diversity reported in 2014 that oil companies had dumped almost 3 billion gallons of fracking wastewater into California’s underground water supply. Since the companies refuse to say what chemicals they use in the process, nobody knows exactly what the level of contamination is. But wells that supply drinking water near where the fracking waste was dumped tested high in arsenic, thallium and nitrates.

According to Project Censored, “Although corporate media have covered debate over fracking regulations, the Center for Biological Diversity study regarding the dumping of wastewater into California’s aquifers went all but ignored at first. There appears to have been a lag of more than three months between the initial independent news coverage of the Center for Biological Diversity revelations and corporate coverage.

“In May 2015, the Los Angeles Times ran a front-page feature on Central Valley crops irrigated with treated oil field water. However, the Los Angeles Times report made no mention of the Center for Biological Diversity’s findings regarding fracking wastewater contamination.”

Sources: Dan Bacher, “Massive Dumping of Wastewater into Aquifers Shows Big Oil’s Power in California,” IndyBay, Oct. 11, 2014, tinyurl.com/Dumping
Wastewater.

“California Aquifers Contaminated with Billions of Gallons of Fracking Wastewater,” Russia Today, Oct. 11, 2014, tinyurl.com/nbtoa6j.

Donny Shaw, “CA Senators Voting NO on Fracking Moratorium Received 14x More from Oil & Gas Industry,” MapLight, June 3, 2014, tinyurl.com/FrackingMoratorium.

Dan Bacher, “Senators Opposing Fracking Moratorium Received 14x More Money from Big Oil,” IndyBay, June 7, 2014, tinyurl.com/SenatorsOpposeMoratorium.

3. 89 percent of Pakistani drone victims not identifiable as militants  

The United States sends drone aircraft into combat on a regular basis, particularly in Pakistan. The Obama administration says the drones fire missiles only when there is clear evidence that the targets are Al Qaeda bases. Secretary of State John Kerry insists that “the only people we fire a drone at are confirmed terrorist targets at the highest levels.”

But the Bureau of Investigative Journalism, which keeps track of all the strikes, reported that only 4 percent of those killed by drones were Al Qaeda members and only 11 percent were confirmed militants of any sort.

That means 89 percent of the 2,464 people killed by U.S. drones could not be identified as terrorists. In fact, 30 percent of the dead could not be identified at all.

The New York Times has covered the fact that, as one story noted, “most individuals killed are not on a kill list, and the government does not know their names.” But overall, the mainstream news media ignored the Bureau of Investigative Journalism reporting.

Sources: Jack Serle, “Almost 2,500 Now Killed by Covert US Drone Strikes Since Obama Inauguration Six Years Ago,” Bureau of Investigative Journalism, Feb. 2, 2015, www.thebureauinvestigates.com/2015/02/02/almost-2500-killed-covert-?utm_source=rss&utm_medium=rss
us-drone-strikes-obama-inauguration
.

Jack Serle, “Get the Data: A List of US Air and Drone Strikes, Afghanistan 2015,” Bureau of Investigative Journalism, Feb. 12, 2015, tinyurl.com/pvospem

Steve Coll, “The Unblinking Stare: The Drone War in Pakistan,” New Yorker, Nov. 24, 2014, preview.tinyurl.com/DroneWarPakistan.

Abigail Fielding-Smith, “John Kerry Says All those Fired at by Drones in Pakistan are ‘Confirmed Terrorist Targets’—But with 1,675 Unnamed Dead How Do We Know?” Bureau of Investigative Journalism, Oct. 23, 2014, preview.tinyurl.com/unameddead.

Jack Serle, “Only 4% of Drone Victims in Pakistan Named as al Qaeda Members,” Bureau of Investigative Journalism, Oct. 16, 2014, tinyurl.com/Drone
VictimsinPakistan.

Jeremy Scahill, “Germany is the Tell-Tale Heart of America’s Drone War,” Intercept, April 17, 2015, tinyurl.com/o4ke8bt.

4. Popular resistance to corporate water grabbing

For decades, private companies have been trying to take over and control water supplies, particularly in the developing world. Now, as journalist Ellen Brown reported in March 2015, corporate water barons, including Goldman Sachs, JPMorgan Chase, Citigroup, the Carlyle Group, and other investment firms “are purchasing water rights from around the world at an unprecedented pace.”

However, over the past 15 years, more than 180 communities have fought back and re-municipalized their water systems. “From Spain to Buenos Aires, Cochabamba to Kazakhstan, Berlin to Malaysia, water privatization is being aggressively rejected,” Victoria Collier reported in CounterPunch.

Meanwhile, in the United States, some cities — in what may be a move toward privatization — are radically raising water rates and cutting off service to low-income communities.

The mainstream media response to the privatization of water has been largely silence.

Sources: Ellen Brown, “California Water Wars: Another Form of Asset Stripping?,” Nation of Change, March 25, 2015, tinyurl.com/CaliforniaWaterWars.

Victoria Collier, “Citizens Mobilize Against Corporate Water Grabs,” CounterPunch, Feb.11, 2015, tinyurl.com/CitizensMobilize.

Larry Gabriel, “When the City Turned Off Their Water, Detroit Residents and Groups Delivered Help,” YES! Magazine, Nov. 24, 2014, tinyurl.com/
CityTurnedOffWater.

Madeline Ostrander, “LA Imports Nearly 85 Percent of Its Water—Can It Change That by Gathering Rain?,” YES! Magazine, Jan. 5, 2015, tinyurl.com/LAImportsWater.

5. Fukushima nuclear disaster deepens

More than four years after a tsunami destroyed Japan’s Fukushima nuclear plant and causing one of the worst nuclear accidents in human history, radiation from the plant continues to leak into the ocean. But the story has largely disappeared from the news.

As Project Censored notes: “The continued dumping of extremely radioactive cooling water into the Pacific Ocean from the destroyed nuclear plant, already being detected along the Japanese coastline, has the potential to impact entire portions of the Pacific Ocean and North America’s western shoreline. Aside from the potential release of plutonium into the Pacific Ocean, Tokyo Electric Power Company (TEPCO) recently admitted that the facility is releasing large quantities of water contaminated with tritium, cesium and strontium into the ocean every day.”

We’re talking large amounts of highly contaminated water getting dumped into the ocean. The plant’s owner, Tokyo Electric Power Company, “admitted that the facility is releasing a whopping 150 billion becquerels of tritium and 7 billion becquerels of cesium- and strontium-contaminated water into the ocean every day.” The potential for long-term problems all over the world is huge — and the situation hasn’t been contained.

Sources: “TEPCO Drops Bombshell About Sea Releases; 8 Billion Bq Per Day,” Simply Info: The Fukushima Project, Aug. 26, 2014, www.fukuleaks.org/web/?p=13700.&utm_source=rss&utm_medium=rss

Sarah Lazare, “Fukushima Meltdown Worse Than Previous Estimates: TEPCO,” Common Dreams, Aug. 7, 2014, tinyurl.com/q9hwkhg.

Michel Chossudovsky, “The Fukushima Endgame: The Radioactive Contamination of the Pacific Ocean,” Global Research, Dec. 17, 2014, tinyurl.com/FukushimaEndGame.

6. Methane and arctic warmings’ global impacts

We all know that carbon emissions from the burning of fossil fuels are a huge threat to climate stability. But there’s another giant threat out there that hasn’t made much news.

The arctic ice sheets, which are rapidly melting in some areas, contain massive amounts of methane: a greenhouse gas that’s way worse than carbon dioxide. And, as the ice recedes, that methane is getting released into the atmosphere.

Dahr Jamail, writing in Truthout, notes that all of our predictions about the pace of global warming and its impacts might have to be re-evaluated in the wake of revelations about methane releases:

“A 2013 study, published in Nature, reported that a 50-gigaton ‘burp’ of methane is ‘highly possible at any time.’ As Jamail clarified, ‘That would be the equivalent of at least 1,000 gigatons of carbon dioxide,’ noting that, since 1850, humans have released a total of about 1,475 gigatons in carbon dioxide. A massive, sudden change in methane levels could, in turn, lead to temperature increases of 4 to 6 degrees Celsius in just one or two decades — a rapid rate of climate change to which human agriculture, and ecosystems more generally, could not readily adapt.”

Jamail quoted Paul Beckwith, a professor of climatology and meteorology at the University of Ottawa: “Our climate system is in early stages of abrupt climate change that, unchecked, will lead to a temperature rise of 5 to 6 degrees Celsius within a decade or two.” Such changes would have “unprecedented effects” for life on Earth.

A huge story? Apparently not. The major news media have written at length about the geopolitics of the arctic region, but there’s been very little mention of the methane monster.

Source: Dahr Jamail, “The Methane Monster Roars,” Truthout, Jan. 13, 2015, tinyurl.com/MethaneMonsters.

7. Fear of government spying is chilling writers’ freedom of expression

Writers in Western liberal democracies may not face the type of censorship seen in some parts of the world, but their fear of government surveillance is still causing many to think twice about what they can say.

Lauren McCauley, writing in Common Dreams, quoted one of the conclusions from a report by the writers’ group PEN America: “If writers avoid exploring topics for fear of possible retribution, the material available to readers — particularly those seeking to understand the most controversial and challenging issues facing the world today — may be greatly impoverished.”

According to Project Censored, a PEN America survey showed that “34 percent of writers in liberal democracies reported some degree of self-censorship (compared with 61 percent of writers living in authoritarian countries, and 44 percent in semi-democratic countries). Almost 60 percent of the writers from Western Europe indicated that U.S. credibility ‘has been significantly damaged for the long term’ by revelations of the U.S. government surveillance programs.”

Other than in Common Dreams, the PEN report attracted almost no major media attention.

Sources: Lauren McCauley, “Fear of Government Spying ‘Chilling’ Writers’ Speech Worldwide,” Common Dreams, Jan. 5, 2015, tinyurl.com/
GovernmentSpying.

Lauren McCauley, “Government Surveillance Threatens Journalism, Law and Thus Democracy: Report,” Common Dreams, July 28, 2014, tinyurl.com/q6agfn9.

8. Who dies at the hands of police — and how often

High-profile police killings, particularly of African American men, have made big news over the past few years. But there’s been much less attention paid to the overall numbers — and to the difference between how many people are shot by cops in the United States and in other countries.

In the January 2015 edition of Liberation, Richard Becker, relying on public records, concluded that the rate of U.S. police killing was 100 times that of England, 40 times that of Germany, and 20 times the rate in Canada.

In June 2015, a team of reporters from The Guardian concluded that 102 unarmed people were killed by U.S. police in the first five months of that year — twice the rate reported by the government.

Furthermore, The Guardian wrote, “Black Americans are more than twice as likely to be unarmed when killed during encounters with police as white people.” The paper concluded that, “Thirty-two percent of black people killed by police in 2015 were unarmed, as were 25 percent of Hispanic and Latino people, compared with 15 percent of white people killed.”

And as far as accountability goes, The Washington Post noted that in 385 cases of police killings, only three officers faced charges.

Sources: Richard Becker, “U.S. Cops Kill at 100 Times Rate of Other Capitalist Countries,” Liberation, Jan. 4, 2015, tinyurl.com/nntxdrm.

Jon Swaine, Oliver Laughland, and Jamiles Lartey, “Black Americans Killed by Police Twice as Likely to be Unarmed as White People,” The Guardian, June 1, 2015, tinyurl.com/BlackAmericansKilledbyPolice.

9. Millions in poverty get less media coverage than billionaires do

The news media in the United States doesn’t like to talk about poverty, but they love to report on the lives and glory of the super-rich. The advocacy group Fairness and Accuracy in Reporting analyzed the three major television news networks and found that 482 billionaires got more attention than the 50 million people who live in poverty.

This shouldn’t be a surprise to anyone who follows the mainstream media, or pays much attention to the world of social media and the blogosphere. The top rung of society gets vast amounts of attention, for good and for ill. Yet the huge numbers of people who are homeless, hungry and often lacking in hope just aren’t news.

“The notion that the wealthiest nation on Earth has one in every six of its citizens living at or below the poverty threshold reflects not a lack of resources, but a lack of policy focus and attention — and this is due to a lack of public awareness to the issue,” Frederick Reese of MintPress News wrote.

From Project Censored: “The FAIR study showed that between January 2013 and February 2014, an average of only 2.7 seconds per every 22-minute episode discussed poverty in some format. During the 14-month study, FAIR found just 23 news segments that addressed poverty.”

Sources: Steve Rendall, Emily Kaufmann, and Sara Qureshi, “Even GOP Attention Can’t Make Media Care about Poor,” Extra!, Fairness and Accuracy in Reporting, June 1, 2014, tinyurl.com/GOPsPoorAttention.

“Millions in Poverty Get Less Coverage Than 482 Billionaires,” Fairness and Accuracy in Reporting, June 26, 2014, tinyurl.com/MillionsinPoverty.

Frederick Reese, “Billionaires Get More Media Attention Than The Poor,” MintPress News, June 30, 2014, www.mintpressnews.com/billionaires-get-?utm_source=rss&utm_medium=rss
media-attention-poor/193174.

Tavis Smiley, “Poverty Less Than .02 Percent of Lead Media Coverage,” Huffington Post, March 7, 2014, www.huffingtonpost.com/tavis-smiley/-poverty-
less-than-02-of_b_4921119.html.

10. Costa Rica is setting the standard on renewable energy

Is it possible to meet a modern nation’s energy needs without any fossil-fuel consumption? Yes. Costa Rica has been doing it.

To be fair, that country’s main industries — tourism and agriculture — are not energy-intensive, and heavy rainfall in the first part of the year made it possible for the country to rely heavily on its hydropower resources.

But even in normal years, Costa Rica generates 90 percent of its energy without burning any fossil fuels.

Iceland also produces the vast majority of its energy from renewable sources.

The transition to 100 percent renewables will be harder for larger countries. But as the limited reporting on Costa Rica notes, it’s possible to take large steps in that direction.

Sources: Myles Gough, “Costa Rica Powered with 100% Renewable Energy for 75 Straight Days,” Science Alert, March 20, 2015, www.sciencealert.com/costa-rica-powered-with-100-renewable-energy-for-75-days.?utm_source=rss&utm_medium=rss

Adam Epstein, “Costa Rica is Now Running Completely on Renewable Energy,” Quartz, March 23, 2015, qz.com/367985/costa-rica-is-now-running-completely-on-renewable-energy.  

Project Censored’s Runners-Up

11. Pesticide Manufacturers Spend Millions on PR Response to Declining Bee Populations

12. Seeds of Doubt: USDA Ignores Popular Critiques of New Pesticide-Resistant Genetically Modified Crops

13. Pentagon and NATO Encircle Russia and China

14. Global Forced Displacement Tops 50 Million

15. Big Sugar Borrowing Tactics from Big Tobacco

16. US Military Sexual Assault of Colombian Children

17. Media “Whitewash” Senate’s CIA Torture Report

18. ICREACH: The NSA’s Secret Search Engine

19. “Most Comprehensive” Assessment Yet Warns against Geoengineering Risks

20. FBI Seeks Backdoors in New Communications Technology

21. The New Amazon of the North: Canadian Deforestation

22. Global Killing of Environmentalists Rises Drastically

23. Unprocessed Rape Kits

24. NSA’s AURORAGOLD Program Hacks Cell Phones around World

25. Greenland’s Meltwater Contributes to Rising Sea Levels

Junk Food News. . . and Worse

By Paul Rosenberg

The Watergate break-in occurred in June 1972 but never figured into the presidential election five long months after it. While journalists ever since look back on Watergate as a journalistic triumph, due to developments after the election, Carl Jensen took a different view. He saw the failure to recognize Watergate’s importance until after the election as a symptom of systemic failures in the media. The Watergate story was never censored in the classic sense, by the government, but as far as the 1972 election was concerned, it might as well have been, because of how the media effectively censored itself.

KB_censored04_WEB

In 1976, Jensen began Project Censored as a way to attack this systemic failure head on. The best-known aspect of this attack on the problem has been the development and distribution of an annual list of censored stories — not censored by the government, but by the media itself. Yet Jensen also knew that it wasn’t just a problem of important stories being buried, it was also a problem of what buried them: a distracting flood of trivial, irrelevant, sensationalist or simply entertaining stories.

Individually, they might be harmless, but collectively, as a steady diet, they starved the public of the knowledge needed for democratic self-government. They were, simply put, “Junk Food News,” the analysis of which was an important supplement to the highlighting of censored stories every year.

When Jensen stepped down as director of Project Censored, his successor, Peter Phillips, created an offshoot category of analysis, “News Abuse,” to encompass stories that involve inherently newsworthy subjects, but which are covered in a way that diminishes their value. The two categories are described and explored in Project Censored’s most recent publication from Seven Stories Press, Censored 2016: The Top Censored Stories and Media Analysis of 2014-2015, in Chapter 3, “A Vast Wasteland.” The distinction between them is clear-cut, in theory at least:

“Viewers often know they are watching Junk Food News and have lamented its increase over the years. But News Abuse is a different calamity because while viewers believe they are being well informed about important matters, the actual coverage of the stories acts to manipulate, misinform, and even disinform — i.e., News Abuse is a form of propaganda.”

But in practice there seems to be less of a clear-cut line dividing them, rather they often seem more like intertwining threads. While examples like “deflategate” or the prolonged media obsession over the death of Robin Williams seem like fairly straightforward examples of Junk Food News, the same cannot be said for all the examples. And that’s not an outside critic’s perspective. In a section devoted to the exposure of fabrications by NBC’s Brian Williams and Fox’s Bill O’Reilly, the authors write:

While the O’Reilly vs. Williams coverage had the flair of Junk Food News, it qualifies as News Abuse because it was obfuscated into a liberal vs. conservative debate rather than proof of the institutional obfuscation, disinformation and manipulation of the corporate news industry. In fact, the only area where Williams and O’Reilly differed was in their apology. Williams admitted fault while O’Reilly did not; instead the latter continuously amended his statements while claiming to be the victim of the liberal media. This contributed to the false corporate news media narrative that the claims against O’Reilly were not factually based, but an ideological attack by the “liberal left.”

As is noted in a Mother Jones story cited in the text, O’Reilly has not only lied repeatedly about being under fire in the Falklands War (no Americans made it to the war zone), he has used that false claim to bully others ideologically into silence. Critical examination of the issues raised by these two fabricators could have been deeply enlightening — which is why the mishandling clearly falls into the realm of News Abuse. But the juvenile finger-pointing way in which it was mostly covered dragged it down into the Junk Food News realm as well.

Another example cited of News Abuse was former New York Times reporter Judith Miller’s book-length attempt to rehabilitate her reputation for her duplicitous reporting that helped pave the way to war with Iraq:

In a series of television appearances promoting the book, Miller argued that the invasion of Iraq was not her fault because her sources, mostly from Bush administration connections and insiders, had lied to her and her editors published them. Of course a journalist’s job is not only to find evidence but to verify it, but that did not happen in this case. Miller acted unfamiliar with that elementary rule of journalism.

But as the authors note, Miller’s revisionism was just one small part of the larger story, which allowed both MSNBC and The New York Times to rewrite their own history as well.

“MSNBC allowed New York Times reporter Nick Confessore to lambaste Miller over her excuses for the false reporting that led to the Iraq invasion,” they noted. But this let the Times off the hook for publishing her stories in the first place — stories that other, more careful reporters (particularly at Knight-Ridder) — were simultaneously punching holes in. MSNBC also reinforced its positioning “as the anti-war, pro-truth, corporate network,” which may have become somewhat accurate after the fact — but not when the war began:

It was MSNBC that sacked antiwar programmers such as Phil Donahue and Jesse Ventura from their network to make space for more pro-war voices in the year leading up to the 2003 Iraq invasion. In fact, according to MSNBC’s own internal memos, they let go of their antiwar voices to increase ratings. Thus, while the corporate press lambasted Judith Miller for rewriting history, they were rewriting their own, excluding the role they played in the calamitous 2003 invasion of Iraq, which by 2015 had cost US taxpayers more than $3 trillion, the lives of thousands of Americans, and more than a million dead Iraqis.

Other examples fall more clearly into the category of News Abuse alone, particularly those involving stigmatized groups: the Ebola “crisis” used “as a Trojan horse to instill fear in Americans while inciting anti-immigrant sentiments,” a variety of related Islamophobic narratives, and, of course, good old-fashioned racism. The corporate media treatment of anti-Muslim violence typifies how such groups are treated:

In February 2015, three Muslim American students were shot and killed by Craig Stephen Hicks, a white neighbor in Chapel Hill, N.C. Major corporate news outlets such as CNN, The New York Times, and Fox News initially remained silent on the attack and President Obama waited two days to issue an official statement. No corporate coverage labeled the triple homicide as an act of domestic terrorism — rather, Hicks was referred to as a lone loon.

The corporate media has been similarly reluctant to see the systemic police violence which has sparked the Black Lives Matter movement:

The “justifiable homicides” of Michael Brown in Ferguson, Mo., and Freddie Gray in Baltimore, Md., erupted in politically charged protests and public debates across the country. The corporate coverage of these killings and their aftermaths blamed African Americans for their own deaths while justifying police behavior and excusing whites for the same crime. This coverage distracts from the racism built into the legal system and results in public sympathy for state violence.

Fox News and The New York Times degraded Brown with phrases such as “bad guy” and “no angel.” Weeks after the Brown shooting, The New York Times asked citizens to give police the benefit of the doubt.

Reinforcing racial stereotypes and preconceptions, rather than focusing on the facts that contradict them: That’s the very definition of News Abuse.

The media has the power to inform and inspire people to change the world. Or it can amuse them to death. Or direct them toward convenient scapegoats. To really know what you’re missing, you have to get the larger picture: the stories you’re not getting everyday, and a clear understanding of what you’re getting instead. Project Censored provides both. 

Paul Rosenberg is senior editor at Random Lengths News, the alternative newspaper for the Los Angeles Harbor Area, and contributor to Salon and Al Jezera.

The post Missing Inaction appeared first on Syracuse New Times.

Pest Case Scenario

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By Vanessa Langdon and Christopher Malone

Picture this: You’re in bed, unwinding after a long day before drifting to sleep when a conga line of bedbugs strolls across your covers. Thinking about bedbugs can incite itchy crawling sensations, but is there really anything to be afraid of in the Syracuse area?

Yes.

While creepy and crawly and at times invisible to the naked eye, bedbugs are not an issue of health, according to Lisa Letteney, director of environmental health for Onondaga County Health Department.

“They do not carry disease, and that’s why we don’t take complaints regarding bedbugs like we do about cockroaches, because cockroaches carry disease,” Letteney said. “They are a nuisance and an annoyance, but they aren’t a public health problem.”

Cimex hemipterus

Image provided by smuay via Thinkstock.

The department’s main focus is on education to help solve the irritating problem. “We do have information on our webpage about what you can do if you do have bedbugs in your home,” Letteney said. “And we do have links to give people some clues on what to do if they find bedbugs in their house.”

OK, the health department is not concerned and doesn’t track the spread of bedbugs. Yet the perceived small size of each single critter adds up to a major, spreadable problem.

Although they are not disease carriers, they still spread like wildfire throughout homes and buildings. There have been reports in years past about bedbugs on books but librarians can rest easy because occurrences are rare.

“They can travel on anything: They could get into a book bag or something,” said Glenn Stewart, owner of Bugs Bee Gone, a local exterminator in Jamesville. “Generally speaking, that’s a low possibility. Libraries can have them but they aren’t coming in the books.”

Stewart added, “A large portion of society could be bitten and not even know it. The telltale signs are excrement on pillows and cast skin.” Ewwwww.

The insects feed on both humans and animals: Yes, they’re bloodsuckers. They obtain their food through a straw-like mouth, similar to that of mosquitoes. Depending on the person, some may show physical signs such as red bumps, some may have varying allergic reactions and others may not experience any symptoms at all.

Through time, the little biters have evolved and adapted. They’ve proven their resistance to pesticides and have taken on different characteristics. They also work around everyone else’s schedule: The creatures sleep during the day, then feast and procreate during the night shift.

The Onondaga County Public Library system doesn’t take any chances with its materials. If anything is suspected to be contaminated with bedbugs, staffers take the item out of circulation and replace it with a new copy, according to Doreen Milcarek, an administrator for the downtown Kinchen Central Library.

“We have thousands of materials going to thousands of people’s homes so it’s not surprising that this happens occasionally,” Milcarek said of the occasional bedbug issue.

The last issue she recalled concerning bedbugs at the library occurred last May. “Apparently a book was returned at a branch, and what was seen was thought to be a bedbug,” Milcarek said. “The administrator of branches called the health department to see what the procedure would be. Generally if there is no disease or health hazard there isn’t a protocol. Unless you notice a bug, then you would dispose of the book. I wouldn’t say it is a chronic issue by any means.”

To avoid such instances, the library takes preventative measures and treats the building for bugs on a quarterly basis. Donations are handled separately from the materials already existing in the collection to avoid contamination.

According to a December 2012 New York Times article, libraries are very susceptible to contamination. Due to the insect’s size, it has the ability to sit in the crevices and even nestle (and make whoopie) in the bindings. As methods of prevention, downstate libraries use routine searches and even bedbug-sniffing dogs.

Image provided by wildpixel via Thinkstock.

Image provided by wildpixel via Thinkstock.

When it comes to library decontamination, several steps can be taken. Suspect materials can be put in a deep freeze; furniture, however, can be contained in temperatures greatly exceeding 100 degrees.

“We would look at (the donation) for condition,” Milcarek said. “If it’s torn or dirty, we would not accept it other than if it’s based on our collection or need.”

Similar precautions are taken with donations at the Rescue Mission’s Thrifty Shoppers stores in the area. “Every donated item is inspected before it reaches store shelves,” said Kendall Slee, communication specialist for the Rescue Mission. “If it is not suitable for use, it is disposed of. If there is ever any sign or suspicions they will call in professionals immediately.”

According to a bedbug list published yearly by national pest control experts Orkin, Syracuse currently ranks 46th in the nation for cities with bedbug problems. The most recent list proves Syracuse has improved its bedbug condition. In the 2014 study, the city crawled into the top 15, sitting at 14. Last year, we scurried down the list an equal amount of spots to 28th place.

Compared to other cities in each of the reports, Chicago cannot shake its first-place ranking, while Los Angeles and Columbus, Ohio, are consistently in the top five. New York City made large strides and even took a step back for a running start, launching itself from 18th to fourth on the list. Moving down the list is bittersweet and deceiving.

Stewart still gets calls about bedbugs about six times a day, six days a week. He says that bedbug issues rise yearly, with a 40 percent to 50 percent increase each year. According to Stewart, 95 percent of the calls are residential issues.

He says there are many contributing factors for the nuisance’s population surge, such as increased travel and less use of pesticides — despite the beneficial increased public knowledge about what a bedbug is.

An exterminator’s price can vary depending on the degree of infestation and the type of treatments to give bedbugs the boot. Extermination in a single family apartment can cost $450 to $500; a three- to four-bedroom home can cost $1,100 to $1,400.

Vigilance is key to avoiding a costly bedbug problem, Stewart says. More public awareness and action upon detection are also important. Aside from a vacuum or a stomping foot, the known enemies of bedbugs include spiders, centipedes and the disease-carrying cockroach.

The biggest nuisance of a bedbug infestation is the stress and anxiety. Those affected by the insects are fretful about having to throw away countless items; those not yet affected are fearful of being plagued. So the first step is to be proactive and exterminate.

According to a March 2014 New York Times real estate advice column concerning possible legal action involving a bedbug infestation at a co-op, lawyer Elliot Meisel suggested, “Your first concern should be to get rid of the bedbugs. You can go after anybody you want, but you are in a better position to go after people after the problem is solved.”

For more information, to report bedbug cases in temporary lodgings and to simply reference when preparing for hotel stays, visit bedbugregistry.com.

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Still Pickin’ and Grinnin’

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Loren Barrigar and Mark Mazengarb first met in 2005 when Mazengarb was still working toward his degree in classical guitar at the University of North Carolina. Barrigar had been playing since he was 4 years old, first performing at the Grand Ole Opry in Nashville at age 6, the youngest player to do so. But the meeting with Mazengarb sparked something new.

The two met again in Nashville in 2009 at the Chet Atkins Appreciation Society (CAAS) convention. Since then, they’ve worked their “way up the pecking order” as Barrigar says. Barrigar and Mazengarb now maintain a schedule that has them playing major theaters around the globe. This year they’ll hit Florida, Kentucky, Indiana, France and Germany.

LorenandMarkPromoShot2

Loren Barrigar (left) and Mark Mazengarb.

Their latest CD, One to One, mixes concert favorites with new originals. The duo will host a CD release party at Pensabene’s Casa Grande, 135 State Fair Blvd., on Thursday, Feb. 25, 7:30 p.m. (Tickets are $15 in advance, $20 at the door. Visit lorenandmark.com for details.) Alex LaVon will join on upright bass with drummer Brendan O’Conner and Joe Davoli on fiddle.

“We sell a lot of CDs, so some songs are favorites from the live show,” Barrigar says about One to One. “Then songs like ‘Coquette’ we play every night before we go on stage. We thought, ‘We love playing this. We should record it.’ Half are songs we do in the show, half are songs we just really like. We’re not out to win a Grammy. We just like to have songs we really like playing from our heart.”

“Your Song” by Elton John and “You Are the Sunshine of My Life” by Stevie Wonder are on that list, and it shows through in the album performances. Barrigar and Mazengarb’s intricate guitar work is equally astounding technically as it is pulling emotionally, a difficult balance that they seem to maintain naturally.

Yet the album displays more than the duo’s usual effortless talent. Rather than record again locally at SubCat Studios, they traveled to Nashville’s Slack Key Studios, where Randy Kohrs, an accomplished writer and performer, now handles the studio side of the music business.

“We’ve been poking around Nashville for the past four years,” Barrigar notes. “We thought we’d make some more inroads and connections in Nashville and do something different. There was no big plan, really, just that. It felt funny not doing it at SubCat because we have such a great relationship there, but we talked to Jeremy (Johnston, an engineer at SubCat) and he said, ‘I think it would be really good for you to do.’”

The duo recorded One to One in four sessions on Oct. 10 and 11, 2015. They also enlisted the help of several Nashville musicians, chosen through recommendations by fellow guitar masters Tommy Emmanuel and Richard Smith.

“The names on the album are the names they came up with,” Barrigar says. Among them are Brad Albin on upright bass and drummer John McTigue. Fiddle player Tim Crouch came later.

“We wanted fiddle, but the guys we were looking for weren’t available,” Barrigar says, so Kohrs recommended fiddler extraordinaire Crouch. “It turns out he records from home and we were flying right there in the next few days. So we stopped by his house and he’d run through a song three times in 10 minutes with three different parts and ask us to pick. They were all great.”

The result is a fluid combination of guitar and fiddle mastery. “People listen to this, a guitar album, and say, ‘Who’s the fiddle player?’ He can play and play,” Barrigar says with a smile.

The duo will also perform at a Folkus Project show on Friday, April 15, at May Memorial Unitarian Universalist Society. In June, they’ll head for Europe and their schedule will continue to accelerate throughout the fall when Mazengarb, who currently lives in New Zealand, is back for a longer period.

“We play in bursts,” he says, “and we don’t really practice when we’re apart. Mark is so brilliant and young and quick; he said he didn’t play at all over six weeks when he got married. I have to keep my muscles trained. He doesn’t seem to have any trouble. If I put it down for a week now and then, I think I come back with a little more creativity or freshness. But when we’re on breaks like this, it comes out more. We take chances a little more.”

Barrigar also says fans can expect new medleys, vocal songs and original music in the future. “Right now we’re about 25 percent to 30 percent vocals in a show,” he says. “People can only take so much guitar in a show, unless you’re Tommy Emmanuel. People can listen to him all night. I’m not a singer, so I have to be more of a storyteller. It has to be a story I really believe in. And Mark has been hitting some nice harmonies. We’re also working on new originals. There’s a strength in them we need to keep exploring. People like the feel and sound of the originals. We’re staying creative.”

The post Still Pickin’ and Grinnin’ appeared first on Syracuse New Times.

George Rossi

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George Rossi’s wife was having an affair with another guy, and everybody knew it. What made it extra-ugly was that his scarlet-haired rock-songbird bride was making the scene with another prominent local rocker. So Rossi decided to do something about it.

No, he didn’t buy a nine. Instead of exacting a bloody revenge, he sought resurrection. He recreated himself as a Southern-style caterwauling con man-cum-preacher named Little Georgie, the Zombie Boy, and he started a brash new band called the Shuffling Hungarians.

“I created a success story out of my imploded marriage,” he says now.

George Rossi. Michael Davis photo | Syracuse New Times

George Rossi.
Michael Davis photo | Syracuse New Times

Over its seven-year lifespan, Little Georgie and the Shuffling Hungarians grew from a kickin’ quintet to a 10-piece rhythm’n’blues revue. They waxed two unforgettable discs of free-wheeling fonk, were featured on playlists at the House of Blues music chain, played dates in Canada and Belgium and won nine Syracuse Area Music Awards (Sammys). As part of this year’s awards, George Rossi, 55, will be inducted into the Sammys Hall of Fame.

Ever since he picked up a James Booker LP at Onondaga Music when he was a teenager, Rossi was enraptured with the music of the Big Easy. In the early 1990s — after honing his piano skills with bands such as Kindergarten, The Works, Jamie Notarthomas, Masters of Reality, the Neverly Brothers and The Bogeymen — Rossi was ready to take the plunge into the wigglin’ Mississippi.

He knew he still had things to learn. “I was always learning,” he says. “Still am. If you ain’t learnin,’ you ain’t livin’!” 

Rossi started learning early. When he was 5 years old, growing up on the east side of Skaneateles Lake, he experienced a rock’n’roll epiphany. “It’s 1965 and I’m playing flashlight tag with the firebugs on East Lake Road,” he recalls. “Then I heard music coming from a garage at the top of the hill.”

The kid wandered up to the driveway, which was packed with teens. “I saw the energy and the beautiful girls with their teased hair and bangs,” Rossi remembers. “One of these girls in a miniskirt and patent leather boots, she slips me a beer. And I knew I wanted to be a part of this, to do this for the rest of my life.”

The lessons continued at Under the Stone, then Skaneateles’ top nightclub. The Stone booked bands every Tuesday, Thursday and Sunday, so on those nights a prepubescent Rossi would jump out his bedroom window and run to the club where he had a date with another window. 

“There was a ground-level window at stage left so I could watch cats like Larry Arlotta or Cliff Spencer or Bob Halligan,” he says. “I just had to make sure to get back in bed before I got caught.” 

The next day he’d clean up the place and observe rehearsals. “That was a very formative experience for me,” he says now. “I saw bands as a business.”

After years of jamming on the Onondaga Reservation, studying piano with Phil Klein at Onondaga Community College and playing in bands like South Side Shuffle and The Works, Rossi hooked up with the Neverly Brothers, the pop cover band helmed by former Flashcubes Gary Frenay and Arty Lenin.

“My wife was nagging me for money,” Rossi recalls. “I mean I’d always worked. Even as a kid, I worked at my father’s (P&R pasta) factory in Auburn.” Over the years, he bussed tables at Scratch Daniel’s, stocked flowers for Rao’s Florist, managed an Auburn bar named Raffles, hauled video gear for the TV real-estate program Goodbye Bazaar, and roadied for Decker Audio.

With his hairdresser-vocalist spouse at his heels, Rossi anticipated more manual labor. “The phone rang the next night, and it was Gary, thank God!” 

Rossi joined the Neverly Brothers, who enjoyed beaucoup bookings for weddings and private parties where the money is surer and sweeter than any nightclub can pay. “Gary Frenay was my best boss ever,” Rossi says. “I became a real musician with the Neverlys.”

Reality Check

After years of roadwork with Kindergarten, The Works and the Neverlys, hard facts of rock’n’roll life would be drilled into him as a member of the Masters of Reality and The Bogeymen, two bands that featured the extraordinary electric guitar work and the ambitious rock compositions of Syracuse’s Tim Harrington.

Rossi had been kicked out of the Masters of Reality just before they got their record deal in the late 1980s with Def American. Then as a member of The Bogeymen, he suffered through bandleader Tim Harrington’s years-long contractual entanglements with record and management companies.

Along the way, The Bogeymen played a showcase in front of Arista Records exec Clive Davis at the Wetlands in New York City. Davis passed on the band, but Rossi was watching and learning. In 1991 Delicious Vinyl records released The Bogeymen’s debut disc There Is No Such Thing As.  

“We started working on a follow-up record, rehearsing at Ponto’s tomato-packing plant,” Rossi says. “I had nothing in those days.” His wife was gone, he had no money and often no place to live. He bunked in a spare room in a Lyncourt home owned by one of Harrington’s sisters. “So I devoted myself to making another Bogeyman record.”

But he rarely saw eye-to-eye with the former Masters. “Those were dark times. Timmy and Vinnie (Ludovico) were like wolves. They were driving me crazy,” this from a man who has often blogged about his own bipolar diagnosis. “So I steeled myself and just played the hell out of my parts. I recorded all the piano parts for an entire record in like a day and a half!”

The sophomore disc was never to be, however. “The plug got pulled by Delicious Vinyl, so the best recorded work I’ve ever done will never see the light of day,” he says. 

Despite the personal tensions, Rossi looked at it as a learning experience. “I’m not bitter about The Bogeymen. I’m grateful. The band helped define me as a musician, and later as a bandleader and businessman. I’m so grateful. Tim’s a genius. Tim’s a prick, but he’s a genius. He made me a man.” 

In fact, Rossi says Tim Harrington deserves to be honored by the Sammys. “Funny thing about this (Hall of Fame) award: I don’t feel like an elder statesman,” Rossi says. “When I was leading the Hungarians, I didn’t feel like I was setting an example. I was too busy. Tim Harrington should be getting this award as far as I’m concerned.”

Things were not always rosy with Harrington, who was known to destroy dressing rooms. “But the chance to play with him in the studio,” Rossi acknowledges, “you know you’re going to be part of something bigger than you.”

The Genesis of Little Georgie

Twenty-five years ago, while Crescent City rhythms inspired his music, the breakup of Rossi’s marriage inspired his personal transformation.

“I mythologized my own life so I was able to say stuff that George Rossi would never say. Little Georgie was part Foghorn Leghorn and part Donald Trump,” Rossi says now. “He could out-drink, out-smoke, out-fuck and out-play ’em all!”

As his personality became more incendiary — he once demanded that his Dinosaur Bar-B-Que audience arm themselves with torches and set fire to Mimi’s, the former bakery-restaurant across the street that had prohibited parking for Dino customers — so did the music. It burned hotter than all those voodoo candles that so colorfully decorated the Shuffling Hungarians’ stages. (They were bought in bulk from the Laredo Candle Company of Laredo, Texas, via Rossi’s friend, Jimmy Battaglia, at Nojaim’s Supermarket.)

Early covers such as Richard Berry’s “Oh! Oh! Get Out of the Car” and Stan Beaver’s Rocket In My Pocket” gave way to outrageous originals like “Gutbucket,” “Tear It Down” and the mytho-biographical “The Ballade of Little Georgie,” which tells of the resurrection of a discarded baby transformed into a demonic piano player.

While Rossi raved against his demons in both his patter and his performance, he rocked to the rhumba rhythms of Professor Longhair on covers of “Big Chief,” “Mardi Gras in New Orleans” and “Her Mind is Gone.” He reveled in the bold sexuality of Jerry Lee’s “Meat Man” and in The Meters’ uptown anthem, “Hey Pocky Way.”

The band paid further homage to the City that Care Forgot. The Hungarians’ version of “Iko Iko” owed more to Sonny Boy Crawford & His Cane Cutters than the Dixie Cups, and their “Rockin’ Pneumonia” sounded more like Huey Smith than Johnny Rivers.

The Shuffling Hungarians trace their roots back to a one-nighter in December 1989, downtown at Dailey’s, showcasing comedian Tom Kenny and The Pushballs, a pickup band that Rossi organized. The Pushballs’ baritone saxophonist, Frank Grosso, would remain with Rossi for the better part of a decade with the Hungarian Horns.

“At the time Tom (Kenny) called me, I was suicidal,” Rossi remembers. He had been kicked out of the Masters of Reality and struggled as the low man on the totem pole with The Bogeymen. “But Tom knew I was into New Orleans music and I was prepared to really start getting serious about playing piano. So with the Pushballs I became a bandleader, and that is where I saw how to make the Shuffling Hungarians happen.”

Zodiac Thriller

Rossi was always learning something, and sometimes that meant learning how to scheme and manipulate. “Tom wanted to do a second Pushballs show at the Zodiac Club,” Rossi remembers. “Well, at the time I loved The Kingsnakes and I was dying to play with (drummer Mark) Tiffault and (bassist Paul) LaRonde. And now, with Tom Kenny, I had something to entice them with.”

Widely considered the most effective blues rhythm section in Syracuse, the LaRonde-Tiffault tandem became the engine that both powered and anchored the Shuffling Hungarians, an organic outfit that eventually included a three-piece horn section, backup singers, several screaming guitarists and a Trinidadian conga-thumper to boot.

So with LaRonde and Tiffault on board, but with Kenny out of the picture, Rossi made his move. “Tom’s gone back to Hollywood,” he told the musicians. “How about me fronting the band?”

Rossi was dating Eileen Heagerty at the time, and she and her brother, Michael, ran the Zodiac Club. So the Pushballs, minus Tom Kenny, started playing every Wednesday there, trying to get spillover business from the summertime Party in the Plaza events at the nearby Federal Building.

George Rossi. Michael Davis photo | Syracuse New Times

George Rossi.
Michael Davis photo | Syracuse New Times

“I’d never sang lead before,” Rossi confesses. “In fact, I’d never played piano and sang at the same time. I didn’t know how to count a song in. I was awful. The singing was the worst. It was an ignominious start.”

The band slogged through four Wednesdays there before throwing in the towel. The project could’ve dissolved then and there, but Rossi kept fueling the fire. 

“I started studying Longhair, James Booker, Dr. John, really diving in deep,” he says. “I knew I had to rethink this thing, retool it and make it what I want it to be. I thought in terms of designing it as a piece of art, but also as a business, using things I’d learned from all those early-morning car trips talking with Ed Hamell over the seven years when I was in The Works. Ed Hamell was the best teacher I ever had.”

Unlike most bands of the day, The Works played all original material. “It was a fully functioning organism with an attached culture,” Rossi remembers. “Every show was an uphill battle, but it was a battle willingly taken on.”

That was a model that Rossi would apply to the Shuffling Hungarians a few years later. As part of that attached culture, he created a character, Little Georgie. “It made it easier for me to do a gig because I didn’t have to be me,” he says. “I was approaching it very theatrically.”

Thanks to some backstage lobbying by Big Daddy LaRonde, the Hungarians scored a weekly Hump Day gig at the trendy Dinosaur Bar-B-Que. Rossi changed the name of the group to the Shuffling Hungarians, named after Professor Longhair’s band from 1949.

“That name appealed to the five people in Syracuse who knew something about New Orleans music,” he says. “It’s a concept, but nobody got it.”

During the band’s two-year stay at the Dino, two terrific musicians — guitarist Pete Heitzman and saxophonist Paulie Cerra — quit the band and were replaced by Tim Harrington and Don Williams, respectively.

“During those two years, I never took a dime myself,” Rossi says. “But I was able to pay the band and develop an arc for my character. The band was great, but the character was drawing people.”

Little Georgie channeled Louisiana piano-pounder Jerry Lee Lewis, aka “The Killer,” and the mythic Southern bad man Stagger Lee. “My alter-ego was a superman,” Rossi recalls.

Around that time, Rossi offered his band’s business to music agent Dave Rezak. According to Rossi, “He literally laughed me out of his office at the Galleries.” Rossi also declares that when the bandleader offered to record the Hungarians for Greg Spencer’s Blue Wave record label, “Greg said it wasn’t his cup of tea,” Rossi says with a sigh. “I had to prove them wrong.” 

He had to prove her wrong, too. “Every heroic figure has a tragic flaw, but the town gathers to watch,” Rossi says. “We got tongues wagging, and then we found those people would come to see you play. You’ve got to give them something to talk about. I made (my ex-wife) a laughingstock. Eventually she went to Austin.” 

Rossi certainly has an obsession for marketing. “To be successful in the music racket, part of the marketing equation is that your legend must loom large,” he advises other bandleaders. “Gossip, word of mouth and whisper campaigns are much more effective conduits then traditional advertising platforms. Whether accurate or not, my life story has been writ large on the walls of bathroom stalls.”

Shuffling at Styleen’s

About 1993, the Hungarians began a remarkable residency at Styleen’s Rhythm Palace, in Armory Square. It was another resurrection; Styleen’s was the site of the Zodiac Club at which an early version of the band tanked and nearly sank.

The Styleen’s shows were nothing short of magical. Candles flickered at their feet as the various band members sported all manner of hats, coats and shades to dull the sting of the klieg lights. The George-O-Lettes provided hip harmonies and shook their booties along with the swingin’ rhythms.

One of Little Georgie’s signature songs was “Gutbucket”: “I get intoxicated . . . my 88s get radiated/ I’m a real gone daddy when I’m puttin’ out that sound/ You can throw them sticks’n’stones/ I’m still gonna feed my gutbucket jones/ It’s the only thing that has never let me down.”

With the act firmly in place, Rossi turned his attention to marketing. He and his girlfriend, Eileen “Styleen” Heagerty, spent endless hours addressing and stamping performance calendars. 

“I was sending out over 20,000 pieces of direct mail on a bimonthly basis,” he recalls. “You try running a band and a record label, crafting the pieces, writing the copy, printing them, peeling off 20,000 self-stick mailing labels, affixing them to the mailers, paying for the bulk mail postage — every two months. I dare you.”

The Hungarians quickly grasped the potential of the Internet. A website debuted in 1993; according to Rossi, the group became one of just 250 bands in the world to have a site at that time.

In 1996 Rossi formed Queen Bee Brand records, hired Utica producer Bob Acquaviva (who had produced The Bogeymen sessions) and made a 15-track self-titled album. “That was a brave record,” Rossi says now. Although the live act still played a handful of covers like “Hey Pocky Way,” “Low Rider,” and “Let’s Go Get Stoned,” the disc was decidedly original, devised to stoke the legend of Little Georgie. 

Tracks included Rossi compositions “The Ballade of Little Georgie,” “Gutbucket,” “Working on My Addictions,” “Lie to Me,” “Tear It Down,” plus Harrington’s “Brassy Bessie” and Gary Frenay’s “Y’all Learned to Rock from Me.”

The song “You Like It” was inspired by a spat that Rossi witnessed between his wife and her rocker lover, something involving a spiked heel applied by his ex to his rival’s cranium. “Yeah, man, I was dropping hints. There were coded messages all through that thing, verbal, visual, musical messages.”

But you don’t need a cryptologist to understand the angst of “Lie to Me”: “Were you thinkin’ of me baby/ When you were lyin’ next to him?/ Oh baby . . . you said you’d never lie to me.”

The year 1996 was a tough one on a personal level. The Heagertys’ older brother, Patrick — the founder of Pastabilities restaurant, located across from Styleen’s on South Franklin Street — died after a long battle with brain cancer. The family tragedy put a strain on Rossi’s personal and business relationship with Eileen, but the band continued its standing-room-only Saturday nights at Styleen’s. 

By now, the group included Rossi, Paul La-Ronde, Mark Tiffault, Frank Grosso, Don William, trumpeter Jeff Stockham, singers Gail Sampson, Jackie Clarke and Angela Washington, and the man from Trinidad, percussionist Irvin Daniel.

The second record, Live from Styleen’s Rhythm Palace, Syracuse, NY, was crafted to keep the ball rolling, and to help promote the Salt City music scene. Queen Bee had sold 10,000 copies of the debut disc, Rossi says, and managed to quadruple that number with the Live double-disc. More than two hours of kick-ass music was featured, from a cover of “Come Together” to “Georgie’ Boogie” to “One Heluva Nerve.” A medley of “The Saints Go Marchin’ In” paired with “Mardi Gras in New Orleans” reminded listeners of the band’s musical moorings.

“I spent a lot of money for ad campaigns,” Rossi says about the record. The expenditures must have been well directed because House of Blues came calling, and the band earned an invitation to perform in Europe. He proudly points out that the Queen Bee Brand label, which he had created, paid the travel tab for the band to fly across the Atlantic.

Big Easy Bound

Rossi’s tireless self-promotion paid off in an unexpected manner. One Sunday morning, the phone rang: “This is Jerry Wexler,” a voice said. “Yeah, and I’m (record executive) Ahmet Ertegun,” Rossi shot back, assuming one of his musicians was pranking him. 

But it actually was Jerry Wexler, one of the top artists-and-repertoire (A&R) men in popular music history, the guy who actually coined the term “rhythm and blues.” Wexler had heard the Hungarians’ records and wanted to talk about the band and its plans. 

“Jerry was about 80 at the time, and I really think he just wanted to talk music,” Rossi says. “He was very up-front, very clear that he couldn’t deliver anything, but — I later found out — he was delivering the whole time.”

After returning from the gig in Bruges, Belgium, Rossi took a long look at the Central New York landscape and realized that the hot’n’humid city of New Orleans was calling him. After giving the band a year’s notice, during which time he turned down a deal offered by Alligator Records, Rossi moved to Louisiana in the summer of 1998. 

“I left a pretty sweet life in Syracuse to start at the bottom of the New Orleans totem pole, completely from scratch at age 38,” he observes on littlegeorgiesblog-a-thon.blogspot.com. “This was not exactly a pragmatic life choice, but it was one that needed to be made. If I was truly to be a New Orleans-styled musician, then I had to be from New Orleans, and soak it up from the sidewalk as a native, albeit a transplanted one. Otherwise, I would have been just another culture vulture. Dues had to be paid, and shots to the body had to be taken. This was a pretty huge gamble with my life’s path. 

“I was guided by three little ideas: 1. You’re Only On The Planet Once, So Do Not Be Ruled By Fear; 2. Go Big, Or Go Home; 3. Listen To Your Heart, and Follow It Without Question.”

Rossi ended up at the world-famous Pat O’Brien’s, a bar where he’d crank out “Piano Man” eight times a night for drunken Tulane students and closeted racists who wanted to hear “Dixie” all night. Rossi describes his work at O’Brien’s as “whoring,” but during his decade in the city, he also scored gigs and session work with heavy uptown fonksters such as Cyrille Neville, Bo Dollis, James Andrews and the late Allen Toussaint.

He made appearances at the annual New Orleans Jazz and Heritage Festival accompanying bluesman Kipori “Baby Wolf” Woods and Cyril Neville and his authentic New Orleans R&B Revue, played organ with Marcia Ball and toured nationally for seven months in 1999 with guitarist Bryan Lee and the Blues Power Band. 

That same year, trumpeter James Andrews brought George along for a national television appearance on the syndicated talk show Live with Regis and Kathie Lee, telecast from the State Palace Theatre at the corner of Canal and Rampart streets.

“Sure it was national TV, but it wasn’t a big deal really,” Rossi remembers. “It was just another gig. Got the call, they’ll pay ya like $50. OK, where? Show up, do our thing and get out of there. I got to meet Kathie Lee (Gifford) and Regis (Philbin). They were very gracious, very appreciative.”

Rossi was more impressed by his bandleader than the broadcasters. “Now playing with James Andrews: That was a big deal! I mean his family goes all the way back to the earliest days of jazz. To get the chance to play with people like James, that’s why I moved to New Orleans.”

George Rossi. Michael Davis photo | Syracuse New Times

“I’d never played piano and sang at the same time. I didn’t know how to count a song in. I was awful.” – George Rossi
Michael Davis photo | Syracuse New Times

Waxing with Wexler

After 12 months of sweating and scuffling, Rossi learned the extent of Jerry Wexler’s reach. He was hired in 1999 to co-produce Life is a Carnival, a record showcasing the Mardi Gras Indian band Bo Dollis and the Wild Magnolias. 

“The deal involved a ton of money and a cast of thousands,” Rossi recalls. “I mean we had Robbie Robertson, Dr. John, Bruce Hornsby, Rockin’ Dopsie, Marva Wright and Big Chief Monk Boudreaux.”

Life is a Carnival was released by Metro Blue Records, a subsidiary of Blue Note Records, affiliated with Capitol and the Universal Music Group. The big-time project was overseen by Metro Blue executive Bruce Lundvall, famous for signing Norah Jones. Rossi co-produced, arranged and played keyboards on the disc.

“I encountered some animosity,” he remembers. “Like ‘Who the fuck is this guy?’ But Jerry Wexler had been pulling strings left and right. I had no idea!”

Rossi has a hand in all 16 tracks including “Tootie Ma,” “Coochie Molly,” “Shanda Handa” and Dr. John’s “All On a Mardi Gras Day.” Allmusic.com critic Bob Gottlieb called the record “one of the most infectious and danceable discs of the late 1990s.”

Rossi’s main memory of his Carnival labors centers on the late Wardell Quezergue, the legendary arranger, producer and bandleader widely known as “The New Orleans Beethoven.” Rossi watched as Wardell wrote out charts for all instruments without even using a piano. “The level of artistry that existed down there in New Orleans, I got to feel it. I got to watch these guys do this shit. Being in New Orleans was the only way to see it.”

And he knew it was thanks to Jerry Wexler that he’d been hired. It was an important lesson. “Now I knew,” Rossi says, “that’s how the world worked.”

Routed by Katrina

In August 2005, Hurricane Katrina rocked Rossi’s world. He’d been playing one of the two copper-covered pianos at Pat O’Brien’s, home of the Hurricane cocktail. When the winds whipped up to 150 mph on Saturday, Aug. 27, and a voluntary evacuation was urged by Louisiana leaders, Rossi called the club to confirm its closing plans. “They said, ‘Hell, no, we’re not closing,’” he says. “‘Get your butt down here!’” 

He and his co-musician, Miss Vicki, were the last piano plunkers playing on the strip on the last night of the pre-Katrina Bourbon Street world. He ended the night with Randy Newman’s “Louisiana 1927.”

Then he deposited his two dogs into his girlfriend’s tiny green Ford Focus wagon. As Huckleberry and Doodle nestled in the back seat on Sunday, Aug. 28, 5:15 a.m., Lafitte’s Blacksmith Shop grew smaller in the rear-view mirror. 

“By the time we got on the I-10, it was a parking lot,” he remembers. “It took us seven hours to travel two miles west of the Superdome. The car became increasingly more difficult to keep on the road, as the first tendrils of Katrina’s winds intermittently pushed us off axis from the passenger side. We started to get pelted by pine cone projectiles as the southwestern swirl slammed into the trees that lined Highway 59, and the pine needles on the road were so voluminous that they started to drift like snow. The only option was to go all Dale Earnhardt on Katrina’s ass and outrun her.”

Eventually the couple and their dogs made it to Tuscaloosa, then Birmingham, and killer Katrina was largely behind them. By Labor Day, they’d arrived in Skaneateles. 

In October, Rossi played at Syracuse’s Bethany Baptist Church, 149 Beattie St., accompanying singers Angie Washington and Jackie Clarke, two of the George-O-Lettes. “I guess I made Angie and Jackie play for Satan so many times with the Hungarians,” Rossi quipped, “it’s only fair I throw a couple of freebies over to the other side.” He also joined his mentor and friend, Joe Whiting, to perform at the Ripple Effect Concert for Hurricane Relief in Cortland.

Just as the hurricane devastated the city of New Orleans, Katrina devastated Rossi’s blossoming big-city musical career. “I was suddenly irrelevant on every platform,” he recalls. 

Hungarian Games No More

George Rossi in his youth. Michael Davis photo | Syracuse New Times

George Rossi in his youth.
Michael Davis photo | Syracuse New Times

In 2008, while still splitting time between Central New York and New Orleans, Rossi decided to revive Little Georgie with a show at the Inner Harbor, featuring what was left of the Shuffling Hungarians and a few members of the Wild Magnolias. 

“I pulled the old suit out of the closet for one more try, just to see if I could still fit in it, and maybe to explore the possibility of wearing it as a career again,” he says. “But after 10 years it was a little tight around the middle, metaphorically speaking.”

He couldn’t stomach the idea of going through all the work and devoting countless financial resources to another band effort. “It helped me clarify what I wanted to do for the rest of my life, or better put, what I didn’t want to do. Juggling all those balls just isn’t intellectually, artistically and, more importantly, spiritually compelling enough to assume the role of ringmaster for me anymore. More than anything, it became painfully apparent that it was time for a third act. The Little Georgie suit went back into mothballs, probably for good this time.”

In 2011, Rossi teamed with Gary Frenay for a show of “Songs and Stories” at the Auburn Public Theater, also featuring guitarist Loren Barrigar, Karen Savoca and Pete Heitzman, the Dean Brothers, mandolin player Ted Williams, drummer Cathy LaManna, keyboardist Dave Solazzo, trumpeter Nick Frenay and the Hungarian Horns: Jeff Stockham, Frank Grosso and Don Williams.

More recently, Rossi paired with his dad, 88-year-old Nick Rossi, to create a video-driven food website called You Eat What I Cook You. On the videos Nick is called Primo and George is Secondo. “We wanted to show the human side of cooking,” Rossi said. “The family, the history, the relationships and how they’re tied to food.”

As usual, Rossi is learning new ways to do things. “I like the bewilderment, befuddlement of being a student,” he says. “I’m most comfortable when I’m learning. It’s the learning and doing that really counts, not what you leave behind in your wake.”

Rossi currently remains more interested in social media than in shufflin’ rhythms. He still keeps up his keyboard chops (a book called Baroque Performance Practices graced his man-cave music stand last month). But he knows that leading a band can be a thankless job. And one of the drawbacks of being a bandleader is that, sooner or later, your musicians will learn to hate you.

“Someone’s gotta be willing to be the asshole, willing to take the heat,” he says. “The Shuffling Hungarians was a magic trick of epic proportions.” 

When the project started — after Rossi enlisted the services of that rockin’ rhythm section of Paul LaRonde and Mark Tiffault — he knew that the band, its soul and character, would be defined by its choice of material. “Every tune was chosen very carefully to acquire a skill set to be utilized for the future,” he said, “ingredients for the ultimate and upcoming gumbo.”

The song “One Helluva Nerve” worked on all levels. “Basically a solo piano workout by James Booker,” Rossi says, “it not only fit the New Orleans constraint, but it was chosen to fit the future character narrative, help me to work on my arrangement chops to flesh it out with the future template of horn section and gospel corner vocalists, and, in so doing, teach everybody to rethink how to actually play idiomatically.”

Rossi had multiple agendas. “It all started with just the three of us. The foundation had to be solid before it got gussied up with the rest of the musical trappings. I might have been the conceptualizer for the narrative and dramatic components, but the music itself was a platform unto itself. And, if not designed, was certainly built by Tiffault, LaRonde and Rossi.”

Nowadays LaRonde lives in Florida, however, and Tiffault has little to say about his former bandleader. “Paul LaRonde wouldn’t talk to me for two years,” Rossi recalls. He assumes the bassist and drummer were upset by at least two things: George’s refusal to grant a second-year extension of the band’s life in 1998, and his rejection of a rather reluctant offer from Alligator Records’ honcho Bruce Iglauer.

Because Tiffault and LaRonde were there at the beginning and because they consistently revved the band’s motor over the years, Rossi understands that they had invested more of themselves than the other Hungarians.

“In that way, and from their perspective, maybe that illuminates the ongoing animosity,” Rossi says. “Everybody wants more credit for the creation of Frankenstein more than they’re actually due.”

When informed that one of his former bandmates was badmouthing him, Rossi shrugs. “You know what? As much as I admire that guy as a musician, the fact is that he was a master plumber, and I was the genius.”

Shuffling with the Sammys

Over four years in the mid-1990s, Little Georgie and the Shuffling Hungarians won nine Syracuse Area Music Awards (Sammys).

1993: Best Blues Group (Hungarians)

1993: Best Blues Instrumentalist (Rossi)

1994: Best Soul or Rhythm and Blues Group (Hungarians)

1994: Best Rhythm and Blues Instrumentalist (Rossi)

1996: Best Soul or Rhythm and Blues Group (Hungarians)

1996: Best Local Release (Little Georgie and the Shuffling Hungarians, Queen Bee Brand)

1996: Best Rock Instrumentalist (Rossi)

1997: Best Local Release (Hungarians’ Live from Styleen’s Rhythm Palace, Syracuse, NY, Queen Bee Brand)

1997: Producers of the Year: Bob Acquaviva and Rossi

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Cause and Effect

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As Grammy Award-winning musician and composer Joanne Shenandoah faces a life-threatening illness, she looks to her Native American heritage to describe her place in the universe.

“We flow, as does the cycle of creation, from conception to birth, infancy to youth and adulthood to our elder years,” she said this week via email through her husband, Doug George-Kanentiio. “While our physical selves are mortal we take the collective essence of our lives into the next reality and the ones beyond that to infinity.”

Joanne Shenandoah accepting a Sammy Award. Michael Davis photo | Syracuse New Times

Joanne Shenandoah accepting a Sammy Award.
Michael Davis photo | Syracuse New Times

Shenandoah, 58, whose words and music call for justice, peace and respect for indigenous traditions, is awaiting a liver transplant after a bacterial infection last summer caused irreparable damage. Her family has set up a GoFundMe account to raise money for medical bills, estimated to be at least $450,000. As of Thursday, supporters had donated $31,935.

Shenandoah, 58, is a member of the Wolf Clan of the Oneida Nation. She lives in Oneida Castle with her husband George-Kanentiio, a member of the Mohawk Nation. Shenandoah, whose name in Oneida means “She Sings,” won a Grammy in the best Native American Music Album category in 2006 for her part in Sacred Ground: A Tribute to Mother Earth, a compilation album. She was also nominated for Grammy Awards in 2001 and 2005.

She has also received 14 Native American Music Awards — more than any other artist. “Native American music is very important for our survival: It has allowed Native people to survive,” Shenandoah told MTV in 2001. “You really don’t have to understand the words.”

Shenandoah hopes to receive a liver transplant at the Mayo Clinic in Florida. She is limiting her activity, and said last week she was not up to speaking with a reporter. “Overall, Jo is stable,” George-Kanentiio said.

Below are edited responses Shenandoah provided the Syracuse New Times through her husband.

How does your illness fit with your understanding of the life cycle? What can we all learn from physical frailty?

While our physical selves are mortal, we take the collective essence of our lives into the next reality and the ones beyond that to infinity. Discarding the body is inevitable, but the gift of life carries on.

I am not apprehensive about my life, as who I am and what I have done will be carried with me when I return home along the star path. My ancestors will journey with me. Those whom I have felt are with me now. This is our ancestral teaching. We have instructions, one of which is to take care of our health so we can live in happiness and fulfill our duties as human beings.

Many find solace and healing in your music. What’s it like to receive, rather than give, solace and healing?

Native spiritual leaders guided me to my life’s mission, which is to use music as a healing power, to carry songs that expressed our love for the natural world. Music can be one way by which humans communicate with other species and show our respect, dependency and admiration for this beautiful planet.

It is no mere chance that my music is sung within the universal keys that mark the rhythms of sun, moon and Earth. In this time of challenge, I have been amazed by how many people have shown that they do care for my well-being and this gives me a chance to express my gratitude. I find comfort in this.

It is our Iroquois way to call out when in need, as it gives our families and friends an opportunity to learn and to share, to use our collective powers to effect healing. The Haudenosaunee is an alliance created through the healing power of music, and without song and dance we could not live. My illness, during the dreamtime of winter, gives me an opportunity to reflect on this.

Joanne Shenandoah. Michael Davis photo | Syracuse New Times

Joanne Shenandoah.
Michael Davis photo | Syracuse New Times

How is your condition affecting how you think about your musical career? How is it inspiring new songs?

I have had to take a break from touring. I was in South Korea this past October at a peace concert there and have a busy schedule crossing the continent and on to Europe once I am healed. There are so many opportunities for Native music, and I want to continue to perform whenever I can.

Every place I am, and whatever I do, presents me with new ideas and inspiration, whether it is the comforting touch of a nurse or the encouraging words from one of our traditional leaders. I have many new songs on my mind and others which are just over the crest of the next hill.

What do you make of the response to your illness?

It teaches me that there is great goodness in most people. It also has shown me that our connection with each other is the most powerful force in a human being’s life, that we need to show our love for others during times of stress.

For many, reacting to illness provides an opportunity to place life itself in perspective, to realize that love is more than a desire but an emotion that can best flourish when it is nurtured. True love is rooted in respect and sensitivity. Sometimes it is watered in tears, but it does not fade or diminish. It is what we carry to the next world. My music removes fear and relieves sadness. That is what my family and friends have done for me.

What song or phrase or prayer keeps you going during this difficult time?

I like “Aiionwatha Forgives” from my Peacemaker’s Journey album (2000) as it tells how one man, crippled by grief, overcame this and thereby helped create the Haudenosaunee, the world’s first united nations. In those moments, when he put aside vengeance and hatred, he showed all human beings that peace and healing is possible in the most tragic of circumstances.

That song summarizes what I have tried to do with my music: to effect healing, which is where I am now.

How to help: gofundme.com/joanneshenandoah.

Learn more about organ donations from the United Network for Organ Sharing: unos.org.

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Rocking Out

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When Molly D’Agostino was 13 years old, she saw the progressive rock outfit Trans-Siberian Orchestra in concert for the first time. Although she had played clarinet in school, it was the TSO show that introduced her to her true love: guitar. She got her first axe soon after as a birthday gift and quickly taught herself the instrument.

Just three years later, in 2011 she formed the band Pacinello with vocalist Mollie Barbaritano in a classroom at Vernon-Verona-Sherrill Central School. The group was named after the pacer horse Pacinello, which has raced often at Vernon Downs. Continuing the horsey connection, Molly’s father is harness racing trainer and driver Joe D’Agostino, who at one point played drums for his daughter’s group.

Molly D'Agostino. Michael Davis photo | Syracuse New Times

Molly D’Agostino.
Michael Davis photo | Syracuse New Times

Pacinello submitted their music to the 2013 edition of the Grammy Live: Gig of a Lifetime, a Grammy Association-sponsored competition that was looking for up-and-coming talent. When Pacinello placed in the top 15 out of more than 2,000 bands, Arrowhead Records took notice and signed the group later that year.

“It was really exciting for anyone to be in that position,” D’Agostino says. “The initial day I found out was the most exciting thing. I’m still really proud we did that as a band. We worked really hard for it.”

D’Agostino is now 21 and more accomplished than ever. She owns and runs Vertica Entertainment, a company that writes and records custom wedding songs. D’Agostino has also signed with Los Angeles’ R&R Entertainment and will release VICI, her first solo album, on April 26.

Although Pacinello had found success as an opening act for bands such as the All-American Rejects, Secret State and Pop Evil, the group broke up in 2014 after moving to R&R. The band is back together now, however, that temporary downtime allowed D’Agostino a chance to branch out with writing and recording at her home studio.

“I never sang,” D’Agostino says, “but I was playing with someone and sang something and they helped me get the confidence to do it. I was always writing for Pacinello with Mollie and she did the melodies and vocals. We pitched the solo idea to management and they liked it. They worked out a distribution deal and now I’m really excited about it.”

VICI was recorded in August 2015 between D’Agostino’s home studio and FOS Studios in New York City. D’Agostino wrote the songs, sang and played all of the guitar parts. The name of the album is Latin for “I conquered,” made famous by Julius Caesar, and reflects the attitude of D’Agostino’s songs.

“This is not an apology record,” she explains. “It’s not meant to apologize to someone, but to apologize to yourself. The whole message is about being a girl in music. We don’t owe an apology to anyone for being who we are. It might sound like a breakup album, but it’s not that. You can only apologize to someone so much until it’s just no. We are us and we deserve to be us.

“It’s not mushy. I went through a really interesting relationship when I wrote this … actually two. This album is about being a strong person, believing in yourself and not taking shit.”

Molly D'Agostino. Michael Davis photo | Syracuse New Times

Molly D’Agostino.
Michael Davis photo | Syracuse New Times

D’Agostino’s leap from a band member to a solo performer took some adjustment, but it’s also exciting. “I’ve never been a lead singer,” she says. “I enjoy it, but it’s weird going out on your own, but also cool. You have creative control.”

The move is liberating for D’Agostino as she finds her own sound. “VICI sounds like Katy Perry having a barbecue with Lynyrd Skynyrd and Shinedown,” she says. “I’m really excited about it. I hope people will like it and give it a chance. It means a lot to me in a lot of ways. And I really owe a lot of it to a lot of great people.”

D’Agostino mentions her guitarist mentors, Satchel of Steel Panther and Chris Caffery of the Trans-Siberian Orchestra. “A lot of great people have helped me,” she says. “I owe them a lot.”

Yet it’s D’Agostino’s work ethic and vision that move her forward. “The biggest thing for me is that you can’t hold onto the past and expect a great future,” she says. “You always have to be willing to progress yourself. You have to be open-minded and willing to work hard. You have to be willing to send 300 emails a day and get one response.

“And you have to believe in yourself. Nobody can see your vision like you can see it. Every time you get told no, it’s just another step toward the right door. I can’t even tell you how many times I was told no. Every time I was told no, it was one step in the right direction to get told yes.”

Molly D’Agostino will perform with the local country band Nothin’ Town (which features her drummer-dad Joe) on Saturday, March 19, 9 p.m., at the Colonial Inn, 3071 Route 370, Meridian. She also will play May 14 at Vernon Downs Casino. For more information on Vertica Entertainment, visit verticaentertainment.com.

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Burger Time

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Mike Odd, manager of Mac Sabbath, didn’t see the band’s success coming. What started with an anonymous phone call and a strange meeting in a hamburger joint has since become an international sensation — in less than three years.

“I had no idea how big it would get or how fast it would move,” he admits in a phone interview from the road. The band, currently in the middle of their longest road trip yet, has already slammed its Rock-Sham-Shake tour through Texas, Florida and Virginia. They’ll play the Lost Horizon on Saturday, March 26, 7 p.m.

macsabbath-promo

Mac Sabbath.

According to Odd, the history of Mac Sabbath began when a singer named Ronald Osbourne anonymously called up Odd in late 2013 and persuaded him to meet at a restaurant in Chatsworth, Calif. Osbourne knew about Odd’s experiences as a singer with Rosemary’s Billygoat, the cultish Los Angeles rock outfit that dressed up in horrific costumes and was influenced by acts such as shock rockers Alice Cooper and GWAR.

“I sat there and waited and waited until this clown burst in the door,” Odd recalls. “He was dripping with red and yellow dirty tassels scraping the floor. He sat in the booth I was in and started spewing out random ideas and concepts, completely bowling me over. He told me it was my destiny to manage his band Mac Sabbath, to bring his secret project above ground.

“By the time we got kicked out of that place, he asked me to come to another similar place, but at three in the morning. It was the basement of a burger joint where I watched Mac Sabbath perform among cardboard boxes of freeze-dried condiments and burgers.”

Odd’s experience was memorable, albeit bizarre and frightening. The band performed dressed like characters from McDonaldland, the fantasy world used in fast-food kingpin McDonald’s marketing campaigns. Osbourne is the vocalist, with Slayer MacCheeze on guitar, bassist Grimalice and Catburglar smacking the drums.

“I saw them perform as these childhood characters who have a warm spot in my heart, but singing about fast food, GMOs, and government food controls in Black Sabbath songs,” Odd explains. “It was like nothing I’d experienced before in my life. So, I thought, I’ll give it a try, I’ll work with this guy.”

In July 2014 Mac Sabbath performed their first public concert as part of an art show in Santa Monica. In October they performed a Halloween festival for an elementary school in Silver Lake and headlined the Long Beach Zombie Walk.

A few months later, a video of the band performing “Frying Pan,” their Mickey D-themed parody of Black Sabbath’s “Iron Man,” caught media attention from metal websites including Loudwire and Metal Injection. “Frying Pan” features mock-plaintive rhyming lyrics such as, “I once burned your meal/ My old job was cooking veal/ Now it’s a culinary crime/ All our future is pink slime.” From there, the band went viral. MTV News, Stereogum, Gigwise and MusicTimes all talked about the act, while publications in Germany, France, Italy and Poland covered their activity.

On Jan. 1, 2015, Black Sabbath shared the video on their official Facebook page. Odd relishes the moment: “Then it went crazy. They flew up to almost a million hits. That really helped. It was really wonderful to have their support.”

Mac Sabbath in Las Vegas.It’s only gotten weirder since then. Although they hadn’t played outside of California, in June 2015 the band performed at the Download Festival in Leicestershire, England, with KISS and Motley Crue. The french-fried funsters also played at San Francisco’s Outside Lands Music and Arts Festival last year, performing prior to Elton John’s show.

“After that I thought, ‘Wow, I guess this is gonna work,” Odd says. “It’s completely changed my life and now I’m doing it full time.”

Adding to the Mac mythology, Odd claims that Osbourne has traveled through the time-space continuum to spread the word about drive-through dining, kind of like The Terminator meets Fast Food Nation. “He insists he’s been back to the 1970s to warn them what will happen to food and that we need to get back to the ideology of the 1970s when food and music were genuine,” Odd says.

Despite their success, Odd isn’t sure about releasing recorded music, either. Osbourne is slow to adopt modern technology, insisting that he’d rather release their tuneage on 8-track tapes, in keeping with the tradition of the 1970s-era music contraptions.

“I’m trying to find 8-track manufacturers,” Odd says. “It’s been very unsuccessful. Trying to figure out where it’s headed is interesting, but I’m figuring it out.”

Odd also insists that weird as the show sounds, it needs to be seen to be understood. “When we walk into the club, it’s an eyebrows-up sort of situation,” he says. “It’s ‘Why this?’ and ‘Why that?’ But after they see it, it’s completely different. People fall in love with it. Just watching these characters up there playing songs is one thing. Then this crazy weird thing goes on in each song. Ronald pulls in the crowd, there’s audience interaction. There’s birthday party tricks, laser-eyed skull clowns on the stage and inflatable burgers bopping around the crowd. It’s a multimedia experience.”

On top of that, Odd insists the music is great. “They’re fantastic musicians,” he says. “It’s really hard to figure out how these creatures are manipulating the instruments as well as they do.”

Mac Sabbath visits the Lost Horizon, 5863 Thompson Road, on Saturday, March 26, 7 p.m. Opening acts include Pale Green Stars and Reefer Southerland. Admission is $15 in advance, $20 at the door. Tickets are available at thelosthorizon.com. More information on the band can be found at facebook.com/MacSabbath.

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Sidewalk Scenes

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This winter the Everson Museum of Art is focusing on street photography, displaying images taken in 1890s Paris, 1930s Harlem, 1960s Syracuse and other locales.

The main attraction, Helen Levitt: In the Street, showcases an artist who shot New York City streets for almost 70 years, creating poignant and humorous photos referencing people, place and the feel of city life. A companion show, featuring works by 22 artists, touches on street photographers over a 100-year period.

Levitt’s one-woman exhibit demonstrates how she approached city streets with fresh eyes and an ability to avoid cliches. There are several images of children behaving just as children do. Levitt photographed three children in masks near the front door of an apartment building, a group of children looking across a street at bubbles floating in the air, and a very young child heading back to her mother’s embrace.

2002.3.1_ Levitt

“Children with Broken Mirror,” 1940 by Helen Levitt.

One of her images portrays a curbside scene in which children investigate a broken mirror. Two of them shift through shards, two hold the mirror’s now empty frame, and a little boy appears to drive his bike through the frame.

In these and other images, Levitt interpreted everyday scenes, documenting how ordinary people used public space. In one photo, two women discuss a day’s events. In another, an elderly woman sits on a stoop with a cane near her. That image simply depicts a moment in her life.

Many of the photos were shot during 1930s and 1940s, but Levitt kept shooting during subsequent decades. A 1977 photo portrays a scene in which people come together for a moment. A man is in a phone booth, a woman stands just outside it, and a third person is near a mailbox. In the foreground, a street vendor hands a snow cone to a customer whose torso didn’t make in into the image. Thus, only the customer’s hand is visible.

Levitt also took photos in New Hampshire and Mexico, and the exhibition includes a few of those images but also makes it clear that this was a minor aspect of her work. She concentrated mostly on New York City streets and the people wandering along them, building a substantial artistic career.

The group exhibit, From Paris to Syracuse, encompasses more than 60 images of street photography from the collections of the Everson Museum and Light Work Gallery. It provides a historical perspective by moving from Eugene Atget’s 1898 shot of tar workers repairing a Paris street to Aaron Suskind’s documentary-style photos of Harlem residents during the 1930s to images created during the last 30 years.

And an extensive portfolio makes it possible to document a range of artistic approaches. For example, Jon Reis’ shot of two women crossing a city street captures the precise movement when one of them steps over a manhole cover. Steam blows in the air, and it looks like the woman is being swept away.

Elsewhere, Toren Beasley’s “When We Were Cool” portrays three African-American youth in a tight, intimate shot. In contrast, Michael Spano’s wide-angle shot of four street musicians shows them playing in a city setting with no one around. There’s an illusion of a neighborhood abandoned by other people.

Moreover, the exhibit presents pieces by well-known artists: Robert Doisneau’s depiction of  a carousel on a Paris street deluged by rain; an image of a woman in front of a restaurant as seen through the lens of Mexican photographer Manuel Alvarez Bravo; Garry Winogrand’s shot of a man receiving money from a passer-by.

Basic copyright 2007

Photo by Helen Levitt.

Finally, the show includes images by photographers who have depicted local scenes. The New York State Fair is prime territory for street photographers, and it’s fitting that From Paris to Syracuse includes a photo by Bruce Gilden, who interprets the flow of human traffic at the fair.

Simpson Kalisher, from 1968 to 1973, took dozens of photos in Syracuse culminating in a series, “The City Seen,” exhibited at the Everson in 2001. He has several images in the current exhibit; they depict a Veteran’s Day parade, a scene on the South Side, and a young couple walking down Marshall Street on a sunny day.

In addition, Syracuse New Times photography editor Michael Davis has created a portfolio of street photos taken in Syracuse, Boston, Oakland and other cities. He has several images in the exhibition, with the best portraying three men walking down the street. The first two each hold a phone to a right ear while the third presses a phone to his left ear. The photo is whimsical and incisive as it comments on our times.

Helen Levitt: In the Street, curated by the Telfair Museum of Art in Savannah, Ga., is clearly worthwhile in itself. It does a fine job of presenting Levitt’s work and communicating her passion for photography and for life in New York City. However, running the show in concert with a survey-style exhibit expands the conversation, allows viewers to get a better sense of street photography. And it demonstrates that both the Everson Museum and the Light Work Gallery have a variety of top-notch images in their collections.

Levitt’s solo exhibit is on display through May 8 at the Everson Museum, 401 Harrison St. From Paris to Syracuse wraps up May 15. The museum is open Wednesdays, Fridays and Sundays, noon to 5 p.m.; Thursdays, noon to 8 p.m.; and Saturdays, 10 a.m. to 5 p.m. Admission is $8 for adults, $6 for seniors and students, and free for museum members, children age 12 and under, and active members of the U.S. military. For more information, call 474-6064.

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The Empire Strikes Back

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Turn off Route 20 onto Route 13 south in Cazenovia and, just past the Lorenzo State Historic Site, you see it rising: a large structure with a trio of turrets in the style of the Madison County hops barns of yesteryear. It’s the long-awaited Empire Farmstead Brewery, and it won’t be long now before you can stop in for a tasting — or pick up a six-pack in your favorite store.

Slated to open next month, the 42,000-square-foot countryside spin-off of downtown Syracuse’s popular Empire Brewing Company will feature “beer gardens” for growing some of its own hops, barley, rye, wheat and other ingredients, a shiny new brewhouse and bottling line, an aging cellar, a large tasting room and “farmeteria” restaurant, a suite of corporate offices and a gym for employees.

When the new brewery is up and running, Empire will transition from a seven-barrel microbrewery to one of the largest craft breweries in New York state, able to produce 60 barrels of beer at a time and 30,000 barrels a year (with capacity to grow). A barrel equals 31 gallons of beer, so do the math: That’s a LOT of beer.

Empire Brewing founder David Katleski.

Empire Brewing founder David Katleski. Michael Davis photo | Syracuse New Times

“I believe with all the breweries out there, the only way for us to compete is with an elite brewery,” says Empire founder David Katleski, who also serves as president of the New York State Brewers Association. “It will really set us apart. What we’re doing here is we’re trying to create an experience, an experience where you see, smell, feel and taste how beer is grown and made.”

For Katleski, who lives in Cazenovia with his family, the last year has been a whirlwind of bringing the Farmstead Brewery off the drawing board’s blueprints and to fruition. The delivery of the brewhouse equipment on a bitter cold day in January made it real. Brewing is scheduled to begin April 11 and bottles should be in stores by May 1.

Asked if he could envision such an expansive state-of-the-art beer production facility when he opened the downtown brewery in 1994, Katleski replies: “I couldn’t even envision it when I saw it on paper. It’s starting to make sense now. We’re really excited.”

Katleski isn’t the only one who’s excited.

Tim Butler, director of brewing operations, has spent the winter getting to know the new equipment and running tests in preparation for brewing. The early focus of Butler and his team will be five signature beers for distribution: Slo Mo’ IPA, East Coast Amber Ale, White Aphro Wit Ale, Black Magic Stout and Skinny Atlas Kolsch.

“It’s certainly a lot different than the brewpub. Everything is a lot bigger here, but I’m not scared or nervous or anything,” Butler said last week. “The brewing process is the brewing process. I’m looking forward to ramping it up.”

Ben Reilley, owner (with his wife, Shioban) of Life of Reilley Distilling and Wine Co., also in Cazenovia, believes the opening of the Empire Farmstead Brewery will have a major impact on the Cazenovia/Madison County beverage community, which includes breweries, a winery and several craft spirits makers.

Reilley launched Life of Reilley in 2013 and produces three kinds of vodka at a facility east of the village. His business is undergoing expansion and he’s looking forward to the day when he can welcome visitors to a tasting room.

“We’re doing back flips over here,” Reilley says of the Farmstead Brewery. “Just think about how many people they’re going to bring to town. People from all over the world are going to come to this place. And those people are going to say, ‘I’m here. Now what else am I going to do?'”

Tim Butler, Director of Brewing Operations at Empire Brewery.

Tim Butler, director of brewing operations at Empire Brewery. Michael Davis photo | Syracuse New Times

The Empire Farmstead Brewery is scheduled to open to the public on Memorial Day weekend. Until that time, here are some details to know about it.

1. A Unique Brewhouse. The brewhouse at the Farmstead Brewery is fully automated and the first of its kind, anywhere. The brand-new, mirror-finish grain mills, tanks and fermentation vessels are designed by Syracuse’s Feldmeier Equipment Inc. The company has been making stainless steel processing equipment for more than 60 years, but this is its first foray into making equipment for the brewing industry. “They gave us exactly what we wanted,’’ Katleski says. Boilers and other equipment in the brewhouse were made by Fulton Boiler Works, of Pulaski.

2. Sixty Bottles of Beer Per Minute. All of the beer made at Empire Brewing Company downtown goes into kegs. At Farmstead, 65 percent of the beer brewed will be bottled for local, regional, national (and hopefully international) distribution and 35 percent will be kegged, according to Katleski. Canned beer will debut in the future. A key part of the new brewhouse is a centrifuge, which clarifies beer by centrifugal force, and a bottling line commissioned from Prospero Equipment, of Pleasantville. “We’ll be able to hum along at 60 bottles of beer a minute,’’ Katleski says.

3. A Farm Brewery with Local Relationships. The Empire Farmstead Brewery is categorized as a “farm brewery” under a 2013 state law that provides incentives for using New York state ingredients. The Farmstead Brewery will dedicate 12 of its 22 acres to “beer gardens’’ planted with ingredients used to make beers: hops, barley, rye, wheat, herbs, fruits and vegetables. The brewery will source hops from Clark Hollow Hops, The Bineyard, Foothill Hops Farm and Pedersen Farms, among others.

Empire Brewing.

Empire Brewing. Michael Davis photo | Syracuse New Times

4. Eat Where You Live at the Farmeteria. Empire’s downtown brewpub is known for reasonably priced food with a local focus. Expect more of the same at the Farmstead Brewery, with a twist. “Everyone is asking, ‘What kind of food are you going to have?” Katleski says. He came up with the name “Farmeteria’’ to describe his vision: an open, European-style beer hall tasting room with tables for two and four, long community tables and multiple windows for ordering food, with table delivery.

The menu will feature soups, salads, sandwiches, local cheeses and house-made sausages and charcuterie. The tasting room and restaurant area will seat 100 and open to a 60-by-30-foot seasonal patio with more seating. A smoker outside will allow the kitchen staff to smoke meats. The spacious French-style kitchen will have a pizza oven for flatbread pies, windows that look out to the dining area and windows that overlook the countryside.

Some produce will be grown on site. Katleski also expects the kitchen to work with about 40 local growers and producers, including Greyrock Farm, a year-round CSA (community-supported agriculture) that supplies the Thai basil used in Empire’s Golden Dragon beer. Most of the beef used in the restaurant will come from nearby Meadows Farm.

The tasting room and Farmeteria will be open year-round, Thursdays to Sundays, 11:30 a.m. to 9 p.m. “We’re really a production brewery first,” Katleski says.

5. Work Where You Live. The Empire Farmstead Brewery will employ about 70 people in a variety of positions: agriculture, administration, brewing, packaging, retail, sales, marketing, design, events on site and restaurant. The second floor of the facility includes corporate office space and a gym for employees, with locker rooms and showers.

6. Green Acres. Meadows Farm has supplied Wagyu beef for Empire Brewing Company for years, and Empire has been supplying the farm with its spent brewing grain to feed the livestock. When the Farmstead Brewery opens, the spent grain and the beef will only have to travel a short distance: just across the road. Meadows Farm plans to increase its herd to meet Empire’s growing restaurant needs, Katleski notes.

The Empire Farmstead Brewery tasting room, gift shop and restaurant will strive to maintain a carbon footprint of 30 miles or less.

7. Paying Homage to Salt City’s Beer History. Syracuse was once home to dozens of breweries. One of the longest-running of them was Haberle Brewing Company, located on Butternut Street, which closed in 1962 and was reduced to a pile of bricks. The patio outside the tasting room and Farmeteria will be lined with 30,000 restored bricks from Haberle. Director of operations Nick Irvine acquired the bricks thanks to Craigslist and Rocci DeCaro, of Syracuse.

8. Take a Hike, Ride a Bike. Katleski, a big fan of bicycling, plans to have bike racks for visitors who arrive by bike and employees who bike to work. He encourages people to hike and bike the Burlingame Trails, accessible from the Farmstead Brewery property and from the Lorenzo State Historic Site. The recreation trails are moderately hilly and offer gorgeous views of Cazenovia Lake and the village.

9. The Downtown Syracuse Brewpub Isn’t Going Away. The Armory Square destination at 120 Walton St. will become the incubator or pilot program for Empire’s new and more experimental beers. And the restaurant will remain open.

The Empire Farmstead Brewery, 33 Rippleton Road (Route 13), Cazenovia, is scheduled to open by Memorial Day weekend. Brewery tours will be offered Saturdays and Sundays, noon to 5 p.m., and self-guided beer garden walking tours may be taken during business hours Thursdays to Sundays. For more information, visit www.empirebrew.com?utm_source=rss&utm_medium=rss.

Drink Madison County

The Copper Turret Restaurant, Morrisville. The Route 20 venue is opening a brewpub in conjunction with the SUNY Morrisville Brewing Institute. Construction on the brewery will begin this summer, with select drafts available at that time and a grand opening in the fall, according to head brewer Micheal Coons. 684-6699, copper turret.com.

Critz Farms Brewing & Cider Co., Cazenovia. The pick-your-own agritourism destination (and tasting room) re-branded its beverage side last year and recently introduced craft beer in addition to its hard cider made from apples grown on the farm. 662-3355, critzfarms.com.

Erie Canal Brewing Company, Canastota. This village brewery makes three beers: Muleskinner Pale Ale, Lock Tender IPA and and Amber Waves of Grain, an amber ale. The Muleskinner is an all-New York state product, made with hops and barley grown at the brewery’s farm in Chittenango. 510-5001, eriecanalbrewingcompany.com.

Foothill Hops Farm, Home Brew Shop and Brewery, Munnsville. Foothill is dedicated to preserving and promoting the hop-growing heritage of Madison County. It has been supplying hops to home brewers and small breweries (including Empire) for years. Owners Kate and Larry Fisher plan to open a farm brewery this summer. 495-2451, foothillhops.com.

Good Nature Brewing, Hamilton. This microbrewery, launched in 2012, is undergoing a major expansion and relocation this year that will take it from 1,000 barrels a year to about 4,000 barrels. The new brewery will be located south of the Colgate University campus in Hamilton and will have a tasting room. The current tasting room at 8 Broad St., in the village, will remain open. 824-2337, goodnaturebrewing.com.

Henneberg Brewing Company, New Woodstock. Home brewer turned professional brewer John Henneberg grows some of his own hops and barley and also sources those ingredients locally. Specialties include Farmhouse Pale Ale and Cazenovia Common, as well as seasonals like Pumpkin IPA, Mint Stout, Scottish Ale and Wheat Beer. 760-6629, hennebergbrewing.com.

Humble Harvest Brewing: Humble Harvest is an artisanal nanobrewery located east of Cazenovia on Route 20, at Nelson Corners. A tasting room, now under construction, is slated to open this spring. 404-5686, facebook.com/humbleharvestbrewing.

Life of Reilley Distilling and Wine Co., Nelson. The family-owned small-batch distillery offers three premium vodkas — original, vanilla and raspberry — made from New York state corn, plus the soon-to-be released Disco Lemonade, an “on-demand” vodka and lemonade cocktail in a can. 506-5084, lifeofreilley.net.

Madison County Distillery, Cazenovia. Retired U.S. Air Force Lt. Gen. Michael Basla’s vision for a farm/craft distillery is taking shape on a former dairy farm on Route 20, just outside the village. Small-batch whiskey, bourbon, gin and vodka will be produced there. facebook.com/madisoncountydistillery/timeline.

Old Home Distillers, Lebanon. Members of the Carvell family use locally grown ingredients to make their small-batch, hand-crafted spirits. The distillery is a renovated horse stable on a historic farm property. Specialties include moonshine-style whiskey, gin and Apple Jack. 837-4123, oldhomedistillers.com.

Owera Vineyards, Cazenovia. This 57-acre vineyard and farm winery is noted for its Rieslings, Chardonnay, Cabernet Franc and blends made from grapes grown across New York state, as well as estate wines like Frontenac Gris and Marquette made from cold-hardy varietals grown on-site. 815-4311, oweravineyards.com.

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Climate Keepers

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When Dan Kingsley made plans to build a new facility for his physical therapy practice in Chittenango, he considered all of his options. “We could have done anything,” he said. “It was a dream of mine to go green. I wanted to be part of the solution, not the cause of global warming.”

The result of his efforts — with advice from his engineer father and brother — is a 6,000-square-foot, net-zero building that is heated and cooled with 10 tons of vertical closed loop geothermal. All of the energy for the 2014 Chittenango Physical Therapy building on Route 5 comes from 35 kilowatts of solar photovoltaics on adjustable poles behind the building. Kingsley decided not to connect to the natural gas line in front of his new building. The building is outfitted with LED lights.

A wind turbine in Skaneateles.

A wind turbine in Skaneateles. Michael Davis photo | Syracuse New Times

Kingsley went green out of concern that climate change will destroy the world his 10- and 12-year-old daughters will live in. He also wants to see the United States less dependent on oil from the Middle East.

Key to Kingsley’s decision to use renewable energy was its financial benefits. The power bill on his old building — half the size, but clearly not energy-efficient — was about $1,000 a month. Now it’s $22.

“I plan on being in business for another 30 years,” he said. “The return on investment for solar is about six years, and it’s about 10 years for the geothermal.”

Kingsley’s building is among more than 20 sites on a self-guided tour organized to coincide with Earth Day. On display Saturday, April 23, will be geothermal, solar and wind energy fueling local homes, farms, commercial buildings, schools and municipal settings.

“We want people to see that these 21st-century sources of energy work,” said Peter Wirth, a volunteer with Central New York volunteers Climate Change Awareness & Action (CCAA). The group last fall presented the 2009 documentary A Sea Change to a packed house at the Palace Theatre.

Tour sites include private homes, including those of activist Aggie Lane and environmentalist and Native American advocate Joe Heath; public and private school buildings; and commercial and municipal properties. Some are new builds, and others are retro-fitted with the new technology.

Earth Day, celebrated on April 22, was born in 1970. The worldwide event is now celebrated in more than 193 countries. The first Earth Day put environmental concerns on the national agenda. In December 1970, Congress authorized the creation of the U.S. Environmental Protection Agency.

On Earth Day 2016, the United States, China, and 120 other countries will sign the Paris Agreement, a global agreement to combat climate change. The United States and China are the world’s two biggest polluters, accounting for 40 percent of global emissions.

The deal is the next step in the historic draft climate protection treaty adopted at the 2015 United Nations Climate Change Conference in Paris. It requires formal approval by at least 55 nations representing 55 percent of man-made greenhouse gas emissions.

There’s some urgency to reaching that 55 percent threshold this year. Once that happens, any country that has signed cannot withdraw from the agreement for four years. Should Republican candidates Donald Trump or Ted Cruz, who remain unconvinced that climate change is man-made, win the U.S. presidency, they will be unable to backtrack on the U.S. commitment to reduce global greenhouse gas emissions.

Wirth, a longtime Syracuse activist, is armed with dreary statistics about the effects of greenhouse gas emissions. February 2016 was the most abnormally warm month on record, he said. February broke the record for the previous abnormally warm month on record. That was January 2016.

Electric car charging station.

Electric car charging station. Michael Davis photo | Syracuse New Times

Coastal flooding is also rising at the greatest pace in 28 centuries. For example, it’s increased more than tenfold in Annapolis, Md. The fire season in the U.S. Northwest is 78 days longer than it was in the 1970s.

And don’t get Wirth started on the damage caused by ocean acidification — the subject of the award-wining documentary A Sea Change.

He’s seen the effects of climate change with his own eyes. He and his family visited Glacier National Park in Montana’s Rocky Mountains a few years ago, “In 20 years it will be glacier-less,” he said.

Just weeks ago, Wirth visited the Grand Canyon. A guide told him decreasing snowfall on the Northern Rim soon will affect the area’s water supply.

Closer to home, warmer weather is pushing ticks farther north. That means a greater threat of Lyme disease, a bacterial infection caused by a bite from an infected deer tick. The disease is concentrated heavily in the Northeast and upper Midwest, according to the U.S. Centers for Disease Control and Prevention. Five cases of Lyme disease were reported in Onondaga County in 2001. Forty cases were reported in 2014, the most recent year for which statistics are available.

Kingsley took advantage of a solar tax credit when constructing his Chittenango building. From April to November, the building generates more energy than it uses, and Kingsley gets energy credits he can apply to winter bills.

About 150 people visit his office each week. A screen in the waiting room shows how much energy his system generates, how much energy the building is using and how much the energy costs.

“If you’re going to build, geothermal and solar is a no-brainer,” he said. “You can see the savings.”

Renée K. Gadoua is a freelance writer and editor. She does not have solar panels on her house.

Visit Earth Day’s Energy Savers

Explore Our Energy Future, which takes place Saturday, April 23, 11 a.m. to 3 p.m., is a self-guided tour of area businesses that will highlight clean energy in action. Sites will feature information about how the owners installed solar, geothermal or wind turbine systems. For information, see ccawarenessaction.wordpress.com. Also available is information about Shared Solar, a New York state program that enables utility customers to offset their energy usage from a solar source located away from their property.

The sites include:

DeWitt Town Hall, 5400 Butternut Drive, East Syracuse. In 2011, the town installed a 55-kilowatt solar array to the building. It has produced 118,606 kilowatt-hours and has prevented more than 183,000 pounds of carbon dioxide from being emitted into the atmosphere to generate that electricity.

Fesko Farms, 1261 East Lake Road, Skaneateles. The 600-cow dairy farm’s solar photovoltaics system generates about 80 percent of the farm’s power. In the past 12 months, it generated 362 megawatt-hours.

King & King Architects, 358 W. Jefferson St. This refurbished warehouse on Syracuse’s near West Side was the first LEED-Platinum certified building in Central New York. Sustainable features include air quality, day lighting, roofing, heat reduction, ventilation, flooring, restrooms, parking areas and equipment. The building also has 65 185-watt solar panels on the roof.

Lyncourt Veterinary Hospital, 2306 Court St. Owner Bill Stokes-Cawley installed 85 solar panels on the building’s roof in December 2014. By spring 2015, the energy charge on his electricity bill was zero.

Manlius Pebble Hill School, 5300 Jamesville Road. The school installed a 117-panel, 25 kilowatt solar array in 2011. Since then, it has avoided 142,000 pounds of carbon dioxide emissions. The school added a geothermal heating and cooling system for its new library in 2014.

Pike Block Building, 300 S. Salina St. The 30,000-square-foot commercial building uses geothermal heating and cooling that taps into the brine aquifer that runs 85 feet below Salina Street.

248 Bryant Ave. This 1,800-square-foot home, owned by Kyle Thomas, is in densely populated downtown Syracuse, boasts a 6.44 kilowatt solar photovoltaics system. The building is in mid-installation of a geothermal heating and cooling system.

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Cats Vs. Dogs

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There have been contentious relationships since the dawn of time: religion vs. science, liberals vs. conservatives, Syracuse vs. everybody. There is, however, another great and hairy debate standing firm and with a better center of gravity.

Lou the cat. Michael Davis photoCat and dog owners have often been at odds. Cat people are reputed to be crazy, introverted and, like their pets, uninterested in getting along with others. Dog people are considered overzealous and prone to jumping on people without permission.

I set out to get to the root of this divide. I consulted experts and conducted an informal survey, with interviews on the street and through emails and social media. Some 50 people responded, the vast majority being dog owners. (This could be because I met a fair number of respondents while they were walking their dogs. Walking cats, an extremely rare occurrence, is more of a faux pas — or is it paw?)

The cat owners — somewhat like their pets — had to be coaxed a little and only began to voice their opinions at the end of the surveying period. Only a small number of respondents owned both pets.

To the question, “Do you feel there is a difference between cat and dog owners?” numerous stereotypes were offered. Dog owners saw cat owners as crazy and introverted. However, cat owners said they had, in fact, toyed with the idea of owning a dog at some point.

Pam Edwards, a veterinarian at the Nottingham Pet Clinic in Syracuse, has seen a lot of cats and dogs over the years.

“The appreciation of a dog is immediate. You can see the joy in their movement,” she said in a phone interview. “Cats are enigmatic. You have to appreciate them to understand them. They are equally as interesting, but not as obvious.”

“There really isn’t a difference” between dog people and cat people, said Paul Barone, owner of a beagle named Sebastian. “Any human being willing to take in another life form and agreeing to care for it its entire life speaks volumes.”

Paul Barone with his beagle, Sebastian. Michael Davis photoAs much as pets benefit from being taken in by people, some studies indicate humans also gain from the relationship. However, according to psychologist Hal Herzog, writing in a report for Current Directions in Psychological Science, “the existence of a pet effect on human health and happiness remains a hypothesis in need of confirmation rather than an established fact.”

Herzog also said the attachment and feelings toward a pet are in the eye of the beholder. What an owner may view as “cute” may not be the case for others.

In my survey, some respondents wrote lengthy answers and submitted unsolicited pet pictures to justify how much they value their pets.

In my quest to learn more about the divide, I called Claudia Wheatley, senior public affairs officer at the Cornell University College of Veterinary Medicine. She was unable to shed light on the debate: “This is more of a human psychology issue, and humans are the one animal we don’t study here.”

Human psychology, however, was the subject of my study. So I consulted with my friends Shauna Diliberto and Ray Ripple, who own a Labrador-chow mix, Abe, is an important member of the family.

“He’s writing a novel,” said Ripple.

The dark hair and complexions of the couple match the black fur of their middle-aged mix. He sports a white patch on his chest similar to a superhero’s emblem.

“He is our everything,” said Diliberto. They bring Abe everywhere. “I used to think people who didn’t have kids and only dogs were weirdoes, but now I understand.”

Having a pet is powerful in and of itself. The furry friend can serve as a wing animal when it comes to attracting a mate.

Animals have been shown to calm humans in the workplace, and they are often helpful in therapy for people with autism and other disorders.

Conversely, animals can cause a certain amount of worry for their owners.

“I have anxiety about Abe and his safety,” said Ripple. Before he took his pet in, however, he was similarly concerned about adopting a dog, that was middle-aged with a broken tail.

Sebastian the dog. Michael Davis photoAnimals often react poorly to separation. A dog left alone for the day may chew up a pillow. Cats, when not taking a ride down the curtains, may unravel rolls of toilet paper throughout the house.

But we always forgive our pets their transgressions, don’t we? Cats, not known for being demonstrative, still have ways of showing affection, such as jumping on the bed and pawing your face to wake you up in the morning. Or stealthily following you around the house.

That, too, can present problems: In a Psychology Today article, Herzog notes that around 800,000 people are admitted to emergency rooms because of their animal. Of that 2011 total, 85,000 of those hospital visits resulted from falls after tripping over pets.

When they’re not tripping us, pets are providing enhancements to our families, our mental health — and even our appearance. Yes, many people choose to accessorize with their companion animals, when they’re not accessorizing the pets themselves with collars, bows or booties.

For instance, Christina Caramella, a redhead, and her red-bearded boyfriend, Dan Volles, are raising a longhaired ginger cat named Garfield, who complements their looks perfectly.

Being thoughtful about the kind of pet you adopt — whether cat or dog, young or old — is an important part of becoming an owner.

“Sometimes animals are mismatched and can create issues: a young, high-energy puppy with an elderly couple or a very independent cat with very playful children,” Edwards said.

And there’s the time commitment of feeding the animals, taking dogs for walks or cleaning cats’ litter boxes, not to mention the expense — roughly $8,000 over an animal’s lifetime.

Fortunately, domestic cats and dogs both know how to manipulate their humans, whether they’re doing something cute like making “puppy eyes” or deliberately clawing a rug or committing another misdemeanor to get attention. Kristin Earle, a Chihuahua owner, says her dog Pixie makes a habit of bringing out all her toys one by one.

Wes Hazdor and Morgan Jenkins, owners of a cat and a dog, point out that not all the self-taught habits are bad. Hazdor said although Munch, their cat, knocks things off the counter, Koda, a mixed-breed dog, has taught himself to look both ways before crossing the street.

If you’re planning on joining one breed of pet owners, or the other, or both, Central New York has plenty of agencies offering animals for adoption, including the CNY Cat Coalition in association with Pet Smart locations, the Humane Society of CNY and Wanderers’ Rest Humane Association.

Adopting an animal can potentially improve any human’s life, whether a dog person or a cat person.

“I love all animals,” said cat owner Caramella. “Except for ferrets. Yuck!”

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Primary Colors

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New York state was truly the center of the universe in April as a quintet of presidential candidates made their campaign rounds ahead of the state’s April 19 primary. The fab five each made pit stops in Central New York, as Syracuse New Times photographer Michael Davis shuttled between their rallies to record their moments in the Salt City spotlight.

Democratic candidate Hillary Clinton struck first on an April Fool’s Friday with an afternoon visit at the Regional Market. Riding on the Final Four coattails created by the Syracuse University men’s and women’s basketball teams as they vied for national championships that weekend, the former secretary of state, as well as most of her audience, was decked out in orange-hued regalia. Syracuse Mayor Stephanie Miner, for instance, was large and in charge in a T-shirt that read “Real Mayors Wear Orange.” Prior to her F Shed speech, Clinton had earlier stopped at SU’s longtime Varsity Pizza for photo ops with students.

Next up was Republican Ohio Gov. John Kasich, who addressed nearly 1,000 supporters at an April 8 town hall meeting held at Le Moyne College’s Henninger Athletic Center. One of those supporters was former Congressman James Walsh, who delivered the Kasich introduction.

Democratic challenger Bernie Sanders’ April 12 visit at the Pirro Convention Center took on all the trappings of a much-anticipated rock concert, as the Vermont senator’s local fan base started lining up roughly six hours in advance of his afternoon speech. Local beatboxer Joe Driscoll warmed up the crowd, while actress Rosario Dawson also made an appearance, with Sanders sealing the deal with an inspirational speech that energized the young voters he is courting.

In contrast, Republican candidate Ted Cruz fielded a low-key rally April 15 at Cicero’s Driver’s Village. At least Cruz had some fun on his campaign trail during a photo-op moment over a foosball table, as Cruz and campaign aide Bruce Redden amiably squared off with political reporters John Heilemann and Mark Halperin, co-stars of the 2016 primary documentary series The Circus on pay cable’s Showtime.

Speaking of circuses, rounding out the pack was Republican front-runner Donald Trump’s April 16 turn at the Pirro Convention Center podium. While the Sanders show came across as a love fest, the Trump rally lured several thousand hardcore admirers inside the center (people with DSLR cameras were barred from entering, however) and a few hundred protesters on the surrounding sidewalks. Emotions were heated as the opposing views collided after the speech, with neither side yielding ground. And it was hard to tell which sidewalk souvenir was scarier: the rubber Trump masks or the anti-Clinton T-shirts that sported the words, “Trump That Bitch!”

View the photo galleries below:

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The Pearl

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Pearl BBall

Pearl Washington. Michael Davis photo | Syracuse New Times

Syracuse University basketball great Dwayne “Pearl” Washington, 52, died April 20 from brain cancer. The 6-foot-2 point guard helped catapult Coach Jim Boeheim’s squad to national prominence during Washington’s career from 1983 to 1986. Although perhaps best-remembered for his “shake and bake” crossover dribble technique that stymied opponents, there were other reasons why Pearl’s legacy is cherished by Orange fans everywhere, including longtime sports journalist Skip Murphy.

Mention the name Pearl in Syracuse, and a smile inevitably appears, for Pearl Washington was as much loved as anyone who was ever connected to the gray Salt City.

He came in 1983 from the housing projects of Brooklyn and brought with him a streetwise style of basketball that was raw, exciting and hugely creative. Before Pearl, basketball in upstate New York looked more like the movie Hoosiers. Play was slow, methodical, hardly electric. Pearl changed all that.

This young man with a boyish face and an Irish-like glint in his eyes lit up the hearts of Orange fans as soon as he arrived. A whirling dervish on the court, Washington found seams that didn’t exist, made passes that had never been tried before, and carried teams on his broad shoulders. And he did it all with his trademark smile.

Pearl Back hand pass

Pearl Washington passes the ball behind his back during a home game. Michael Davis photo | Syracuse New Times

Syracuse, the community, really needed him at that time. This Rust Belt town was reeling, and life was dull. Mario Cuomo was governor and Lee Alexander was still mayor, just prior to his six-year stay in the Big House. The Caroma Restaurant was the place to eat in the daytime, the All-Night Egg-Plant during the late evening. Atlas Linen Company was the big band in town. Helen Reddy and the Four Tops headlined at the New York State Fair. The Dinosaur Bar-B-Que was just getting started as a roving concession stand.

Something was needed to charge up this town, especially in the winter. In comes Pearl Washington.

Pearl was at the center of a sports Perfect Storm. The newly formed Big East Conference was starting to take hold, and sports on cable television was exploding and in dire need of programming. With star teams like Georgetown and St. John’s, star coaches like John Thompson and Rollie Massimino, and star players like Patrick Ewing, Chris Mullin and the Pearl, the Big East grabbed center stage. Syracuse’s Carrier Dome became the hallmark arena for college hoops second only to the venerable Madison Square Garden. The excitement changed winters in Syracuse forever.

Pearl led this change. He did so as a humble, yet seemingly happy kid with a real flair for finding the fun in sports, and he warmly brought the fans along. We are sad to hear of his passing, but thrilled to be able to have shared part of our lives with the Pearl, and happy that he came to share part of his life with us.

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News of the Weird

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Chuck Shepherd. Photo by Bob Baggett.

Editor’s note: The Syracuse New Times has been printing News and Blues, the weekly column of humorous items culled from around the globe, since its inception in the early 1970s. Compiler-in-chief Roland Sweet died last summer, alas, and he took News and Blues with him, although he did leave behind a considerable backlog of tidbits that has now been exhausted.

Replacing Roland’s stellar work is certainly no summer drive through wine country, yet that void had to be filled with something. Thus, Chuck Shepherd’s longtime column News of the Weird should bridge that gap. 

Shepherd, whose eclectic resume also includes stints as a criminal defense lawyer, a journalism law teacher and a basketball statistician for the Washington Bullets, started his venture as a lark in the 1970s, as he and some Washington, D.C., pals started collecting strange-but-true clippings, then printed the news nuggets as a ’zine for their friends. When the alternative newsweekly Washington City Paper published one of Shepherd’s columns in 1988, other alt-weeklies wanted in on the action, and a funny franchise was born.

Roland Sweet would probably approve of his posthumous successor, too: He, Shepherd and John J. Kohut co-authored three paperback editions, News of the Weird (1989), More News of the Weird (1990) and Beyond News of the Weird (1991). The News of the Weird column will not be available on the Syracuse New Times website, however. To catch up on what you’ve missed, there’s a treasure trove available at newsoftheweird.com.

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Room Service

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Ed Riley tries to end each workday with a walk through the former Hotel Syracuse, now Marriott Syracuse Downtown, where he is spark-plugging the renovation of 473,000 square feet on 11 floors into 320 rooms which, he projects, “should be good for the next 90 years.”

Ed Riley.

Ed Riley. Michael Davis photo | Syracuse New Times

Riley, the founding partner and managing member of Hotel Syracuse Restoration, has been taking such walks for 40 years focusing on development, design, construction management and hotel operations. He started thinking about checking into the deteriorating local landmark 15 years ago.

But two years ago he told a coalition of public and private parties to get real. “You’ve got one more winter,” he warned about the fading grand hotel. They came up with $70 million to get him started.

He was calm during a nightly stroll last week, in the face of hallways full of unfinished rooms with seven weeks to go before being open for business July 4. With each worker he encountered he was quick to establish his knowledge of all details of the operation. With some he compared neighborhood notes based on his family’s four generations as Syracusans.

Riley’s father went to Christian Brothers Academy and was one of the first graduates of Le Moyne College. Riley followed at CBA and moved on to architectural studies at Onondaga Community College and Syracuse University. Now 62, having honed his craft on projects ranging from Arizona to Florida and as far as Hawaii, he reflects on his stints as consultant and sole practitioner at the Turning Stone Resort and Casino and in Armory Square. Riley smiles as he announces, “I’m home for good.”

What did it mean to be a “community-owned hotel” when it opened in 1924?

What it meant was that initially the business leaders of Syracuse put the seed money in to acquire the site and to get the design started and to set up the corporation. And then the corporation sold shares to people in the community.

The lobby.

Hanging a chandelier in the lobby. Michael Davis photo | Syracuse New Times

Why did it close?

Well, you had bathrooms that weren’t renovated since 1924. The real reason was that the rooms had deteriorated to the point where people weren’t staying in them. The last year it was open (in 2004), the occupancy of this hotel was about 15 percent. To try to keep a hotel of this size open with only 15 percent occupancy, that doesn’t even pay your light bills.

The reason it stayed open so long was the fact that there was so much business flowing through to use the Persian Terrace and the grand ballroom to keep it afloat.

Who were the average guests in 1924, and who will be the average guests now?

(Child star) Jackie Coogan was the first famous, not average, guest. Then the average guest was a businessperson or a salesperson who was traveling through Syracuse to basically ply their wares. We were on the main line of the railroad at that time, so it was an easy city to get in and out of. So this was very much a business hotel as far as the overnight transient guest was concerned. It also had an extremely strong following on social catering.

Now, pretty much the same. The business transient would be a good part of it. The other leg of the three-legged stool, we have groups, being the hotel for the convention center. The third leg is the social catering, the events, the banquets, the weddings, all the celebrations in the city.

Back in the day, collegiate athletic teams playing Syracuse University would stay in the Hotel Syracuse. Are you anticipating group experiences like that?

Absolutely. We’ve already reached out to Colgate. I think we’ve booked two football opponents this year. Obviously, if the team is going to stay here, a lot of the alumni who come here for the game would most likely stay here, too.

Sometimes, on the same night, both Republicans and Democrats would host receptions for competing candidates for major office. Will you be working to redevelop that business?

If they want to come back and have their celebrations, we’ll definitely take them back. The whole idea behind this is to really bring this hotel back to its focus on the city.

The Persian Terrace.

The Persian Terrace. Michael Davis photo | Syracuse New Times

Hotels with less elegant orientations have grown up in the area. Do you see them as competition?

To some degree, yes. With the renaissance of downtown, the area is coming back; the growth markets in our economy are right down here. It’s Syracuse University, the Upstate medical university, the Veterans Administration, St. Joseph’s Hospital. That’s what’s driving our economy now.

When the Pirro Convention Center was being planned, a group of professional convention bookers came to consult. They maintained Syracuse should be recruiting medium-sized rather than major conventions, and that those attending really want to have everything, including meals, in the same building. What is your sense of the convention business?

We’re never going to be the go-to place for some huge convention that goes to Miami or New York City. You’ve got groups like the police chiefs and this is ideal for them because we’re in the center of the state. People drive in and stay for two or three days and nights. You’re downtown, you’re close to the convention center, close to Armory Square for restaurants, and, of course, we have our own restaurants. From that standpoint that’s the market we should be in, and that’s where we are. Conventions will be attracted by the quality of the hotel.

HOTEL SYRACUSE RENOVATION

Michael Davis photo | Syracuse New Times

What has resulted from your relationship with the Onondaga Historical Association and their research of the Hotel Syracuse’s history?

You can build a building, but you can’t build history. And the history’s here. When the people walk in, you don’t have to Disneyesque it. This is not a Disney experience. I’ve seen pictures of Amelia Earhart in the lobby and the Lindberghs in the barroom. I’ve had long letters from people about how they used to come down here as a kid and visit their grandparents. That’s not something that’s made up. That’s real history.

Along with history comes sentimentality, which can be costly. How much sentimentality can you afford in an operation like this?

I think the biggest thing, and I think people understand why, is getting rid of the Hotel Syracuse name, and changing it to the Marriott Syracuse Downtown. But a lot of people have met here, dated here, spent their wedding nights here, had their 25th, even 50th anniversaries here. That kind of sentimentality can work for you.

A lot of people in this community didn’t believe that this hotel could come back. A lot of them now say it took your heart, passion and dedication, that you believed. Where did you get all that?

It took a core group of stakeholders representing the city, the county, some private interests as a team, who believed this could be done. Every time we encountered a stumbling block, we all sat down as a group and figured out a way to get around it. As the progress grew, the group got larger and more and more people understood that it could be done, and that it was very much worthwhile to be done.

You can believe that something should be done, but just because you believe it should be done doesn’t necessarily mean it’s going to survive and be profitable. This one is!

The Inn Crowd

During Ed Riley’s walk with Syracuse New Times staffers through the halls and ongoing construction work at the Syracuse Marriott Downtown, he revealed a number of tidbits regarding the project.

An average of 450 workers are currently on the job each day during the renovations.

To meet 21st-century fire codes, a new stairway was constructed from the 10th floor’s Grand Ballroom to the street level. The stairway was built in the area that formerly housed the ballroom’s movie projection booth.

The guest rooms’ interior size has doubled, thanks to renovations of the existing 600-plus rooms, which has whittled the count to 320.

Custom-made furniture from Stickley can be found in the guest rooms and throughout the property. Silverware from local company Liberty Tabletop/Sherrill Manufacturing will also be found at the hotel’s full-service three-meal restaurants, including a steakhouse on the 10th floor. And the Syracuse-based Hall of Fame Barber Shop will be lowering the ears of guests and visitors.

The exterior’s new terra cotta details were made by a California firm, one of only two companies in the United States to handle this type of architectural work. And a Philadelphia business that does church restorations was in charge of the details that decorate the hotel’s mural.

The hotel’s executive chef is Tom Kiernan, profiled in the July 29, 2015, Syracuse New Times cover story, “Foodie with Flair.” Kiernan was interviewed by Margaret McCormick shortly after he was named the 2015 Chef of the Year by Syracuse’s American Culinary Federation, Following the publication of that article, it was a no-brainer for the hotel to put Kiernan in the kitchen.

The post Room Service appeared first on Syracuse New Times.

Madeleine Peyroux

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Somewhere shortly into a Madeleine Peyroux performance, a fundamental shift becomes apparent. Although the title and refrain may be familiar, it’s not the same old song you’ve heard so many times before.

Usually described as a jazz and blues singer, Peyroux’s interpretations of iconic landmarks by sources as diverse as Ray Charles, Buddy Holly, Randy Newman, Leonard Cohen, Bob Dylan, John Hartford and many others are reimagined and presented with fundamentally altered characters, as if there are sentiments ciphered into the songs that even the composers missed.

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Madeleine Peyroux. Photo by Marina Chavez

The treatment from this singer, songwriter and guitarist, who spent part of her youth busking on the streets of Paris, can be achingly deliberate, with lyrics gently coaxed and coddled, as if they were precious and fragile, while she hangs coyly on the back edge of the beat, like something irreplaceable was about to escape.

The parlance of jazz, in her own compositions as well — she is primarily a lyricist — is the chosen muse here, as she defines and redefines her diverse repertoire with the subtle urgency of syncopated rhythms and infuses them with the gauzy tint of jazz harmonics.

The Grammy-nominated vocalist’s catalog of seven releases, dating to 1996, culminates in Keep Me In Your Heart For a While: The Best of Madeleine Peyroux, featuring the title song, the final opus of Warren Zevon. Peyroux was also included on Noel Noel, a Christmas collection, and on the recently released compilation The New Jazz Divas, which also features Patricia Barber, Esperanza Spalding, Diana Krall, Catherine Russell and others.

Peyroux and her band will be the featured performers at the annual Syracuse Stage Gala fundraiser on Friday, June 10, 9 p.m., at Goldstein Auditorium, located in the Schine Student Center at Syracuse University. Gala tickets, including a cocktail hour, dinner, silent auction and more, are $200 and $300. General admission tickets for the Peyroux concert are $25 for balcony seats. For details, call 443-3275.

Tell me about the early musical influences in your life.

We didn’t have a standard family life. There was alcoholism and a lot of turmoil, but my mother would sing and she gave me my first guitar. I left high school in my teens and started playing American blues and jazz — the music that my father was listening to and my mother grew up on.

I was influenced by the stuff my dad had around the house. We had records that we played all the time. By the time I was able to turn on the radio by myself I had already heard Johnny Cash and Fats Waller, Janis Joplin and Robert Johnson and Hank Williams, and early blues and jazz — Bessie Smith and W.C. Handy.

And country as well. When Ray Charles did his country crossover he was doing American music. We have such a rich musical culture in America. The mountain/bluegrass/folk music was informing the country music and the Delta blues was informing the early jazz.

You are frequently described as a jazz singer. Is that a fair description, and what does it take to be a good jazz singer?

I rely on jazz to inform me about music. That was a conscious choice that I made in my teens. It’s an all-encompassing way to approach music, a way to think about music. It includes pop, classical and world music.

Your vocal style has been compared to Billie Holliday. Is that a fair comparison?

Well, I learned to sing by listening to her. But never having been trained and not having a very large range or a great technical proficiency, I was always attached to her emotional prowess. She was capable of taking a song and mapping a whole story or a play or a character. It was a very dramatic performance. To me, that was meaningful.

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Madeleine Peyroux. Photo by Mary Ellen Mark

What do you look for in a song that you want to perform?

A recurring theme to me is that I find a feminine character that’s imbedded in a lyric that’s traditionally been sung by men, which was the majority of popular songs for a long time, often written by men in men’s keys. It was very hard for a lot of women to pick those things up and create a female character.

You cover a lot of country tunes and have written or co-written jazzier songs. What do those idioms have in common to you?

Jazz encompasses country more than country does jazz. It allows the familiar, casual language of country to be exalted, to be celebrated. They come from the same grassroots beginnings, from the same American culture. A musician’s attitude is that there is a way to go beyond micro-cultures. In its essence, jazz is trying to do the same thing that country is trying to do: to speak for an individual story. Jazz is very dramatic in that sense.

What is your method of writing a song?

I’m really driven by lyrics and by a story. It’s often a conversational song about somebody that wants to be heard. I write from the perspective of a singer that has an attitude, a nerve and a tone about something that they want to say.

I don’t do very well if I try to come at writing from a purely melodic point of view. I have to have a poetic sense of language. Language informs my sense of melody. Language is at the root of it. If I’m writing a song the two things (melody and lyrics) can happen together. There will be a melody and a tempo and a mood that have a lyric that can be edited later.

What kind of group are you bringing to Syracuse?

We’re going to be a trio. I’ll be bringing Sam Yahel, a wonderful B-3 (Hammond organ) and piano player, and bass player Johannes Weidenmuller, both from New York City. And I will be playing guitar most of the time. I play rhythm. I have never been a soloist. I’m really looking forward to coming to Syracuse and I believe that it’s a good cause to support the arts program.

What’s in the future for you?

I recently got to sing “Moon River” with (pianist) Lang Lang. It’s a beautiful project. The arrangement was prerecorded. It’s not my rearrangement of the song. Jerry Douglas played a dobro solo on the record. I’m waiting to hear when it will be released. And I’m preparing to release a trio record in the fall that I recorded in a live setting in January. In the interim, I’m working on various little projects and considering what the next release will be.

Recommended Listening

The Blue Room (Universal/Decca). Familiar country/pop crossover hits given a fresh spin.

Bare Bones (Rounder). A collection of originals co-written by Peyroux. (Rounder)

Keep Me In Your Heart For A While: The Best of Madeleine Peyroux (Rounder).

The post Madeleine Peyroux appeared first on Syracuse New Times.

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