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(03/29/12 11:55pm)
Andrew Lam, author, journalist and co-founder of New American Media reads, from his autobiography "Perfume Dreams" during his presentation, "Writing in Two Hemispheres," on Thursday at Ernie Pyle Hall. Lam was in Bloomington to open IU's celebration of the 2012 Asian Pacific American Heritage Month.
(02/28/12 2:57am)
____simple_html_dom__voku__html_wrapper____>To pass as a 17-year-old nobleman, music doctoral student Amanda Russo had to abandon all feminine tendencies and adopt a stiffer frame and posture. “Girls would maybe lean in with their necks, and boys are much more square,” Russo said. “And the costume helps with that, too, because the costume was very square, angular.”Russo played the role of Count Octavian Rofrano in “Der Rosenkavalier,” a three-act comic opera staged by the IU Opera and Ballet Theater. It was originally written by German composer Richard Georg Strauss and was first performed in 1911.Linda Pisano, costume designer for “Der Rosenkavalier,” said Russo’s costume was designed in the new style of the 19th century. During that period, a man’s coat had sleeves deeply inset to create a narrow back and forced the wearer to stand up very straight. High collars and cravats were also trademarks, forcing the chin to be raised upward and the chest to protrude. In Act II, a sword was attached to Octavian’s waist. “Any time a sword is worn on a performer, it naturally changes their center of balance and the way in which they must walk and move,” Pisano said in an email.“Der Rosenkavalier” has become part of the standard repertory for world-class opera houses. It also remains one of the most elaborate works to produce.This is the second time — the first was in 1966 — the IU Opera and Ballet Theater is staging “Der Rosenkavalier.” The opera clocks in at a hefty four-hour duration and is the department’s largest production to date. Previously, the production was performed in English, but it will be sung in German this time.Three official months of preparation have culminated in four performances scheduled at the Musical Arts Center: Feb. 24, Feb. 25, Mar. 2 and Mar. 3. Opening night at the MAC bustled with excitement from both the audience and the performers. “I didn’t get nervous while I was singing, but I got very excited, and even that can affect my breathing,” Russo said. “When we’re excited or nervous, our bodies respond with the fight or flight. So we have shorter breaths and our mouths get dry, which are horrible things for singers.” Russo said she does yoga frequently, which helped her learn to take deep breaths to overcome excitement. She also made sure to watch her stress levels, her diet and how much she spoke. The length and size of the production called for greater measures from everyone involved. There were two main casts, a 48-strong chorus, a full orchestra and a large crew. The first opera of the season, “Albert Herring,” had to be moved off-campus to free up resources for the “Der Rosenkavalier” team. “It’s quite an achievement for anybody to do this opera, but it’s a special achievement for a university to do it,” conductor David Effron said. “(Strauss) is great with string playing and wind playing. He knows the orchestra so intimately and what the capabilities of the instruments are — one of his great gifts — he often presses the instruments to the limits of what they can do.”Effron said the orchestra rehearsed three times a week in November, three times a week after students returned from the winter break and five times a week leading up to the show. Singers, on the other hand, met 10 times last year, and up to the show, they underwent coaching five hours a day, six days a week. But, for some, training began even earlier. Pauliina Linnosaari, who arrived in Bloomington from Finland last year, was cast in the role of Princess Marie Thérèse von Werdenberg, otherwise known as the Marschallin, Octavian’s much older lover. In preparation for her role, Linnosaari began research in April, more than a year before she had to perform onstage at IU.“It really started earlier for me, but I still think it should have started even earlier because it’s a big role to prepare for,” Linnosaari said. The show opens with Octavian and the Marschallin in her lavish boudoir. In the privacy of her bedroom and with her husband away at battle, the Marschallin becomes simply Marie Thérèse, while Octavian is affectionately Quinquin.But by the end of Act I, the Marschallin, acutely aware of their age difference and struggling to embrace her inevitable aging, has dissolved her affair with Octavian. She proceeds to orchestrate a meeting between the young count and Sophie von Faninal, 15, and is sure of their potential pairing. Sophie, however, has already been promised to Baron Ochs auf Lerchenau. When the two young people fall in love, complications, drama and hilarity ensue. In the end, Octavian is forced to choose between his young, pure love with Sophie and his more reverential love of the Marschallin. Apart from touching on the different types of love, the message of the opera is about the changing seasons of life and the decisions that have to be made to help people move past previous relationships. “But who is wrong and who is right? It’s not that simple,” Linnosaari said, referring to the Marschallin’s decision to “give” Octavian to Sophie. “These kinds of decisions are from real life, even if the whole opera is kind of fantasy. She’ll move on, and I think that’s what we all do in our lives. When something happens, it feels really big at the particular moment, but then time passes, and then you find yourself in another situation and it’s fine. We move on.”
(02/20/12 3:31am)
____simple_html_dom__voku__html_wrapper____>The moment captured by the lens of Ira Wilmer (Will) Counts Jr. of 15-year-old Elizabeth Ann Eckford and Hazel Bryan Massery spoke for itself. Eckford, an African-American student, cast her shaded eyes downward and was determined to not let her tormentor see her cry. It was Sep. 4, 1957, and Eckford was one of nine African-American youths denied access to Little Rock Central High School in Little Rock, Ark., by a National Guard blockade deployed by segregationist Governor Orval Faubus. The “Little Rock Nine” had been selected by the National Association for the Advancement of Colored People, in conjunction with the 1954 Brown v. Board Education decision that called for the integration of American public schools, to enroll in the previously all-white Central High, making them the first group of black students in history to do so. “When we get together and have a book signing, she would always cover that page of the book (with the famous photo),” said Counts’ widow, Vivian, of Eckford, who suffers from post-traumatic stress disorder. “She just could not even look at it again. It did a number on her. She was afraid that they were going to kill her. It really influenced her entire life.”On Sep. 22, 1997, the Countses succeeded in reconciling Eckford and Massery in Little Rock, hometown to all four individuals and where Eckford still resided. “You’re mighty brave to want to go through this,” Eckford had said to Massery in the doorway of her childhood home, less than a mile away from Central High.That day, both women stood in front of their alma mater, and Counts took another picture. This time, both women had relaxed smiles on their faces, one arm wrapped around the other.But Eckford was already preparing for the storm of media coverage she knew would descend upon both their lives as soon as the photo was published. In 1999, then-Vanity Fair reporter David Margolick, in Little Rock on another assignment, chanced upon the 1997 picture in Central High’s visitor center. “I just thought that it was amazing that these two people who represented racial antagonism had come together,” Margolick said.After seeing the photo, he was inspired to write “Elizabeth and Hazel: Two Women of Little Rock,” a book that recounts the taking of the original photo and its impact on the two women’s lives, as well as the world. Margolick will discuss his book today at 7 p.m. in the Whittenberger Auditorium at the Indiana Memorial Union. His talk opens the School of Journalism’s Spring 2012 Speaker Series and is free and open to the public. The now-Vanity Fair contributing editor published his first documentation of the story behind Counts’ 1957 photo, titled “Through a Lens, Darkly,” on Vanity Fair’s website in 2007. But Margolick said he faced a huge obstacle in the writing process — Massery had refused to speak to him for eight years.“Hazel thought that I wasn’t going to be fair to her, and she wanted this story really to go away,” Margolick said. “Hazel felt very skeptical of me, as she thought that I would take Elizabeth’s side.”But once she saw the article in 2007, Massery said she saw Margolick was even-handed and could be trusted. She began to work with him for the next four years. The book, according to Margolick, is much more comprehensive and balanced than the article. Both women’s sides of the story are told, and more historical background is given, such as information about the lives of Counts and jazz legend Louis Armstrong. Two years after their reconciliation, Massery and Eckford had become good friends. They were traveling around the country, sharing their experiences and teaching others about the importance of racial tolerance, according to Counts.By 2001, the friendship between Eckford and Massery had fallen apart. The women have not spoken to each other for the past 10 years, according to Margolick.“Two people like these simply can’t just shake hands and pretend that all this history hasn’t happened,” Margolick said about the tension that started to develop between both women due to a string of misunderstandings and differing expectations.“And it’s a very sad thing because you can see that the two of them still feel very bonded together,” he said. “There’s still a very profound tie between the two of them. But they’re both very proud and stubborn people, so they remained in a kind of impasse.” While Eckford remains in the public eye and is still willing to speak to the press, Massery has refused all interviews after her last one with Margolick. Margolick said Massery felt bitter about the whole experience of coming forward and apologizing to Eckford. “In a peculiar sort of way, Elizabeth has overcome it better than Hazel has,” Margolick said. “It’s one of the great paradoxes in the story, that Elizabeth has moved on with her life and has really emerged from the shadows, whereas Hazel has receded back into the shadows.”Margolick described how he tried to analyze the quality, composition and symbolism of Counts’ photo. “I stared at that picture for hours repeatedly,” Margolick said. “And every time I looked at it I would discover something new about it,” he said.
(02/13/12 2:18am)
____simple_html_dom__voku__html_wrapper____>In a drunken state following his first taste of rum, guileless town darling Albert Herring resolves to abandon his coddled lifestyle and pursue a night of decadence.The next morning, the revelation of his antics — among them starting a fight at a pub — sends the town’s authorities into an outrage, but finally sets Herring free from his stifling community. “Albert Herring,” the comic opera composed by Benjamin Britten in the late 1940s, documents three days in the life of a young man in Loxford — a small town in east England — as he breaks loose from society’s moralistic expectations and embarks on a journey of self-discovery after being crowned May King.Students performed James Marvel’s interpretation of the classic opera from Feb. 9-12 at the Buskirk-Chumley Theater as part of the IU Opera & Ballet 2011-12 season. The Buskirk-Chumley was chosen instead of the more common operatic venue, the Musical Arts Center, because stage director Marvel felt that the smaller space was more ideal. “It brings the audience into the show,” Marvel said. “It makes them feel more intimate, more involved. Having the ability to see the expressions on their faces more clearly is extremely helpful and telling, and it helps the comedy.”It is widely believed that Britten, a closeted gay man, wrote the main character based on his own longing for liberation and self-expression in society. In the process, he ended up addressing the more universal theme of tension between individuality and conformity. “I never betray what I believe to be the composer’s intention,” Marvel said. “Benjamin Britten was living in a society where he couldn’t necessarily express who he was. There are moments of camp, essentially, in the opera. And I just wanted to exploit that a little more than what might be done in a more traditional production.”Marvel said that, by exploiting the concepts of morality and individuality to their extreme form, to the point of absurdity, he was able to make the original play even more comedic. Britten had written the play with librettist Eric Crozier with a goal in mind: the reestablishment of an English operatic tradition by creating a form of opera that required few resources. “Britten’s very eclectic,” said Arthur Fagen, Jacobs School of Music professor and the opera’s orchestral conductor. “The opera showcases a conglomeration of style. Britten has created an incredible range of colors with a very small group of instruments.”In the Buskirk-Chumley, the handful of musicians — a string quintet, woodwind quartet, horn player, harpist, pianist and percussionist — sat in front of the stage and close to the audience as layer upon layer of instrumentation played a major role in the performance. “The music is constantly shifting its color and instrumentation according to what’s happening on stage,” Fagen said. He said the music helped to bring out the comedic element of the text.Furthermore, the technique of tone-painting to imitate human whistling was created by using a slide and harmonic on a violin to reach high notes. While Fagen said he felt Britten was specific in his notation and had created little space, musically, for personal interpretation, Marvel said he took a fair amount of liberties in portraying the story.Marvel also said he gave freedom to members from each of the two casts to express their own interpretations in the form of dance moves and unscripted words at pivotal moments during the opera.Along with such modifications to the original script, the opera department added another dimension: tweeting. “The point is to come up with a new way of getting audience members to interact with the IU Opera & Ballet, but at the same time to see if we can increase awareness and gain new audience members,” said social media specialist and art administration master’s student Brooke Feldman of the “Twitter Experience” created for “Albert Herring.” “Albert Herring” is the first opera of the 2011-12 spring season, and therefore the first time audience members have been encouraged to tweet about an IU opera performance during intermissions, as well as before and after the show.“You should have positives and negatives within the arts just because you need that feedback,” Feldman said, adding that the IU Opera & Ballet Theater Twitter account gained 15 followers Thursday and Friday.While all aspects of the performance — music, dance moves, vocal harmonization and British humor manifested in the form of unexpected and sometimes crude lyrics — came together to evoke roars of laughter from the audience, Marvel said the message of the performance was meant to sink in deeper. “So he has this existential dilemma, this ... ‘what am I doing with my life?’ It’s this wake-up moment,” Marvel said. “And that part isn’t comedic at all, it’s actually kind of stirring. When you realize that your entire life might be relegated to boxes of fruit and vegetables — it’s kind of dark, frankly.”
(02/02/12 2:40am)
____simple_html_dom__voku__html_wrapper____>Nada Surf will always remind me of youthful, carefree days — which, as it seems to be, is precisely the way the band wants to be heard with its latest project, “The Stars are Indifferent to Astronomy.”Bursting onto the scene with the awkward tune “Popular” in 1996, Nada Surf evolved from spewing angsty post-grunge to embracing a more mainstream, heartfelt sound.“Stars” seems to be a recollection of the band’s past, as it seeks to meld grunge and ballad into a cohesive series. Opening with the smashing of drums, the album softens in the middle with song titles such as “When I Was Young” and “Teenage Dreams.” It is these songs, explicitly named to reveal the album’s theme and motive, that shine.In the middle of the album, Matthew Caws croons, “I cannot believe the future’s happening to me,” which speaks a lot for band members who have kept true to their wide-eyed view of life, love and heartbreak throughout the years.“Stars” is typical Nada Surf fare; the style is expected and in no way outstanding. But after the band released an album of only covers in 2008, the least we can do is welcome it back with open arms.
(01/31/12 4:17am)
____simple_html_dom__voku__html_wrapper____>Daniel Inamorato has been named winner of the second Latin American Music Recording Competition. The final round of the 15th annual competition, presented by the Latin American Music Center, took place Jan. 29 in Auer Hall. “It’s always hard to wait,” Inamorato said of the 30 minutes the jury took post-performance Sunday to make the critical decision.“But I’m really, really happy. I feel really happy to have the opportunity to perform Brazilian music, and now to record a CD with music from Latin America.”The competition format was altered last year in conjunction with the center’s 50th anniversary to award winners with a full CD recording, all supported by the Guillermo and Lucille Espinosa Fund. Inamorato, a 24-year-old Brazilian with a head of close-cropped, curly brown hair, doe eyes and an easy smile, has spent just six months in Bloomington as a student of famed pianist Arnaldo Cohen under the Performance Diploma Program in the Jacobs School of Music. His prize includes recording an LAMC-produced and -edited album. As proposed in his application to the competition, Inamorato’s CD project will focus on solo piano works from the past 100 years written by Brazilian and Mexican composers. During the competition, Inamorato played pieces by an all-Brazilian set of composers, including “Nazarethiana Op. 2” by Marlos Nobre and “As três Marias” by Heitor Villa-Lobos.“It’s this kind of music you can’t find so easily, you can’t hear so easily, but it’s incredible music,” Inamorato said. “I know about the meaning of the songs and where they came from. It’s nice to try to do what I have in my blood.”Inamorato will also perform in a scheduled winner’s concert at 8 p.m. March 8 in Auer Hall.Inamorato was the only pianist in the competition, which featured two solo guitarists, a guitar duo and a countertenor.“It was a very unusual competition because it was an open one,” said Luiz Fernando Lopes, former acting assistant director of the LAMC. “It focused on repertoire, particularly music from Latin America.”The competition has had a history of contenders from diverse backgrounds. Once, a vocal ensemble competed against a Latin jazz band. Lopes said all five applicants this year were chosen to compete in the final round because of how strong each of them were in their own discipline.“They were judged against standards in their own field, not directly with one another,” Lopes said.The six members of the jury ranked competitors from one to five, and the final decision was made by adding together the numbers for each competitor, then dividing them by six. The competitor with the lowest number won the competition. Lopes said the program was arranged according to three criteria, the most important being an optimum music sequence. While contestants were able to piece their own sets together, organizers arranged the performers in such a way that the softest, slowest set, which was played by solo guitarist Iván Maceda, progressed to the strongest in terms of sound volume and gesture, which was performed by Anders and Inamorato. “He’s a good friend of ours. We’re happy for him,” said first-year doctoral candidate Daniel Duarte, who played in a duo with Rodrigo Almeida. The men have played together for eight years — they first met at a university in Sao Paulo, Brazil. The city was also where they first met Inamorato. “His level was really high,” Duarte said. “When you enter into a competition, you don’t think about who’s winning. It’s a lottery. Sometimes you win, sometimes you don’t. That’s how it works. You don’t really expect the results.”For Inamorato, it’s not so much about competing, but about sharing the music and experience with others. He said he believes that the audience, upon being exposed to different kinds of music, languages and rhythms, is forever changed for the better. “We are here all together doing a beautiful thing,” he said. “It’s what I think we can do for people when we play in public. We can give them hope, something to think about.”Inamorato said he thinks a balance should be drawn between the repertoire and important musical happenings in the world, and that he can fulfill these hopes with the upcoming recording of his album. “I’m really happy because I believe in this competition, and I believe in this school and the LAMC,” he said.
(01/26/12 2:54am)
____simple_html_dom__voku__html_wrapper____>A man with a salt-and-pepper ponytail explained the process and visual appeal of the circular patterns hung on the gallery walls.The patterns were rubbings made from manhole covers found on roads and sidewalks — day-to-day objects most people pass over without a second thought. “They must have a grip surface,” said Perry Olds, the artist who created these rubbings. “While making a grip surface, why not make a pattern pleasing to the eye?”“The Art of the Israeli Man Hole Cover” exhibit launched at The Venue Fine Art & Gifts last Friday and a more in-depth look at the artist’s working process was offered at the gallery Tuesday night. During the presentation, Olds shared both technical information and personal anecdotes with the audience. It all started with an overseas family visit. Olds and his wife, Irene Joslin, flew to Israel late last year to see their daughter and week-old grandchild. They ended up staying seven weeks, traveling the length of the country. Olds and Joslin, both of whom are involved in the Bloomington arts community, toured historic sites in Eilat and Jerusalem but spent most of their time in Tel Aviv. It was on his long walks around the modernized city that Olds, a photographer and a former mechanical engineer, noticed the intricately designed manhole covers along the streets and sidewalks. In addition to the elaborate patterns, most of the covers contained text in three languages: Hebrew, Arabic and English. One had the English word “hot” in bold, capital letters across its front. With Olds’ artistic mind honed throughout the years, he realized the art was in the texture of the manhole covers. He decided to go down the path of creating pastel and graphite rubbings from the covers instead of simply taking photographs of them. “You’re not creating a new design per se,” Olds said. “You’re copying someone else’s work. But given that, you have control for how you do it. You can change the colors, the detail. You pick up more detail in one area if you want and emphasize things differently.” To create the visually attractive pieces, Olds used various “rubbist” tools. He carried three to five sheets of paper similar to those used for drafting, used masking tape to keep the sheets to the ground and transferred manhole cover designs to paper with graphite, oil pastel, chalk or wax.“There’s so much detail,” he said. “You’ve got to figure out what the detail is. You’ve got to go after the details and search them out.”Olds spent 30 minutes to an hour crouching near the ground along busy streets to create each rubbing, his only comforts the cushions to pad his knees and a folding chair for rest and safety. But Olds faced a bigger problem in the form of suspicion from locals. “Some of the people made a very wide arc around Perry rubbing the manhole covers,” Joslin said, laughing. Olds shared an anecdote about watching a group of soldiers shoot holes through an abandoned briefcase they feared contained a bomb. “They are very suspicious,” he said. “There were times when I would be walking down the street with my roll of paper and people would look at me and stare. And when I encountered those people, I would take the roll and point it up like a spyglass, show them that, ‘nothing here but paper!’”During the seven weeks of touring, Olds created 30 rubbings, some of which he reproduced in different colors. The Venue gallery owner Gabriel Colman said he chose to carry the show for its fresh and unique subject matter, and Olds was able to extract beauty and art from something seemingly mundane. “I’ve heard of other shows that exhibit rubbings from gravestones and things like that,” Colman said. “This was the first of its kind, as far as the subject matter and how it was presented. As far as a person could sink their mental teeth into, it’s got good qualifications.”Olds said he appreciates the support and artistic input his wife, an acclaimed artist and cartoonist in her own right, provides him with.“Perry has such a good eye,” Joslin said. “I don’t think he realized it himself. Oftentimes he would create a piece, and it always turned out to be the beginning of a show.”
(01/26/12 2:32am)
Perry Olds explains the images and Hebrew words on a rubbing to Mary Norman after presenting “The Art of the Israeli Man Hole Cover” on Tuesday at The Venue Fine Arts and Gifts. The display of eight rubbings in the gallery represented only a small portion of the 30 works Olds created during a seven-week visit to Israel late last year.
(01/20/12 8:19pm)
Andy Goheen of Sticky and the Bees and drummer Mike Notaro perform at a farewell concert in Goheen's honor Wednesday at The Bishop. Goheen has worked as The Bishop's in-house concert promoter since it opened in 2009, but resigned in December last year because he is moving to Chicago.
(01/20/12 8:19pm)
Andy Goheen of Sticky and the Bees smiles as he teases an audience member at the farewell concert in Goheen's honor on Wednesday night at The Bishop. Goheen worked as the bar's in-house concert promoter since it opened in 2009, but resigned in December last year because he is relocating to Chicago next month.
(01/20/12 8:19pm)
Guitarist Austin Hoke and bassist Evan Latt perform during the farewell concert in Andy Goheen's honor on Wednesday night at The Bishop. Goheen worked as the bar's in-house concert promoter since it opened in 2009, but resigned in December last year because he is relocating to Chicago next month.
(01/20/12 8:18pm)
Andy Goheen of Sticky and the Bees sings to the 30 to 50-strong crowd at the farewell concert in his honor on Wednesday night at The Bishop. Goheen worked as the bar's in-house concert promoter since it opened in 2009, but resigned in December last year because he is relocating to Chicago next month.
(01/20/12 8:17pm)
Ziona Riley and Andy Goheen of Sticky and the Bees sing at a farewell concert in Goheen's honor Wednesday at The Bishop. Goheen invited friends Riley, Austin Hoke, Evan Latt and Mike Notaro to perform at his last show in Bloomington.
(01/20/12 8:17pm)
Lewis Rogers of Busman's Holiday, in a rare wistful moment, performs at the farewell concert in Andy Goheen's honor on Wednesday night at The Bishop. Goheen worked as the bar's in-house concert promoter since it opened in 2009, but resigned in December last year because he is relocating to Chicago next month.
(01/20/12 8:14pm)
Brothers Addison and Lewis Rogers, of Busman's Holiday, perform the last song of their set during the farewell concert to honor former The Bishop concert promoter Andy Goheen, before he leaves for Chicago in February. "We are very, very honored that Andy Goheen asked us to play his last show," Addison said. "He's been a big part of The Bishop the last couple of years. It's been a pleasure being part of that."
(01/20/12 8:13pm)
A concert-goer displays a stamp Wednesday at The Bishop. Upon entering the The Bishop, every audience member receives a stamp on the back of their hands that features a play on concert promoter Andy Goheen's last name. Goheen left his position as promoter for The Bishop to move to Chicago and played his last show Wednesday.
(01/20/12 3:14am)
____simple_html_dom__voku__html_wrapper____>The words “Goheen or go home” were printed on every hand in the room. These hands warmed glass bottles and interlaced with other concertgoers, while magenta light fell on the main stage.Sticky and the Bees singer-songwriter Andy Goheen shut his eyes, held the guitar tight and sang softly to the crowd. “I just want to eat a sandwich/ But I never have bread/ Condiments are scarce/ and the pickle jar is empty,” Goheen sang.“That’s the sentiment I have in a lot of my songs,” Goheen said. “I’m trying to calm my own anxieties in a way, while at the same time make fun of them through song.”Perhaps better known as the In-House Concert Promoter for the Bishop, Goheen has been working at the bar since it opened in 2009, a year after he finished his studies in music performance at the IU Jacobs School of Music. After two years of introducing musicians, such as Paleo, and bringing popular groups, such as post-rock band Tortoise, to Bloomington, the 25-year-old quit his job in December in preparation for his move to Chicago in February. In light of Goheen’s departure and last performance in Bloomington, local musicians Busman’s Holiday, Ziona Riley, Austin Hoke, Evan Latt and Mike Notaro convened for a farewell concert Wednesday at the Bishop. A crowd of about 50 gathered, comprised mainly of students. Much of the crowd are personally acquainted with Goheen or at least have benefitted by his promotion. “I met Andy a year ago,” regular concertgoer Lisa Cantrell said. “He’s a really good promoter. He’s really good about inviting people on Facebook.”But Goheen said as much as he appreciates Bloomington’s creative scene, he is excited to move on. “For the most honest reasons, my girlfriend is moving there, and I’m following her,” Goheen said. “Bloomington for me is, after all, a transitory town. I’m looking to get into music education at the elementary school level (in Chicago) and I’m going to try my best to stay away from concert promotion. It’s a lot of work.”Goheen said the hardest things about being a concert promoter are making sure the bar’s calendar is filled, negotiating scheduling, paying the bands and marketing the event. Dan Coleman, owner of Spirit of ’68 promotions, will be taking over Goheen’s duties at the Bishop in February. “Dan’s been doing this for a long time, too, so I believe it’ll keep getting better,” said Elise Percy, a close friend of Goheen’s.In 2010, Goheen and Percy toured across the U.S. as e.p. hall, Percy’s solo musical project. “Andy has a unique ability — an encyclopedic knowledge of bands,” Percy said. “He has truly been the patriarch of the local music scene. He’ll be missed, for sure.”While Sticky and the Bees played a characteristically slow set, brothers Lewis and Addison Rogers of Busman’s Holiday set feet tapping with their happy-go-lucky folk rock set. The difference in musical styles seemed to embody Goheen’s impending move with a melancholy farewell from Sticky and the Bees and the more upbeat melodies of the jovial Rogers brothers.“I’m happy for him,” junior Greg Simpson said. “Bloomington is a great springboard, so I know that wherever Andy goes from here, he’ll do big things.”As Goheen stepped off the stage for the last time, he thanked his friends and bandmates for a great run. “For learning all my songs in a short period of time and being my friend even though I’m weird,” he said.
(01/20/12 1:38am)
A concert-goer displays a stamp Wednesday at The Bishop. Upon entering the The Bishop, each audience member receives a stamp on the back of his or her hand that features a play on concert promoter Andy Goheen's last name. Goheen left his position as promoter for The Bishop to move to Chicago, and played on last show Wednesday.
(01/20/12 1:31am)
Andy Goheen of Sticky and the Bees and Ziona Riley sing at a farewell concert in Goheen's honor Wednesday at The Bishop. Goheen invited friends Riley, Austin Hoke, Evan Latt and Mike Notaro to perform at his last show in Bloomington.
(01/20/12 1:27am)
Andy Goheen of Sticky and the Bees and drummer Mike Notaro perform at a farewell concert in Goheen's honor Wednesday at The Bishop. Goheen has worked as The Bishop's in-house concert promoter since it opened in 2009, but resigned last December because he is moving to Chicago.