RealNewMusic 2008

RealNewMusic 2008

Saturday, June 21, 2008, 7:00 pm

Tickets $10.00 / $7.50 / $5.00 (students & seniors)

The Ruth B. Shannon Center for the Performing Arts

Whittier College, 6760 Painter Ave., Whittier

Box Office: 562.907.4203

Google map to the Shannon Center

featuring:

PBE

is an alt-classical garage band that plays the music of a variety of living and dead composers. it was created as a d.i.y forum outside the usual and limited channels of art music presentation.

Sylvia Desrochures, mezzo soprano

Paul Cummings, bass

Bruce Gallego, electric guitar

Paul Bailey, kaossilator/ableton live

(Requiem for a High Homicide Enclave)

is a deconstruction of Purcell's Funeral Music for Queen Mary (1694) based on excerpts from the from the LA Times Homicide Report which documents every murder that takes place in Los Angeles County using blog posts, comments, and Google Maps.

link to trailer

blog

website

Steve Moshier's Liquid Skin Ensemble

The Liquid Skin Ensemble is a 7-member post-minimalist acoustic/electric chamber ensemble that has been performing composer Steve Moshier's work extensively in Southern California for over ten years. Previous performances included evenings at the Getty Center, the Luckman Theater at Cal State LA, Highways Performance Space, the John Anson Ford Theater, the Japan America Theater, Los Angeles Theater Center and in 2004, international exposure with Hae Kyung Lee's Dancers at the LG Arts Center in Seoul, Korea. For the past four years, the group has bi-annually performed at the AH Gallery in Chinatown, downtown Los Angeles.

John Marr / Brother Mallard

Brother Mallard is a four person ensemble assembled by John Marr in order to perform The Continuing Story of Counterpoint (TCSOC) by David Borden. Aside from "Part Nine," none of the remaining eleven movements have ever been performed on the West Coast. Borden originally wrote the music for his group, Mother Mallard (the inspiration for Brother Mallard's nom de plume ) which consisted of three keyboardists. The group's ultimate goal is to create a functioning ensemble that will present new music to all listening ears.

Lauren Baba: Violins

Audra Blackner: Voice

Ralph d’Ignazio: Electric Guitar and Electric Bass

Scott McIntosh: Winds

Satomi Otsubo: Keyboards

John Marr: Keyboards

also with music and words by:

Susan Asbjornson Ziegler

Brian Kehlenbach

Melody Versoza

Sean Gunning

high homicide enclave, 01/01/08-06/15/08

i just got done updating my custom google maps of the la county homicide statistics from 01/01/2008-06/14/2008.

since the beginning of the year there have been 362 homicides in los angeles county.


View Larger Map

so far this year the homicide rate is actually down 5% for the year. this time last year there were 372 homicides in la county.


View Larger Map

the crazy thing is that crime is down year over year since 1992.

Homicides, L.A. County

1991 2,054
1992 2,113
1993 2,070
1994 1,816
1995 1,789
1996 1,535
1997 1,295
1998 1,053
1999 965
2000 1,076
2001 1,161
2002 1,231
2003 1,142
2004 1,131
2005 1,152
2006 1,085
2007 968*
*estimate based on annualized figures, Jan-Aug. '07

and as the unemployment goes down so does the homicide rate rate
Unemployment rate

1991 8
1992 9.9
1993 10
1994 9.3
1995 8
1996 8.3
1997 6.9
1998 6.6
1999 5.9
2000 5.4
2001 5.7
2002 6.8
2003 7
2004 6.5
2005 5.3
2006 4.7
2007 4.8*
*estimate, avg through Aug.

violent crime is also down.

Violent Crime Rates 1989-2005


yet 15 people were killed in weekend homicides between june 6th-8th. did you hear about it? why do you think that is?

la times reporter jill leovy explains the concept of the "high homicide enclave"

A crowd of at least 100 gathered Thursday for a candlelight vigil to mark the driveby-shooting death of 15-year-old Dovon Harris in the Nickerson Gardens housing project. LAPD Southeast Capt. Rick Jacobs announced a suspect was in custody. The crowd cheered and clapped.

Unlike many homicides cases reported on The Homicide Report, this one benefited from numerous witnesses cooperating.

As covered previously here, the reluctance of witnesses to cooperate with police, especially in the context of black and Latino urban poverty, is central to high-homicide dynamics.

It works like this: Witness reluctance affords killers impunity, and gives them power to essentially become underworld lords, ruling lawless ethnic enclaves created by the inexorable calculus of housing segregation and poverty. Within such enclaves, violence becomes a kind of currency that people ignore at their peril, and formal legal protection does not exist. Men and boys, in particular, experience extreme pressure to demonstrate they too are capable of violence. If they appear weak, they risk falling on the wrong side of the violent transactions that organize this underworld. They must walk tough, talk tough, and cultivate a reputation for being dangerous if provoked.

Elsewhere in America, it's not like that. In, say, Beverly Hills or Encino, people dwell in a world where the state has a monopoly on violence. Violence and power are still inseparable, but the violence is inchoate--conserved within the apparatus of the state. The state's monopoly on violence remains invisible, but it governs conflicts. When people cross each other, as they inevitably do, the legal apparatus of the state influences how their quarrels are resolved. Business or neighbor disputes end up in civil courts. Fights over girls or insults play out around unspoken calculations of possible state intervention: Kill your rival, and you're likely to end up in jail. Better to just punch him, or show him up at the next office meeting.

But in a world where the state has lost its authority, and power is diffused among violent individuals, even the mildest, most passive individuals must make uneasy compromises with killers, and the percentage of people--especially men--who actively embrace violence to resolve conflicts expands.

This reporter has interviewed many churchgoing, working, middle-class homeowners--fathers and mothers with no criminal histories and little inclination toward violence--who, nonetheless, seriously consider lethal retaliation when their sons are killed in South Los Angeles. They are not insane for doing so. They are not simply depraved individuals with a yen for "senseless violence," to quote that overused cliche. Rather, they are human beings who have suffered real injury in a context where state power is missing in action. They are experiencing the ultimate interpersonal conflict in a world where witnesses don't cooperate, cases go unsolved, and those who hurt others gain power. Think about your son's killer living near you, enjoying impunity, even exerting influence, and you may see their point of view. Now imagine how the same thoughts might be resolved in the mind of a teenage younger brother of that same murder victim.

he was mad against this life

REDCAT Spring Studio
May 17 & 18, 2008, 8:30 pm
Roy and Edna Disney/CalArts Theater
631 W 2nd Street, Los Angeles, CA 90012

The latest edition of REDCAT's ongoing performance series brings
together a dynamic range of six emerging and established Los Angeles
artists to launch new projects, investigate new forms and experiment
with new ideas. Curated by Leslie Ito and George Lugg, the evening
features:

PBE: REQUIEM FOR A HIGH HOMICIDE ENCLAVE
Fusing a deconstruction of Henry Purcell’s Funeral Music for Queen
Mary (1694) with source material from the Los Angeles Times Homicide
Report, including blog posts, comments and google maps, The Paul
Bailey Ensemble (PBE) performs an audio/visual eulogy for the
homicide deaths in LA County in 2008.

Featuring:
Sylvia Desrochers, mezzo soprano, Paul Cummings, bass, Bruce
Gallegos, electric guitar, and Paul Bailey, laptop, kaossilator and video.

trailer, homicide report and links
http://www.vimeo.com/936614
http://latimesblogs.latimes.com/homicidereport/
http://www.paulbaileyensemble.org/

and also performances by:

CYNTHIA LEE: I LONGED TO GO BACK TO THE BEGINNING…
Live tabla and cello accompany a trio of dancers in this movement and
music investigation of sam in Hindustani rhythmic tradition: the
moment where musical tension is released and begins again, where
union and loss coalesce.

MIWA MATREYEK: DREAMING OF LUCID LIVING
Using projected animation to enliven objects, transform space and
illuminate live performance, this work is a hypnotically layered
construction that seamlessly melds the fantastical with the real, and
the seductiveness of cinema with the immediacy of the stage.

SARAH PAUL OCAMPO / ADVANCED BEGINNER: ROOMS
Leading a six-person orchestra playing everyday objects—comb, cheese
grater, flyswatter, and more—Ocampo, on guitar, sings a four-song
cycle that evokes a stifled domestic world of tattered hearts and
longing.

PEGGY JO PABUSTAN / AMANDA ALFIERI: SERIOUS WORK
The collaborative team of Pabustan and Alfieri play with, and prey
upon, a wealth of influences from the history of video and
performance art in a work that is both traumatic and healing,
feminist and exploitative, playful and very serious.

WU INGRID TSANG: LAMENTO DELLA DRAG
Performing three vocal selections of mixed-genre repertoire alongside
musician Giles Miller, Tsang's manifests an elaborate and
extravagant Diva who sings traditional and baroque compositions, and
intertwines the histories of opera and queer identity.

it was my third year

as i said before requiem for a high homicide enclave is my attempt to make sense of the latimes homicide report. i first encountered the blog, comments and maps reading about the death of los angeles high school band member michael pena and reading his story it brought back a lot of memories that i had long ago pushed aside.

i was teaching music sometime in 1997 or 1998 at john marshall high school in los angeles. the los feliz/silverlake area had been one of the more affluent parts of los angeles, but high home values and an aging local population created a dramatic change in the schools demographics starting in the late 80's. by the time i started teaching in 1995 many parents from the area were sending their children to private schools and the typical marshall student came from the densely populated apartment rows in echo park or hollywood. it was a challenging but rewarding job which alternated between some of the highest and lowest moments i have experienced in the classroom.

by my third year i was very happy with the way the program was growing. we (my wife was teaching dance and colorguard) both had grown accustomed to teaching in an urban school; for the most part kids are kids, its just when something goes wrong with them there is no "safety net", like when somebody gets really sick, it can throw a family into turmoil. not only do they have to deal with the lack of access to proper medical care, but then how they will pay the bills while a parent is sick. what happens next is that your student might just stop coming to school and start working to pay the bills.

by this time i though i had seen most everything, but teaching that day started as a real shocker. sometime in the morning word got back to me that 3 of my best students had beaten the living bejesus out of a freshman band member. i was in shock and really mad at those kids, mainly because it challenged everything i thought i had "taught" my students. there was a lot of crazy things that happened outside of school, but i thought we had created a culture where it was clear that "we don't do those things in our band". i was proud to show off to anybody who would listen that my kids were respectful of each other and knew that more was expected of them when they joined my program.

i was so upset and didn't even send them to the office. i just told them to go home and i didn't want to see them at rehearsal after school. for most kids this was the worst punishment i could give, being at home usually meant becoming the primary child care provider for their siblings. the next day all three students showed up and wanted to talk. after 4-5 minutes of ranting how they let me down and said something like, "in what world can you use violence to solve anything?" one of them sheepishly said "we had to do it, he is going to get us killed".

that is when i stopped talking and started listening.

the three of them took turns explaining the situation; they ride a number of city busses to school and everyday the same thing unfolds; as they are waiting for their next bus the local gangbanger harasses them and to which the freshman always has a quick comeback. over time the harassment escalates and of course my older students quickly realize where this is going. as they see it its too far to walk and there is no other way to come to school. they have tried to talk to the freshman, but he thinks its all fun and games. and then they explained there was only one thing the could do.

so i pulled in the freshman and we all talked it out. or i should say, they talked it out. at that point it really sunk in that no matter how much i though i knew about these students, i could really never fully understand what their lives were like outside of school.

the police and the mayor

Today at 4pm I'm going to talk with Martin Perlich about my REQUIEM FOR A HIGH HOMICIDE ENCLAVE and its source material; the latimes homicide report, blog comments and google maps on KCSN 88.5 (05/14/08)

requiem for a high homicide enclave

requeim for a homicide crime enclave from paul bailey on Vimeo.
(trailer)

Requiem for a High Crime Enclave is a deconstruction of Purcell's Funeral Music for Queen Mary (1694) based on excerpts from the from the LA Times Homicide Report which documents every murder that takes place in Los Angeles County using blog posts, comments, and Google Maps.

(this version is probably best viewed full screen)

Saturday May 17th and Sunday May 18th, 8:30pm
Roy and Edna Disney/Calarts Theater (REDCAT)
631 W 2nd St
Los Angeles, CA

la times homicide report

requiem for a high homicide enclave

here is early view of the mockup trailer for my new piece;

requiem for a high crime enclave.
based on a deconstruction of purcell's funeral music for queen mary

(its probably viewed best in full screen)

performance venues and dates should be announced soon.