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CONTENTS ALBERTA THEATRE PROJECTS BRAND STORY……………………………………………..……..3

HOW TO FIND THE THEATRE…………………………………………………………………..….…...4

FREQUENTLY ASKED QUESTIONS............................................................................................ 5

THEATRE ETIQUETTE ................................................................................................................ 6

CAST AND CREATIVE COMPANY............................................................................................... 7

PLAY SYNOPSIS.......................................................................................................................... 8

PRODUCTION BACKGROUND.................................................................................................... 9

SETTING…………………..............................................................................................................10

CHARACTER DESCRIPTIONS ................................................................................................... 11

PLAYWRIGHTS NOTES………………......................................................................................... 12

DIRECTORS NOTES………………………................................................................................... 13

ACTOR BIOGRAPHIES ............................................................................................................... 14

THE BIG TIME BAND .................................................................................................................. 16

THEMES AND TOPICS….…………………………………………………………………….……….. 17

GLOSSARY ……………............................................................................................................... 20

GUIDE TO THE BLUES….…………. ........................................................................................... 26

CURRICULUM CONNECTIONS .................................................................................................. 28

“Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music.

But, man, there's no boundary line to art.” Charlie Parker

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ALBERTA THEATRE PROJECTS: BRAND STORY What is art? What is theatre? Why is it important? To ask these questions would be like asking: What is life? Why are we here? Does it matter what we do with it? Theatre is a mirror of our lives, our struggles, our pain, our joys and our triumphs. Theatre is this crazy person who has the courage, or the insanity (the jury is still out) to show up naked – sometimes literally, to stand in front of an audience and show their work and expose themselves, without the armour of editing or computer effects but with all the risks of mistakes and imperfections. They pour their art out and say...”What do you think?” It’s not that they are not scared, of course they are, terrified sometimes. But that’s the price you have to pay to have the ability, the honour, the immense pleasure of touching us, perfect strangers, of moving us to tears, to laughter, to marvel. That’s the price you have to be willing to pay to open hearts and minds. In the end, that is why we do what we do. We all live busy lives, with work, kids, family, chores, and bills. Things seem to move faster and faster around us. There is so much information, opinions, confusion. It’s hard not to feel lost, scared, overwhelmed. How do we make sense of it all? How do we find ourselves and each other amongst all this noise? It’s so easy to be distracted; from us, from what matters. We’re not here to tell you what to do, to lead you down the right path. Sorry to disappoint. We’re in the same boat you are. We are here to tell you stories. Sometimes they are funny stories, sometimes sad or both. But they are all glimpses of us. It’s like peeking at someone’s bedroom, or reading their diary. These stories let us in; these very intimate, very personal and very honest slices of life. The funny thing is when we watch these stories, we can see ourselves but most of all, we can see others. We understand choices, we may not agree, but we can relate. Theatre is where we see us, where we poke fun at ourselves and laugh at our shortcomings. It’s where we marvel at the human spirit, where we start to see things from different perspectives. It’s where we forget where we are for a couple of hours and get transported into stories that touch us, move us or simply delight us. These are the stories worth telling. These stories break barriers; of time, backgrounds, opinions... they help us make sense of what it means to be alive right now. Hopefully they help us find beauty and peace amongst all the noise and confusion. Hopefully they’ll help us find ourselves, and each other.

“This is what we do. This is why we do it. This is who we are”

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FINDING THE THEATRE

Entrance to the Martha Cohen Theatre Lobby is on the south side of 8th Avenue between 1 St SE and Macleod Trail North. This is where buses will park for drop off and pick up.

CONNECT WITH US

@ContemporaryATP

Alberta Theatre Projects

atpinsider.blogspot.com

Alberta Theatre Projects The Martha Cohen Theatre Arts Commons - 215 8th Ave S.E. Calgary, Alberta, T2G 0K8 Jonathan Brower Youth Engagement Manager (403) 294-7475 ext. 1098 jbrower@ATPlive .com

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FREQUENTLY ASKED QUESTIONS

1) What time does the performance start? How long is the show? The performance begins at 11:30am and runs approximately 2 hours with one 15 minute intermission; ending at approximately 1:45pm. This performance includes a Q&A with artists on stage, directly after the curtain call.

2) What time should the bus pick up the students from the school, and from the theatre?

The bus should be at your school to pick up the students at 10:30am and back to the theatre no later than 2pm.

3) When and where are the students going to eat their lunch?

We open the lobby of the Martha Cohen Theatre at 10:45 for students to eat their lunches. Please allow at least 30 minutes prior to the matinee start time so students are able to comfortably eat, and take their seats on time. NO FOOD OR DRINK IS ALLOWED INSIDE THE THEATRE.

4) Where should I tell the bus company to drop us off?

Stephen Avenue (8th Avenue SE) will be accessible from 10:00am. Please direct bus drivers to take MacLeod Trail South and turn left onto Stephen Avenue (8th Avenue SE). Please note, due to limited access we request that all vehicles stop only for drop off and pick up. THERE IS NO BUS PARKING AVAILABLE ON STEPHEN AVENUE,

5) Where will students leave their coats and backpacks during the performance?

Students are able to leave their coats/backpacks in the lobby or bring them into the theatre. Coats should be on the back of the seats and backpacks can be under the seats. At no time should the student take food out of their backpack and eat during the performance.

6) Are the students able to leave the theatre?

We encourage students to stay in the theatre for the entirety of the performance. However, if it is necessary for a student to leave, please ask our ushers for assistance in order to exit safely. Students will have to wait to re-enter until an appropriate break in the play when an usher will safely escort them in.

Share your art with us! We would love to receive your feedback

about the performance. Please send your letters, pictures, cards, etc. to:

Jonathan Brower

Youth Engagement Manager Alberta Theatre Projects,

220 9 Ave SE, Calgary AB, T2G 5C4

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THEATRE ETIQUETTE Before attending the theatre, please take some time to go over proper theatre etiquette with your students. We know this is common sense, but for some students this may be their first theatre experience. RESPECT the actors and your fellow patrons

When the lights go dim, it is time to be quiet and engage with the action on the stage

Be sure to turn off cell phones

Refrain from texting, talking or eating as this is disrespectful to the actors telling the story and your fellow audience members

RESPOND to what you see through laughter, tears, smiles, giggles or captivated silence.

The actors feed off your presence and respond with their work on stage.

Don’t respond by talking to your neighbour; please wait until after the performance to discuss your thoughts.

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CAST Raoul Bhaneja

Divine Brown

Jake Chisholm - Guitar

Tom Bona - Drums

Chris Banks - Upright bass

COMPANY Written and conceived by:

Raoul Bhaneja

Directed by:

Eda Holmes

Dramaturgy:

Eda Holmes and Andy McKim

Stage Manager:

Fiona Jones

Associate Director:

Kate Lynch

Lighting Designer:

Bonnie Beecher

P.M. & Associate Lighting

Designer:

Jason Golinsky

Projection Designer:

Cameron Davis

Sound Designer:

Richard Feren

Costume Consultation:

Laura Gardner

"The beautiful thing about learning is nobody can take it away from you." B. B. King

Photo by Micheal Cooper

Raoul Bhaneja

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SYNOPSIS

Life, Death And The Blues is an innovative new concert/theatre hybrid which explores the power,

passion and meaning of The Blues. Tracing the history of what has become “everyone’s folk music”,

telling all of our stories and influencing music of all genres. Following the Blues from its early roots to

new artists, Blues veteran Raoul Bhaneja – with the help of his band The Big Time, and amazing

R&B artist Divine Brown – combines autobiography, interviews and multi-media to draw you into a

personal, poetic and visceral world of The Blues. This blues experience deals with racism,

stereotypes, sensuality, and finding one’s place.

Photo by Micheal Cooper

Raoul Bhaneja, Divine Brown & Jake Chisholm

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PRODUCTION BACKGROUND

Life, Death and The Blues was developed at Theatre Passe Muraille in Toronto and was work-

shopped there in the fall of 2013. The show played Theatre Passe Muraille’s main stage in the fall of

2014 and is now on tour! In each city that Life, Death and The Blues is performed, the producers

make a point of honouring local blues “legends” and encouraging young up-and-coming blues artists

with the Youth Blues Challenge - an opportunity to play a set during each intermission. Find out more

about the Youth Blues Challenge HERE.

To read an article about show creator Raoul Bhaneja and performer Divine Brown’s experience

touring Life, Death and The Blues, from our ATPLive Magazine feature called “Bhaneja & Brown: A

Duet,” click HERE.

“The Blues is Life” Brownie McGhee

Photo by Micheal Cooper

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SETTING

Montreal: One of Canada’s arts cities with a bustling music scene and brimming with a combined

culture from its large population of immigrants and French Canadians.

Montreal Metro: Montreal’s extensive public transit, is well known for blues and other genre

musicians as a prime busking location.

Brooklyn, New York: A borough in New York that birthed many popular blues musicians over the

years including Louis Armstrong and Miles Davis.

Venice Beach, California: A neighborhood in Los Angeles It is located right on the beach and used

to be considered a slum.

Chicago: Home of the world’s first skyscraper, Chicago saw huge growth during the mid-19th century

and is now home to approximately 13 million residents. Chicago is also known in the blues world as

the Centre of North American blues. South side has a reputation of being poor and crime-infested

however its crime and wage demographics are widely varied. South side does have a history

gentrification; low-income families were driven to live in this area of town due to high priced houses in

other areas and nowadays low-income families are being driven out of their houses in South Side by

real estate companies looking to build low density, trendy/artsy houses for the wealthy.

The Maxwell Street Market was one of the largest open air markets in the country and blues artists

frequently played there.

"The blues is the roots, the rest is the fruits." Willie Dixon

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CHARACTERS

Raoul Bhaneja- Man, Narrator.

Divine Brown- Woman.

Jake “Guitar lightning” Chisholm- Guitar/vocals

Chris “Slim” Banks- Upright bass

Tom “Big Papa” Bona- Drums

“Every bad situation is a blues song waiting to happen.” Amy Winehouse

Photo by Micheal Cooper

Raoul Bhaneja, Chris Banks, Tom Bona & Jake Chisholm

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A NOTE FROM PLAYWRIGHT RAOUL BHANEJA

I wanted to tell you a story, but the only problem was I didn’t want to be in it. Sure, I’d perform in the

show, act, play some music, but the last thing I wanted to do was include my own personal story in it.

I worried that I’d have to get under the skin of things I had spent my life fighting against, ignoring or

worse, hiding from. Over the last 15 years of rolling around this story in my head and heart I came to

realize, through the input of audiences, collaborators, mentors and personal experience that I was

wrong. It was going to be my task to look into the corners of my life and our world that not only thrill

but also challenge, terrify and test us. I must deeply thank Eda Holmes for the determination she has

shown in bringing this project to life and to Andy McKim who not only inspired the first impulse for this

piece but who has also stuck with it through thick and thin. Finally, I must thank those of you who are

reading this note...

“Without you we are nothing, Story’s called Life, Death and The Blues”

Photo by Micheal Cooper

Raoul Bhaneja

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DIRECTOR’S NOTES

Eda Holmes

I saw an ageing John Lee Hooker play in Paris in the

early 90’s at La Villette. He sat on a folding chair, a

guitar across his lap and he “bellowed the blues”. It was

a revelation. His rough voice and his unassuming way

were so startling and captivating. He sang of suffering

and deliverance of love lost and found and the crowd

went wild. I have had that same experience at gigs of

Raoul and the Big Time. Whether it was at the Y2K New

Year’s Eve gig where the band rocked the house even

though none of us were sure what the world would be

after midnight or the Katrina Relief gig where Raoul had

brought a suddenly homeless Johnny Sansone up from

New Orleans to play with the band but I remember

feeling like I was witnessing life made manifest in the

form of music. At its core the Blues is the music of life -

life in all it’s hoary and glorious detail. Raoul has sought to capture that essence in this play. What I

love about Raoul as an artist is his desire to capture life and make it manifest. Sometimes he does it

as an actor and sometimes he does it as a musician and tonight he does it as a playwright and

composer as well. Prepare to meet the Blues.

“The blues is at the roots of all music. The blues was here since the world was born.”

John Lee Hooker

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CAST

Raoul Bhaneja – (Creator, Actor, Musician - Man) Raoul has appeared in the critically acclaimed productions Helen’s Necklace, The Domino Heart,

Bashir Lazhar, House of Many Tongues and Wide Awake Hearts at The Tarragon Theatre. Other

selected theatre credits include The Cosmonauts last message… (Canadian Stage), Rice Boy

(Stratford Shakespeare Festival), Savage Sensuality (Shakespeare’s Globe Theatre, U.K.

Christopher Plummer Artistic Fellowship Award), Sin City (2002 Canadian Comedy Award

Nomination), The School for Wives (Soulpepper Theatre), Standing Female Nude (Storm Collective)

directed by Eda Holmes, The Cherry Orchard (Theatre Smith- Gilmour/ Columbus), speak (Prairie

Theatre Exchange) and two seasons at The Blyth Festival. Since January 2006 Hamlet (solo) has

been performed in over 25 cities across Canada, the UK, off Broadway and most recently at The

National Arts Centre in Ottawa. A Gemini award nominee, Bhaneja has appeared in over 75 different

film and television projects, working with many top directors including Atom Egoyan, Sarah Polley,

Bruce Macdonald and more. Most recently he starred in the CBC miniseries The Best Laid Plans.

Raoul is the leader of the Maple Blues Award winning band, Raoul and The Big Time formed in

1998,have played major festivals across Canada and they released their fifth album, Hollywood Blvd

to critical acclaim in April 2014. Raoul is a graduate of The National Theatre School of Canada.

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Divine Brown – Woman

When Divine Brown enters a room the energy

becomes electric. Divine has a long history in

musical theatre. Before releasing her first album

she performed in several musicals. Starting at the

age of 12 in a play called Rainbow World, which

was written by Salome Bey. Eventually she landed

roles in such plays as Rent and Ain’t Miss Behavin.

Recently she starred in “Joy in the Morning”

directed by Robin Givens. She has also worked on

countless voice-overs, commercials and jingles.

The last few years she has mainly focused on her

music career. Her debut self-titled album The

Divine Brown 2005 was awarded a gold

certification and generated her first Juno Award nomination. Her sophomore album The Love

Chronicles 2008 won her a Juno Award for best R&B Soul Album. She is now set to release her third

album in 2015.

Photo by Micheal Cooper

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“The Big Time Band”

Tom Bona– Drums

A Toronto/Halifax based musician, Tom has been the drummer for Life

Death and the Blues since its inception. A multiple Maple Blues Award

Winner, Tom performs with ‘Raoul and the Big Time’, ‘Jon Knight and

Soulstack’ and ‘The Maple Blues Revue’. Tom has worked with The

Bourbon Tabernacle Choir, Powder Blues, Steve Lukather (Toto), Martha

and the Muffins, Sue Foley, Jeff Healey, Colin James, Wilderness of

Manitoba, and The Good Brothers. Highlights include; an international

drum festival appearance, drumming for Willie Big Eyes Smith, and re-

recording “Echo Beach” with M+M.

Chris Banks – Upright Bass

Chris is a Toronto-based freelance bass player. He currently plays and

has recorded with Alex Pangman and Jake Chisholm and is also the

leader of his own trio, The Chris Banks Trio. Chris has played with Alex

Pangman touring jazz festivals across the country including those in

Montreal, Halifax and Edmonton to name a few.

Jake Chisholm - Guitar Jake Chisholm’s guitar playing has soul. And it is Chisholm’s evident passion for blues, jazz and rock n’ roll that has made this Canadian guitar player a highly respected musician in the Canadian blues and jazz scene. Chisholm and his blues band “Jake and the Midnight Blues” have performed at numerous prominent music clubs and festivals around the country, and have garnered high praise from the Canadian blues community. Chisholm’s musical talents also include singing and songwriting, as demonstrated by his 2013 solo album “Diamond in a Coalmine”. Most recently, Chisholm performed at the 2015 Montreal International Jazz Festival.

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THEMES & TOPICS

History of the Blues

Chicago blues: Chicago is considered to be the centre of North American Blues. Blues from Chicago

and St. Louis are considered to be urban blues and evolved from classical blues when black workers

from the south began to move into the cities. In particular, Chicago blues started its formation in the

Maxwell Street Market (one of the largest open air markets in America) where performers would busk

and soon after blues clubs started to form.

Texas blues: Texas Blues differs from others by introducing more slide guitar and swing sounds in it

than other blues subgenres. It was heavily influenced by country music in Galveston, Houston and

Dallas.

Memphis blues: Stemming from Jug bands (a group of jazz, blues, or folk musicians using simple or

improvised instruments such as jugs and washboards) this subgenre of blues was influenced during the

great depression by delta-blues musicians who moved from the Mississippi area into the city to find

work. After the depression, Memphis electric blues started to form with distorted guitar sounds, heavy

drumming, and strong vocals.

Mississippi blues: Mississippi was considered the birthplace of all blues. Influenced from songs that

black slaves would sing in the fields, these songs were commonly haunting and sorrowful or blue.

The Delta sound: Delta differs from Mississippi in the fact that the lyrics are more about sensuality,

relationships, and the travelling lifestyle, whereas the Mississippi blues lyrics mostly focus on life’s

sorrows which stemmed from slave music. Delta music used voices, stomping and clapping, instead of

traditional blues instruments like guitars and harmonicas. Delta blues is the style that influenced Elvis

Presley.

World Blues: The popularization of blues in Britain came from WWII when American soldiers would

bring blues records with them across the sea. At this time blues hadn’t really been heard in Britain

except by people who had travelled to the USA. During the 50’s and the rise of British Rock and Roll,

the blues lost its popularity as quickly as it had gained it. It wasn’t heard again until the late 50’s when

Muddy Waters played in Britain. Muddy played his electric blues which later influenced British rock to

become more electric. The electric shift birthed bands such as the Rolling Stones and Fleetwood Mac.

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Is Blues Dead? The Blues is no longer in the forefront of popular music but many things that we

listen to today originated from blues. Traditional blues is the forerunner for genres like R&B (Rhythm

and Blues) for example. Artists like Janet Jackson, Whitney Houston and R. Kelly contributed to this

genre. You can find hints of the blues in artists like Janelle Monae, Frank Ocean and Rihanna.

Canadian blues legends and the Canadian blues scene: Although the blues is a genre typically

dominated by American musicians there have been a number of Canadians who have made

significant contributions to the blues scene. Jeff Healey being one of them, due to his blindness he

developed a way of playing the guitar with the strings facing up on a tabletop and was praised by BB

King. Other Canadian blues legends include: Scott Cushnie, Mike McKenna, Lance Anderson, Chris

Whiteley, Diamondback, Ken Whiteley, Levy Sisters, Harrison Kennedy, Morgan Davis, Fathead, and

Calgary’s own Tim Williams.

History of the Harmonica: The Harmonica is also known as the mouth organ or the French harp. It

has multiple metal reeds inside of it and is categorized as a free reed wind instrument. Free reed

instruments were popular in East Asia for a very long time and in the 19th century the first European

harmonicas started appearing. They came to America when European clockmaker Matthias Hohner

began shipping his mass produced brand of harmonica to the USA. The Hohner harmonica was

popularized by American soldiers during the American civil war. The harmonica was a relatively

cheap and widely available instrument during the rise of blues especially in the American south. The

harmonica is a widely available and relatively inexpensive instrument that is still used by well-known

artists including Beck.

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Stereotypes

Blues & music stereotypes:

Blues is dead: This stereotype comes from people who don’t really understand the history of blues

and how much it is incorporated into music today. Blues music is not dead! It has changed with the

times and new artists have emerged; artists like Eric Clapton and John Mayer for example. They are

two of the best blues musicians around today.

Race in Blues: The blues and the musical forms that derive from it have reached broad international

success for some very simple reasons: people like it, they relate to it, and they feel it in their soul. Of

course they will play it. While the blues constitutes one of the many significant global-cultural

contributions of African Americans, there is no racial purity in music beyond its origin. The blues today

is played and listened to in multi-racial, multi-cultural forums- just like all successful musical forms. As

such, black culture continues to be celebrated, emulated and honoured. What could be more

positive? John Lee Hooker once said: “… Feeling the blues comes from the inside. It doesn’t matter

what race you are or even what language you speak. It’s a feeling you get from the tunes you hear

inside.” Muddy Waters also said “The blues don’t know no colour”. These guys know best!

Who owns the blues: As Divine Brown said in her interview with ATP’s Live magazine “music is a

universal thing”. Today blues artists’ racial backgrounds are varied but they all recognize the roots of

the blues and respect that it came from the victims of slavery in America. The blues is a little like

Shakespeare in the sense that we recognize where it came from and who originally wrote it but also

acknowledge that the blues can be performed by anyone.

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GLOSSARY

People Mentioned in the Show

Aaron T Bone Walker: Critically acclaimed blues multi-instrumentalist. He was a pioneer of Jump and Electronic blues. Ranked #67 on Rolling Stone magazine’s list of The 100 Greatest Guitarists of All Time. Albert King: Known as “the Velvet Bulldozer” because of his size and smooth singing voice, he was one of the Three Kings of Blues Guitar (not blood related to BB or Freddie). King is also a member of the Rock and Roll Hall of Fame. Allen Coage: Won bronze in the ’76 summer Olympics in heavyweight Judo. Today he remains the only American to have won an Olympic medal in Judo. He also participated in Stampede wrestling and called himself “the ultimate warrior”. BB King: Nicknamed the King of Blues, king ranked #6 on Rolling Stone magazine’s 100 Greatest Guitarists of All Time. Also known as one of the Three Kings of Blues Guitar. Had a new style of soloing that has influenced many guitarists after. A member of the Rock and Roll Hall of Fame. Big Walter Horton: An American renowned as one of the best harmonica players there was. He was also known for being shy and quiet. He was also known as Mumbles or Shakey. Brownie McGee: An American piedmont blues singer who often worked with Sonny Terry and was involved with the blues revival during the 60’s. Charlie Biddle: Biddle was a Canadian Jazz bassist who lived in Montreal. He was featured in Bruce Willis’ movie The Whole Nine Yards. Biddle was his namesake; a jazz club in Montreal, that club became a staple in the Montreal jazz scene. He was the organizer of the Jazz Chez Nous festival which laid the foundation for what is now the Montreal International Jazz Festival. Freddie King: King placed #16 in Rolling Stone magazine’s 100 Greatest Guitarists of All Time. He played a combination of Texas and Chicago blues which led to a unique sound. In 2012 he was inducted into the Rock and Roll Hall of Fame. King was also known as one of the Three Kings of Blues Guitar. James “Super Chikan” Johnson: Johnson is an American Blues musician and guitar maker. His name came from a childhood nickname Chikan boy given because he would play with the chickens in the field. He has received five Living Blues Critics awards. Johnson is known for playing at Morgan Freeman’s Ground Zero blues club. John Lee Hooker: An American blues singer who had his own style derived from 30’s – 40’s boogie woogie. One of his more famous pieces is ‘One bourbon, one scotch, one beer’. Junior Wells: American Chicago blues singer. He developed his own more modern style of harmonica. He also appeared in both of the Blues Brothers movies.

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Junkyard Dog (JYD) Jerome Williams: A retired professional basketball player, he played for the New York Knicks. Before he played for the Knicks he played for the Toronto Raptors. JYD was nicknamed for his hard-work and hustle. Marion “Little Walter” Jacobs: One of the first musicians to use electronic distortion purposefully, he used harmonica amplifiers to experiment with new sounds. He played for the Muddy Waters using unamplified harmonica. Miles Davis: One of the most influential musicians of the 20th century, Davis is a member of the Rock and Roll Hall of Fame and was a pioneer of many jazz movements. During the late 60’s and the early 70’s Davis played a fusion of jazz and rock due to the change from classic instruments to electric. In the 80’s he made a triumphant return from his addictions to the jazz scene and continued to play until his death. Ray Brown: Brown was an American award winning jazz double bass and cello player. He played with Ella Fitzgerald as well as Duke Ellington. He began his career immediately after high school by buying a one way ticket to New York and continued right up until his death. Muddy Waters: Waters influence on blues music and use of amplifiers helped lead to the development of rock and roll during the 60’s and many genres of today’s music. He was the Father of Modern Chicago Blues. His Grandmother gave him the nickname Muddy as a child when he would play in the mud. Chicago named a road after him following his death. Paul Frappier: Frappier played a combo of hip-hop and soul music and was a popular Montreal musician. He often used harmonicas to vary the sound of his hip-hop. He also was in a few films, including one about the Montreal blues scene. He was in the process of making a film about Montreal street gangs when he was shot and killed in an industrial area. To this day there are no suspects or motive. Paul Oscher: a harmonica player who became the first white member of Muddy Waters’ band in 1967. During the 80’s Oscher quit music and got a day job but returned to the music scene in the early 90’s. He has toured in the Muddy Waters tribute band and continues to make music today. Robert Johnson: In addition to being a gifted lyricist and composer and innovative guitarist, Johnson transferred "boogie woogie" from the piano to the guitar, playing the bottom guitar strings to accompany himself with a bass line, a technique that has become standard in blues composition. His influence on the blues ranges from Muddy Waters and Eric Clapton to the Rolling Stones and Led Zeppelin.

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Samuel “Sam” Cooke: Cooke was an American soul singer who was known as the King of Soul and a pioneer of the genre. He was one of the first black people to create his own record label as part of his career. He’s a member of the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. He has received a Grammy Lifetime Achievement Award and Rolling Stone has ranked him as #16 of the Greatest Artists of All Time as well as #4 Greatest Singers of All Time. Sonny Boy Williamson (John Lee Williamson): An American blues singer and harmonica player. He has been called the father of modern blues harp (harmonica). The original Sonny Boy. Sonny Boy Williamson 2 (Rice Miller): An American blues singer and harmonica player, he was an influential harmonica player in the early years of modern blues harp. His song “Help Me” is now a blues standard.

“The Blues was bleeding the same blood as me.” B.B. King

Photo by Micheal Cooper Raoul Bhaneja, Divine Brown

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Places Mentioned in the Show

The National Theatre School of Canada: Located in Montreal, this school has been offering theatrical training, acting, playwriting, directing, set and costume design, and production in English and in French since 1960. The Apollo Theatre: Before becoming the Apollo Theatre, it was known as the Hurtig & Seamon's New Burlesque Theater, originally a “whites only’’establishment. However, in 1936 the new owners changed not only the rules allowing any “coloured people” to come and enjoy the music but also the name to Apollo Theater. After the change, Apollo Theater started hosting big music legends including Ray Charles, B.B King, Michael Jackson and many more. Beale Street: Located in Memphis, Tennessee. Beale Street (used to be called Beale Avenue) was a very popular street for restaurants, clubs and one of the most important streets for the Blues. In 1903, Mayor Thornton was looking for a music teacher for his band and called his friend, who recommended W.C Handy. After W.C Handy arrived, Memphis became the home of the famous musician who created the "Blues on Beale Street". Since that day, a lot of music legends like Louis Armstrong, Albert King, B.B King, and many more had the opportunity to play at the many Blues clubs. Even today, Beale Street is one of the most famous streets in the United States for the blues. The Rialto (Montreal): One of the oldest Theatres in Montreal and a part of the National Historic site of Canada, the Rialto was built between 1923-1924. The architecture of this theatre was based on the Opera House in Paris. It was mainly used for film screenings, benefit concerts, and plays and is still in use today. Bronzeville (Chicago): Bronzeville was home to many famous African-Americans, including Gwendolyn Brooks, Richard Wright, Louis Armstrong and many more. From the 1920s to the 1940s, Bronzeville was one of the premiere centers of African-American culture and middle class. The Great Depression hit this part of Chicago very hard and it is slowly starting to get back to the blues street that it was once known for. Stax Records: A record label created in Memphis, formally known as Satellite Records, Stax was one of the major factors in the birth of Southern Soul and Memphis soul (gospel, funk, jazz and the blues.) Sun Studio: Sun Studio, previously named Memphis Recording Service, first opened their doors in 1950. Sun Studio, famous for Rock & Roll was also the recording studio for numerous of Blues and R&B artists like Little Milton, B.B King, James Cotton, and Rufus Thomas. The Lorraine Motel: This hotel is known as the place where Martin Luther King was assassinated on April 4th, 1968. But during the segregation period in the United States, this motel was known for its upscale accommodations for black guests. In 1960, a lot of guests were famous musicians that were using the Stax Record Studio like Ray Charles, The Staple Singers, Aretha Franklin and many more.

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Socio-Cultural References in the Show

Shake Dancer: A Shake dancer (also known as an exotic dancer) is the entertainer for guests in cabarets and clubs. Hohner Marine Band: The name of a German company specialised in the manufacture of musical instruments. Hohner Marine Band was known for the creation of many different styles of harmonica and accordions that were later used by many professional musicians. Negro Recitations and End-men’s Gags: A book published in 1946 by William DeVere, is a collection of gags that were made about African American people. The book suggested that comedians dress in blackface, sing racist songs and follow black stereotypes to entertain their audiences. Nowadays this book is considered extremely racist. Coronation Street: The name of the longest-running soap opera with 55 seasons (so far) and 8,732 episodes! This TV show is based on everyday lives of people living in Manchester, and popular in the UK. Potato Famine: Between 1845 and 1852 after successive years of potato crop failure, Ireland had a massive period of starvation, disease, death and emigration which caused the population to drop between 20 and 25%. Air India Flight 182: June 23 1985 was the bombing of the flight 182 heading to India. This was the largest mass murder in Canadian history with 329 fatalities and 0 survivors. Uncle Tom: A fictional character from a novel written by Harriet Beecher Stowe in 1852. Uncle Tom was also a term used to describe a slave that was extremely obedient and submissive to their owners or person of authority. The "Black Experience": Referring to the music, clothes, food, culture history, origins and lifestyle often associated with African North Americans. Duran Duran: an English rock band popular in the 80s that brought some controversy due to the graphic music videos they produced. Keats: A romantic poet from the 18th-19th century. He passed away at the age of 25, and after his death he became one of the most acclaimed of all English poets. His work was known for its sensual imagery and is still some of the most popular and most analysed poetry used today. The Land of the Gun: A name sometimes used to describe the United States due to the high amount of firearms and lack of firearm regulations. Expo 67: Also known as the 1967 International and Universal Exposition and was held in Montreal, Quebec. Expo 67 is known as the most successful world’s fair of the 20th century with over 60 nations involved and 50 million visitors.

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Ruins at Luxor or Karnak: The Karnak is a temple complex in Egypt that has been abandoned since around 326 AD. This Temple is located about 2.5 kilometres north of Luxor (a city in Egypt). Indian Sindh British Partition in 1947: After WWII, the British government and the committee of foreign affairs came to the conclusion that in order to manage and divide the vast country previously known as India, they required and enforced a division of India into two territories know today as the countries of India and Pakistan. They made the divide based on which religion they believed should live in each country, which displaced hundreds of thousands of people who then had to make a perilous journey to their newly designated country. It was an event that caused hundreds of thousands of people to be killed because of the increased violence between the two religious groups.

"Logically, when you talkin' about folk music and blues, you find out it's music of just plain people."

Brownie McGhee

Photo by Micheal Cooper

Raoul Bhaneja, Divine Brown

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ATP’s GUIDE TO THE BLUES

“How to Write If You Haven't Lived the Blues”

The Blues is a feeling and a genre of music. The blues is a "cool" genre of music that was born out of

African American influences. Some people say that you have to experience the blues in order to write

blues songs. These people would tell you that you need to come against some hard times before you

could possibly know how to write or perform the blues. Those people have a limited view of the

subject. There are ways to write and inspire without living the blues. These are directions for those of

us who love blues for its expressive potential, even if we didn't live through the blues in our own lives.

Remember: Blues song patterns and styles vary

There are no real rules for the blues, just a bunch of things that most blues songs have in common.

For example, John Lee Hooker didn't really care if he changed through a chord progression, but he

sure could boogie. Then there are blues virtuosos who play variations of chord progressions and

beautiful tasteful solos that make you want to cry. It's all up to you what you want.

Most Blues contain some of the universal themes such as:

Relationships

Issue Related Lyrics

Repetition

Call and Response Lines

Spirituality

And generally feature Piano, Drums, Bass, Guitar, and/or Harmonica.

Step #1

Immerse Yourself

Start listening to blues if you don't already! Listen for chord changes, repeating lines, and soulful

melodies. Even better, go see someone play blues live! You will get to see the emotion needed to

play and sing in the blues style.

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Step #2

Choose a Theme

You lost your job, your girlfriend left you, too much homework... Whatever the theme, figure out what

you want to say. Blues songs don't have to be about suffering, but they commonly are because blues

are rich with feelings. Write your song in first person for the most personal touch. Many blues lyrics

create inferred ideas or metaphors (comparing one thing to another (use of like, as)). Many times they

are sensual and/or spiritual.

Step #3

Write the Music

(If you don’t play an instrument) Try tapping the rhythm as you sing your song. Another option is to

download some generic blues background tracks to sing to. These are helpful if you want to learn

how to solo on guitar, harmonica, and piano.

(For musicians) A 12 bar blues lick is a common, simple structure of blues you may want to try first.

12 bar stands for 12 measures.

Step #4

Edit & Rehearse

You should perform or play your song for people to get their feedback. Use some people who are

musicians as well as others who aren't. This will give you a chance to put some final touches on your

piece. You may get suggestions about lyric fit, timing, or melody changes that will improve your song.

When you are done?

Write another one! You will only get better with time and practice!

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CURRICULUM CONNECTIONS

JUNIOR HIGH DRAMA

Level I – Beginning (Performance Analysis) The student will be able to:

1. Demonstrate understanding of the need for analysis of the work of self and others. 2. Identify specific criteria to assess a presentation. 3. Verbalize and write a review.

Level II – Intermediate (Theatre History) The student will be able to:

1. Recognize that drama exists in every culture. 2. Recognize that “theatre is a mirror of society”. 3. Show awareness of selected periods and playwrights.

To acquire knowledge of self and others through participation in and reflection on dramatic experience.

• develop a positive self-image • develop self-discipline • develop self-confidence • strengthen powers of concentration • explore and develop physical and vocal capabilities • extend the ability to think imaginatively and creatively • extend the ability to explore, control and express emotions • extend development of sensory awareness • extend the ability to explore meaning through abstract concepts • develop the willingness to make a decision, act upon it and accept the results • develop a sense of responsibility and commitment • develop the ability to initiate, organize and present a project within a given set of guidelines • develop the ability to interact effectively and constructively in a group process • extend the ability to understand, accept and respect others—their rights, ideas, abilities and differences • develop the ability to offer and accept constructive criticism

To develop an appreciation for drama and theatre as a process and art form

• develop awareness of various conventions of theatre • develop awareness of drama and theatre by viewing as great a variety of theatrical presentations as possible • develop the ability to analyze and assess the process and the art • develop recognition of and respect for excellence in drama and theatre

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SR. HIGH DRAMA

a) extend the ability to concentrate b) sharpen observations of people, situations and the environment c) extend understanding of, acceptance of and empathy for others d) demonstrate respect for others — their rights, ideas, abilities and differences e) develop the ability to understand and apply the specific presentation techniques demanded by various dramatic forms f) explore various approaches to analyzing a script for purposes of study and/or presentation g) gain knowledge of disciplines that enhance dramatic process and product h) demonstrate understanding of integration of disciplines to enrich a theatrical presentation. i) explore various conventions and traditions of theatre j) broaden knowledge of theatre by viewing as great a variety of theatrical presentations as possible k) demonstrate the ability to assess critically the process and the art l) demonstrate recognition of and respect for excellence in drama and theatre m) develop an awareness of aesthetics in visual and performing arts

JR. HIGH ART

Grade 7 Encounters | Sources of Images Students will investigate natural forms, man-made forms, cultural traditions and social activities as sources of imagery through time and across cultures. − identify similarities and differences in expressions of selected cultural groups. Transformations Through Time Students will understand that the role and form of art differs through time and across cultures. − recognize the significance of the visual symbols which identify the selected cultural groups. Impact of Images Students will understand that art reflects and affects cultural character. − search for contemporary evidence relating to themes studied.

Grade 8 - investigate form and structure of natural and man-made objects as sources of images. - Articulate and Evaluate: Students will use the techniques of art criticism for analysis and comparison of art works

Grade 9 Impact of Images: Students will become aware of the importance society places upon various works of art.

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SR. HIGH ART

1) Articulate and Evaluate a. use the vocabulary and techniques of art criticism to interpret and evaluate both their own works and the works of others b. use the vocabulary and techniques of art criticism to analyze and evaluate their own works in relation to the works of professional artists

2) Relationships a. solve teacher- and student-developed problems by varying the dominance of design elements for specific visual effects b. use the vocabulary and techniques of art criticism to analyze and evaluate their own works in relation to the works of professional artists

3) Organizations a. experiment with various representational formats − be conscious of the emotional impact that is caused and shaped by a work of art

4) Emotional Impact a. be conscious of the emotional impact that is caused and shaped by a work of art b. discover how various materials alter representational formats and processes used in achieving certain intended effects.

ENGLISH LANGUAGE ARTS: GRADE 9 1) Express ideas and develop understanding a. talk with others and experience a variety of oral, print and other media texts to explore, develop and justify own opinions and points of view b. explore and explain how interactions with others and with oral, print and other media texts affect personal understandings c. extend understanding by taking different points of view when rereading and reflecting on oral, print and other media texts

2) Consider others’ ideas a. integrate own perspectives and interpretations with new understandings developed through discussing and through experiencing a variety of oral, print and other media texts

3) Combine ideas a. examine and re-examine ideas, information and experiences from different points of view to find patterns and see relationships

4) Extend understanding a. assess whether new information extends understanding by considering diverse opinions and exploring ambiguities

ENGLISH LANGUAGE ARTS: GRADES 10-12 1) Explore thoughts, ideas, feelings and experiences

2) Comprehend literature and other texts in oral, print, visual and multimedia forms, and respond personally, critically and creatively

3) Respect, support and learn about collaboration with others

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JR. HIGH MUSIC

Music (includes Choral, General, Instrumental) Listener, evaluator, consumer, historian: These experiences develop an understanding of music and musicians of the past and present.

Secondary Music Program To develop skills in listening, performing and using notational systems. − To encourage students to strive for musical excellence, individually and as members of groups. − To enable students to understand, evaluate and appreciate a variety of music. − To provide experiences that will foster the development of self-expression, creativity and communication through music. − To make students aware of the history of music and the implications of music in our society.

Choral, General & Instrumental Music Program

LISTENING To develop the ability to make aesthetic judgments based on critical listening and analysis of music

VALUING To become aware of the history of music and the implications of music in our society with respect to music careers, its avocational and leisure uses, and to grow in the appreciation, understanding, and enjoyment of music as a source of personal fulfillment.

The role of music in our lives • national and ethnic music • historical/stylistic perspective.

SR. HIGH MUSIC

Choral Music

Listener, evaluator, consumer, historian: These experiences develop an understanding of music and musicians of the past and present.

Value • understand, evaluate and appreciate a variety of music. Research • be aware of the history of music and the implications of music in our society.

Interpretation and Synthesis The student will: − grow in the appreciation, understanding and enjoyment of music as a source of personal fulfillment and cultural expression through the amalgamation of the program components − become aware of the history of music and the implications of music in society with respect to music careers, and avocational and leisure uses

General Music 10-20-30

Elective Components • History of Western Music

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• World Music discuss the humanistic origins of the music of specific cultures explain the multicultural role that music plays in the community.

- blues, jazz, rythm & blues, gospel

• Careers in Music: creator • listener • performer • related music careers.

Jazz Appreciation

Student will define and discuss the following basic elements and structures of jazz:

− blues − form − improvisation − swing

Analyze the fusion of music and cultures that collided to give birth to the jazz idiom:

− African music − African-American music in the historical past, to the 1990s − rural blues − pre-jazz brass bands, such as Buddy Bolden, Bunk Johnson − ragtime, with emphasis on Scott Joplin.

Listener, Critic, Consumer, Historian: These experiences develop an understanding of music and musicians of the past and present.

RESEARCHING • develop a knowledge of music history and literature and their relationship to world history • develop awareness of the applications of music in our society with respect to music careers, and avocational and leisure uses • develop an understanding of the music of world cultures.

VALUING • grow in the appreciation, understanding and enjoyment of music as a source of personal fulfillment • develop an appreciation of human values as they are recorded in great musical works • continue developing an appreciation of the creative process in music • develop an appreciation of the value and uniqueness of music in all its variety.

ATTITUDES Positive attitudes are fostered by success in singing, playing, reading, creating, valuing and listening to music. Throughout General Music 10–20–30, students will be encouraged to: • value the uniqueness of music as a communication skill • appreciate fine arts as a form of personal enrichment, entertainment and self-expression • appreciate human values in great music as they are recorded in literature • develop positive, realistic self-images through an understanding and acceptance of themselves, with their strengths and their limitations • develop an appreciation of the social value of group music making • appreciate creativity as exhibited in all areas of human endeavour

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• appreciate the role music can play as a life-enriching leisure activity • value the necessity of learning throughout life • develop a sense of purpose in life, and joy in living • appreciate the contributions music has made in our cultural heritage and civilization • appreciate the role that music plays in serving human needs • appreciate the expressive qualities of music so as to improve the chances of having an increasingly dynamic aesthetic experience.

KNOWLEDGE & EMPLOYABILITY

Learning within applied contexts, connecting the school with environments beyond school, and may include tours to local businesses and industries, mentorships, job shadowing and work experience.

Through experiential learning activities • when meaningful connections are made between schooling and personal experiences.

SOCIAL STUDIES

1. PLURALISM: DIVERSITY AND COHESION 2. CORE CONCEPTS OF CITIZENSHIP AND IDENTITY 3. SOCIAL STUDIES: LEARNERS AND LEARNING 4. STRANDS OF SOCIAL STUDIES

- Time, Continuity and Change - Global Connections - Culture and Community - Dimensions of Thinking a. Critical Thinking b. Creative Thinking - Historical Thinking

a. Communication - Oral, Written and Visual Literacy

Social Studies: Relevance by Grade Level

Grade 7 - intercultural contact - migration & immigration - citizenship & identity Grade 8 - intercultural contact Grade 9 - citizenship, identity and quality of life Grade 10 - origins of globalization - impact of globalization internationally on lands, cultures, human rights and quality of life Grade 11 - perspectives & understandings of nationalism Grade 12 - perspectives & understandings on ideology

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Thank you for your support of