Black Pearl Chamber Orchestra Makes Classical Music Fun For All

The Black Pearl Chamber Orchestra (BPCO), committed to broadening ethnic diversity in classical music, has begun its third season, which they promise will be packed with thrilling performances and hands-on engagement for its audiences - including innovative concert programs, an Open Rehearsal Series for students, and a chance for audience members to conduct the orchestra.

The season kicked off on November 5th, with a night of rhythmic and dance-inspired music at the Philadelphia Episcopal Cathedral. True to form, Maestra Jerri Lynne Johnson and company gave a spellbinding and riveting performance that included the works of Sibelius' Valse Triste, Astor Piazzolla's Four Seasons for Buenos Aires, featuring Venezuelan violinist Luigi Mazzocchi, and Beethoven's 7th Symphony.

The next concert will be "The Black Mozart," on March 10, 2012, followed by the exciting iConduct! Festival in the summer of 2012, giving audience members a unique opportunity to test their conducting skills on stage with Maestra Jeri Lynne Johnson and the BPCO.

About Black Pearl Chamber Orchestra

Based in Philadelphia, the Black Pearl Chamber Orchestra was founded in 2007 and is the only professional orchestra in the region, and one of few in the country, to champion ethnic diversity in classical music.

Founded by award-winning Music Director Jeri Lynne Johnson, one of the only African-American women conductors on the scene today, the BPCO is dedicated to normalizing minority participation in classical music. This mission is achieved by presenting concerts and innovative community programs of the highest artistic and educational standard, performed by ethnically diverse musicians who represent Philadelphia's rich cultural diversity.

Described by the Philadelphia Inquirer as "excellent," and having an "impressive standard of performance," BPCO musicians were trained at many of the nation's leading music conservatories, including The Juilliard School, The Curtis Institute, and The Eastman School of Music, among others.


About the Music Director

Jeri Lynne Johnson is the Founding Music Director of the Black Pearl Chamber Orchestra (BPCO). Maestra Johnson began conducting during her doctoral studies in music theory and history at the University of Chicago. While a student in Chicago, Ms. Johnson was awarded the 1998 Jorge Mester Conducting Scholarship to attend the Aspen Music Festival and since then her conducting teachers and mentors have included Sir Simon Rattle, Marin Alsop and Daniel Barenboim among others. Soon after, Ms. Johnson was engaged by the Chamber Orchestra of Philadelphia and served as that ensemble's assistant conductor from 2000-2004.

A recipient of many civic, community and artistic honors, including a 2010 British American ProjectFellow, 2010 Philly 360Creative Ambassador by the Greater Philadelphia Tourism and Marketing Corporation, and a 2009 Leeway Transformation Award, Ms. Johnson has been featured in numerous magazines and newspapers as well as television and radio shows including 20/20 and the "Tavis Smiley Show" on NPR and was heralded as one of today's leading women conductors on the NBC Today Show alongside prominent woman conductors Marin Alsop and Joann Falletta. In 2005 Ms. Johnson made history as the first African-American woman to win an international conducting prize when she was awarded the Taki Concordia Conducting Fellowship.

For more information on BPCOs 2011-2012 concert season visit their website at www.blackpearlco.org

Sons of Anarchy: There's a Bad Boy (or Girl) in All of Us.

By Michael Quintero Moore
Contributing Editor: Carisa Brewster


Sons of Anarchy premiering its third season tonight on FX, has enjoyed an increased following since the first season in 2008. In fact, the first season reported an impressive average of 5.4 million viewers a week making the FX series the network’s most successful show since Rescue Me and another one of my favorites, The Shield.

As I anticipate SOA’s season premier, I took a moment to reflect on the genre of shows and movies that I gravitate to. For instance, I never grow weary of The Godfather Trilogy (although there are times when I can bypass GF III). I can recite almost every scene; in the first movie, Clemenza’s "Leave the gun, take the cannolis", is one of my favorites. What strikes my curiosity is that many of us have an affinity for the bad guy. We love to watch people like Tony Soprano, Michael Corleone, Jax and even Tony Montana, navigate through their various adventures, seemingly untouchable by the law.

So what exactly makes these characters so appealing to us?

Film historians have long recognized the correlation between our inner need to be bad and the popularity of the sociopathic personality on the big screen. The late New York critic, Robert Warshow (1917-1955), wrote an essay where he cited the modern gangster as a “tragic hero”. He focused on the contradictions that we feel when we find ourselves admiring the bad guy on the screen.

"In ways that we do not easily or willingly define,” Warshow wrote, “the gangster speaks for us, expressing that part of the American psyche which rejects the qualities and the demands of modern life...we gain the double satisfaction of participating vicariously in the gangster's sadism and then seeing it turned against the gangster himself."

In addition, the crime films of the 1930s and later efforts such as "Bonnie and Clyde" (1967), showed the principals becoming more like Robin Hood figures to the common folk. This illustrated the idea of “going against the establishment”.
The appeal of the bad boy and girl films even crosses gender lines and is not just reserved for film. Works such as The Godfather and The Sopranos have an appeal to both sexes because it exemplifies family and the order of which it is run. There’s order, a sense of knowing that even in this subculture, rules still exist.

There are a few traits that seem to be common among the most successful bad guy and/or girl on the screen. First, they have to be scary to some degree. Omar from The Wire did it for me. There’s nothing that says fear like standing on a street corner with a shotgun-toting thug creeping up behind you.

Another common trait that Hollywood capitalizes on is a blue-collar background or under-estimated intelligence. Perhaps they led a difficult childhood. Of course, Michael Corleone was born of privilege, but his father Vito earned our respect as a first generation immigrant on the tough streets of New York City. The younger Corleone had to prove himself in the restaurant “wacking” of the crooked police chief and the man responsible for failed attempt on the elder Corleone’s life.

The last, and possibly most important, trait is that they have to be bizarrely loyal to something, ideally their family. Jax from the Sons of Anarchy is loyal to his club (SAMCRO), his first love, and his family.

So, I guess I am okay with my choices on a psychological level. As far as I am concerned, the next time I tune in to watch Sons of Anarchy or a rerun of The Sopranos or The Godfather (for the 100th time), I won’t think I’m some closet criminal. It’s just good therapy.

What happened to Mos?

BACKLINE's Spidey senses are tingling. No...not because of some evil plot to take over Philadelphia (we'll leave that reporting to the Inquirer). We are going into investigative journalism mode because the producers, crew, and anyone loosely affiliated with the production of Stingbean and Marcus are clamming up about why Mos Def has been replaced by Anthony Mackie.

Stringbean and Marcus, a low budget feature independent film is shooting in NW Philadelphia (Germantown and Nicetown).

Mackie, is known for films such as Notorious which he portrayed Tu Pac. He also had roles in films such as 8 mile, The Manchurian Candidate, Millon Dollar Baby, and We are Marshall.

As luck would have it, S&M set up their base operations in our publisher's Mt Airy neighbohood...Actually around the corner.

Since we've been trying without success to get an exclusive with the S&M heiarchy, our fearless publisher did not want to let an opportunity like this pass. Upon making a few inquiries to a couple of crew members, he heard that Mos was out. Our fearless leader immediatley went into journalistic mode and began digging deeper. It wasn't long before the two crew members went into a mode of their own. They clammed up and politely referred him the the main office. No luck there either. All questions were met with vague-assed answers that would have made any Pentagon spokeperson proud. Things that make you go hmmm.

A GPFO insider told us that the S&M production team aren't saying much...even to them. Our guess is because it's a non-union shoot in a union town...Still, it's a wild guess...albeit an educated one.

So...we are pulling out all the stops to find out exactly why Mos Def decided (or maybe it was decided for him?) not to star in this drama about a former Black Panther who has spent several years on the lam from his militant past and finally returns home to Philadelphia. Sophie Okonedo (Hotel Rwanda) is still expected to star in this movie however.

Stringbean & Marcus, written by local talent Tanya Hamilton, was a three year labor of love that Hamilton saw to fruition with the assistance of the Sundance Institute.

By the way...If you are interested in becoming an extra in the movie contact Zach Warsavage at Stringbeanextras@gmail.com. Tell him that BACKLINE sent you.

HELP STOP THE MOVIE TAX!

You might think a night at the movies is already expensive; but if Senate Bill 652 is passed, you will pay even more at the box office.

Senate Bill 652 seeks to force theaters across the state to pay sales tax on the rental fees that they pay to producers and distributors in order to be able to show us the movies we want to see. This tax hike would have the potential to raise ticket prices up 6% or more.

Theaters provide youth and seniors with jobs and give an economic lift to surrounding shops and restaurants. The passage of this bill would have a negative impact on employment, economic development and affordable entertainment.

We at BACKLINE urge citizens to call their State Legislators and tell them that you oppose SB 652 and the imposition of sales tax on commercial film rentals.

Box Office receipts are “UP” in Philadelphia area theaters with the showing of new Pixar animated film

As usual…Pixar did it again. Nationwide and locally, theaters were packed with millions of kids and kids-at-heart as they put on their 3-D glasses and watched Disney’s animated feature "Up". In its first weekend, the Pixar produced film shot to the top of the domestic box office as the adventure comedy rang up an estimated $68.2 million and played in 1,534 screens in the U.S. This places "Up" as Pixar's third biggest opener.

Co-directed by Pete Docter and Bob Peterson, the PG-rated "Up's" audiences were 31% kids age 2 to 11, with the balance of its broad support generously scattered among other demographics.

One Philadelphia theater manager told BACKLINE that he's rarely seen a new release packed from morning to night…especially an animated film.

Industry analysts agreed that Pixar’s capitalization of the resurrected 3-D craze contributed to the record grosses; more than twice as lucrative as its conventional venues.

Bilked Philadelphia Vendors In Bollywood Lawsuit Denied Restraining Order Request.

by Gregory Scott Jones, BACKLINE MAGAZINE

Rule one: You should not come to Philly to shoot a film, hire a lot of people, and then split without paying them.

Rule Two: See rule one

Philadelphia, May 13, 2006-Attorneys for more than 25 Philadelphia bilked vendors and actors had a minor setback on yesterday when Philadelphia Common Pleas Court rejected their request for a restraining order that would that would prevent representatives of Dharma Productions from leaving the United States with its assets, which is footage shot in both Philadelphia and New York. The court cited that the plaintiffs “failed to produce evidence of immediate irreparable harm” if the footage was taken outside the U.S.

Last week, a lawsuit was filed against Swish Films of Melbourne Australia, and Dharma Productions of Mumbai, India, on behalf of 25 vendors seeking $150,000 in damages. According to documents filed in Common Pleas Court last Friday, the lawsuit cites breach of contract for the production of Jihaad (aka KP-15), a low budget thriller shot in the area last fall.

At the time the request for an injunction was made, attorney Justin Wineburgh of Cozen O’Conner stated in the lawsuit that the footage shot in Philadelphia and primarily in New York were the production company’s only U.S. assets and an injunction keeping the footage within US jurisdiction would "preserve the status quo and restore the parties to the last peaceful, uncontested status which preceded the controversy." Unfortunately, the court disagreed.

The brouhaha began when Swish, who was hired to supervise the production, distributed checks to actors, vendors and crew members in Late December, telling them not to cash them until after January 9. Needless to say, the checks were rejected by the bank leaving $500,000 in unpaid bills.

Dharma, who since then has changed its name to Karma Productions, had a spurt of remorse as they offered to pay a few workers half the amount they are owed in if they signed a waiver promising not to take any legal action against the company. Of course, The City of Philadelphia and the Teamsters Local 107 got their payments in full. (Never piss of a Teamster)

Some of BACKLINE’s friends who were left holding the stick were Mike Lemon Casting, The Chestnut Hill Business Association, Standard Digital Imaging, Pro-Techs Sound Co, Inc. and Yes Studio Inc.

What’s BACKLINE’s message to Dharma (now Karma) Productions and Swish? The film community is a small community, and Karma is a bitch (pun intended)

BREIFS

BACKLINE NATIONAL

Screen Gems’ suspense film “Obsessed” captivated the domestic boxoffice during its first weekend as the Beyonce Knowles starrer proved more dominant than expected with an estimated $28.5 million take.

NETWORK NEWS

BIG FOUR broadcast Networks Expected to lose 7.7 Billion

The upfront haul for the Big Four broadcast networks will decrease 15% from the 2008 tally to about $7.7 billion, according to a projection by Barclays Capital. Miller Tabak predicts a more modest Big Four decline of 9.8%, to $8 billion, and a 9.9% drop to $8.4 billion for the six broadcast networks.

We will still party...(just not as hard)

After the broadcast networks opted mostly for subdued upfront presentations coming off the WGA strike last year, some expected a rebound this year. But the recession has put a damper on that, and the switch to lower-key festivities seems possible.

ABC takes the Lead in May Sweeps

(Grey's Anatomy and The Pratice took the prize. the NBC's Southland is struggling)

In their first new episodes since late March, Grey's (13.2 million viewers, 4.9 preliminary adults 18-49 rating) and Practice (9.2 million, 3.4) won their respective hours, though Grey's lost 13% and Practice slipped a couple tenths. A Grey's repeat started ABC's night.



CBS was very close for second in the demo and led among total viewers. Survivor (11.4 million, 3.5) was nearly steady and easily topped 8 p.m. and CSI (14.5 million, 3.6) dipped a tad. Harper's Island (7.5 million, 2.0) continued its decline, though slowed this week.


NBC moved into third, with My Name Is Earl (5.5 million, 2.2) flat and the third week of Parks and Recreation (5.2 million, 2.3) nodding down 8%. The Office (7.2 million, 3.7) was down 12% yet once again edged out CSI to place second in the 9 p.m. hour; 30 Rock (6.3 million, 3.1) slipped a similar amount. Week three of Southland (8 million, 2.5), up against Practice for the first time, fell into second place in the hour and was down 17%. NBC expected Southland to take a hit this week, but hoped for a softer thump.


Fox was in fourth place with Bones (8.2 million, 2.2) and Hell's Kitchen (6.8 million, 3.0) down 12% and 14%, respectively.


The CW's lineup took a beating: Smallville (3.1 million, 1.3) was down 24% and Supernatural (2.8 million, 1.1) fell 27% in the adult demo.


As for how many shows hit a season or series low in the overnight ratings, the answer is 11: Survivor (series low; non-Thanksgiving), CSI (series), Grey's (series), Office (season), Bones (season), Hell's (season), Smallville (season) and Supernatural (matching season low). Parks, Harper's, and Southland hit lows too, though that's somewhat common for third episodes of a series.




BACKLINE PHILADELPHIA


Music

Attention All Bassists! This is a "must see...must attend" show!

Since our Publisher is a former bassist, we thought we'd score brownie points by putting this on the blog......



BACKLINE has it on good authority that three of the music industry's top bassists will be in town under the banner of S.M.V. "THE THUNDER TOUR". Premier bassist and Philly homeboy, STANLEY CLARKE, will team up with Marcus MILLER & VICTOR WOOTEN (plus a very special guest t.b.a. shortly!)

These are three of the foremost bass virtuosos in the world today!

Watch them as they team together for another mind-bending concert of jazz, funk, blues & more. Tickets are $44.50, but even our frugal and penny pinching publisher plans to attend

Keswick Theater, 291 N Keswick Ave., Glenside, PA 19038

215-572-7650

Showdate and Time: Wednesday, June 10th at 8 pm

(Limited preferred seating also available.)

June 10, 8 pm

On Going Film Projects Shooting in Philly

Trading Spaces - TV Series - Banyan Productions

Cold Case -TV Series - Jerry Bruckheimer/Warner Bros. TV for CBS

What Goes On… -TV Series - Sri & Company

It’s Always Sunny In Philadelphia - TV Series - Sunny Television Productions

Have a local project working? Let us know. Send press release to backlinemag@gmail.com