The ABCs of a Woman
(Sung)
Sister,
You’ve been on my mind
Sister, we’re two of a kind
So sister,
I’m keepin’ my eyes on you
I betcha think
I don’t know nothin’
But singin’ the blues
Oh sister, have I got news for you
I’m somethin’
I hope you think
That you’re somethin’ too
(Spoken)
You are something, more than something. There aren’t enough letters in the alphabet, words in the dictionary, to properly portray the power and persistence of the double X chromosome.
Awesome Amazons, Aphrodites
Blessed bohemians
Courageous CEOs
Destined dynamites and deep dive diplomats
Experienced energizers
Fierce feminists
God’s gifts
Honorable hustlers Implied igniters
Juicy joys
The keeping kind of kin
Limitless leaders
Mind-blowing mothers in a man’s world
(Sung)
This is a man’s world, this is a man’s world
But it wouldn’t be nothing, nothing without a woman or a girl
(Spoken)
We stand him up when he can’t do anything other than take a knee
We are the whoa in woman
We are the womb, a safe space in the face of honor killings, objectifying ooglers, constant combat, sex trafficking, marital rape and non-equitable pay
82 cents for every dollar a man gets
59 cents if you are a Black woman
50 cents if you are a Latina
We sometimes have to yell into a void
Pursue when we are tired of trying
Take on responsibilities that aren’t ours
Run into burning, systematic racism fires
Even at our worst and perhaps the most dishonest place in our birthright, omnipotence oozes from our perfect, passionate pores.
We are the glue, fuel, key, the drumbeat for the best rap battle.
We are the push and the pull an elastic, safety pin and paper clip – sometimes all at one
We are the needed vaccine
We bind what is broken with body, soul and bridge building bravery and beauty
We get it done, sometimes with a smize, wink, sashay or hair toss while surpassing the odds. There are indeed not enough words to eloquently explain the exquisiteness of an effeminate
Notorious notables
Opulent optimists
Poised packages, princesses
Quintessential queens
Righteous resonators and responsible rock stars
Scintillating sisters
Tenacious, timeless teachers
Uplifting unicorns
Vivacious victors
Woke warriors
Exceptional extraordinaries
Yelp-worthy yen
Zealous zeniths
Zeniths that illuminate with the brightest bulbs and most significant superstars. Strong winds can’t break us.
(Sung)
I’m every woman, it’s all in me
Anything you want done, baby
I’ll do it naturally
I’m every woman, it’s all in me
I can read your thoughts right now
Every one from A to Z
Whoa, whoa whoa= oh oh
Whoa, whoa wo-man
Watch this piece performed: fb.watch/4qhvse_kr5; For more, Facebook: @YourWingsRReady Twitter: @AlishaPina Ear Worm
We know you miss live music, so we figured out a way to bring it back to you … kinda.
Motif teamed up with The Parlour in Providence to host a podcast and livestream where we’ll interview local bands and artists, then give them the opportunity to perform. It’s not the same as it was before the panorama, but baby steps, right? And even though we can’t give you the atmosphere of a crowd, we can show you some really rad new bands and maybe introduce you to some old ones that you didn’t even know you were missing.
Watch this space for information about interviews and performances.
Tend to Your Garden: Our resident plant lover draws parallels between plant care and self care
Six months ago, I started taking care of indoor plants for my mental health, only to discover it quickly began to hurt me. I was enamored with each new growth, new species and new green goddess that erupted from the soil. I started buying more and more plants. In six months, I went from three plants to 90-plus, some of which were expensive and rare species. These 90 plants also brought with them 90 potentials for mental disaster. With each yellow leaf, spider mite, moldy dirt pile, mealy bug, mushed succulent and fungus gnat, my spirits worsened.
Plant people, I know you have been there. These beautiful beauties that began with such hope left me full of despair. Every failure hurt my soul. But from it, I grew. And over time, I learned to accept a few rules for my plants and for myself.
1) You CAN care too much. Overwatering and overpotting happen. Sit back a little and watch. Be patient with your plants and yourself. Live in the present.
2) New and different do not equal happiness. Some of my favorite plants are run-of-the-mill pothos. Get something because it inspires joy, not because you’ve developed plant envy. That’s a sure way to get stuck with plants you end up despising, or as I call them “future compost.”
3) It doesn’t have to be all or nothing. You don’t need a million plants. We plant lovers all want to live in a jungle of our own making. Before you go for that, make sure you’re tending to your own garden. Did you drink enough water? Did you eat a healthy meal? Did you take time to grow? 4) You have not failed if your plant dies, your kid rips off every petal or the cat pees on the soil. So what?! Cry a tear or two if you need to, but keep in mind that you are learning. Sucking at something is the first step to being sort of good at something.
5) We’re all in this together. There is a beautiful network of people to go to for advice. Facebook is full of plant friendly groups, the National Gardening Association has a forum for help, and there is a plethora of articles available online about each species. You are not alone. There is always a trellis to support you.
6) Knowledge is power. Pick a few plants at a time. I’d say at max three. Learn them, name them if you want and make sure you’re able to fully give them what they need before moving on to more.
I hope these rules help people struggling with plants, obsessed over plants in an unhealthy way or beating themselves up for not being good enough, in general. You are not alone. Keep reaching for light.
The Cabinet
Zounds! Horace Popinjay here with the first edition of The Cabinet, a dispatch which shall be put forth each sennight hence!
You may guess from my demeanor that I’m writing from the past. No! This dispatch comes from the future — the year 2121, in fact, when Providence is an Underwater City, and we all have to put on our Copper Diving Suits to go to the Alga Encrusted Ruins of The Providence Place Mall!*
“Egad!” you’re saying to yourself. “I thought our noisome troubles would cease now that we’ve shed that pestilent year, 2020.”
No. Why did you think that? Things will get way worse. But of course the future, unlike the past, is mutable! Heed my dispatches in this periodical, and we can avoid this watery end.
Take Senator DiPalma’s commission to investigate Rhode Island’s energy infrastructure. Not a single activist or environmental expert among the 20-member commission, which includes luminaries from Enbridge Gas and National Grid.
Tommyrot! But let’s give the State House their due: Trying to balance preserving the conditions for life on earth with keeping the energy companies happy is a sticky wicket. At least the new Transportation and Climate Initiative will reduce public transit carbon emission. Unfortunately, the bigger transit priority seems to be making sure rich people don’t have to look at the folks who ride it. Isn’t that the real agenda behind this codswallop multihub bus plan?
Don’t worry Mr. Paolino, the skyscrapers may be underwater here in 2121, but our moneyed class lives in capacious dirigibles, miles above the hoipolloi down in the briny deep. You’ll love it! *RIP to the many who drowned in defiant opposition to the Governor’s 2120 Copper Diving Suit Mandate
BikeLife Lives Matter: By working together, cities and bikers can reach a solution
In 2017, the Providence town council wrote an ordinance that allows Providence police to confiscate and destroy illegally ridden ATVs and dirt bikes. This October, the City of Providence, in a show of enforcement, publicly demolished 33 dirt bikes and ATVs. One week later, during a ride-out on October 18, 24-year-old Jhamal Gonsalves was involved in a vehicular incident with the Providence Police that put him in a coma where he remains today.
Before the #justiceforjhamal campaign forced it to take a back seat, the BikeLife Lives Matter movement was working toward gaining greater acceptance for the bike life subculture in Providence, counter to what many in the culture consider its unfair villainization.
Those within the bike community view it as a colorblind society that doesn’t ignore the issue of race, but understands it for what it is, and this understanding can provide society at large with lessons on racial diversity and unity. It’s similar to the hip-hop culture in that it intends to bring people of different backgrounds together through self expression and the riding art form.
The bike community is simply a group of hobbyists pursuing their passion — a creative escape born from inner cities where people are directly affected by systemic injustices brought into sharp focus by the COVID-19 pandemic. But COVID restrictions and the resultant lack of human interaction aren’t the only reason riders seek the streets for escape. As a result of the pandemic, they are also dealing with an uptick in suicides and homicides. Many feel that the safest place to be isn’t their homes, but their bikes.
BikeLife Lives Matter seeks to curb the problem on our city streets by including the riders in reaching a solution rather than excluding them. By involving our youth in programs that foster diversity, family and education right where they are. By changing the narrative, giving voice to the voiceless and removing the stigmas that plague the culture. The movement seeks to amplify hashtags like #BikesupGunsdown, a slogan used to curb inner city violence, or #RideoutRacism.
The small town of Shamokin, Penn., serves as an example of what can happen when bikers and the city work together toward a mutually beneficial solution. The former coal town of 6,984 residents had experienced a dramatic decrease in foot traffic in its business district, but as a result of a new ordinance that allowed riders to drive in the city on certain streets during certain hours, the city’s economy was revitalized, and they have dirt bike riders and their tourism dollars to thank.
Like many subcultures, bike life will challenge the status quo, and have to endure the growing pains of an acceptance phase. But as the negative perception of this art forms gradually abates, it is cementing itself as an important social justice movement.
Jeremy Costa is the spokesperson for BikeLife Lives Matter. To learn more about the organization, go to bikelifelivesmatter.org
Rhode Island in a “Tough Spot”: A summary of the governor’s October 15 press conference
Governor Gina Raimondo and DOH director Dr. Nicole Alexander-Scott gave an emergency COVID-19 presser today at 1pm.
There were big upticks in today’s COVID data; DOH reports 228 new cases since yesterday. There are 129 people hospitalized for reasons related to COVID-19. Of those, 12 are in the intensive care unit and five are on ventilators. The percent positive rate for cases yesterday is 1.9%, but overall according to state leaders metrics are trending slowly up. The state saw two additional deaths since yesterday; both were in their 90s. This brings the Ocean State’s total fatalities from the coronavirus to 1,149.
Governor Raimondo and other state leaders promised new restrictions at yesterday’s press conference. Rhode Island COVID cases have been creeping up slowly over the autumn. Today the governor only announced one major change to restrictions, ordering common areas and workplace break rooms closed for 90 days. Raimondo said she was not lowering the social gathering limit, that it will remain at 15. According to state officials, analyzing the data and contact tracing shows most COVID spread is happening in groups well under the allowed limit. “We’re in a tough spot right now,” the governor said. “We’re not where we wanna be.” While no new big restrictions are on the horizon, the state is committed to enforcing restrictions on the books. Crucially, new mask-wearing regulations will be forthcoming, as the state expects Rhode Islanders to wear masks when in the presence of someone they do not live with. Governor Raimondo reminded Rhode Islanders big parties or other gatherings could incur fines of $500 per person. Rhode Island State Police have announced they are tripling enforcement presence for Halloween in a few weeks. Raimondo also asked college residents, teenagers and young students not to go out and party for Halloween. Department of Business Regulation will be stepping up enforcement of fines on businesses that violate COVID regulations.
Additionally the governor asked people to follow some of the COVID restrictions for trick-or-treating this year. Some of the guidance includes individually bagging candy to give away and finishing trick-or- treating before dark, among others. “It’s not forever, this is for now,” said Raimondo. While it’s fun to make jabs at the governor for implying the virus is afraid of the dark, trick-or-treating during daylight hours is to limit the time (and possible exposure) of community spread. Dr. Alexander-Scott noted it was possibly for a sick person to transmit COVID-19 by passing out candy, and said parents should feel welcome to wipe down candy.
The governor also asked people to keep Thanksgiving local, advising them not to travel on a plane or train. More official guidance and restrictions will be made available next week, but Raimondo added that there would be no official prohibition on Thanksgiving. The governor also said the reason for some of these restrictions and guidance was to avoid having to shut down the economy again.
Governor Raimondo also wants to step up asymptomatic testing again, using it to surveil community prevalence of COVID-19. If you are a close contact worker, a legal adult younger than 40, travel to or from other states, or recently attended a large protest or demonstration, the governor advises you to get tested.
In Their Own Words: Jennifer Douglas (D), Senate District 34
We talked to many of the local candidates running for public office in the upcoming 2020 election. We asked each of them the same set of questions, with the promise to print their answers only lightly edited for clarity. The following answers are from Jennifer Douglas (D), running against incumbent Elaine Morgan (R), for RI Senate District 34.
Motif: What are, in order, your top three priorities or issues if elected?
Jennifer Douglas: I will work on legislation to increase the minimum wage to $15 an hour to fight poverty and stimulate the economy.
I will work on legislation to implement the environmental policies outlined by the Green New Deal (GND).
I will work hard to encourage and grow small businesses in the area that will complement the character of our rural community.
Motif: After the election, the Supreme Court is scheduled to hear a case with ramifications that could eliminate the Affordable Care Act, potentially reducing the high insured rate in Rhode Island. In a country without ACA protections, what should healthcare for Rhode Islanders look like?
JD: Healthcare is a human right, not a way for insurance companies to get rich. Single-payer healthcare will improve health outcomes, save Rhode Islanders money and guarantee a woman’s right to choose. I work in the medical field. I see so many patients who can’t afford their medications, who don’t get the testing they need because they can’t afford the deductible, and forgo lifesaving treatment so they don’t lose their homes and livelihoods due to overwhelming medical debt. We can do better. We need to do better.
Motif: Do you think police departments are overfunded, and if so, how would you reallocate those resources?
JD: I know in my own community our police operate on a lean budget, so they’re definitely not overfunded. In others, they have the money for equipment that can militarize their departments and I also don’t believe that is necessary. What I would like to see is our police receive the training and support they need to do the jobs they signed up for — actual police work. Our police aren’t social workers or drug counselors or dog catchers, yet we expect them to attend to every need in our community. Let’s remove that burden so they can do the important work they were hired to do.
Motif: Should school funds be pooled and redistributed on a weighted scale to address statewide equity issues, or should districts continue to fund their own community schools? Are there school districts that should be combined?
JD: Rhode Island’s schools are failing and students cannot meet even basic benchmarks. And the problem is funding. The state provides inadequate resources for education, forcing school districts to rely heavily on local property taxes. This leads to inequality between different districts, where most cannot generate enough revenue to provide their students with a quality education. To fix this problem, we must amend the Rhode Island constitution to explicitly provide a right to a good education for all children, and our state must pick up the revenue shortfalls in communities that cannot generate enough money from local property taxes.
Motif: COVID most harshly impacted a lot of core industries in Rhode Island (eg, hospitality, restaurants, arts/entertainment). What can elected officials do to revitalize these industries and improve the lives of our poorest residents?
JD: COVID has highlighted the inequity our communities face. Job losses have left people without health insurance in the middle of a pandemic. Our small businesses are closing permanently. All of my platforms address this crisis we’re facing now, and will strengthen our state going forward. Investing in small business, advocating for fair wages, providing universal health care, and finally, demanding that corporations and the extremely wealthy pay their fair share will lessen the burden on the hard working people of this state. It’s time we invest in all people, not just profits for the well-connected few. Motif: Climate change is a very real threat in Rhode Island — we are in close proximity to the ocean and broke temperature and drought records this year. If elected, what steps would you take to protect the environment?
JD: In this coastal state, we need to be focused on addressing climate change. Erosion, severe weather, downed trees, long power outages affect us all. I support a Green New Deal. We will invest in green energy and create jobs to build the infrastructure for it, putting people to work and ensuring our economy is sustainable. We will NOT, however, allow our forests to be cleared by corporations for solar fields.
Weathering the Storm: A conversation with Mixed Magic’s Jonathan Pitts-Wiley Jonathan Pitts-Wiley; Photo Credit: Corinne Pitts-Wiley
Those of us in the performing arts are finding ourselves facing a new reality. As a member of the theater community, I’m lucky enough to be able to speak with leaders of artistic organizations all over the state about how they’re coping and what their plans are for the future, and I think it’s important we start having those conversations in more open forums, which is why I’m grateful my friend Jonathan Pitts-Wiley was able to speak with me this week.
Jonathan is the artistic director of Mixed Magic Theatre (MMT) in Pawtucket. The company was founded in 2002 by Jonathan’s parents and local theater legends Ricardo and Bernadet Pitts-Wiley, who are still actively involved in the theater and the work it creates, as is Jonathan’s wife, Kim. Mixed Magic being a family affair is one reason I was so excited to get Jonathan’s insight regarding where we are now and where we might be going. The other is that MMT is one of the longest operating independent theaters in Rhode Island, and they’re known for being highly adaptable as well as versatile when it comes to what they put on their stage. New works, concerts, poetry and anything else you can think of has been produced there over the years, and they’re a vital part of Pawtucket’s arts community. Here’s what Jonathan had to say:
Kevin Broccoli: First off, how are you doing right now?
Jonathan Pitts-Wiley: Not doing too badly, all things considered. My family is healthy and I’m fortunate enough to not have to worry about the day-to-day survival piece of things. Right now, my concerns could still be overwhelmingly categorized as inconveniences, which aren’t really problems at all.
KB: As I was putting together these questions, it occurred to me that Mixed Magic is in a unique position right now, because when your theater was dealing with a damaged roof, you were already coming up with streaming opportunities because you couldn’t have an audience in your space. Do you feel a bit more prepared having already had to integrate digital content into your programming?
JP: Absolutely. Can’t say I like being ahead of the curve in this respect, but having a sense of these realities certainly doesn’t hurt us right now.
KB: Another way that MMT strikes me as having an edge here (as much as anyone can have an edge) is that you rarely announce traditional seasons that fall in the conventional September – June window, preferring to program in shorter increments. It looks like that might be the road a lot of us have to take as time goes forward. Do you have any advice as to how another theater could try programming that way?
JP: Honestly, I think it’s most important to remain true to your mission, do work that you can produce at a high level, and always keep in mind that this isn’t a replacement for the live theatrical experience. MMT’s current attitude is that this is an expansion of our digital programming and is not live theater. I’m big on reminding people that this is, essentially, the world of film/motion picture. Are there things that transfer from the stage? Of course, but we can’t get overly wrapped up in the medium being something that it is not.
KB: I apologize for asking a question this broad, but in addition to being a theater artist and photographer, you’re a teacher of history. How are you viewing our current situation from the perspective of an educator, particularly in the context of history?
JP: I personally think this is a truly revolutionary moment, not unlike the bubonic plague in how it is fundamentally reshaping how societies function and interact. What’s fascinating and terrifying is that, in many respects, the internet’s moment has arrived. For whatever we thought we knew of its reach and impact and value, we’ve arrived at a new phase of its influence and, while it’s worthy of embrace, I’d offer it’s also worthy of an abundance of caution.
KB: I’ve been saying — including in text messages to you — that I was already worried theater was losing the battle of fostering in-person communal experience to the isolated experience of sitting at home looking at your phone while Hulu plays in the background. Are you also worried about this necessary-but-unfortunate break from gathering to have that kind of shared experience? Will we be able to get people back out of isolation after so much time away? JP: Sheesh … I’m honestly not sure. Part of me thinks that all of this is revealing just how much people need people, how much that sharing of space and experiences is vital. But how soon will it be before shared space and experience means something different in terms of our cultural sensibilities and practice? How soon before we see a shift in thinking that regards this as societal development and innovation on par with the text that replaced the email that replaced the typewriter that replaced the long tome written in cursive? Artists have had to justify their existence for quite some time, so if there’s any silver lining, I think it is that we’re actually better equipped to meet the challenge so long as we adapt where necessary and stand fast where we must.
KB: Without getting into too much private detail, is MMT in a place financially where you can afford to be closed for an extended period of time? Is there a point in time when it will become dire, and what are your plans if you reach that point?
JP: We’ve always had the attitude that things will be over for MMT if and when the Pitts-Wileys feel that time has come. It’s helped us weather storms for 20 years and that’s the course we plan on maintaining.
KB: MMT is a theater that’s been built on theater and music equally. Do you see the music portion of your theater easier or more difficult to bring back than the theater portion, especially considering your father’s written so much of the music you perform?
JP: That’s a great question. In some ways, music is more accessible than theater and, when you have a music director like ours and do the sort of musical programming we do, you always have a puncher’s chance of making an impact with audiences. It certainly doesn’t hurt that we have an incredible body of music in-house as well. So, in some respects, I do think it is easier, but I think it’s more important for us — and any company really — to identify what is resonating with potential audiences in this moment.
KB: This is a tangent, but since you’re the first AD I’ve spoken with who has children, I wanted to ask: How are you speaking to your children about what’s happening right now? I keep going back to that previous question about how taking away community and shared experience is impacting our audiences, but as a father and a teacher, how do you think it’s affecting the younger part of our population?
JP: My wife, Kim, and I definitely keep it as real as is appropriate with our kids. We’ve always felt duty- bound to keep our kids as sucka-free as possible, ya know? In terms of impact, my kids are hanging in as well as can be expected for kids who wanna be outside and see their friends at school and move through the world as they did. Overall, I do think the strain on young people is articulating itself in very understandable ways. As adults, I think it’s really important we give space for that while also reminding kids (and our fellow adults) that we have an incredible capacity for resilience, especially when we come together as best we can and prioritize the things that are most important as best we can.
KB: People have been talking about the value of having an outdoor space available when restrictions loosen up a bit, and you have your amphitheater. Do you see that as an advantage in programming moving forward?
JP: Ha! While outdoor theater presents its own unique set of challenges in non-pandemic scenarios, I do think there’s plenty of advantage to having a space. Still, in a summer of cancelled festivals and parades in Rhode Island, I find myself wondering if we’ll even be able to take advantage of that advantage.
KB: How can people help the theater right now? What are the donation links, and is there anything else they can do other than staying home and staying safe? JP: Folks can head to our website (mmtri.org/donate) and drop a few dimes on us if they feel so inclined. Additionally, we just launched our Theater at a Distance programming, which will be featured on our Facebook page. Alexis Ingram has been doing some really terrific work and content production on our Facebook, Instagram and Twitter accounts, so helping us do battle against the algorithms by engaging with that content is really helpful to us as well.
Not Pulling Mussels: Squeeze exhibit timeless, dynamic energy at the VETS by Simru Sonmez-Erbil
As soon as the opening strains of “Footprints” rang out across The Veterans Memorial Auditorium, I knew it was going to be very hard to keep my camera still. My feet wanted to move, and keep moving.
Squeeze brought their Squeeze Songbook 2020 Tour to the VETS on February 23 and blew the crowd away with dazzling takes on a variety of songs from the band’s extensive catalogue. They treated the audience to nearly two hours of pure non-stop energy.
It was nearly 47 years ago that Chris Difford, seeking a guitarist for a band, placed an advertisement in a South London sweetshop — an advertisement that Glenn Tilbrook was the only one to answer. However, if someone with no prior Squeeze knowledge heard a set from the Squeeze Songbook Tour, they’d think the lads got together yesterday; the band performed the tunes with an energy, vigor and perspective that kept the songs sounding as fresh as they did when they were first released.
I was situated, camera poised, at the front of the far left aisle of the VETS when Squeeze took the stage on Sunday night. The lights went down, resulting in an eruption of applause from the packed audience, and the smiling seven-piece band dashed onto the stage, picking up their respective instruments. The group made an impression right away with their dapper and bold look, right down to their shoes; all members were decked out in sharp suits of various colors, with Tilbrook in teal and navy stripes paired with yellow dress shoes, and Difford in a burnt orange suit with 1940s style black and white shoes.
The night began with Babylon And On’s “Footprints” seamlessly transitioning into “Big Beng” from the 1985 album Cosi Fan Tutti Frutti, followed up by the US smash hit “Hourglass.” From the very start, Squeeze’s chemistry and synergy were evident. Tilbrook’s lead vocal sounded as sweet and smooth as ever, and the quintessential Squeeze combination of his voice coupled with Difford’s an octave lower made for a truly sublime experience.
Difford and Tilbrook were backed by an absolutely top-notch band. Drummer Simon Hanson and percussionist Steven Smith provided the songs with a dynamism and intensity that flowed along with bassist Sean Hurley’s firm, expressive grooves. Keyboardist Stephen Large brought an enthusiasm to his playing that made the keys an essential feature in every song, and it seemed like there was nothing that multi-instrumentalist Melvin Duffy couldn’t do, switching from lap steel to acoustic to electric and back again seamlessly. The band demonstrated not only powerful instrumentalism, but also impressive vocal talents while singing backup on the tunes they performed.
The night continued with Argybargy’s “Pulling Mussels (From The Shell),” and the crowd jumped to their feet. I don’t think there was a single audience member who didn’t feel like they related to Difford’s poetic lyrics at some point throughout the show. Difford’s observations of everyday life turned into clever verses and choruses make one marvel at such eloquent expression, and really make living life a whole lot more interesting. The mix of everyday sights and insightful thoughts in songs like “Pulling Mussels,” “Is That Love,” “Goodbye Girl,” and each and every Squeeze song creates an experience for the listener that is unrivaled by any other act.
Tilbrook’s disarming melodies lifted up everyone’s hearts, made them listen in awe and, I imagine, erased any negative emotions they might have been feeling before the show. The average music fan may think of Mr. Tilbrook as an underrated guitarist, but Squeeze fans know his talents and witnessed yet again his soulful licks that characterize Squeeze’s unique sound. He delighted the audience with melodic guitar solos, particularly on songs like “Another Nail In My Heart,” “In Quintessence” and “Black Coffee In Bed,” to name a few. His talents aren’t limited to guitar — he even whipped out a ukulele for “Cradle To The Grave,” the title track to Squeeze’s second-most recent album from 2015.
The band treated us to some new interpretations of iconic songs from their catalogue. “King George Street” was performed in a smooth and flowing manner that had the crowd swaying, with Duffy’s flawless lap steel guitar giving the tune a country-esque flair. Midway through the show, the rest of the band cleared out from the stage, leaving just Tilbrook and Difford onstage with an electric and acoustic guitar, respectively. Their rendition of high-energy hit “In Quintessence” was somehow just as high- energy and invigorating as the original recorded version, even with the absence of the other instruments. The duo followed up with Cool For Cats’ “Slap and Tickle,” once again making the song shine even without the original synthesized parts. The songwriting powerhouse duo truly demonstrated their talent and power as a twosome — the kind of power that caused Squeeze to become such an influential group. The rest of the band joined them once again toward the end of the song to add even more of the original vigor to “Slap and Tickle” that had the whole house bobbing.
As the band left the stage before the encore, the auditorium was filled with nonstop cheering from the audience, and the infectious intro to Squeeze’s first hit “Take Me I’m Yours” began to play as the band got back onstage. The feeling was of pure euphoria as each member joined in with the groove — everyone was on their feet in nonstop motion. The night ended with a bang: a rendition of “Black Coffee In Bed” that featured an extended solo section, showcasing the talents of all the band members, including a scintillating percussion battle between Mr. Smith and Mr. Hanson. As the show came to a close, we were all left wanting more of the incredible performance that this group had put on; we wanted to see more of their talent showcased in solos, more of the energy that left us feeling so invigorated. It goes without saying that everyone left the venue with a smile on their face.
If you go to a Squeeze show, don’t be surprised if you find yourself wandering into your local record store the next day and buying the Squeeze albums that you once owned, all the while feeling like you’re buying them for the first time. You’ll feel each song’s vibrant energy that has had this youthful aura and timeless essence since its release, and will remain as such for as long as humans have ears.
For more information on Squeeze, including tour dates and tickets, visit squeezeofficial.com Just Dance!: Inaugural Motion State Dance Festival to take place at the WaterFire Arts Center
Mar Parrilla performs
Dancers both local and national will converge in the Creative Capital to showcase the latest in contemporary dance at the inaugural Motion State Dance Festival, held Thursday, March 5, through Saturday, March 7, 2020. Hosted by the WaterFire Arts Center, Thursday, Friday and Saturday night will feature award-winning, genre-busting artists in solo performances. Interspersed between pieces will be short films of dances specifically made for video, followed by post-show conversations and parties. Motif spoke to festival co-producer Lila Hurwitz about this founding venture:
Heather Bryant (Motif): How do you describe contemporary dance to someone who isn’t well-versed in the field?
Lila Hurwitz: Contemporary dance refers to dance that pushes the boundaries of the traditional form. The Motion State Dance Festival centers on artists who create performances that suggest an evolution from what has come before, as well as what dance can be in the future. While the Festival artists have traditional dance backgrounds, they are all pushing their discipline, asking questions about what art is, and encouraging audiences to do the same.
HB: Why did you decide to intersperse the dance performances with dance films?
LH: We love how dance films offer another way of looking at the art form. Interspersing films with the live performances allows us to showcase artists from all around the world, and sets us apart from other festivals in the region. The Motion State Dance Film Series (formerly known as Kicking & Screening) is now the only year-long, traveling short film festival in New England devoted to showcasing the diversity of contemporary creative voices and exploring the medium of choreography made for the camera.
HB: How did the partnership with WaterFire Arts Center come about?
LH: Barnaby Evans [executive artistic director of WaterFire] has been talking about bringing dance to WaterFire for years. The main hall of WaterFire Arts Center is a 37,000-square-foot cathedral-like space, built in 1929 for the US Rubber Company as a manufacturing facility. It’s truly spectacular, and embodies the modern look and feel that we want for this festival.
HB: What kind of workshops and artist conversations will be offered?
LH: Master classes will be held throughout the week: Sokeo Ros at Roger Williams University; Beth Gill and Miguel Gutierrez at Brown University; and Bebe Miller at WaterFire (all are free and open to the public, except at RWU). These classes are a great opportunity to hear more about the artists’ creative process. In addition, conversations with all the artists will follow each night’s performance.
HB: What do you see as your audience for this festival? And what do you hope the attendees come away with?
LH: Whether someone regularly attends dance performances or has never been to a dance performance, we want every person in the audience to walk away feeling invigorated, intrigued, challenged, moved — and especially inspired to come back the next night for more!
The Motion State Dance Festival takes place Mar 5 – 7. 2020 Festival Artists: Rhode Island: Heidi Henderson, Orlando Hernandez, Sokeo Ros; Boston: McKersin Previlus, Jenna Pollack, Mar Parrilla; New York City: Beth Gill, Miguel Gutierrez; Beyond: Bebe Miller (Columbus, OH); Cunningham Solos: Erin Dowd (NJ), Eleanor Hullihan (NYC), Vanessa Knouse (NYC). WaterFire Arts Center Main Hall, 475 Valley St, PVD. For ages 12 and up. Wheelchair accessible. For more information on nightly performance line-up, ticket purchases and master classes, go to motionstatearts.org.