Columbia City Paper

James Ellroy should be required reading for all of us, including the radical right.

By Baynard Woods

Radical Conservatives controlled the country for most of this decade. But last year saw the birth of the Conservative counterculture. Obama’s election has allowed racists, insurance companies, polluters, Bible Beaters, anti-intellectuals, End Timers, Conspiracy theorists, Birchers, Birthers, Beck, Nativists, red state Red baiters, lobbyists, Dobbsists and disgruntled Baby Boomers afraid that they aren’t the center of the world anymore, to come together and present themselves as anti-fascist, anti-communist, and anti-elitist patriots, naming their movement after the Boston Tea Party. Right-wingers hated Clinton, Carter and Johnson pretty good—but they were all Southern at least. The Right has not known such countercultural fury since the election of John Kennedy in 1960, when the paranoid Bircher/Klan counterculture was equally, or more, important than the leftist counterculture that was developing. Countercultures are always represented as much by style as by substance. The historian Richard Hofstadter detailed this style in his book The Paranoid Style in American Politics, which came out in 1964. That paranoid style is alive again—and in many ways it models itself on that previous countercultural moment.

This year was the perfect time then for the release of Blood’s a Rover the final volume of the trilogy that may well be the great work of fiction about the right-wing counterculture, James Ellroy’s Underworld USA.

With this dark and daunting book, Ellroy, a crime writer known for Black Dahlia and L.A. Confidential, completes his strange, disturbing and ultimately compelling picture of American politics as crime. The trilogy begins with American Tabloid just before the election of John Kennedy and leads to his assassination—an event arranged by two of the book’s main characters. Ellroy’s timing was perfect. American Tabloid may have chronicled the early sixties but it came out in 1995, just as the radical right was rising again as an anti-Clinton insurgency. The Cold Six Thousand, which came out in 2001, followed many of the same characters as they helped instigate and orchestrate the escalation in Viet Nam, the drug trade, and the assassinations of Martin Luther King and Robert Kennedy.

These books are about the heroes of the tea-bag movement, the small-time and often conflicted operatives working with some loose government sanction. It is hard to believe how insightful Ellroy was. Ellroy’s heroes help us understand the part of the country that it is most important for us to understand—our worst part. The heroes of Ellroy’s books are the torturers at Abu Ghraib. They are the bumbling CIA operatives found guilty of kidnapping in Italy, and the Blackwater employees who went on “snatch and grab” missions with them.

The New Radical Right might try to distance itself from Bush, but Cheney and Rumsfeld remain its patron saints, with their brash, defiant, almost rock n’ roll style. Joe Wilson was just Rumsfeld on the other end of the podium. The Boston Tea Party was not a demonstration—it was an act of destruction, of radical subversion. The tea party was intended to incite revolution. By using this name, DeMint and his cohort admit that their purpose is to subvert the government of the United States. This is where DeMint gets some of his radical chic. You can almost hear him with his buddies making fun of how square his country cousin Lindsey is.

Sanford’s trip to Argentina was the big story this year, but perhaps it should have been DeMint’s trip to Honduras. It shows that DeMint has gone full-retro, embracing Right Wing Latin American coups in open defiance of the U.S. policy. Oh, how it brings back memories. It almost makes one giddy. This was the year, remember, when DeMint and G. Gordon Liddy, Nixon’s Watergate man, came together to say that the president was a Nazi.

As it happens, Liddy bears a striking resemblance to James Ellroy. If I were inclined to give Wilson and DeMint a gift, I would definitely buy them Ellroy’s Blood’s a Rover. And I would recommend it to the rest of the country, so we know what we’re talking about when we’re talking about tea-baggers.

Rent at Trustus: Kevin Bush (Mark), Jason Stokes (Roger)

By Garrett Kellerhals

Christmastime in New York City evokes images that range from sparkling seventy-foot trees to pricey department store windows.  The high rises are lit up and the hotel rooms are packed out as the crisp night skyline twinkles with the holidays, bringing hope and joy to everyone anticipating gifts and glad tidings. At least those are the scenes and scenarios found above Houston Street. South of Houston is where the mainstream has met its match in the counter-culture movement of modern-day Bohemia, complete with starving artists and young intellectuals awaiting their breakthrough.  This month, Trustus Theatre has brought the East Village’s own ‘Alphabet City avant-garde’ to Columbia in its presentation of the award winning musical monster, “Rent.”

The show –that could be described as something between a rock opera and an epic ode to the spirit of the 90s—tells the story of an eclectic group of roommates, lovers, neighbors, and friends all searching for a higher sense of community and expression amid growing distance and disease which threatens to tear them all apart.  Mark is the show’s narrator who, behind his video camera, introduces us to his collective band of characters who are all broke, beat down and cold on Christmas Eve.  Trustus company member Kevin Bush (“Bat Boy: The Musical,” Trustus; “Rocky Horror Show” Trustus) brings his seasoned acting skills and talent to Mark’s grounded narrator and stylish vocalist.  Fittingly, fellow company member Jason Stokes plays the role of Mark’s roommate and troubled songwriter, Roger.  Stokes (“The Full Monty,” Workshop; “Rocky Horror Show,” Trustus) displays an incredibly strong voice that demonstrates the pain and passion of these artists’ plight.  For the season filled with giving, these two do a fantastic job presenting the talent that they and the entire cast have to deliver with a lengthy passage of “people living with, living with, living with—not dying from disease.”

Among the several standouts of this fully dysfunctional family of individuals were a handful of singers that deserve special mention for their exquisite voices and powerful delivery.  Though new to the Trustus stage, Katie Leitner (“Guys and Dolls,” Town Theater) brought out the angst and anticipation of Mimi like a veteran of the main stage, adding a memorable sweetness to a character that could be easily be disliked otherwise.  The relationship of Maureen and Joanne is a bit of a rough and awkward mess, but the actresses who portray them do so with a steady hand for their craft.  Jocelyn Brannon (“Caroline, or Change,” Workshop) has one incredible voice and delivers an R&B diva’s attitude in each note of Joanne’s numbers.  Maureen might be the most complex of the girls on stage and her character is brilliantly lassoed by another Trustus company member, Robin Gottlieb (“Rocky Horror Show,” Trustus; “Elephant’s Graveyard,” Trustus).  Gottlieb’s representation of the girl who wants it all was spot on and leaves audiences both a little tickled and slightly tormented by how she gets what she wants.  Two singers who also require special mention for the exquisite treat of their highly trained voices are Linda Posey and Lindsey Brown.  Both hold degrees in Music Education and beautifully represent their respective institutions of Columbia College and the University of South Carolina.

A list of accolades for this amazing collection of singers and performers would not be complete without mentioning Terrence Henderson (“Fierce Love,” Trustus; “The Full Monty,” Workshop).  In his role as Tom Collins, he upholds the soul and charm of the band of brothers and sisters with a soothing voice that brings home the compassion and understanding necessary to the story.  Henderson plays another oft overlooked role required by such a huge performance, that of choreographer.  Thanks to his sight and skill for dance, the cast moves with an engaging energy that keeps audiences tuned into the rough and tumble journey through loss and fortune.

I would be remiss to write a review without mentioning the directorial contributions to such a grand display of lives and lessons.  Christopher Cockrell’s musical direction delivered the score from the rooftops with rhythm and style that perfectly complimented the strength of the singers who owned the show.  Trustus Theatre continues to delight Columbia audiences by placing such vision and talent in the hands of Dewey Scott-Wiley. She anchors “Rent’s” colossal ship of dreams and ideals and allows the cast to steer audiences towards Broadway’s bright lights with their masterful voices and refined talent.

RENT will continue its runs next year, January 7 – 23 at Trustus Theatre.  The curtain rises at various times depending on the day of the show.  Tickets are $25.  Call 254.9732 for reservations.  To learn more about Trustus Theatre, visit  HYPERLINK “http://www.trustus.org” www.trustus.org

Greetings to you!!!  Hope all is well out there.  Much has gone down since we last shot the breeze.  The Vocal Booth is proud to wish all of you out there some Happy Holidays (From Hanukkah, Christmas, New Years, and Of Course Kwanzaa).  As the holiday season is upon us, the music keeps on pumping.  Timbaland is back another album, OC and AG (Remember them?) of D.I.T.C. fame have released their first collabo album in the vein of Method Man and Redman….BANGER! Gucci Mane had to undergo his major label release behind bars, but the streets love it.   Rhianna has released her 4^th album to little fanfare, but she gets brownie points for her extremely vivid and emotional writing, and as expected, Chris Brown has flopped.  His album is truly having a hard time making any type of connection with the people.  I must say that the people have spoken…Beat a woman, lose your female fans.  Women are the #1 consumers of everything.  Not a smart move. Let’s get it!!!!

REVIEW

Back just in time with a great last minute stocking stuffer, and fresh off the release of his critically-acclaimed, 10^th studio album, Snoop Dogg has jumped back in the driver’s seat with his new album, Malice In Wonderland. Chopped filled with songs about women (Gangsta Love, Pimpin’ Ain’t EZ), his hometown and partying (I Wanna Rock, 1800), and love locked down (Special), Malice In Wonderland is the perfect addition for the ‘EastSide Rider’ in all of us.  Coming in 14 songs (with 2 interludes) deep and just under 50 minutes, Snoop Dogg has crafted a jewel.  From warm, simmering, and powerful G-Funk melodies reminiscent of Ice Cube’s Lethal Injection, DJ Quik’s Way 2 Fonky, and a sprinkle of E-40’s In A Major Way, the production quality is definitely a strong suit for ‘The Boss’.  If there is a drawback to Malice In Wonderland, it would be a little too many songs with weak guest appearances (Soulja Boy, Problem) and no presence of The DPGC  Collective (sans DJ EZ D*CK). Malice In Wonderland was an album created by Snoop Dogg as a testament to the prowess of his musical legacy and current stylistic influence.  This is also an album that celebrates the power of loyalty to one’s craft, crew, and core audience.  The beautifully crafted ‘Special’ featuring Brandy & Pharell is the perfect celebration to those who’ve stood by Calvin Broadus from day one and still to this day.  The Boss Lady, Mrs. Broadus,  is also a big influence on how this album was crafted and arranged together; Snoop is 10 toes down in love with this woman  By all means grab yourself a copy, grab a Swisher Sweet, and be sure not to forget your favorite poison of choice….this will ensure that you will rock.  GO SUPPORT REAL MUSIC!!!

EVENTS

Any artist, musician, band, record label, producer, manager, songwriter, DJ, B-Boy, and overall music lover; if you are looking for some exposure and support for your project…The Record Report (SC’s 1^st & Only Live Radio Talk Show dedicated to EVERYTHING MUSIC!!!) is looking for some show guests.  Be sure to call 803.546.2319 or send in an email to…  HYPERLINK “mailto:therecordreport.com@gmail.com” therecordreport.com@gmail.com for more info.  Also be on the lookout for The Vocal Booth Year End Wrap-Up Issue coming sooner than you think.  More details on the way!!!

WORDS OF WISDOM

Thanks for all the love and support.  Have a safe, happy, and family filled holiday.  See you in the New Year!!!!  Be sure to stay sucker-free!!!

DJ KINGPIN-VILLIAN of VINYL    kingpinvillianofvinyl@gmail.com

Local Arts Preview for 2010

By Judit Trunkos

Columbia’s galleries and artists are looking forward to next year. Columbia City Paper asked some of the most prominent galleries and artists to give us a sneak peak into the upcoming year’s art events and projects. Art lovers will be satisfied to hear that art in Columbia is thriving and next year’s exhibitions and shows will be better than ever.

Maryellyn Cannizzaro, owner of Art + Cayce, says her space “is dedicated to exhibiting art that often eludes a formal venue.” Andrew Norton Weber and Suzy Scarborough both exhibited at the venue last year and recently received an invitation from the Ministry of Culture in Ecuador to have a two-person show there from December 2009 through January 2010.

ART + CAYCE celebrates new and established artists whose work connects to the Midlands. Plans call for four to six openings each year featuring a gallery talk. Next year’s planned exhibitions will feature “Larry Racioppo: Photography of Architectural Ruins” in the spring 2010.

McMaster Gallery at the University of South Carolina exhibits both faculty and student works, but also artists who are not part of the USC family.

Starting Jan. 15 artist Jonathan Brilliant will create â€œa dynamic and engaging installation reflecting his interest in the effects of labor, performance, and materials applied to an exhibition space.  This exhibition is part of his cross country traveling series ‘Have Sticks Will Travel Tour’ where he will be visiting various galleries to build massive, suspended sculptures from coffee stirrer sticks,” says gallery director, Mana Hewitt.

HoFP Gallery offers a unique combination of regional and global work, from traditional southern landscapes to international modern paintings.  Alice Perritt is the owner of HoFP Gallery and a certified Professional Framer who brings over 20 years of experience in art and custom framing to HoFP Gallery.  Alice brings a style and creativity to her work that has garnered numerous accolades for her business.

“HoFP has had a full year,” Perritt says. “We just closed a show of paintings by Maya Eventov that was one of our top three most successful ever.”

Columbia Museum of Art brought amazing shows last year, including the famous Impressionism traveling exhibition “Turner to Cézanne: Masterpieces from the Davies Collection” and the ongoing “Ansel Adams: Masterworks” photography show. For the upcoming year, the museum promises artlovers “The Chemistry of Color: Contemporary African-American Artists,” starting Feb. 5. The show will feature approximately 70 paintings, sculptures and works on paper chronicling the accomplishments of African-American artists in the second half of the 20th Century. Among the artists included are Benny Andrews, Romare Bearden, Sam Gilliam, Barkley Hendricks, Jacob Lawrence, Howardena Pindell, Faith Ringgold, Betye Saar and Raymond Saunders.

From May 21-September 19 the museum will feature “Imperial Splendor: Renaissance Tapestries from Vienna.”