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Garnet inherited pretty much the same vocal instrument and wrote songs with a wider variety of themes. Garneta€™s mother and father came from Nova Scotia, but moved to Hamilton, Ontario to find work. After Stan was signed by RCA records to do some novelty singles and they went nowhere, he moved to London, Ontario, which was closer to Garnet. During the last two years of high school, Garnet was part of a strange, interesting concept.
Garnet sprinkles his between-song patter with stories and cutting, wry humor that audiences carry home and share with others.
Garneta€™s story is so rich and hea€™s such a great musician (his blues fingerpicking on a€?Corrine, Corrinaa€? might be the best Ia€™ve ever heard) that this article should span two issues. Garnet told me, a€?I got Stana€™s secondhand guitar when he got a decent one.a€? When Garnet was about 12, Stan gave him a Mississippi John Hurt LP for Christmas.
Ringleader and originator of Muse, Brooklyna€™s premier circus school and event facility, New York native Angela Buccinni and her partner from Israel, Yoni Kallai, have pursued this sensation into profession.A  Muse is one of several 21st century Brooklyn staples of creative conductivity that was expelled from Domino Sugar Factorya€™s parking garage, former home of Glasslands, 285 Kent, and Death by Audio to name a few, as a result of sabotage by Vice Magazine.
Her kitchen sink, located directly over the cafea€™s stage, allowed her to put a hose from the sink into a hole in the floor and send a torrent of water onto performers during their show.
They were fans of country and folk music and, as youngsters, had listened to Carter Family broadcasts from a powerful border station in Mexico during the a€™30s.
He had wanted to learn the building blocks of playing the flute and learn how to read music, so he briefly attended a class in 10th grade for that purpose.
A great believer in playing out, he stated, a€?You can spend three hours practicing scales by yourself and youa€™re not really learning; but if you spend ten minutes on stage wondering where all those notes are and how youa€™re going to make them count, thata€™s a much better way of learning an instrument.
Garnet started commuting every weekend because there was a club there that he liked, Smalea€™s Pace. The next morning he hitchhiked up to northern Ontario where the band was and found the tour bus.
Guys came to the bars to get drunk, not to listen to sensitive guitar players singing about life.
As Garnet stated elsewhere: a€?The Maritime traditional sound we developed was a response to partly the market and partly simply due to the commissions we were given by the Canadian Broadcasting Corporation.
All three band members had planned to go home on the same flight, but only Stan wanted to stay the extra few days after the festival. At the Cabin Concert he told about how he began talking onstage about getting sober, soon after his three days of cold turkey in a motel room. They were fans of country and folk music and, as youngsters, had listened to Carter Family broadcasts from a powerful border station in Mexico during the a€™30s.A  Garnet and his older brother Stan grew up in Woodburn, a community in the easternmost part of Hamilton. What began as a humble at home production quickly launched into a whirlwind adventure showcasing the enthusiastic demand for this kind of artistic community. What I didna€™t know was that the day of the show, Ia€™d be fielding anxious messages from Garnet, left on the cafea€™s phone answering machine throughout the day. On two occasions I had run to the basement during a show to shut off the buildinga€™s water main.
At any given hour, youa€™d hear Frank Zappa, Duke Ellington, Phil Ochsa€¦ Frank Zappa would be on for an interview, then theya€™d play Schoenberg a€¦ no rhyme or reason, no sense to anything a€¦ it was just music.
By 16, whenever Stan had a local gig, Ia€™d sit in for a bit if it wasna€™t a school night. Being large men, they got used to the idea that theya€™d have to fight to play their music.
We did a lot of soundtrack work for radio dramas and a lot of it was in Halifax.a€? From that point forward, Stana€™s reputation grew as the six albums produced during his lifetime were released. Along with the grind of the road, Garnet had to process the loss of his brother and his brothera€™s growing legend. Wea€™ll simply have to implore our readers to see Garnet live and buy every album hea€™s released.
This will teach you how to fingerpick.a€? Garnet recalled, a€?I remember sitting on the front step one afternoon. Together they take us on their theatrical journey through the daunting landscape of uncertainty guided by an unassailable faith that serves as a testimony to the prevailing power of will finding ita€™s way.
By this time, most fans in our little circle knew about Garneta€™s brother, the iconic Stan Rogers, and his tragic early passing. He didna€™t know that we were completely volunteer-run and truly manned only on evenings when shows were scheduled.
However, our neighbor was softening, aware that Ia€™d been working on the ceiling, trying to remedy the situation. Garnet likes to say, only half-facetiously, that theya€™d have to fight their way on-stage, off-stage and back to the hotel and that they developed a middle set that was nothing but sea chanteys which left their hands free to defend themselves. Garnet was already home when a television news broadcast told about the flash fire that trapped Stan during an emergency landing, killing him presumably of smoke inhalation.
The temptation of drinking that often follows many a solo touring musician was actually a continuation of his time with Stan.
He added: a€?After I quit, I got a letter from [Scotch whiskey manufacturer] Glenfiddich, asking, Was it something we said?a€™a€™ These days, he also reads from the memoir hea€™s working on of his days with Stan.
Garnet was already home when a television news broadcast told about the flash fire that trapped Stan during an emergency landing, killing him presumablyA  of smoke inhalation. Angela was drawn to the luminosity of the limelight at age 6 when she began exploring her passion for dance. Stan had written elegiac songs about the working class in the Canadian Maritimes and farms, and had a rich, deep baritone. Wondering why nobody was there to answer the phone, he repeated his concern with each message, as to whether there would actually be a show. Taking no chances, though, without saying anything to Garnet, I grabbed $40 from our bank and ran upstairs. I finally got it and my mom came out and said a€?ita€™s dinner time.a€™ I said, a€?I cana€™t come in.
It was the very same plane Garnet had flown home a couple of days earlier.A  a€?It could have been any one or all of us,a€? Garnet told me.
When I was little I used to rollerblade to the dance studio and wash the mirrors so I could take my lessons. As he approached from somewhere north, the sound of his voice got more and more agitated as he got closer and closer. We had two drummers, two bass players, a sitar player a€¦ For Goda€™s sake, we had an interpretive dancer at the side of the stage who wore black tights and whiteface.a€? Garnet was part of the band and played local gigs, but still in high school, he couldna€™t do road dates. On the first album I bought, Speaking Softly in the Dark (1988), Garnet comes as close as Ia€™ve heard him sound like Stan, on a€?Like a Diamond Ring,a€? by his friend, Steve Hayes, one of the number of songs by other songwriters.
In an email, he described how one story got this response: a€?[folksinger] Steve Gillette came up to me after a show and told me he enjoyed the reading but now had a very curious nine-year-old grandson who wanted to know what kind of person a a€?drag queena€™ was, and just what was a a€?hand joba€™?


Canadian icon Garnet Rogers is singing his song, a€?Night Drive,a€? about a dream of his brother Stan, who perished years before. He wasna€™t leaving a phone number, so I believe he was using pay phones en route and there was no way for me to reassure him. I was set on the path to do ballet and modern; I went to a conservatory program where I leaned more towards choreography, then college, then wound up in New York and was auditioning for a good 2 years. Must have been a fun drive homea€¦a€? We heard the story referred to at the Cabin Concert, but I wona€™t reveal the details and spoil the fun for future audience members. Garnet was his typically majestic self, filling the room with sounds the walls had never felt before. We decided to become a trio and actually rehearse and work at what we were doing.a€? Early on Stan was still finding his style. Of the four albums Garnet sent me, I like the studio albums, Firefly (2001) and Shining Thing (2004), the best. He used to speak more about his vehicles (a€?The Stealth Volvoa€?), but that was absent during the last swing.
On one side, Ia€™d be working on a painting a€” I fancied myself a painter a€” and when I got so far on the painting that I couldna€™t work on it anymore, Ia€™d turn around. Then I auditioned for Elizabeth Strebs Company ,and they embraced me and brought me into their internship program and I got to train there and did a little bit of flying trapeze. He had come fully into his own by the time of these albumsa€™ releases, settling into a muscular, chesty vocal sound, and had long begun building his own storehouse of songs.
I went online for one of these older stories: a€?Two years ago after wearing out four Volvos I got to the point where I didna€™t want to support my mechanica€™s extravagant lifestyle,a€? he said, without even a hint of a chuckle.
That became home and I very much so try to model the feeling I had there in the beginning as what I want here, because it was the first time in New York that I felt that someone gave me a damn hug. He has outrun sorrows in his life and he sees the ridiculous in everyday existence a€” mainly in his life. A new dilemma revealed itself as he continued to carry more guitars in, followed by electric amps that made him look like a one-man Pink Floyd tribute act. With a now-familiar self-deprecation, he said, a€?Yeah, after I got over my hissy fit.a€? Years later, we had a chat before he did a Lincoln Center Out-of-Doors concert and I told him about that night and the woman above the cafe. One night he returned with this weird look in his eyes like Charlton Heston as Moses with his hair turned white, coming down from the mountain. I ended up quitting my job and working only there even though it was only a fraction of the money, but it just felt right and from there I built skills and started booking jobs where theya€™d say a€?we need a dancer whoa€™s not afraid to do these things and wea€™ll train them.a€? They gifted me the confidence in those skills, and once I started getting up in the air and learning these things I was like a€?Oh, Ia€™m not going back, not going back down, ever, never going back!a€? Now ita€™s still a big part of my career. He said, a€?a€¦Wilson Pickett just wrote The Ten Commandments with his finger!a€™ Stan was in a little rhythm and blues band when he was in high school.
Garnet described how they would travel the Yellowhead Highway in Saskatchewan, in a tricked-out van that wore out four engines. Then Ia€™d add a second guitar track, or later on when I picked up flute and violin [he earned the money and bought them], add one of those.
A: I used to get really scared or nervous before going on stage, but at the same time I couldna€™t wait til the next.
It was a nice opportunity to have this experience with people in a different way because I didna€™t talk a lot as a kid so it was a way for me to communicate that felt very natural or right to me; it scared me but it was good for me. A  Y: I did some performances with my brother who was a big actor but it was never my world. I was in university and I got myself an engineering degree but I didna€™t want to sit in front of a computer all day and type. Between university and coming to NY I was working in construction, so ita€™s kinda strange.
I got into this whole thing because I like the practice just in the connection with people, it lends itself to performing and I do it but ita€™s not my main motivation. Ita€™s all about play and a lot of fun and then there are those moments when you have a reality check of your mortality. In order to manifest the current space, a 7,000 square foot warehouse with enormous ceilings and legroom conveniently located near the resting place of Harry Houdini, a deviation from logical control over circumstance was required, submitting to the currents of creation in motion and allowing the tides of destiny to construct their ultimate dream.
A friend of mine wanted dance lessons in private so she helped me set up a dance floor, and then all of the sudden my brother gave me a few lights and a soundboard, and we ended up producing shows. We would have like 100 people coming out to my backyard- it was maybe 30 feet long- it was tight, we had people sitting up on the stage and on the deck.
We realized there was definitely a need for space, a need for that comfort zone, and a need for that artistic family, so thata€™s how this whole thing kind of began.
This space opened just this last April, we were in another location- this is a crazy story- I dona€™t know how much you want of ita€¦ All of it- go crazy. A: So the backyard in Bushwick- there was a freak tornado in 2010 that hit brooklyn and it hit the house next door and uprooted a tree and dumped it onto our yard.
At that point I didna€™t know what I should do; the studio was closed and I had an opportunity to go on tour so I took it. While touring, Angela launched a Kickstarter to reopen the backyard space as a full blown tent. The canvas enclosure style was first employed by troupes trailing alongside the westward journey the original pioneers of the American dream were carving towards the new frontier and beyond.
But if the nostalgia of nomadic ventures was the intention, she was about to get more than she bargained for. Upon returning to Brooklyn, Angela received a disturbing wake up call from a double homicide next door with one of the people shot going down in her backyard. Confronted with another reality check, she realized that the situation was too unstable to continue bringing people in. A  I learned something from every man I met or exchanged emails with, and Lou taught me a few words in Spanish.A  Ole!
There were 4 of us living in the house at the time, so we packed up our bags, loaded up the truck, and moved into a vacant warehouse in Williamsburg. There was a sink and 2 toilets; no shower, no kitchen, no rooms, so the 4 of us lived in the main body of the warehouse as we built up a living space. We built up everything from scratch, and then we had a home and started the studio in the living room, this is 2011, when the business was officially registered. The tornado ripped it up for a reason it was like a€?ok youa€™re done you have to go to this warehouse do this thing and that will build up the community even morea€? and now ita€™s this thing. Enter the next antagonist in the form of Vice Magazine, whoa€™s imperialistic conquest left them hovering in limbo once more.
We got swiped out- we were actually supposed to have a few months left on our lease but they started construction and bits of our ceiling started falling in and there were sparks coming over so we had to wrap up business and get out early. So they packed their bags again and moved into the current space, a drastic transformation from the trashed condition they found it in.
From December to April 2015 they were in heavy construction with the help of volunteers and a few professionals.


Almost everything was repurposed, including the acquisition of $120,000 of freshly laid wood that someone had changed their mind about last minute. The stage was donated, and the booths are from Galapagos who lost their space in Dumbo from getting bumped out.
At the time we lost the old Muse a lot of spaces were closing and I do think ita€™s a crisis in NY right now, of artist spaces becoming fewer and far between and more so getting pushed further and further away, and I think it could get to the point where everything is driven so far out that you lose the point of being in NY. I think theya€™re going to start importing more and more art rather than actually having local stuff brewed here. She was living back in NY- we met again and she started asking if I wanted to move to NY and become her base. We can take a little walk, maybe get our feet wet, and then lie on a blanket and listen to the waves. Thata€™s such a romantic way of thinking about it A: There was no romantic anything, we didna€™t date for a long time, everything was built on play, trust, and communication. We became really good friends and that second time we met at the convention I didna€™t trust many people to be throwing me around, but I trusted him, I felt very safe with Yoni.
He was the one that would translate for me and make sure that I was always included in things. There were things at the convention I had my reservations about, I wanted to pursue acrobatics but I didna€™t have a partner. I found the world fascinating but wasna€™t sure if i was capable of it, but somehow together we were capable of a lot, so I asked him to come down here and work together.
I was like- I really dona€™t know if we would book work, I have a studio, we can train, we can go to Montreal to get coaching- I have no clue how this will work, but youa€™re still welcome to come and he came. We worked together very closely and very intense training for 9 months and then after that 9 months he was committed to go back to Israel for a year. I do the same thing myself, when the mood strikes.A  And how about this for being an "in tune with women" kinda guy?A  A few days after I had ordered myself 2 new green dresses and several in black to add to my collection from a mail order company named Newport News, he sent an email asking:A  "So, what are you wearing right now? I think wea€™re still very much so in hard times right now trying to get over that last transition and hump. Wea€™re still not financially stable and ita€™s really rocky, but then there are moments where I see someone whoa€™s worked really hard in classes achieve to the next level and their celebration and joy or I see some of the little kids saying things like a€?I can fly!a€? and you see through other peoplea€™s experiences. Sometimes when there a show Ia€™m watching the audience so Ia€™m seeing them relive something that I went through, which is the reason that I got into this.
Y: I think for me performance- wise I like to make things funny, but I think I find more moments of joy working with people in a class and just meeting someone somewhere and doing something with them. I had an experience a few months ago with a bunch of friends in Israel just next to a waterhole in the desert. This one woman was having a hard time, she wanted to go in the water but was afraid because it was cold. I naturally felt like I could support her and help her choose to go in and not be pushed in.
A  Yoni has been exploring his ability to encourage others to participate through a€?play-working sessionsa€? where he focuses on listening to students one on one and getting them to open up.
A: In teaching too, together we notice a lot and one thing we love about sharing this with others is seeing peoplea€™s minds change about what theya€™re actually capable of. Even when Yoni and I first saw acrobatics, hand to hand specifically, it was something I felt for me was unattainable, I wasna€™t capable of it.
I admired it and was like a€?wow thata€™s really amazing, God I wish somedaya€¦a€? and then slowly you start to build these blocks and you understand ita€™s just a matter of time, training, and willingness to keep going. Their idea of circus is not a passive panoptic performance for the audience, but interactive play that encourages the entertained to partake in the entertaining. A  For Christ Sake!!A  How about saving the Taxpayers a buck?A  In addition to that $6 million you've already blown by hovering and covering me, and scheduling a proper Face to Base meeting in your office; at my convenience?
Y: Personally I like to not have that boundary and I like to pull people up from the audience to do simple acrobatic tricks to show people that they can do a lot more that they think. Often Ia€™ll take the smallest girl I can find and go into an inversion where all my weight is on her and they always hold it and theya€™re so surprised.
A  A: For me ita€™s similar, Ia€™ve performed at Radio City before and off broadway, so I feel like Ia€™ve had a big spectrum of lots of different audiences and ita€™s more special when ita€™s very intimate and that fourth wall is gone. I like to create shows where the boundary isna€™t there, so its ok for you to touch an audience member, ita€™s ok for you to go right up to them or hug them in the middle of your performance. If something is not completely or tightly constructed the performer has freedom to make choices and feel whata€™s actually happening.
I think what we have in common is the connection with people, if we have a small show with 30 people, I can come close and look someone in the eye and make them feel something and get them to have an experience that they havena€™t had before. Ia€™ve noticed in acrobatic performances that there seems to be this incredible defiance of gravity. A: In my dreams as a kid I used to be able to jump and swim through the air and choose when I came down.
I think that desirea€™s always there; I think we can all fly ita€™s just a matter of when gravity decides to kick in.
When theya€™re not challenging the laws of physics, the space is rented out to a myriad of amusing acts, including most recently The Acro-Cats, a rock band and acrobatic ensemble comprised of 5 cat performers. Dramatic, but no drama.A  Short black skirt, or long black dress?A  Heels or boots?A  Camo, or commando? A: Yeah, we do coproduction type opportunities where if therea€™s a small company thata€™s not as established and wants to produce a show, we grant them rehearsal space and the ticket proceeds from the show go back to fund the space. Therea€™s a lot of dead hours that we want to try and give to as many artists as possible and in return they help us bring in an audience and keep the space going. Therea€™s high competition for jobs that immediately sets up this territorial environment where you become very scared to show your material or teach someone else because all of the sudden theya€™re gonna take it or get that job. In other places theya€™re like that, really open with the knowledge they have and wanting to gift it. The more people we have using the space, loving the space, wanting to be a part of it, the better. Until then, as in the end,there is much more to come.A A A  Once Upon a Time, a little mushroom popped through the moss covered ground of the Southeast Alaska Rainforest.
Grant, Attorney at Law, Juneau, AK From Wedding Bells to Tales to Tell: The Affidavit of Eric William Swanson, my former spouse AFFIDAVIT OF SHANNON MARIE MCCORMICK, My Former Best Friend THE AFFIDAVIT OF VALERIE BRITTINA ROSE, My daughter, aged 21 THE BEAGLE BRAYS! HELL'S BELLS: THE TELLS OF THE ELVES RING LOUD AND CLEAR IDENTITY THEFT, MISINFORMATION, AND THE GETTING THE INFAMOUS RUNAROUND Double Entendre and DoubleSpeak, Innuendos and Intimidation, Coercion v Common Sense, Komply (with a K) v Knowledge = DDIICCKK; Who's Gunna Call it a Draw?



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  1. 3770077 — 21.03.2015 at 15:25:34 Time on private retreats, with staff members focus, you.
  2. Leonardo007 — 21.03.2015 at 22:28:52 Held primarily in silence, with alternating durations of sitting that mindfulness enhances drawback-solving enables.