The Homelessness Marathon returns to Washington, D.C., in conjunction with the Poor People’s March.
Section 162.492 of the Missouri Revised Statutes mandates that the Kansas City Public School Board be reduced from nine members to seven. The Statute further establishes that the Kansas City Board of Election Commissioners shall serve as the Redistricting Commission. The reduction in number and the corresponding redistricting process must be completed before November 1, 2018.
In April of 2019, the Kansas City Public Schools Board of Directors will be reduced from nine to seven members. This will bring the KCPS School Board in line with state law. The current School Board includes six sub-district members and three at-large. The new Board will be comprised of five members representing sub-districts and two at-large members. To accommodate that change, the sub-district boundaries will be redrawn. This redistricting process will be planned and carried out by consultants hired by the Kansas City Board of Election Commissioners.
Celebrating the 98th birthday of Charlie “Yardbird” Parker. A totally new, inspirational way of thinking—a fresh, freedom-loving and articulate voice, as diaphanous as mist and as hard as nails—came shimmering up the river from twilit New Orleans.
This music infused, bio-hipped celebration of Charlie Parker features Chuck Haddix (author, Bird: The Life and Music of Charlie Parker), Margaret LaPique (LA jazz radio host), Jeff Harshbarger (jazz bassist extraordinaire), Joey Skidmore (director Kiki meets the Vampires), Dick Wright (late KU jazz educator), Rhondda Francis (singer Psychowelders) and Rodney Franks (Denver jazz radio host). Written by Jay Mandeville and produced by Dwight Frizzell with rare recordings from the Marr Sound Archives.
Celebrating Elvis on the 41st anniversary of his purported death.
Dancing on the coat tails of an esoteric stream of religious healers, Gnostic agencies and dancing saviors, Elvis Presley is omnipresent in his voice and its intoned physicality. With the cittern of Gerald Trimble, voice of Rhondda Francis, love offering of Liz Amsbry, reportage of Laura Spencer, and original music by Ed Herrmann and Michael Henry.
YouTube vid– https://www.youtube.com/watch?v=zvrjcX9cZMc
“… Elvis as a cultural icon, a transcendental outside-time entity with mythological and sociological ramifications… ‘altered slightly’ with mixing in of Olmec chants.”
–Brian McTavish, The Kansas City Star
“We deal with Elvis as a cultural icon, as a kind of transcendental outside-time entity with
mythological and sociological ramifications,” Dwight Frizzell said…The program’s Elvis
music will be ‘altered slightly’ with mixing in of Olmec chants, Peruvian instrumentation
and ‘musique concrete,’ which Frizzell called ‘tape manipulated sounds from the
environment.’ Get ready Elvis, wherever you are.”–Brian McTavish, The Kansas City
Remembering the 73rd anniversary of the atomic bombing of Hiroshima.
The short and long term effects of the B62a‐mod 11 nuclear bomb (stockpiled at Whiteman Air Force Base) are mapped to the newEar contemporary chamber ensemble…shock waves, atmospheric effects, electromagnetic pulse waves, biological effects.
H for Thermonuclear Device and Remote Ensemble
A composition by Michael Henry and Dwight Frizzell – Dedicated to newEar
SCORED FOR: B61 – Mod 11 1,200 lb. Thermonuclear Gravity Bomb and Remote Chamber Ensemble
H for Thermonuclear Device and Remote Chamber Ensemble is the next step after our work Sonic Force in composing for military technology. We have created H with the B61a Mod 11 thermonuclear device in mind, about 50 of which are stockpiled at Whiteman Air Force Base and deployed in the airspace above Missouri in B2 bombers. They are rated by the Defense Dept. as some of the safest and most versatile nuclear bombs in our arsenal, despite their lack of a fire-resistant pit which would prevent accidental detonation at temperatures exceeding 1000 degrees Celsius.
Our compositional strategy follows the procedure of Sonic Force, except in place of the A10 Warthog attack planes, we have now employed nuclear weapons for the purpose of making art (rather than war). Although it may be conceivable to coordinate an actual detonation event to accompany the ensemble (as they perform remotely in their bomb shelter), we offer H as a warning and deterrent to mutually assured destructive composition.
To generate and map material for the scored parts, we amassed over 500 pages of details, including x-y graphs and other technical information, concerning the short term and long-term effects of these nuclear devices. This includes shock waves, atmospheric effects, electromagnetic pulse waves, biological effects, etc. As longtime pacifists, we have attempted to curb our aversion to these threatening weapons in order to appreciate their broadband musicality. The score is descriptive of these physical effects and may, at times, emulate other familiar forms in the “natural” world. For example, the stable bilateral symmetry of the toroidal circulation inside the mushroom cloud emulates self-organizing structures found in nature, in the turbulent fluids of our waterways, as well as our body’s circulatory systems.
The musical ensemble performs from a bomb shelter (or a space below or separate from the performance space) and is seen via a remote live video camera and heard in the venue over a multi-channel sound system.
H is as true as possible to the highly variable (10 to 500 kilotons) B61 Mod-11 thermonuclear gravity bombs that are common in our region as we use them for the centerpiece of our compositional process.
II. Critical Mass
III. Initial Fusion Blast
IV. Secondary Fission Blast
V. Thermal Radiation
VI. Toroidal Circulation (Mushroom Cloud)
VII. Shock Front
VIII. Changes in Bone Marrow Cells
IX. Radioactivity in Rain
X. Changes in Sperm Count/Liver Function/Leucocyte Counts
XI.Ecological/Biological Effects – Fish/Eels/Plankton
–Notes by Michael Henry and Dwight Frizzell
If jazz is happiness, as Sun Ra contends, then the blues is a vehicle for transformation—the pathway to rise above the unenlightened savagery of the terrestrial sphere. Sun Ra and the Cosmo-Myth Arkestra are featured here exploring Kansas City style jump-blues as influenced by their many gigs at rib joints, lofts, dance halls and theaters in the Midwest in the 1980s. With commentary by Chuck Haddix, author of Kansas City Jazz: From Ragtime to Bebop.
Afro-Futurist message from Sun Ra (1914-1993)
Then another tomorrow
They never told me of
Came with the abruptness of a fiery dawn
And spoke of Cosmic Equations:
The equations of sight-similarity
The equations of sound-similarity
Subtle Living Equations
Clear only to those
Who wish to be attuned
To the vibrations of the Outer Cosmic Worlds.
Subtle living equations
of the outer-realms
Dear only to those
Who fervently wish the greater life
Curious acausal time‐links connect the Children’s Crusade of 1212 AD Europe, a Killer Clown infestation in 1970’s Kansas City, and the 1897 airship flap in Aurora, Texas.