The Keweenaw Symphony Orchestra finished off the 2009-10 season on Apr. 17 with their performance of The Bernstein Beat at the Rozsa Center. Featuring guest Jamie Bernstein, the concert showcased several works from famed conductor and composer Leonard Bernstein, including music from “On the Town” and “West Side Story.”
Jamie Bernstein, daughter of Leonard Bernstein, narrated the concert. Over the course of the hour-long event, she explained to the audience about her father’s life and how it influenced his music.
She told, for example, about how his mother would take him to the synagogue, where listening to the cantor, readings from the Torah, and the shofar (a horn instrument made from a ram’s horn, which the KSO was able to borrow for the concert) kindled an interest in music at an early age.
She also explained some of his other musical influences; such as the contrast of the “cool” jazz and the “hot” Latin American rhythms in the Prologue to West Side Story.
In between Bernstein’s narrations, the KSO performed several of her father’s works, including “Meditation” from Mass, and “Mambo,” “Cool,” and “America” from West Side Story. For some of these, Bernstein worked in some audience participation. During “Mambo” she invited the audience to shout out “Mambo!” at the appropriate time, explaining, “You really have to! It’s in the score, even the orchestra has to!” Also, to demonstrate how the unusual nine-beat rhythm of “Meditation” worked, Bernstein invited nine kids from the audience onto the stage.
From there, she explained how any rhythm could be divided into two- and three-beat parts, which she referred as “hot dogs” and “hamburgers” respectively. She then gave each of the children a red foam board to hold up, and gave four of them a yellow board to clip onto the red one, which indicated the “strong” beats. With her demonstration in place, she had the kids call out “hot dog” and “hamburger” in time with the rhythm as their “beat” came up.
The KSO, for their part, performed very well given some of the most difficult music they’ve played this season. During the concert, Bernstein complemented KSO director Dr. Joel Neves and the orchestra.
Near the end of the performance, she told the audience “you are lucky to have them here.”
Following the concert, Bernstein and Neves were both available in the Rozsa lobby to talk with members of the audience.
The KSO will return in the Fall of 2010 with a concert at the Calumet Theater, where they will perform Edward Elgar’s Enigma Variations.

Michigan Tech has
been known for its
focus on cultural
awareness thanks in part to the
Center for Diversity and Inclusion.
Though unbeknownst to
some students and faculty, the organization
also deals extensively
with Native American customs
and rituals around our community.
Next week, the Rosza Center for
Performing Arts will host Kevin
Locke (or Tokeya Inajin, which
means in the Lakota language
as “The First to Arise”). Locke
is a traditional Native American
storyteller, educator, musician,
and Hoop Dancer among other
things.
Locke began learning about his
heritage at a very early age. His
mother, Patricia Locke; uncle,
Abraham End-of-Horn, and many
others are the key inspirations that
lead him through his life. As time
went by, his ambitions grew to experimenting
with music, teaching,
and storytelling.
Throughout his life, Locke has
led a crusade towards understanding
and acceptance of different
customs and traditions throughout
the world. His goal, as he puts
it, is to “raise awareness of the
Oneness we share as human beings.”
One of the key rituals used
to manifest those understandings
is through the traditional Hoop
Dancing. “It reflects the roles and
responsibilities that all human
beings have within the hoops, or
circles, of life,” says Locke.
Flute playing is also a major
pursuit within his life and has been
a long practiced tradition among
Native Americans. According to
scholar and flautist Edward Wapp,
flute playing is meant to evoke the
natural beauty of the environment
in which one lives. The Lakota, a
nation of which Locke belongs to,
is an excellent example of where
the flute is widely used.
The Lakota and Dakota nations
stem from the northern prairies of
what is known as Maka Wita or
“Earth Island”. The Lakota flute
is used to reflect the winds which
move through the meadowlands.
According to Lakota tradition,
there are seven notes that represent
four distinct ideas; direction,
the Earth, the heavens, and the
heart.
“It is so hard for people to relate
one to another because we
all come from different backgrounds,”
says Locke. “But no
matter where we come from, we
can all connect with music.”
Aside from the flute, Locke
also plays the drums, voice, and
the rattles. He combines all four
instruments to create a form of
music known as “Olowan”. The
Olowan is played to reflect the
characteristics of a thunderstorm.
Twelve albums have been produced
by Locke in the past 28
years. These albums accompany
the many traditions that highlight
society within the Lakota. Some of
his more notable albums include;
Dream Catcher, Open Circle, and
Keepers of the Dream.
Teaching and educating through
storytelling are also delegations
that Locke follows. He strives
to display the importance of not
only Native American rights but
of others as well. Some literature
includes the plight of the American
Indian during the early years
of American history.
Up until the early twentieth century,
Native Americans were seen
as inferior to the average “white”
American. Rampant discrimination
was discernable in many
communities populated by white
majorities. The Trail of Tears in
the 1830s serves as a prime example
of this discrimination which
led to the displacement of over
45,000 Native American tribes
from their homeland to “Indian
Territory” or Oklahoma.
In 1924, President Calvin
Coolidge signed a bill claiming
American Indians as citizens
of the United States. From this
point, many American Indian
reservations were made which allowed
for the creation of schools,
buildings, and roads. In 1968,
the American Indian Movement
(AIM) was passed to prevent ongoing
discrimination of Native
Americans and for educational
purposes.
“All of the people have the
same impulses, spirit and goals.
I want to create a positive awareness
of the Oneness of humanity,”
says Locke.
Locke has been touring the
world for more than 20 years and
has lectured and performed in
many countries around the world
including the United States, Germany,
Turkey, and Brazil. He
also works extensively with environmental
relations and resource
conservation.
The event will take place on
April 20, Tuesday, from 7:30 p.m.
to 11:30 p.m. at the Rozsa Center
for Performing Arts. Tickets
will be $25 for the general public
and $20 for students. For more
information regarding the event
contact the Native American Outreach
at (906) 487-2920 or by visiting
their website at http://www.
mutlicultural.mtu.

When I asked one student
how they would describe what happened
in the McArdle Theater on MTU’s campus this past weekend, they were able to sum it up in just one word, “epic.” As twenty groups of musical wonders made their way across the Keweenawesomefest
stage over the course of three days, college students, high school students, adults, and toddlers alike swayed, jumped around, and sang.
The weekend of awesomeness began on Thursday. Keweenawesomefest
Night Zero, as it was dubbed for all of the computer junkies at Tech who think counting
starts at zero, featured four area favorites. Starting off the night, a local favorite, This is Deer Country, who credit Keweenawesomefest
as being one of the main reasons they formed, warmed up the crowd.
Matt Jones and the Reconstruction
made the trek up from Ypsilanti
haunted concert-goers with his Indie/Folk music, and as WMTU’s
website says, the best way to describe it is “everyone loves Matt Jones.” If his set wasn’t enough for MJ lovers at Tech, he then played the drums with a similar group from the A^2 area, Drunken Barn Dance. Along with them, Chris Bathgate made the journey from Ann Arbor, and as usual, he didn’t disappoint.
Friday night had eight more groups lined up to dazzle the crowd, and dazzle they did. Between
Cedarwell’s “monkey noises”,
White Pines’ incorporation of the crowd in a repeating melody in the song “Foot of the Cross”, Drink Up Buttercup’s “Beatles-y” sound, and Cotton Jones’ extremely
original “psychedelia-tinged rock”, there was something for absolutely everyone.
Thom Sullivan, an MTU first year, said his favorite part of the night was Drink Up Buttercup, because
of their stage presence and how well they connected with the crowd. A personal favorite was the Photographers, with their breathtaking
harmony and extremely amusing “Mustache Song” which expressed that that’s the way to get the ladies; not with a little bit of peach fuzz, a full-grown mustache,
a la Salvador Dali, Col. Sanders, Friedrich Nietzsche, Zorro, and Burt Reynolds.
Saturday night was just as exciting,
with one of the highlights being Graham Parsons & The Go ‘Rounds from Kalamazoo. Parsons
has been entertaining the Keweenaw for quite some time now as a solo act, and as a member
of the Squeaky Clean Cretins, as he grew up north of Calumet, but this was the first time that the Go ‘Rounds have made an appearance
at Kfest.
Millions of Brazilians also rocked out the McArdle, and won the affection of one student in particular,
James Mills, who said the best part about the weekend for him was their high energy performance.
Listeners weren’t the only ones who had a good time though; it appears as if MOB had an equally awesome experience. Their Facebook page’s status update
from Monday claims “the 20+ hours of driving for one show was definitely worth it, HOUGHTON
was uh-mazing.” In fact, MOB weren’t the only musicians who praised the weekend. White Pines’ status claimed “White Pines is still reeling from his week with Cotton Jones. So fun, so tired… thanks to everyone who helped us with shows, it was truly a magical trip.”
And last, but in no way whatsoever
least, Electric Six showed Houghton exactly why their Myspace
profile has more than a million
views. One critic’s review of them says, “The Electric Six have a knack for mixing a dash of Saturday
Night Fever with a whole lot of MC5 and just a smidgen of Jack Black” and that’s exactly what we got. With their hits such as “Gay Bar”, “Body Shot”, and “Danger! High Voltage”, Electric Six left their mark on Houghton.
Overall, the three days of musical
awesomeness were a huge success, with Saturday night not only selling out the McArdle but going beyond that, were simply unbeatable. Why is the weekend such a success? Gabi Elser said, “I really liked how personal and intimate the whole event was. The McArdle is a small theatre and I felt like I had one on one time with the band.” Mills wasn’t a man of many words on the subject,
and was able to just sum it up with two, “simply awesome.” To listen to the bands, purchase CD’s, and anything of that sort, you can go to wmtu.mtu.edu to see a full list of who entertained at the event, and most groups have a Myspace site. For pictures of the event, you can visit Mostly Midwest
Photography at www.mostlymidwest.
com.

On March 24 and 25, the Michigan Tech Theatre Company presented its final production of this year’s theatre season: the musical Rumpelstiltskin, starring MTU actors Cassi Warsinski, Adam Sommerfield, Ryan Huntington, Chip Rohrer, Jacob Augsburger, and Mike McKellar. Adapted by Moses Goldberg and Lisa Palas, the presentation attempted to put a “modern” spin on the classic fairly tale. The main showings were at 7:30 in the evenings, while special showings for elementary-school children took place in the mornings.
The actual Rumpelstiltskin story is sort of a “show within a show.” The play opens with a group of actors and some kids meeting around a playground set and struggling to think of a show to produce, eventually deciding on Rumpelstiltskin. After some amusing antics, including a struggle to come up with a role for the mime of the group, the real play begins.
For the most part, Rumpelstiltskin is a very lighthearted take on the original story. Most of the action takes place around the playground set, which is decorated to indicate different settings–for instance, during the scenes at the castle flags are placed on the posts and tapestries cover the sides, while during the forest scene, the tapestries are covered with illustrations of trees. The music has sort of a cheery, faux-hip-hop style to it and manages to be quite decent. The show also manages to play with the fourth wall. In one scene, one character asks the kids who act as living props to solve a problem by returning to being a prop they were early in the play.
There is also a degree of audience participation involved, especially regarding the children placed in the front rows of the audience: in different scenes, the children suggested different pastries to the characters and also acted spinning straw into rope.
The Tech Theatre Company has no more events this season; however, events will resume at the beginning of the 2010-11 season.

Facebook has become one of the most popular and influential mediums for social networking in the world. It is no doubt a powerful and convenient social tool, giving you easy access to friends all over, but can it be used for business purposes just as efficiently? Creating an advertisement or event on Facebook is easy – anyone can do it. All it takes is a date, a place, and a description of the event. You can invite anyone if you’re friends on Facebook. People who are invited can respond online with a “Will be attending,” “May be attending,” or “Not attending.” Many organizations on campus have turned to Facebook to advertise events. The question: is this new wave of advertising efficient? And will student organizations continue to use it?
Marc Starnes says no. Marc is part of several groups on campus including Sigma Tau Gamma fraternity, USG, and Circle K International. He has found that Facebook has neither helped nor hindered the attendance of advertised events. “We’ve advertised rushes and meetings on Facebook, and I have found that there is no increase of people there.” For an annual fraternity charity event, the pancake breakfast and Grundy Run, Marc set up a Facebook event and advertisements.
Last year the event was not advertised via Facebook. The difference: none. “There was no difference in attendance between this year and last year. Part of the problem is that there is no personality involved, and a lot of people don’t have Facebook – and those who do might not even check it very often.”
Brittany Ondraka agrees with Marc. Brittany is a member of Mu Beta Psi music fraternity, pep band, and Superior Winds. “We’ve advertised events on Facebook, and I don’t feel like too many people actually look very closely at the events they get invited to. I know that sometimes I see one and just reply to it without really reading through it.” Brittany says that she still likes to have the events on Facebook as a reference for people regarding dates and times, but that face-to-face communication is the best recruitment tool. “You really just have to get out there and talk to people, and put up posters. People like it when you invite them personally.”
It seems that Facebook has the advantage of being a quick reference, but when it comes to increasing attendance, word of mouth is the best method.

You stare out the window and all you see is gray. The trees are desolate, frail arms reaching towards an empty sky. Faces are pale, wanting, yearning, hoping. And still the winter loves to tease us with its bouts of sunshine when you just know another snowstorm is around the corner.
Seasonal Affective Disorder (SAD) is not as serious as it sounds. It is commonly known as the Winter Blues or a time during the winter when depression is a direct effect of the environmental surroundings. It is common in Upper Michigan where sunshine is rarely seen during the mid-portion of winter.
Are you a victim of SAD? Common symptoms of the mild wintry disorder include difficulty waking up in the morning, oversleeping or overeating, craving for carbohydrates (weight gain), lack of energy, difficulty concentrating which in turn leads to depression and pessimism.
Behold! There are treatments for SAD that can prevent the weight gain and “sad” emotions. One such treatment is light therapy, which uses a light box that emits full spectrum light at 10,000 lux.
Some people turn to tanning beds to get their sunlight fix, which can also be effective in the treatment of SAD, though not always healthy.
Of course, there is always the choice of turning to drugs to help lift your mild winter depression, though personally not recommended. I don’t mean like marijuana, I mean official pharmaceutical drugs like anti-depressants. Come on, get your head out of the gutter.
The last and final treatment for SAD is negative air ionization. There is a release of charged particles into the subject’s sleeping environment. It is usually used with another sort of treatment for SAD to make the lasting effect stronger.
Personally, I do not turn to any of these treatments as a means of a cure for my Seasonal Affective Disorder. I look to physical activities to do outside such as snowboarding or sledding. I have found that being outside and participating in an active lifestyle during the winter has helped with the SAD. I also turn to music for help. Rhythms and beats have a powerful effect on my mood. I have found that while in the palm of my music, I am very vulnerable. It is very important to choose uplifting music for this kind of situation.
You will know SAD when you see it. It is like the swine flu, always on the prowl, looking for its next victim. Usually in mid-December it begins to shine its ugly face down upon the campus of Michigan Tech. Students begin yearning for Christmas break and it always seems too far away due to the large amount of end-of-the-semester exams standing in the way like fat bouncers in leather jumpsuits. They cackle maniacally bearing their silver teeth. There is always no hope until that final exam is finished. If you see a friend or a loved one showing symptoms of this disorder, steer clear.
If you are stuck at home, snowed in most likely, and need a means of escape away from the depression, I highly HIGHLY recommend video games. There is nothing like a good round of Call of Duty to cure my mood. Or if I become consumed by a horror survival game, there is no thought of this SAD. Suddenly I am thinking, what depression?

Nick Jr.’s Emmy nominated show Yo Gabba Gabba! will be returning for its third season on Mar. 8th at 10:30 am. The show, which has a following of toddlers, teens, and adults alike, has been a huge success for Nick Jr. Yo Gabba Gabba! is rich in the arts and makes the imagination work. The show takes place in a fictional world called Gabbaland, following the daily adventures of characters Muno, Foofa, Brobee, Toodee, and Plex. Hosted by a character named DJ Lance Rock, the show features retro style graphics and costumes, and catchy tunes that teach kids life lessons about sharing, sleeping, eating healthfully, and being nice to everyone.
The show’s appeal to families is apparent: it gets kids off the couch and involved in the show, dancing and imagining. A regular segment on the show, called Dancey Dance Time, teaches kids how to do silly dances like the Jumpin’ Jellyfish and the Peanut Butter Stomp. Yo Gabba Gabba! introduces kids to different dancing styles and musical instruments.
Another segment, called The Super Music Friends Show, features well known artists playing a concert for their Gabbaland friends. Yo Gabba Gabba! also has a drawing segment, where artist Mark Mothersbaugh teaches kids how to draw.
Guest stars on Yo Gabba Gabba! have included Mya, The Roots, Of Montreal, Elijah Wood, Biz Markie, The Saltines, MGMT, and many more. The third season promises to entertain – look for stars like Weird Al, Anthony Bourdain, Weezer, Devo, Flaming Lips, and Mos Def.

On Feb. 6, 2010 at 6:00 p.m., Scott Michael Bennett, male-pianist and vocalist, will be performing at the Portage Lake United Church located at 1400 E. Houghton Ave. in Houghton, MI (located next to Wells Fargo Bank). Bennett will render for the Keweenaw community a variety of hymnal and spiritual song selections. FreshDay Music describes Bennett as “an inspirational young singer whose sincere goal is to dramatically inspire people of all ages to reach for a higher life with God as its [life’s] center and other people as its [life’s] focus.”
Bennett is a former member of the Grammy Award winning Phoenix Symphony Chorale and Arizona State University’s Men’s Chorus. In 2001, he was pronounced the winner of the National Young Artists’ Competition in the Vocal Performance category singing two Shakespearean songs with full orchestral accompaniment.  In 2002, at the age of 19, Bennett recorded and released his debut album “O Glorious Love,” recorded at Gaither Studios. 
This album contains fresh reinventions of some familiar hymns in addition to some obscure songs that are favorites among Bennett’s supporters.
His sophomore album, “Come As You Are” is a deeper creation that many listeners describe as “moving” and “inspirational.”  Several have shared that they were moved to tears as they envisioned the messages conveyed in his songs. 
Scott is very patriotic and is noted for including a brief tribute in his concerts to the men and women in law enforcement, EMT/EMS, fire fighters, Emergency Services Personnel, and even our troops. He has sung at the Pentagon and sings annually for a local Veterans Day program and Sept. 11 memorial program. 
Recently, Bennett married his best friend & sweetheart Heather Bennett (formerly Kincaid). Scott & Heather Bennett’s deep commitment to God, their spiritual growth, and each other, continue to create a dynamic duo in ministry. FreshDay Music continues through the new year with the Bennetts working side-by-side to inspire, hope, & share deep and meaningful messages to people everywhere through use of passionate music, multimedia, and presentations.
This event is free and is brought to you by the Center for Adventist Ministry to Public University Students—C.A.M.P.U.S. HOPE (Michigan Tech) and the Houghton Seventh-Day Adventist Church.
If you are interested in more information about the concert on Feb. 6, contact Alanna Knapp, CAMPUS Staff Member, at aknapp@mtu.edu. Scott & Heather are currently booking concerts for 2010 and would love to share at your church or event. Please contact FreshDay Music if you are interested in more information via their Web site at www.freshdaymusic.com.
All biography information was provided by FreshDay: inspire, hope, & share.

Chris Carrabba, the lead singer and heart of Dashboard Confessional, has been evolving. Die-hard fans often shy away from Carrabba’s evolution from the intimate, acoustic artist presented in Dashboard Confessional’s first album, The Swiss Army Romance, to the more heavily produced big-band musician he appears to be in his more recent albums such as Dusk and Summer and the newest, Alter the Ending. Although his sound has been changing over the years, for better or for worse, his thoughtful lyrics consistently remain the heart and soul of his albums.
Alter the Ending (released Nov. 10) brings a more refined big-band sound than was presented in Dusk and Summer. A few tracks such as “Until Morning” and “The Motions” seem a bit overdone instrumentally, however. The raw, emotional nature of Carrabba’s voice is unable at times to match the heavy sound of the band behind him. Other tracks such as “Belle of the Boulevard” and “I Know About You” are written appropriately for Carrabba’s vocals; the heavier instrumentation highlights rather than overshadows the heartfelt lyrics.
Despite some success with these big-band songs, the best tracks are the more personal, acoustic numbers of “Even Now” and “Hell on the Throat”. For fans of the older Dashboard Confessional albums these songs may very well sell Alter the Ending. They are reminiscent of the deeply thoughtful and passionate acoustic songs such as “The Places You Have Come to Fear the Most” and “Screaming Infidelities”. “Even Now” paints a portrait of sweet, fragile romance: “Even now I can feel your hand/
gently over mine/with almost no weight at all.”
Songs such as “Even Now” win the hearts of prospective Dashboard Confessional fans while satisfying the cravings of long-time listeners. Carrabba’s ability to capture a single moment in time or a particular emotion using sophisticated lyrics are what repeatedly set his music apart from the overwhelming stream of cookie-cutter emo bands that followed Dashboard Confessional’s debut. Carrabba laments foolish decisions, “When all the forays of your weekend/hang like smoke onto your clothes”, and celebrates perseverance, “And that’s the sign of a solemn man/I’ll make the best of the best I can/and I’ll be better for it if I ever get my chance” in Alter the Ending.
Dashboard Confessional has definitely changed over the years. Chris Carrabba was in his mid twenties when Dashboard Confessional released their first album. Carrabba was not far from the self-taught guitarist and skateboarding fanatic that he had been in his teens. Alter the Ending, however, presents the older Carrabba, now in his thirties. Change in age, environment, and experiences will undoubtedly be reflected in Dashboard Confessional’s music. It is selfish of fans to encourage Carrabba to remain the same person and musician that produced The Swiss Army Romance in 2001. He has proven himself a talented songwriter and performer and deserves to explore and grow with his years.
A first listen of Alter the Ending may produce disappointment in faithful Dashboard Confessional fans. However, listening to the lyrics and paying particular attention to the songs “Even Now”,” Belle of the Boulevard” and “Hell on the Throat” will remind the listener why Dashboard Confessional has captivated audiophiles for years and will illuminate the magic of an entire audience singing word-for-word the entire repertoire of a live performance.

The stylistic blending of music can be a risky and sophisticated one. That’s what makes musical innovators like Simon Shaheen so unique. Being one of the most inspiring and influential Arabic composers of his time, Simon Shaheen continues to evoke a sense of awe within his audience. The Philadelphia Inquirer dubs him as “A master of Arabic music.”
Shaheen will perform at the Rozsa Center of Performing Arts where he will display his extraordinary talent of blending classical Arabic with traditional Western and jazz styles. The audience will get a chance to experience the sheer beauty produced by such instruments as the Middle Eastern “oud” and the violin.
Born in Israel in 1955, Shaheen began playing the ‘oud at age 5. His father, Hikmat Shaheen, was a music teacher and a profound inspiration for his son. As Shaheen remembers, “Learning to play on the ‘oud from my father was the most powerful influence in my musical life.”
Shaheen later pursued a degree in Arabic literature and music performance whilst attending Tel Aviv University. In 1980, he immigrated to the United States and completed his studies in performance at the Manhattan School of Music in New York City.
Currently, Shaheen still resides in New York City where he has organized a myriad of musical retreats and art festivals dedicated to Arabic music and culture. In addition, he created the Near Eastern Music Ensemble in 1982; placing his upmost emphasis on traditional Arabic music. Shaheen, however, has dedicated most of his involvement with the recently formed Qantara ensemble. The band brought to him the vision of intermingling traditional Arabic with Western classical, jazz, and Latin American music. “I want to create a world music exceptionally satisfying for the ear and for the soul,” states Shaheen.
Shaheen has also released a few recording debuts highlighting his work. His first and most notable release with Qantara, Blue Flame, exemplifies their experimentation with cross-cultural influence. The album garnered a considerable number of positive reviews. The Washington Post describes the debut as, “eminently cosmopolitan.”
Simon Shaheen continues to make substantial contributions to western music as he continues his quest for innovation and experimentation.
The performance will be at the Rozsa Center on Nov. 18. Tickets prices are $20 and $15 for the general public; prices for MTU students are $15 and $10. The performance are from 7:30 p.m. until 9:30 p.m. For more information contact the Rozsa Center of Performing Arts, www.rozsa.mtu.edu or call their office at (906) 487-3200.