Bravissimo! A New Game That Teaches Music Theory and More

My first published article for which I received payment was titled "Make a Game of It." The concept had to do with using a creativity to make learning fun. I'd learned through experience that learning doesn't always have to be drudgery.

This idea of gaining knowledge by means of playing games is not uniquely my own. In fact, unbeknownst to me a good friend of ours had developed a game that teaches music theory and after twenty years is now attempting to bring it to market. The game is called Bravissimo! The game's creator is Ellen Sandbeck. A couple years ago she reached out to a friend, Tyler Kaiser, to assist in fulfilling her original vision for what they hope to be a sought after product. In January they will be kicking off a Kickstarter campaign to fund development of the new game which is designed to teach people of all ages how to read music and learn essential concepts of music theory in a fun and painless way.

Bravissimo is played with a game board, a pair of dice, game markers and four sets of cards, each of which highlights different aspects of music theory. The players move their markers around the board, pick cards and have to read and explain the musical symbols on the cards. When a player reads a card correctly, s/he gets to keep it. The players need to collect enough cards to "write" a musical composition in order to win the game, or rather, appear at Carnegie Hall.

The target audience for Bravissimo includes parents of children who are taking music lessons; adults who took music lessons, but didn't really learn to read music; adults who have started taking music lessons, and would like to learn music theory in an amusing and painless way; and perhaps people who just enjoy playing board games.

The game will be published by De la Terre Press which Ellen Sandbeck founded in 1995 in order to publish her first book, Slug Bread & Beheaded Thistles. She's an accomplished artist as well as author.

The game's development has reached the point where they are creating events in which to have more and more people play the game and fine tune its instructions etc. This past Friday evening one such gathering was featured in our local paper.

EdNote: Next Thursday Beaners Central will host a public Bravissimo game night starting at 6 p.m. Someone from PACTV will be shooting video footage that will be used for the Kickstarter campaign. If you have the evening free,  make your way down. I'm sure they could use extra players.

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Recommended film that demonstrates the power of music: The Music Never Stopped, based on the work of Oliver Sacks.

This Wheel's On Fire: An Insider's Take on Life with The Band

Not quite finished but far enough along to throw my two cents into the ring regarding Levon Helm's version of his life, The Band and the roots of Rock and Roll. Born Mark Lavon* Helm in Turkey Scratch, Arkansas in the heart of "Tornado Alley" seems as far removed from fame as you can get, so it just goes to show where dreams can take you when you apply yourself.

In addition to being a musician with The Band, the team of musicians Dylan selected to back him on his first tour when he went electric, Helm went on to have a career in Hollywood, playing Loretta Lynn's father in Coal Miner's Daughter, and Chuck Yeager's pal in The Right Stuff among other things. What gives the book its chops is his eye-witness experiences during the emergence of rock and roll, and the manner in which black Mississippi Delta R&B crossed into the popular culture.

Helm's account of life as a boy in Turkey Scratch is as interesting as life in Woodstock making music with Dylan after his motorcycle crash. The houses on stilts, the floods, tornados and the amazing synthesis of black and white culture in shared rural poverty where music carried the human spirit aloft all proved formative for Helm. It was a period of history that will not be repeated as the times changed for rural farmers everywhere.

Like many musicians who got the bug to play, Levon Helm hung out in places he was too young to be and began performing as a guitar player at a very early age. When Ronnie Hawkins invited him to play with his band the Hawks, Helm headed north to Canada to where their rockabilly energy set them apart from everyone and everything.

The story is told sequentially about how this band was formed, one by one brought on for their talent as other dropped off -- primarily to settle down because these were some wild cats. Most of these fellows came from rough backgrounds, not quite the starched collar kids from prep school, and they weren't afraid to mix it up when necessary (drunk boyfriends of the girls who they seemed to attract like flies.) After six years of performing -- in Canada, the Deep South and the Jersey Shore -- Dylan contacted them to join him in a world tour. He was doing something new, a 2-part concert in which the first set would be acoustic and the second electric.

The Hawks had been Ronnie Hawkins' band, shaped after the back-flipping leader's vision of what a band should be, but eventually even Hawkins dropped out for a more domestic life. When the Hawks were recruited to surround Dylan with sound, their name became what we now know as The Band. Being associated with Dylan certainly helped strengthen their cred and a record contract led to songs most everyone is familiar with such as The Weight, Up on Cripple Creek, and The Night They Drove Old Dixie Down.

You know from the outset it's going to be a sad book. Helm begins with the suicide of Richard Manuel, foreshadowing the stresses their success would bring them later in the story.

(L to R) Rick Danko, Levon Helm, Richard Manuel.

As with everything in life, nothing remained the same as circumstances evolved. Success did not make them happy as drugs and greed got in the way. This book is Helm's version of how the whole thing fell apart. Martin Scorsese's film The Last Waltz, produced by Robbie Robertson, proved to be the nail in the coffin for the group.

Here's an accurate review of the book at Amazon.com by someone named Marian:

"Technical writing flaws make This Wheel's On Fire hard to read in spots, but the description of a remarkable collaboration from the inside is brilliant. Any creative person will benefit from reading it. And, of course, mild through his description is of the legal/copyright betrayal of the other four by the guitar player, there's a hard lesson on view for creative people."

I picked up the book for a little more background for Dylan's latest Bootleg Series #11: The Basement Tapes. Helm was there and pulls no punches. It sounds authentic and fair. The book gets mostly four and five star reviews at Amazon, but some of the problems I had with the book were shared by others a few times. Here's my short list:

The book is co-written by Stephen Davis, who frequently incorporates narratives and stories from other people who were there at various points. The problem is, on numerous occasions I didn't catch who was talking so it became confusing and hard to follow. I got tired of the extra work required to try to figure it out.

For me it was a little too boastful. I lost track of how many times Levon Helm stated that The Hawks were the best band ever, or statements to that effect. On one occasion he states that he believed they were better than the Beatles and the Beach Boys. This would be overlooked had he not also included numerous references to how good looking he was.   

The real power in the book comes from his candid assessment of the events that unfolded as the Band disintegrated. You could feel his pain.

And for anyone serious about a recording career, you'll gain plenty of insight on the importance of reading your record contracts and knowing your rights. All too often we can't see the dark side of success because we're blinded by the lights.

I still believe it was an important book. 4.5 stars out of 5. 

*Though born Lavon, so many people mispronounced or spelled his name wrong that he just went ahead and changed it to Levon. 
EdNote: Like all the members of The Band, Helm was a multi-instrumentalist. I have pictured him singing while playing drums, but he began with a guitar and took up mandolin while in Woodstock, among other things.
Photo source: Wikipedia / Heinrich Klaffs via Flickr

Throwback Thursday: The Joy of Naming

From the beginning man has named things. He was given authority to name the animals and has been naming things ever since. This week a scientist named a new element. Through the centuries men have named stars, planets, plants, diseases, instruments, objects. Artists, too, carry this godlike expression even further – creating poems, pictures, stories, art… so they can enjoy this special privilege: naming.
Journal note, March 19, 1994

Naming is one of those things that can really be fun. Coming up with names for our various pets has created meaningful and memorable experiences in our home. Whether the dogs (currently Hobo and Gypsy) or the goats or goose, duck, cat, birds, rat... whatever... Something would be missing if they didn't have names.

I enjoy making art, but I also enjoy the process of naming the pieces half again as much as creating them sometimes. I like writing poems, but also like making a name for each. And for stories as well.

In sifting through an old journal I came across these names or titles for potential stories.
Attention Span
Token Memories
The Hall of Light
I once developed an idea for a Hollywood movie called Pause Button based on the notion "wouldn't it be great if life had a pause button so we could stop time and get everything done that we never have time for?"

Speaking of naming things, think about the significance associated with your own name. How might you be different had you had a different name? Think of all the people who change the name they have been called by when they grow up. And if you are a parent, think of the special care and attention that you gave to naming your own children. Naming is a powerful thing.

On this topic much more can be said, but for now... it's time to move on.

This Wheel's On Fire, Woodstock and Marketing the Basement Tapes

It's been a month since release of The Bootleg Series #11: The Basement Tapes, and though I've yet to weigh in I'm tilling the soil and planting seeds. There's plenty of chatter these days with almost everything Bob Dylan does. He's become an icon of our culture (though he famously disdains labels, so as soon as I wrote that I wanted to take it back.)

For the past month I've been listening to RAW, the 2-CD version of this bootleg collection, as opposed to Complete, the full 6-CD version. Simultaneously I have been paying attention to the reviews, some in surprising places. I've already noted the New Yorker feature, and I can't imagine a release of any Dylan music without a Rolling Stone feature. I suspect that marketing data is available to show that any time they can find an excuse to get a Dylan cover they increase sales by 10%. Just guessing, because those are the only ones I buy.

What's interesting about the Rolling Stone cover and the New Yorker piece is that they both rely on photos which originally appeared as part of a Saturday Evening Post feature in which a photographer and journalist went up to see what was happening with regard to Dylan's recovery from his motorcycle accident. I have had a copy of that Saturday Evening Post for so long that you can see how faded the ink has become when you compare the two pictures here. Perhaps the Rolling Stone photo looks richer because it's been re-mastered somehow. You can certainly see that it's been recycled from the same shoot.

Well, as I was saying above I've been prepping to weigh in on this latest Bootleg Series and one of the ways I've been gearing up is by reading Levon Helm's This Wheel's On Fire, a book that I will also review during another space of time. Helm was one of the original members of The Hawks, the band recruited to join Dylan in his new "electric" phase. You may recall from Bootleg Series Vol. 4: Bob Dylan Live 1966 how these concerts generally unfolded. The first half of the concert would be Dylan solo, acoustic guitar strapped across his should, with a tight hold on his audiences. Part two would be Dylan pugged in, The Band (formerly The Hawks) producing a blistering sound that had the same effect in town after town: loud boos. The "Royal Albert Hall" Concert in Manchester culminated in one fan famously bellowing "Judas."

The tour began in the U.S. though before Dylan took it abroad, and with the exception of Texas, the results were the same everywhere, and Levon Helm really disliked it. He and the Hawks were accustomed to crowds embracing and loving their performances. Suddenly they were being disdained, almost violently. Ironically, Dylan loved it. Helm didn't say it this way but Dylan seemed to consider the publicity from this insulting treatment to be equivalent to writers who get tagged as "Banned in Boston."

Before they left the country Helm split the tour. Helm skipped about passing time in various ways including briefly bussing tables in Florida and working oil rigs off the Gulf coast. After Dylan's motorcycle accident Robbie Robertson, Rick Danko and gang were invited up to Woodstock, as was Levon Helm, and something magical happened. The creative energy was uninhibited, channeled into a different kind of sound independent of performance driven material. Whereas the Hawks cut their teeth as performers, this was a whole different gig, hanging with Bob and just letting the juices flow.

Fast forward. One of the tunes Dylan and Rick Danko co-wrote was "This Wheel's On Fire." It later became the title of Helm's book about the history of The Band (and his personal history). It also became the selected song from The Basement Tapes for this promotional video narrated by Jeff Bridges and released today to promote the Bootleg Series Volume 11. Watch it here.

Wordless Wednesday: Benchmark Tattoo -- Late November

Twin Ports Art Classes, Tweevenings, Studio 15 and More

One reason some people aren't drawn to art galleries and art shows is that they feel a little intimidated by it all. They aren't sure what to expect, including whether they're expected to like everything they see. (Don't worry, you don't have to like everything, even if the critics are going gaga over it.)

If you're someone who wishes they had a broader background in the arts, there are ways to overcome this lack. One of these is to borrow books from the library. It's free and a relatively endless resource. Another, is to go back to college. For most this is not really practical at all. For this reason the Great Courses company was created. The founder knew that there were a lot of folks like him who wished they'd paid more attention in college, or taken other classes that didn't fit their interests at the time. He assembled series of great lectures in every conceivable discipline to help give the opportunity to continue one's learning when he or she has matured a bit and could appreciate it more.

Here's a link to a whole set of lectures related to the arts, from Art of the Ancient World to How to Look At and Understand Great Art. It's a great way to advance one's learning, and always stimulating.

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I can't recall if I've made many references to art classes over the years but there are actually quite a few opportunities in the Twin Ports to harness your creative energy in productive ways. Art classes are a great way to add new skills to your tool kit. Exposure to new techniques also helps you understand and better appreciate the art that you sometimes see in galleries. Here's a short list for consideration.

The Duluth Art Institute has classes and workshops for folk of all ages. The DAI has been a great resource in our community. Here's a list of current offerings for adults. They also have art classes for youth. In point of fact, I got my start as an "artist" when I was enrolled in classes at the Cleveland Art Institute, which was part of the Cleveland Museum of Art. I was five at the time, and not too young to make some memories that I still carry.

Here are a few other places to look that may not be on your radar.

Studio 15 

Instructor Lydia Walker will be holding a class on Paper Dying and Marbling this coming Saturday, December 6 from 3:00 p.m. till 6:00 p.m.  You'll learn how to dye and marble paper using household products. Studio 15 is located at 15 North 3rd Avenue East. Cool stuff for Christmas can be found there as well.
Cost for the class: $15, materials provided

The Armory Arts & Music Center and Snoodle Ceramic Studio & Gallery - Holiday Celebration 

This event is Saturday December 13 from 2:00 pm. till 8:00 p.m. and it promises to be a lively, family friendly affair. Tonya Borgeson and the AAMC have assembled whole range of events including music, games, art for sale by multiple artists, demonstrations and information on how you can become involved.

Artists include Aurora Baer/ performing music, Tonya Borgeson, Kitty Jacquot, Mike Joens, Ed Newman, Esther Piszczek, Brian Rauvola, Sharon Rogers, Richard Rosvall, Melanie Sternberg, Adam Swanson, Unicornucopia’s Handmade Ornaments, Pierce & Piszczek Fine Pianos & Duluth’s Forging Community of Blacksmiths. At 5:00 illustrator Ian Welshons and I will be signing copies of our new children's book A Remarkable Tale from the Land of Podd.

Location: The Armory Annex 1325 London Road Duluth, MN 55805

A quick plug for Tonya Borgeson. She's been owner of the Snoodle Ceramic Studio & Gallery for many years and a ceramics instructor at Lake Superior College near 15 years. She's very community minded and is worth contacting if you have young ones interested in the arts.

This Afternoon and Tonight at the Tweed
There's a lot happening at the Tweed Museum of Art today. At 2:00 p.m. there's Tea at Tweed with coffee, tea, cookies and music; Docent Training with Alison Aune at 4:00 p.m.; a Senior show opening with Desiree Harper also at 4:00 p.m.; and a Tweevening with Karin Kraemer at 6:30 p.m. Karin will talk about the Art of Majolica.

Get It Local
This Saturday December 6, 10:00 a.m.-3:00 p.m. is another place to find creative gifts and items for your home. Get It Local is at Peace Church, 1111 N. 11th Ave. E.  If you're looking to learn how to transform your doodles into art, look for Esther Piszczek and ask about her classes on Zentangle. Sure we like supporting our local artists but why not make art yourself?

Benchmark Tattoo 
For the month of December the art gallery at Benchmark Tattoo will feature the work of a variety of artists who have participated in the previous months since their opening this summer. Friday evening they will be having an opening reception and everyone is welcome. This is the high end of low art, and a very nice space. They're located across from Sara's Table on 8th Street not far from the UMD campus.

Superior Council for the Arts
This just in. Friday the 5th is the annual open reception for Step Up On Broadway Show and Sell, 5:00 till 7:00 p.m. in the North End Arts Gallery. The gallery will be open 11-6 Monday thru Saturday for the duration of the season. (Holiday season, not winter season.)

All right. This is enough for now. Peruse the Transistor, the Reader and the Trib to see what else is happening. There's a lot.

Meantime art goes on all around you. Celebrate it.

Three Versions of "Babe, I'm Gonna Leave You"

I remember where I was when I first heard Led Zeppelin. 1969. Their first album had just been released and someone turned us on to it in Scott Homan's basement. Scott and a couple other kids were forming a band and I sometimes used to sing with them, though I was too shy to perform live. The power of Zeppelin's music with Robert Plant's vocals was devastating. From the opening chords our music stopped and all we could do was listen. Three cuts were especially riveting: "Dazed and Confused" and "Babe, I'm Gonna Leave You" on side one and "How Many More Times" as the closer on side two.

In those days when we listened to music we seldom connected it to a pre-history. It was a song and it moved us. Only later did we understand that much of rock and roll had roots in the Mississippi Delta or folk music history. Bands like Led Zeppelin and the Rolling Stones drew inspiration from these sources, re-inventing them and making them their own, as Zeppelin did with the classic "Hangman", re-naming it "Gallows Pole."

"Babe I'm Gonna Leave You" was a folk song written by Anne Bredon in the late 1950s, but it was Joan Baez who gave it wings. And that's what brought this recollection to mind.

Last week as I was digging through my vinyls I came across her 1962 live recording titled Joan Baez In Concert. The concert opens with her spellbinding rendition of this song. I immediately thought of the manner in which the Led Zeppelin version floored me and I realized that Baez in her way was equally smashing. I could see why Jimmy Page and Robert Plant felt this might be a good song to sink their teeth into.

Here's that 1962 Joan Baez rendition... at DailyMotion.

Joan Baez Babe I'm Gonna Leave You by Selvilicadde

While looking for the Baez performance I came across another heart-wrenching interpretation of the song by Barbara Mueller. Mueller was also a Greenwich Village folk singer of the 60's. Interestingly, this YouTube video attributes the song to a Janet Smith.

Finally, here's Led Zeppelin's compelling permutation. Ironically the album that so moved us when we first heard it was panned by Rolling Stone magazine. They gave it a "ho hum, so what" type of review. In 1994 it was inducted into the Grammy Hall of Fame. In 2003 Rolling Stone listed it at 29th on its list of Top 500 Albums of All Time. What does that tell you?

It's a simple blues song, but all three singers manage to inhabit the lyrics in such a way as to make it their own.

Nothing more to say. The song says it all.