The TV Networks Fear Conservative Backlash? Maybe.

By Ernest Barteldes

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I know this might be old news to some, but something in the televised media has been bothering me for a while, and it reached a boiling point when I heard a new show I discovered on Amazon Prime called “Good Girls Revolt” had been unceremoniously cancelled a month after its premiere – and more suspiciously following the 2016 presidential election – after only one season in spite of positive response by audiences and critics alike.

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For those who are unaware of it, the series is based on the non-fiction book of the same name by Lynn Povich that chronicled the 1970 sex-discrimination lawsuit brought by female researchers against Newsweek magazine because the publication’s editors policy of not allowing women get promoted to reporters or editors.

I discovered the series at random as I browsed content on my Amazon Video library (Renata and I recently installed a Fire Stick onto our TV) one day. I watched one episode and was hooked – the storyline is complex and so are the characters – the pilot episode introduces the characters in a busy newsroom at the New York headquarters of the fictional “News of The Week” (I guess they couldn’t license “Newsweek”) in late 1969. On that first episode a new researcher is hired – a young Norah Ephron (Grace Gummer) and quickly breaks the office rules by rewriting a reporter’s copy. After being scolded by one of the editors (Jim Belushi), she abruptly quits and sparks a revolt among the other ‘girls’ in the office, who decide to do something about it.

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As I watched the show I tried to learn more about it and was crushed to see that Amazon had let the show go and that no other network (streaming or otherwise) had picked it up. A piece on the Hollywood Reporter quoted co-star Genevieve Angelson’s tweet about it, which pointed at the election results as one of the causes for the show being pulled: “@Amazon dunno what to tell women, scared of their own president, who ask why you canceled a hit feminist show 30 days in.”

Her reaction got me thinking of another recent situation – in October 2016, NBC pulled an unaired Law & Order SVU episode based on the presidential election in which a Trump-inspired character is accused of sexually assaulting a woman. The episode was scheduled to run the day after the election but it following the upset on November 7th, the episode was pushed and still hasn’t been aired.

NBC might have reasons to fear backlash from the White House – after all, Trump is still credited as executive producer on “Celebrity Apprentice,” and during the campaign he made multiple appearances on the Tonight Show with Jimmy Fallon (including a much-derided episode in which the host was a bit too friendly with the then-Republican nominee), but this is no reason not to run an episode of a show whose stories are, after all, “ripped from the headlines.”

But what would Amazon have to fear? Did they fear their conservative subscribers (who praised a piece of shit, thinly-veiled conservative documentary called “Silenced” in which

Music Preview: Bibi Ferreira at Symphony Space, New York City

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By Ernest Barteldes

Bibi Ferreira

Tuesday, Sept. 20 & 23

Symphony Space

8 PM

I have known about the legendary Brazilian diva Bibi Ferreira for a very long time – she has a long history as a singer, producer, actress and director going from the 1940s to present. She is still active in spite of being 94 years young – and gives no signs of slowing down anytime soon.

I did two interviews with her for The Brasilians over the past few years and was surprised not only by how articulate she was on the phone and also by her fantastic memory – she can remember details of shows she did generations ago as if she had walked out of stage five minutes ago. I was even more amazed to hear her live at Alice Tully Hall – hard to believe is was her New York debut – and heard her sing an array of hard tunes ranging from Verdi to Chico Buarque and Piaf – as if they were nothing.

And then there was Liza Minelli’s hilarious surprise appearance, when they shared the mike for a snippet of “Theme from New York, New York” – a tune made famous by Frank Sinatra but actually introduced by Minelli (go ahead, Google it) in 1972.

On her current show Four Times Bibi, she pays tribute to fado queen Amalia Rodrigues, Piaf, tango legend Carlos Gardel and none other than our own Frank Sinatra – an evening that will bring together various genres together in what promises to be nothing short of amazing – a show that is not to be missed.

Music Review: Ania Dąbrowska’s Dla Naiwnych Marzycieli

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by Ernest Barteldes

 

As I have written in earlier posts, I stumbled into the music of Polish pop singer Ania Dąbrowska quite by accident – I was looking into something I can’t even remember and her name sort of popped up. I got curious and found out she is from Chełm, , the southern Polish city my wife also comes from.

During our recent visit to my wife’s homeland, we visited several stores looking for music to bring back home (sure, I could have used iTunes for some titles but prices for regular CDs are much better there), so during a stop at the local Empik  I picked up a few of Dabrowska’s first few releases and proceeded to check them out. I was impressed with how she seems to want to surprise listeners from time to time with interesting arrangements that include bass solos (she does play the instrument, but the liners don’t give us much information on that matter),  flutes and other instruments that you don’t often come across in pop albums.

After we came back home I purchased the MP3 version of her sixth release, Dla Naiwnych Marzycieli, and gave it a few spins.  Though I haven’t heard all of her albums yet, I can say this is arguably her best album yet. She has veered a bit from the retro feel of earlier efforts and embraced a more contemporary direction – that can be felt immediately on the opening track, “Nieprawda,” a keyboard-led reggae with a catchy hook that gets you moving from the start, and also on “Gdy Nic Nie Muszę,” a jazz-inflected tune led by brush drums, keyboards and woodwinds.

Other notable tracks include “Bez Chiebe,” an R&B-inspired ballad with multi-layered vocals and a nice guitar-centered arrangement and “I’m Trying to Fight It,” the sole English-language track on the disc, whose lyrics speak about the hardships of moving on after the end of a breakup. The piano-based title track has poignant vocals, and “Nie Patrzę” sounds like something that could be played in American Top 40 radio – but good.

The lead single on the album is the power ballad “W Głowie” – its accompanying video plays as  a short action movie in which she escapes a couple of assassins inside what seems to be a shopping mall parking lot with the help of a mysterious black man – most of her videos play like that, telling the story in an almost cinematic manner.

Dąbrowska is a singer worth checking out. She has clearly evolved since her early Polish Idol days (I read somewhere that she has appeared on her country’s version of The Voice as a judge, but I didn’t have a chance to see an episode while I was there). Her music is smart and quite engaging – even if like me, you don’t have a clue what she is singing about.

Terence Blanchard at Summerstage/Clove Lakes Park – August 5, 2016

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Terence Blanchard at Clove Lakes Park

Article and pictures by Ernest Barteldes

Terence Blanchard & E-Collective

Summerstage at Clove Lakes Park

Staten Island, NY

August 5, 2016

 

 

On an evening dedicated to the memory of Eric Garner, the Staten Island African-American dad killed while in police custody (members of his family were in attendance) in 2014 there were a handful of performers and activists on stage before the headlining artist went on stage – including a young  woman who did a spoken word piece on police violence and the consequences it has on the different communities around the nation and a statement by New York City Councilwoman Debbie Rose.

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Spoken word, beautifully made. 

Shortly after that Terence Blanchard came on stage backed by a quartet (bass, keys, drums, guitar) starting with the complex title piece from his album “Breathless” – entirely recorded in tribute to Garner – that included a four-part harmony on his synth trumpet.  The piece was very contemporary and pretty much centered on his instrument –  he had little connection with the audience and didn’t seem interested on their feedback  – something he seemed to be focused on doing for the entire evening.

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Blanchard and his synth trumpet

The pieces went from contemporary jazz to jazz-rock but with no New Orleans connection – something I had hoped to hear that night considering the bandleader’s roots.  The band was incredibly well-rehearsed and tight but seemed unable to connect except for one moment when the guitarist really rocked out and had the audience applauding.  Blanchard used a lot of effects on his trumpet and sometimes drowned out the band entirely as he experimented with the various extraneous sounds he was able to create with his horn.

This was an evening of hard jazz – probably a bit off for a park on Staten Island, but I guess audiences need to be taken out of their comfort zones at times. I did not expect to hear this kind of music there, but I did enjoy it at times.

Don’t get me wrong. I think that Blanchard is a fantastically talented musician, but from what I have been listening live over the years  he seems to have become one of these jazz cats who play at the peak of their  intellectuality and technique and not seem to care about fans. Then again, being this a concert in memory of a victim of police brutality maybe the tone was appropriate – but most of the audience was not aware of that)

It was not a bad show overall, but it was not what I was expecting to hear. He barely communicated with the crowd, and when he did he seemed a bit uncomfortable doing so. A show clearly aimed at jazz purists or those interested in really out there material – suitable for a club or a jazz festival. Another reviewer focused on the social part of the evening, but I’d rather look at the music on its own.

Jon Batiste & Stay Human at Celebrate Brooklyn

Article and photos by Ernest Barteldes

 

Jon Batiste & Stay Human

Celebrate Brooklyn

Prospect Park Bandshell

Friday, July 22nd 2016

 

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Jon Baptiste

After two opening acts that included a brilliant saxophone trio formed by three very young musicians aged from 12 to 16 years of age, bandleader and evening curator Jon Batiste took to the stage on the melodica backed by an 8-piece band of multi-instrumentalists, kicking off the show with a marching band-style take on  the Christmas standard “My Favorite Things”  that was blended with  “Papa Was a Rolling Stone.” He then went to the piano for an instrumental version of blues standard “St. James’ Infirmary” where he showcased his dexterity on the piano.

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Jon Baptiste

Stay Human have great chemistry together, responding to the bandleader’s grooves with expertise, even when he went off with some improvised moment – I guess that tightness comes from performing on a nightly basis on the Late Show with Stephen Colbert on CBS (I compare with the last time I saw the band at The Charlie Parker Jazz Festival two or three years ago).

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Young Sax Trio

Batiste is open to many genres – at one moment, he is playing a boogie take on the “Star Spangled Banner” and the next going into a full rock mode and then drifting into a personal take on “Pour Elise,” which featured a bass solo. The set included covers of The Jackson Five’s “I Want You Back” with the bassline played on the tuba, which preceded included a tuba battle and a full French Quarter-style marching band tune in which the ensemble walked into the audience.

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Stay Human

It was a great opportunity to see Batiste outside of the constraints of a TV studio setting, where he stretched the music and improvised freely – I heard some folks in the audience hoping Colbert would make an appearance (considering his recent vocal performances) but that did not happen – instead, the audience was taken to an amazing musical journey under the direction of an amazingly talented bandleader who we all hope to hear again – on stage – soon.

My Polish Music Loot

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The vinyl section at Krakow’s Empik

By Ernest Barteldes

Anyone who knows me well is aware that I am a big music scavenger – give me enough time around a store and I’ll unearth some gems. I did that during all our trips to Brazil and also anywhere else we have enough time to stop and shop a bit. That of course happened when we started planning our latest trip to Poland. There are a handful of artists I follow, but imports are way too expensive, and for some reason neither iTunes nor Amazon carry mp3 albums by  artists I am interested in.

This time around it was not just about music.  Shortly before we left for Poland I had finished reading Zygmunt Miloszewski’s “A Grain of Truth” and learned that the movie version had been released on DVD. I had no way to find out if the film (which turned out to be superb – more on that in the future) had been popular in Poland, so I wasn’t sure I’d find it on shelves. Renata and I talked and decided to order a copy of the movie from Empik, a large retailer of music and books that has stores all over Poland (think Barnes & Noble when it was still cool) and ship it to Renata’s parents’ home.

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Secret by Anna Maria Jopek

When we arrived, the DVD was there waiting for us – and a couple of other orders Renata made to the same store. A few days later, I went out to look for music, but found the local store to be a bit scarce. They barely had any music from Anna Maria Jopek  – one of my all-time favorite Polish singers – in stock, and the titles they did have were already part of my collection. I bought Jopek’s Secret, her sole English-language album to date and browsed through their Polish music shelf, and found some albums by Chelm native Ania Dąbrowska.  I stumbled into her name while doing research for an unrelated article and found out she’d covered a Queen song during her participation on the Polish version of Pop Idol. I heard some of her music online and was quite impressed.  When I saw W spodniach czy w sukience? I immediately picked it up. The disc turned out to be a fun, retro-70s feel collection of songs with great arrangements, and I made a mental note to look for more of her music.

I was still a bit frustrated that I hadn’t found all the titles I needed, but then I had the idea of looking them up online and ordering in-store delivery and found her fantastic Id (featuring guest appearances of Branford Marsalis, Minu Cinelu, Richard Bona and Christian McBride) and one of her latest, the independently released Polanna, which she showcased during her recent US tour.  When I picked up the package, I again browsed through the music section and decided to pick up Dąbrowska’s  debut album Samotność po zmierzchu, which I found to be even more interesting than the previous one I got – plenty of clever basslines and jazz-inspired grooves with an uncompromising pop drive that is both radio-friendly and intriguing.

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Ania Dabrowka’s debut CD

As we moved on to Warsaw, Zakopane and Krakow, we kept on stopping at Empik stores – our hotels were all walking distance to local malls, and since we were walking by we would browse around. Renata was interested in health and fitness books and had been looking at some  written by Anna Lewandowska, the wife of Polish soccer star Robert Lewandowski.  While she decided which title to pick one, I noticed that there was a bargain bin, and among music I had no idea about was Bossa So Nice, a compilation of Brazilian music. I usually ignore those because most have tracks I already own, but this one was different – sure, there were those obvious Stan Getz recordings, but there were also a bunch of tunes I had never heard before – at least in those voices. The price was very low for a 2-disc set, so I picked it up – the first time I had ever seen or purchased Brazilian music in Poland.

 

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Bossa So Nice 

 

I am still working on listening to the stuff, so a more elaborate comment on them will come in due time. So far I have enjoyed most of them but have not formed much of an opinion for a proper review. But do check this music out if you can.

Concert Review: DJ Sets by Quantic, Gilles Peterson and AFrika Bambaataa

Afrika Bambaata Singer

By Ernest Barteldes

Gilles Peterson + Quantic +

Afrika Bambaataa

Central Park Summerstage

New York, NY

August 8, 2015

I’ve  never quite  understood the point of featuring DJs at Summertage in Central Park. I say this meaning no disrespect to the profession –  I actually think that a good DJ can sometimes be even more entertaining than a band at times, but the atmosphere has to be right. At the Rumsey Playfield they are doing their thing in the middle of the day, when most clubbers are not even thinking about heading out. I understand having one at hand to warm up the crowd for a musical act, as DJ Greg Caz did a couple of years back when Bebel Gilberto was featured as part of the Brazil Summerfest Festival.

There was a celebratory mood at Summerstage when Renata and I arrived – the evening was promoted by Giant Step, the former label that now concentrates on event promotion and marketing. DJ Quantic was at the booth doing a mix of Latin, pop and even a few New Orleans-inspired cuts (specifically a brass version of Marvin Gaye’s “Sexual Healing”) Most of the fans were clearly there for the headliners Afrika Bambattaa, but they followed the music attentively.

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Having nothing but a guy on the booth in the middle of the stage makes the stage feel a bit empty – I mean, this is a space that usually holds as many as 20 people. Sure, the music was quite intriguing but I did feel a lack of energy there.

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 Gilles Peterson soon followed and did a more uptempo set that included some Brazilian tunes with a concentration on psychedelic sounds. He had more of an upbeat groove and got the audience moving quite quickly – he got people moving with his smart selection.

Afrika Bambaataa  (born Kevin Donovan) was clearly more successful than the other two – he came on with several folks on stage that got things jumping – while he manned the equipment, rappers did their thing enticing the crowd to dance and follow the music.

It was certainly an enjoyable evening  – it was likely my last stop at Summerstage for the season (there still is  the Charlie Parker Festival late in August) since this year’s edition of the Brazilian Film Festival was canceled due to apparent financial constraints.