Madonna Bomb Baby

Mother Russia rise! Mother Russia falls!
Mother Russia cries; Mother Russia calls
I got the fight in me. You got the fire in you
I could fight this fire the whole night through
You got your vigil light but I am filled with doubt
I could blow you up or you could blow it out
You blow it out baby; you’re driving me crazy
(You blow, you blow it out baby. You blow, you blow it out baby)

First I rise and then I fall
Cause our baby cries; and our baby calls.
And you run away again baby
Our baby (is) driving me crazy
You blow my mind, I blow your brains
Either way, they say we’re both insane
I'm filled with doubt you're filled with flame
(You blow, you blow it out baby. You blow, you blow it out baby)

I crossed a burning bridge just to be with you
When I made it crossed you said we’re through.
Mother Russia where is my Lady?
Mother Russia why’s the world crazy?
I’m alone, alone again baby
Got to find another “lady”
Give me one that won’t drive me crazy
(You blow, you blow me baby. You blow, you blow me baby)

They build me up then they take me down
First they give me blow then they bring me down
Couldn’t walk the line for my baby
Now I’m snorting lines with some “lady”
There was one line I feared to cross
Now that I did my soul is lost
You said go to hell and you lick those flames
Well I am here with all my shame

I cry again baby; nothing can save me
Back against the wall face the firing squad
There She is right next to God
She said Fire! And those bullets flew
Every one was sent by you.
Vigil lights; tiny prayers; strings of beads; lying everywhere
53 bullets in my soul
Everyone is plugging holes
I fall face down and you run to me
That mouth to mouth you’re giving me
(You blow, you blow, you blow baby. You blow, you blow, you blow baby)
You brought me back again baby
You drank me in again baby

Mother Russia rise hear your baby call
Mother Russia come, Mother Russia please
Three tiny kids down on their knees
They did for you what she did for me
Little Lucy‘s not crazy she a Madonna bomb baby
And just when I thought you were gone
You got me quartered you got me drawn
You got me crying that I am saved
You’ve got my fears you’ve got my pains
You got my balls you got my chains
You blow you blow again baby

Men take it all and give women none
Oh a bit of silk just for their fun
They got your shame they got your guilt
They got you strapped, you have to stay
Couldn’t give a baby’s milk away

You got nothing again lady
Just a baby bottle and a bit of cloth
Just a vigil light; you got your wooden cross
But you don’t give up baby
That’s why you’re so crazy
And just like you, you don’t miss a beat
(You) take that crying child
Latch him to your breast
Never seen such a sweet caress
And as your child falls fast a sleep
Fully fed and tucked up neat
Five inch nails in his tiny feet
You set the world on fire again baby

You women just drive me crazy
First my mother and then my wife
Then my “ladies” it’s my whole life
Any girl can make a man crazy; can’t ever be lazy
Like a Russian doll, like a Russian Queen
Like a rushing wind, like a rushing stream
I never get you all baby
I strip you down layer by layer
Oh you Matryoshka doll baby
When I get inside it’s just the same
You beat me up at my own game
I never can own you but baby I need you
Oh baby we’re not through; but what can the world do?

ISIS rising. ISIS rage. Can’t get them into a cage
World war history page by page
They set the stage for a world war
We've been through this twice before
The world is going, the world is gone
I’ve finally written my final song
It’s over now baby
Nothing can save me

Then she said to me with her silky voice,
Can I still make you crazy?
Or are you too lazy?
Here’s your cocktail baby
I feel the fire welling up inside
She winks at me with her Russian eyes
Like a smoking Phoenix she’s on the rise
My world keeps moving on
I got my Madonna bomb

So you can call the world war off
It’s not a baby bottle it’s a Molatov
She took the vigil light, lit the silken cloth
She tossed the Molotov to the wooden cross
She tossed her head and she changed the game
She’s got the fuel she’s got the flame
She set us up, my Madonna bomb baby

She’s got the thrust she’s got the aim
You can call me crazy but I’m not to blame
No she's not crazy
She is a lady
ISIS you're not so strong
So why don't you just move along
You never do a lady wrong
Especially one with a Madonna bomb


You blow, you blow it up baby!
You blow, you blow it up baby!

Katrina

Vancouver Opera Gets it Right With a Classic Performance for the Modern Patron

Soprano Simone Osborne "Gilda" in Rigoletto
Photo Courtesy of Vancouver Opera

At the beginning of the evening, when audience members were asked how many of them were attending the Opera for the first time, many, many people clapped in response to the question. Whoever is responsible for community outreach and new audience development at Vancouver Opera is doing their job well. The Queen Elizabeth Theatre was very nearly sold out, and newcomers to the opera were treated to a spectacular performance of Giuseppe Verdi's Rigoletto. Director Nancy Hermiston says “It is 'Grand Opera' at its best!'”

Rigoletto had its premiere in 1851, and remains a timeless classic about love and revenge. Dan Paterson,Vancouver Opera's technical director, notes that many modern versions of Rigoletto have been performed in the past fifty years or so, but says that Vancouver Opera chose to present a more traditional version set in 16^th Mantua. The sets and props were supplied by Utah Opera and were originally designed by John Michel Deegan and Sarah J. Conly. Built in 1987, and refurbished in 2001, the sets were outstanding, and perfect for this production. Lighting designer John Webber's contribution ensured that audience members always focused their attention on the right portion of the massive set.

Often in the spotlight during the performance was Gilda, the daughter of Rigoletto. The role was played perfectly by soprano Simone Osborne, who convincingly displayed the the wide range of emotions her character experiences during the course of Verdi's famous work.

According to the “Instant Expert” section of the program, “Rigoletto was the 9^th most performed opera in the world from 2007-2008 to 2011-2012.” It also notes that “Verdi wrote the bulk of the score in 40 days.” How many people can claim that 40 days of work result in such an enduring masterpiece? The facts and trivia found in the “Instant Expert” section give newcomers to the opera something to talk about during the intermission. It is just one of the many ways Vancouver Opera seeks to make the experience of attending a performance comfortable for those just learning to appreciate the art form. Another way is the "pre performance talk" which is always informative, well researched, and entertaining.

Subtitles are also projected on a screen at the top of centre stage. While this feature allows one to follow along, in English it is the one feature I have yet to appreciate fully. I find it a literal pain in the neck and each performance become distracted trying to think of better ways to project the subtitles, or a better location for the screen. There is no doubt a better way read the subtitles than I am doing, and perhaps it is a skill that some audience members have perfected. If so, including in the program “tips on how to make the most of subtitles” might be appreciated by several people. By the end of the performance I concluded it is likely the best way to project the subtitles; I also envied those who didn't have to rely on them.

In reading the subtitles, it struck me how few words are actually involved in this opera and how much meaning is packed into each one. Every word sung by baritone Gordon Hawkins was filled with emotion. Regular attendees of Vancouver Opera may have recognized him from his last role with VO as Scarpia in the 2013 production of Tosca.

One minor intrusion into the emotional performance of Hawkins was the audible noise of what sounded like velcro when he opened the sack containing the body of the dying Gilda. During Osborne's time in the body bag, she convincingly played the part of a corpse. I looked to see her breathe, and no movement could be detected. The touching moment of Rigoletto opening the sack to lift up her body was broken momentarily by the apparent sound of velcro. It serves to demonstrate how easily the audience's attention can be broken, and might also serve to demonstrate how our attention was otherwise held steady throughout the 2 hour and 40 minute performance.

As usual, the customer service at Queen Elizabeth was excellent; the theatre spotless and well maintained. It was nice to enjoy a Red Truck beer prior to the performance. It was good to see the theatre offering beer from this local microbrewery, which is gaining a good reputation for their support of the arts. It was also nice to see audience members encouraged to share their photos of the evening on Instagram. Vancouver Opera's performance of Rigoletto is an excellent example of how to engage the modern opera patron. It seems to me all of the traditional stuffiness associated with opera has been replaced with audience engagement, good service, and a modern approach to understanding what today's arts patron wants. I hope all arts companies across the country take note of what VO is doing well. If you want to engage the modern audience, you can still present them with the work of the masters using a traditional set. What we want is to be entertained, well served and well informed for the time and money exchanged in order to see a performance. Vancouver Opera gets it right again. Nice work; can't wait to experience more opera this season!

For updates on all the performances planned for this season, be sure to follow Vancouver Opera on your favourite social media platform.

INSTAGRAM:  WWW.INSTAGRAM.COM/VANCOUVEROPERA  |   TWITTER:  @VANCOUVEROPERA  |  FACEBOOK:  WWW.FACEBOOK.COM/VANCOUVEROPERA

For more arts reviews follow @KatrinaBoguski C.E.O. of @artistdeals_ca

A Must See Music Film at VIFF

 You simply must come and see the Landfill Harmonic at the Vancouver Film Fest. 

Click here for details

The Landfill Harmonic, also known as the Recycled Orchestra of Paraguay is a youth orchestra that plays with instruments made from recycled garbage. They are world-class musicians and this film will make you grateful for everything you have.

Music Lovers, Is This Your Tribe?

Chin Injeti, Tonye Aganaba, Colleen Rennison

Thanks to my friends who came out last night to support my new favourite charity, Instruments Beyond Borders. A women in front of us summed up the evening perfectly when she said, “The only thing wrong with tonight was that it had to end.” We all agreed, but this morning my opinion has changed; it's a good thing that the concert ended. While we could have stayed there indefinitely, that was not the purpose of the evening. The purpose of the evening was to fill our hearts with music, and to inspire us to share with others. That purpose could only be achieved if we got out of our seats and back into the world where the message about Instruments Beyond Borders still needs to be heard. Their work providing funds and instruments to groups like the The Saint James Music Society and the Landfill Harmonic Orchestra of Cateura Paraguay is inspirational and heart-warming.

There were many generous hearts in the Fei & Milton Wong Experimental Theatre at SFU Woodward's last night. The sold-out event attracted some of Vancouver's top entrepreneurs and philanthropists; in this city there is a strong correlation between success in business and success in supporting great causes. Finding creative ways to weave business and charity together is part of the fabric of Vancouver's economy, and it's something I'm proud to support. Notables in the “Big Band Circle of Donors” included:

Peter Brown, Samir Manji (Amica), Steve Curtis, (ZAG Group), Garry Zlotnik (ZLC Financial), Erez Behar, (Davidson & Co.) Manny Padda, Shafin Diamond, Theo Sanidas, Praveen Varshney, (Mogo Financial) Murray Leith, Marina Newson, and Marcello Leone, (RYU). Community Partners included: SFU Woodward's, Prussin Music, Moksha Yoga Vancouver, Float House, M&R Environmental, and the Ben and Esther Dayson Charitable Foundation.

As Georgia O’Keeffe said, “To create one's world in any of the arts takes courage”. If you wonder how an organization as young as IBB pulled off such an extraordinary event and attracted so much support, it's because they had the courage to do so. They see the world as it is, and despite that, do not lose sight of the vision for what it could be. They are creating a world where children are given musical instruments; instead of a world where they fashion them out of the garbage we throw away. They are creating a world where inner city kids stand on stage with world class professionals wielding violin bows; instead of on the corner with gangs wielding guns. They are creating a world where what we earn grows from what we give; a world where politics, race, religion, and nationality are not boundaries that divide us, but borders we go beyond thanks to the transcendent power of music. Why are they able to achieve so much? My firm belief is because they bothered to try. They didn't sit around lamenting what couldn't be done, they got together and did what they could. Thanks to the generosity of last night's attendees and the organizers who brought them together, today they will be able to do a little more, and tomorrow more than that.

Lynn Colliar with Dan Payne holding a violin made from recycled materials

Good humour to get the audience going and keep the program on track was supplied by Lynn Colliar and Dan Payne, who introduced an amazing lineup of musical guests. Among these were: Ryan Guldemond, Jasmin Parkin, Tonye Aganaba, and Colleen Rennison, all of whom jammed with Chin Injeti, winner of three Grammies and two Junos. The evening also included the St. James Music Academy Senior Orchestra, Van Djano and the Borealis String Quartet. Cameron Wilson performed with Vancouver Kingsway MP Don Davies.

Cameron Wilson and Don Davies

The only “off colour joke” came during this set; and by “off colour” I mean it was a reference to a political colour not ordinarily found in my inkwell. While I do not normally wave “the Orange flag”, I was clapping loudly at Davies' entertaining performance, and today commend him for his support of this cause. Davies' inspiring performance causes me to send out a challenge to all MP's to get behind Instruments Beyond Borders; especially those who could join in on stage. Don Davies, perhaps next year you might consider a violin and piano performance? If so, there might be another politician willing to join you (stage right of course). Might I also suggest that a bit of the “Blues” be added to the program? As I said IBB inspires people from all walks of life and across the political spectrum; thanks for sharing the spotlight next year with any politicians willing to join in.

While unable to attend, Vancouver Mayor Gregor Robertson sent a video message of support as did Bramwell Tovey of the VSO. I'm so glad to know IBB has such support in this city. The event struck the perfect balance between a top rate performance and a casual kitchen party, where music flows spontaneously among friends. Among my friends in the audience I was pleased to welcome Shastine Hudson and Natalie Sonnen (Director of Life Canada).

This year I've been blessed many times to be invited to work on music projects with some amazingly talented musicians; the happiest messages I get in my inbox are those containing audio files from musicians who have set my lyrics to the their work. There is something wonderful about creating a work that blends another person's talents with one's own; when we learn the skills to collaborate in music, we learn the skills to collaborate in life. IBB is not just giving children instruments, they are giving them a life.

As I looked around the audience last night I thought: “This is my tribe.” These are the people who understand the importance children, the power of music, the tools of business, and the perennial need each generation has to collaborate to improve the world they inherited, so that it might be better when they pass it on to the next generation. These are the people who transcend boundaries to get done the jobs worth doing. If you have similar values and a willingness to contribute to this tribe, consider this your invitation do so.

Please check out http://www.instrumentsbeyondborders.org/ for ways you might lend your support.

Ryan Guldemond, Chin Injeti, Tonye Aganaba Jammin' for IBB

artistdeals.ca 

proudly supports Instruments Beyond Borders.

Listen to The Color of My Eyes

 Click Here to listen to The Color of My Eyes

The Color of My Eyes is now available for listening! Words mine, music, production, and performance credits go to Mike Shrout of Atlanta Georgia. Mike served as a Corporal in the US Marine Corp and is currently a Fireman. 

The title of the song comes from a friend of mine who went to school with Bruce Springsteen and who went on to become a successful businessman. One day I suggested his dad must have given him a little help to get him started, to which he replied, "The only thing I inherited from my father was the color of my eyes". The lyrics were originally dedicated to "All the boys from Jersey who made it big despite the odds." The collaboration is dedicated to Mike's son who was born just a few days before the song was. Hope you enjoy it!

Color of My Eyes Demo Almost Ready...So Excited!

"The Color of My Eyes" demo is in the works and I can't wait to share it with you! The song is a collaboration with a musician from Atlanta Georgia, and his contribution to the project has been outstanding. More details on the artist and the song shortly. What a pleasure to work with such a talented musician and fine human being!

Please remember to check back to the Recording Projects page from time to time to keep up to date on other projects that are in in process.

If you are a musician from any genre and want to collaborate please, take a look at the archives at the bottom of the page for many lyrics eagerly waiting to be set to music; no problem making modifications to most of them to suit the tune. It doesn't matter where you are based, thanks to the wonders of Skype and e-mail we can collaborate regardless of location. I'll can happily write lyrics from scratch to fit your needs, and can develop works for T.V., film and commercials purposes.

Katrina