Cotton Club

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The Cotton Club was a famous night club in Harlem New York that opened during prohibition. The club featured some of the greatest African American entertainers yet it generally denied admission to African Americans. Boxer Jack Johnson first opened the club in 1920. Full Sail students helped convert Full Sail Live into the Cotton Club for the night. Robin Nicole, dressed in a sleek white dress, announced that she was the president of the Full Sail Black Student Union. Cliff, the VP, had a natural gift in keeping the audience charged. When he got on stage he asked everyone to come up front and fill up all the round tables that had been set up in front of the stage. Robin asked for a moment of silence while they showed a video of African American performers who had recently died. Images of Bo Diddly, Don Cornelius, Ertha Kit, James Brown, Michael Jackson and Whitney Houston flickered on the screen.

Then it was time to sing! “Adonis” was the house band that had formed just 2 months prior, consisting of Full Sail students. The music paid tribute to Black History Month. The performances were passable but I wasn’t blown away. After the jazz-themed portion of the evening ended, the Producer’s Guild would transition things into 2012 with a Beat Battle Competition, in which producers went head-to-head with their tracks, allowing the audience to choose the grand prize winner. I didn’t stick around for the battle. I preferred to linger in the nostalgia as I packed up my antiquated art supplies and walked out to the parking lot to head home.

Dickson Azalea Park

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Dickson Azalea Park (100 Rosegarden Drive) is in full bloom. I couldn’t resist sketching on a sunny afternoon sitting in the dappled shade. Church bells in the distance clanged incessantly. The park was full of Azalea bushes blooming vibrant magenta, pink, red and white. When it came time to sketch however, I became fascinated with the huge moss covered roots of a live oak tree. The roots were exposed because a stream had washed away the dirt. Roots clutched and twisted, trying to reach out for new found ground. Fresh green shoots burst vibrant green on the opposite bank in direct sunlight.

I seldom do intimate studies like this. I’m usually preoccupied with sketching quick glimpses of events around town. Yet sitting and observing nature has its place. This cropped in vantage point began to feel abstract as I worried less about what I was painting and I got lost in how I was painting. I could learn much from slowing down more often and focusing on subtle intimate details instead of events.

The Salvador Dali Museum

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The Dali Museum is in Saint Petersburg Florida. The city has a definite “Artsy” vibe. The museum is right next to an airport. It was actually a bit chilly on the morning I was there. I got to the museum before it opened and decided to sketch the building and gardens before going in. The cement “bench” was in the sun. I leaned back against a light pole and warmed up as I sketched. The architecture of the museum is fascinating, with a glass dome wrapping around the back of the building like an octopus. The garden was arranged as a maze with surreal melting benches. A gentleman admired my work. He tripped on some grass and fell on top of me. I broke his fall. I got a comment from a reader the other day saying that my work is kind of literal, and they would like to see me work in a more surreal or impressionistic style. As soon as man discovered how to make art, there was the art critic.

In the lobby there was an old vintage car that had a mermaid in the back seat. Windows were dripping. The driver wore a heavy metal divers helmet. From the book, “The Amazing Adventures of Kavalier & Clay” I remember reading about Dali showing up at a party in such a diving helmet. The faceplate got stuck and Dali almost suffocated to death.

A security guard made me leave my artist stood downstairs when I checked in. I wouldn’t be relaxing and sketching any galleries. The collection has work from Dali back from his student days. I respect the fact that Dali was expelled from art school because he felt he knew more about art than his teachers. Some of his paintings were huge. One piece showed a woman standing and looking out at an ocean through a cross shaped window. There was a small portrait of Lincoln hidden in a panel. Later from across the room I saw the painting again in a whole new light. The hole huge 20 foot high canvas was a portrait of Lincoln but I couldn’t see it from up close. These sort of inspired surprises are when Dali is at his best. I remember hearing that Dali got annoyed that the paper used at Disney Feature Animation had peg holes in it, when he was doing developmental work for Destino back in 1946.

Epic Burlesque Battles of History!

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Ruby Darling agreed to pose as Marie Antoinette at my home studio. Well, I decided to have her pose in the living room since there were some nice throne-like chairs. While she changed into costume, I downloaded a timer application for my iPhone. I entered in a five minute and 20 minute pose setting.

When Ruby came out as Marie Antoinette, resplendent in purple, gold and maroon, my pet cockatoo, Zorro went nuts! He fanned his tail and raised is crest in apparent surprise and anger. Her crest was taller than his! He shouted like a banshee! Ruby and I laughed, but I finally had to banish him to the bathroom so I could concentrate.

Ruby and I worked on three five minute poses before settling on this sensuous pose. Ruby made the costume from scratch using plenty of hot glue. She would do an amazing job designing period costumes for a film. It’s a shame most period pieces are filmed in England.

On March 31st, Skill Focus: Burlesque will take you on a most bodacious journey back through time with “Epic Burlesque Battles of History“. Come watch your favorite nerdlesquers shake, shimmy and grind as some of history’s most influential figures. It’s a sexy lesson in history unlike you’ll ever find in any textbook.

Blank Space (201 E. Central Blvd. ) will open it’s doors at 9pm, show starts at 10pm. Seating is limited, so order your tickets in advance or get there early and enjoy some of Blank Space’s enormous craft beer selection.

$10 at the door, 18+ only. Teachers get $1 off with valid faculty ID.

You can order tickets now at http://sfbhistory.eventbrite.com/

Marionette Making Workshop Stringing

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People worked at various paces trying to keep up with Hannah Miller who was teaching them how to make simple marionettes from fabric, string and beads. The hardest part was the stringing, and Hannah had to explain that in a puppet making workshop there was usually one person who was the master of stringing. Jeff Ferree restrung his puppet several times until he felt it was right. Hannah walked the people who were ready out of the conference room into the main floor of Urban ReThink. Mirrors were set up so people could see their puppets perform. People giggled as they saw their areations come to life. A couple faced each other and the puppets bowed and curtsied to each other. Jeff let me try his puppet which seemed bigger than most. The strings to control the hands were threaded through a hole at the front of the cross bars. I tugged the string and both arms rose. Walking the puppet took some skill but having the head look around brought an instant spark of life.

Marionette Making Workshop

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As part of ArtsFest, Hannah Miller offered a free Marionette making workshop at Urban ReThink. I heard that this workshop was sold out quickly and tickets were limited. Thankfully, Hannah, AKA Thunder Hag, understands my sketching obsession and she was open to having me observe. On the white board, Hannah had written the names of two puppet masters who’s work influenced the workshop. Albrecht Roser is a German puppeteer who believes that the puppet drives the motion, not the puppeteer. Robin Walsh had an affinity to using fabric, especially silk in the construction of her puppets. She explained that the puppets we would make today would be ugly but functional. Hannah pointed out that the puppets movements were based on a pendulum swing and each puppet would have its own way of moving depending on what it was made of.

Each participant had a bag of supplies. Inside was fabric, beads, string, and a control bar. The fabric was used as the body of the puppet. Beads were threaded onto the corners and became hands and feet. The head required special attention since three screws were positioned for mobility and control once the puppet was strung. April Tennyson was assisting Hannah. Both puppeteers once worked at Pinocchio’s Marionette Theater in the Altimonte Mall. April asked me, “Where should I stand to get in the sketch?” “Well,” I said, “The best place would be to stand behind Hannah.” She stood behind Hannah and smiled broadly as she took a heroic pose, holding up some fabric. I laughed out loud and tried to ignore her until she “acted natural.” I hope Hannah didn’t think I was laughing at her lesson.

Jeff Ferree who is a puppeteer who had a show at Fringe last year in the smallest venue, a closet, sat next to Hannah and struggled with the head of his puppet. To me, he is a puppet master but even masters want to expand their horizons. The couple seated closest to me seemed like a married couple. They giggled like kids as their creations came to life. The woman was always two steps ahead of her partner, and she would step in and help out on occasion. Some folks arrived late and April tried to get them up to speed.

Flying Horse Editions

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I had been told to sketch Flying Horse Editions by several readers. When I contacted them, Theo Lotz quickly said, “Yes, come on down!” Flying Horse Editions is located in the UCF Center of Emerging Media building right across from the Bob Carr and the old Amway Arena. For some reason there was an old steam locomotive in the parking lot of the Arena. I was happy I didn’t have to pay to park. Simple pleasures. The hallway leading to Flying Horse Editions had computer workstations for student. Right in the entry there was an old wooden press that could have been used for the Gutenberg bible. I immediately wanted to sketch, but no one was using the press so I went inside.

Theo, dressed all in black, introduced himself and showed me around. The room was immense and immaculate, filled with dozens of presses both old and new. They do limited edition fine art prints here of the highest caliber. They had just finished 2 run of 15 prints by artist Carmon Colangelo. The boxed set was bought by the Saint Lewis Museum of Art. Student Ashley Taylor was working the press right in front of me. She was experimenting on a way to reproduce some spiral patterns by artist Tom Nozkowski using relief printing techniques. Elizabeth Moorefield was in constant motion, talking on the phone and working on her laptop. Larry Cooper was building boxes that would hold prints.

Theo asked me if I wanted a scoop for my story. “Of course I do!” I said. “Well, Ashley just found out she is getting a full scholarship at the University of Florida. We are all so proud of her!” he said. Ashley smiled shyly. I was fascinated by the large trays of old letterpress leads. The typeface was an old western font. I wondered what they had been used for. Theo suggested I come back when there was an artist in residence. Things get crazy when an artist is given free reign and people stop sleeping. This place was a treasure trove of sketch opportunities and I look forward to returning. I congratulated Ashley as I left.

BB King's

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I heard that the 5th Orlando Lindy Exchange was having a free swing dance at BB King’s. BB Kings is in Pointe Orlando on International Drive. Terry and I go to the movie theater in that complex sometimes, so I have seen the club but never been inside. Large primitive folk paintings of music legends decorate the exterior. When I got inside I asked about the swing dancing but was told that the dancing had happened the night before. Rather than leave, I decided to stay and sketch the evening’s live entertainment. It was early, maybe 6pm so, only a few tables were occupied. The host seated me at a counter directly facing the stage, but I decided I wanted an off center angled view of the stage. I took the menu and utensils and moved to the Johnny Cash table in a corner. Each table had a primitive painting of a musical celebrity. Johnny’s face was hidden by the ketchup, mustard and napkins.

Selwyn Birchwood was performing. He had a solid dome of hair and his white outfit stood out in the otherwise dark room. Stage lights illuminated the stage in yellow and magenta. Huss Rodham on bass was silhouetted against the bright blue curtains and I couldn’t see Curtis George on drums. He was hidden behind a piano. Selwyn grew up in Orlando and he performed some original songs about the Florida heat and gators. Most of the music was covers of classic blues, and he shouted out for requests.

I ordered a dish of Pesto pasta and it came out fast. I stuffed fork fulls in my mouth as I worked and when the stage went dark between sets, I ate in earnest. Good food. The Coke buzzed through my veins as I sketched. When the second set started, I pulled out the paints and splashed color on the page. A little girl stood beside me watching my every move. She finally lost interest when her food arrived. Her mom commented on the sketch saying she liked it, then she stood by the stage to shoot a cell phone photo. A waitress expressed interest and asked if I do “faces“. I have been known to draw a face or two.

Parking at Pointe Orlando cost $4. Some electronic ticketing machine barked metallic orders at me until it had my money. Getting out of the garage was a nightmare. As I got ready to back out of my spot, some woman stopped directly behind me waiting for my spot. I ended up doing a ten point turn in the tight quarters and she kept inching closer in her rush to get to the evening’s entertainment. There were no signs for the exit. I drove in circles trying to find my way out with people and cars cutting me off at every turn. I finally decided to drive to the roof of the parking structure figuring I might spot a ramp down with no obstructions. It worked in theory but 15 minutes later, I drove past the parking spot I had struggled to exit. I was in the twilight zone, or a Seinfeld episode. The only signs were those that demanded money. I used my compass to try and steer only towards the north east corner of the parking structure and I sighed with relief when a ramp finally lead me down. As I drove onto Universal Boulevard, I vowed, “Never again, NEVER again.”

Aiguille Rock Climbing Center

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I went to Aiguille Rock Climbing Center (999 Charles Street, Longwood) in the early afternoon. As I drove up, I noticed a group of high school students walking down the street in the same direction. I guessed that they were going to climb after school. I was right. The manager behind the counter asked if I planned to climb. I replied, “No, I’m here to sketch.” I explained to her about the blog. Her only warning was that I couldn’t step on a blue mat without lessons. There are picnic tables set up for observers so the place is perfectly set up for artists.

Several men were being taught how to use the ropes and harnesses. They had to learn several knots and how to safely use the equipment. Dozens of green ropes draped down from thick sewer PVC tubes suspended by two by fours. No one actually supported their weight in this training area. The rock climbing center is housed in a huge warehouse. Large false rock walls thrust up to the ceiling along the longest wall creating a man made canyon. After the basic rope training the newbies were walked up to the face of a wall. They climbed for the first time under the watchful eyes of an instructor. Safety and climbing etiquette were stressed again and again. One of the climbers got rambunctious and started kicking himself away from the wall, like you might see in a Rambo movie. The instructor calmly explained that he was taking unnecessary risks. One climber had done that too much and ended up crashing through the wall. He wasn’t injured too bad.

In a training area a muscular climber hung upside down from a chin up bar. He pointed his toes and shifted his legs from one side to the other using his abdomen muscles. Damn, I feel flabby, at least my fingers are getting a workout. A large group of climbers sat around a short central wall where they could test their climbing skills without getting too high. Fingers and palms were coated in chalk and then they would try to climb up an inverted groove. The plastic finger holds must be moved around often since someone was drilling new ones into the walls as I worked. Strips of red tape seemed to mark hold placements. Plenty of people fell as they challenged themselves. At one cliff like overhang one climber hung suspended by one arm, his legs swinging like a pendulum until he thrust his free arm up to a crevice.

It seemed like this was a regular ritual for many of the people here. Landing flat on your back wasn’t something that slowed these climbers down. They would dust themselves off, laugh about it and anxiously wait for the next chance to climb the overhang. This sport seemed to require concentration, strength, patience and an innate knowledge of how to push the boundaries where some might feel fear. Even the staff undergoes rigorous training. There is always something new to learn. No climber is perfect, they are all humbled by gravity.

I didn’t climb, I was having too much fun sketching, but I can now put this on my bucket list of things I’d like to try. I think I need to work on my abs and arm strength. I’ll keep lifting that heavy art satchel till I’m ready.

Benoit Glazer

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Benoit Glazer and his wife opened their home, the Timucua White House, starting in September 2000, to bring free music to the Orlando community. I’ve sketched many of these concerts and have always been pleased to discover new talents. Benoit and his family believe and promote the following…
Art and music belong to everyone.
Art and music are the highest manifestation of our humanity.
Art and music should be enjoyed in the most intimate venue: the living room.
Every community is better when art and music are performed and nurtured within it.

After one concert, I discovered that Benoit was composing the sound track music for an independent film called “7 Lives of Chance” that was filmed right here in Orlando. This film, written and directed by Banks Helfrich, is about a woman who loves balloons and is unable to let go of the past. Her life would be so much easier and less painful if she could let go and watch her worries drift away with the breeze. The sound track features light and breezy violin music giving the story a distinct European flair. Benoit jumped at the chance to compose the music.

I sketched Benoit on the weekend as he worked in his sound studio. A collection of violins and trumpets lined one wall. A window looked out on the main stage area in his custom built acoustically designed “living room.” His flat screen computer monitor was tilted vertical so he could see all the tracks. The family was watching a neighbors dog. The Benoits also have a greyhound and this dog made the tragic mistake of nipping at the greyhound while it slept. The greyhound was jolted awake, and bit down on the the other dog’s head. The children took the dog to the vet at a great expense. The dog lay on the floor with a big band aid covering the bite. The dog was restless, and occasionally Benoit would have to soothe it, making sure the dog didn’t scratch at the wound with it’s paws.

After each concert, Benoit mixes a CD to thank the musicians for performing. He began mixing a CD for singer Ashley Lockheed. Chris Rotmeyer was on piano, Ben Cramer on Base and Allen Vache on clarinet. Benoit informed me that Allen is a very big deal, having performed with the Jim Cullen band. The music filled the tiny sound studio as Benoit adjusted the levels again and again. I was surprised when he asked my opinion on the levels of one track. I was just as surprised when he agreed with my humbly assessment. Benoit adjusted the levels using pure instinct. He doesn’t consider himself a perfectionist, he just knows when it feels right.