Interactive exhibit combines motion with music

“Art in Parallel” opened in the Kinetic Gallery on April 11, emphasizing the interactive as a computer-based exhibit. Upon meandering into the artistic center of college union, you might be scrolling through Instagram, adding to a ceaseless reply chain on Reddit or relishing in the beauty of a newly-created hashtag. When the tapping stops, however, you might look up and question the bare walls. Where is the artwork? Well, consider it an extension of the very device you clutch in your hands.

Senior Herb Susmann, who has been working on computer art with professor of computer science Homma Farian since fall 2013, will tell you that with this kind of exhibit, it’s “easy to get sucked in.”

Toward the center of the gallery, a box is outlined on the floor with lines running through it to create smaller squares. Each square marks a webcam directly above it, and a musical tone plays when motion is detected. When multiple people enter the squares, the system becomes a motion-activated musical machine – as if miniature people were frolicking on piano keys.

“I knew I wanted to do something interactive,” Susmann said.

Susmann is a math major and computer science minor who combined both disciplines to create “Art in Parallel” along with fellow seniors Wyatt Gorman and Lucas Groenendaal and junior Shawn Ward.

The human keyboard is indeed addicting; you form a mutual curiosity with strangers, never tiring of the endless symphonies waiting to be composed with movement.

Immediately to the right of the gallery entrance, a screen powered by multiple computers generates merging fractals. Although this part of the exhibit, entitled “Smooth Life,” is not interactive, it still confounds and entices the eye with constantly changing patterns.

Akin to the Mandelbrot set, which produces images and colors by using numbers as pointers and coordinates, “Smooth Life” employs deterministic rules to create fractal art. It was inspired by “The Game of Life,” developed in the ‘70s by mathematician John Conway. Its goal is to simulate life with pixels that display ranges of mood and vitality.

Each pixel is a number, and the numbers are then tested to yield specific images. When various numbers are sequenced together, they produce patterns and an aesthetically pleasing image forms; it shows “what life might be like at higher-level behavior,” according to Susmann.

While “Smooth Life” may sound complicated, pixel behavior is simple yet entrancing; it seems unbelievable that mathematical patterns are behind it all.

“Fractals are unique because you can zoom into them infinitely,” Susmann said.

At first, commingling the art world with math may seem strange. Certainly, empty white walls are off-putting in a gallery. It only takes an easy gravitation towards the human keyboard or fascinating fractals to understand what we tend to take for granted in our technological world. “Art in Parallel” shows that not only can art be simple, but it’s buried in our pockets and at our fingertips every day.

The exhibit will run through Sunday April 20.

Accessible choreography essential at Orchesis show

With over 300 members once again grooving onstage, Geneseo’s Orchesis celebrated student talent at its Spring 2014 Showcase in Wadsworth Auditorium from April 4-6. “Dirty Beats Worldwide” began the night, with its title truly encapsulating the work. Dancers performed to Jason Derulo’s “Talk Dirty” and The Pussycat Dolls’ “Jai Ho! (You Are My Destiny)” among others. They formed human geometric patterns which often merged into one another all over the stage, creating a dynamic piece with staggering fluidity.

A more thoughtful mood overtook the auditorium as dancers conveyed the message of Fun.’s “Be Calm,” choreographed by junior Breanne Blazevic and senior Emily Wagner. Donning shirts of sky-blue tie-dye, the women (and one man) leapt, dropped and reached in quick succession. Gracing the piece was a domino effect in which a single sensuous head roll catalyzed sequential rolling down the line. Centrifugal movement was paramount, as if reaching outwards represented the solitary journey everyone endures towards tranquility.

Dancers later effectuated inward movement during senior Jennifer Levy’s interpretation of the haunting “Say Something.” Tremendous feeling in their faces told of heart-wrenching pain which was further conveyed by capitulations to the floor. Recurrent pulling inwards appeared to show the dancers collecting pieces of their broken hearts in order to finally bring the title to fruition.

Drawing on similar themes, Banks’ “Waiting Game” – choreographed by senior Abigail Kindler – introduced an impassioned twist on ballet technique and contemporary style. “I don’t want to say your love is a waiting game,” echoed as dancers practiced classic technique. At one point, the performers’ upper bodies seemed to imitate inhaling as they lied on their backs moving off the floor. Towards the end, they formed a rotating circle, revolving to the “game.”

Perhaps the most innovative dance, “Scary Monsters Make My Heart Go On” started as a burlesque rendition of Céline Dion’s “My Heart Will Go On,” abruptly transitioning to Skrillex’s “Scary Monsters and Nice Sprites.” Performers sporting sailor garb danced in the dark and presented a light show with their glow gloves. The lights then came back on, and the dancers retreated to their original roles. This hilarious switching continued throughout the number, entrancing the audience with satire and glowing things.

A guest performance by Geneseo Bhangra heightened energy levels even more. Vividly colored saris, dhotis and customary headwear mesmerized while their smiles buoyed the air. The outcome was a work of traditional Indian dance with an upbeat pop twist, aided by lively bouncing at the knees.

Following intermission, another guest performance by Geneseo Knightline entertained with a Pitch Perfect-style number. The ladies grooved and intermittently acted out the movie, eventually forming their signature kicking circle.

In terms of tap dancing, Orchesis stomped onto stage with “Diamonds,” choreographed by sophomores Katarina Bojanowski and Elizabeth Cacciola. In sparkly black outfits, the girls tapped and slid to “Diamonds Are a Girl’s Best Friend” with a brass band backing. Simply fabulous.

The aptly-titled “#tbt #backatit,” performed and choreographed by the Orchesis Officers, functioned as a ‘90s/early 2000s tribute. Together they celebrated The Spice Girls, pigtails, Britney, Aaron Carter, Eminem and other childhood essentials. In a tribute to Kenny Ortega-style, “We’re All in This Together” offered a smooth transition and concluded the afternoon with a heartfelt tribute to the class of 2014.

A club completely run by students, Geneseo Orchesis never fails to showcase inventive dance with ceaseless fervor. If a show integrating modern, cultural, ballet and High School Musical disciplines doesn’t satisfy every palate, I don’t know what could.

“Across Time” pairs artworks from campus collection

Analysts often suggest viewing art through a time-sensitive lens; after all, virtuosos garner inspiration from their contemporary surroundings. When crafts of varying media and decade are placed into conversation with one another, however, a recognition of art’s universality throughout the human experience eclipses chronology.

The aptly titled “Across Time,” curated by senior Lauren Slezak and on display in the Lederer Gallery, elicits the same sweeping consciousness in the observer. While studying art in a historical context has always “clicked” for her, Slezak arranged the works without any chronological constraints.

The exhibit negates era and artist-specific demarcation by placing the most value in composition, color, and elemental style. Artworks are presented in pairs, drawing on all of these aspects.

“I could have just picked out ones that I liked but I really wanted themes to pull them all together,” Slezak said.

In this way, Slezak said she decided that her curation would have a formalist bent, exploring artwork only in terms of its visual features.

When browsing the pieces, viewers can find works dating between the mid-twentieth century and 2011, spanning in techniques that include oil on canvas, intaglio, charcoal sketching, and silkscreen printing.

“Ships at Anchor-Night,” a stunningly dark oil work by French artist James Coignard especially asserts its individuality, playing with texture and color to create a dreary mood.

“It took a little while,” about ten hours, Slezak said, “to find works that went together.” Yet, ten hours seem like a small amount of time considering the thoughtfulness behind formation of the couplings.

One pair, consisting of Thomas Henry Kenny’s “Space Vehicle #1” and Amy Williamson’s “Graces,” presents two seemingly antithetical works. The titles even sound opposed, and the discrete techniques between them appear to aid in this dichotomy.

Even so, Slezak’s insight brings the onlooker back to the universal perspective. The arrangement highlights the works’ similar components: a yellow wash, alike compositions, and even corresponding shapes. Kenny’s lithograph depicts a vehicle with arms and sharp, clean-cut angles. Williamson’s sketch shows a person, whose arms and spinal groove mimic parts of Kenny’s machine. Together, the drastically different styles and themes coalesce, as if the essence of humanity can be found throughout not only nature, but in machines.

As a pop-up exhibit, “Across Time” will be on display until April 7 in the Lederer Gallery.

Lively String Band concert puts Irish culture to music

In an inspired streak of cultural pride, I attended the 35th annual Pre-St. Patrick’s Day Concert in Wadsworth Auditorium on Saturday March 8. Although it made me realize just how unaware I am of the heritage behind my green eyes and pasty skin, the show influenced me to delve into a culture that I too often reduce to physical characteristics.

A solemn opening by the Geneseo Clarinet Choir offered itself as a harmonious base from which the spirit of the evening could only grow. In a delightful change of mood, the Geneseo String Band impressed the audience with upbeat percussion, fiddling and cello strumming.

The Geneseo Flute Choir and an accordion joined in, completing the wonderfully eclectic assortment of sounds. The tune conjured up images of a chipper lad in a felt cap leading me through the Dublin streets at lunchtime. For the duration of the evening, this vision would accompany me through many of the musical numbers.

My mirage dissipated at multiple points, however, especially when members of Sláinte Irish Dance and the Drumcliffe School of Irish Dance entered the stage. The dancers performed traditional Irish step, dazzling the audience with high kicks, forceful knee extensions and poised upper bodies. They performed throughout the night, never waning in energy and often asserting their own music with tap shoes.

At the very beginning, lecturer of music and concert director Jim Kimball set the tone for the entire show: “If you want to hum along, feel free,” he said. Much to my chagrin, I did not know any of the traditional songs on the program. I was lucky, however; a few lovely Irish heritage connoisseurs were seated behind me, and as they crooned I soaked up their gleeful affinity for folklore.

One of the songs that invited the most audience involvement was “McNamara’s Band.” I became instantly excited as a smiling man with a banjo took center stage. He proceeded to lead with his voice, which resembled that of the captain in the SpongeBob SquarePants theme song –albeit less enthusiastic about fish. Although I could not sing along, the tune sounded like one I had heard long ago at some obscure family gathering.

Before I knew it, everyone was clapping, foot stomping and head nodding. Once I discerned this liveliness throughout the crowd, I didn’t feel so alien to my own roots. Everyone was here to celebrate and have a good time, regardless of background.

Later, Kimball introduced “old-time waltzes.” With accordion accompaniment, members of the dance groups sporadically waltzed onto the stage, often bungling in a lighthearted, hilarious manner.

Another star performance of the evening was “Kathleen Mavourneen,” sung by junior CJ Roche. Backed by a piano and fiddles, Roche demonstrated his exquisite vocal range and was even able to silence the jolly clapping for a little while.

Stomping into the upcoming holiday with cultural flair, the concert celebrated serious Irish heritage with lax humor and style, encouraging everyone to share in the joy.

Slam poet celebrates identity with poignant prose

“I’m having an emotional day,” Andrea Gibson, award-winning poet and activist, said before a thronged KnightSpot on Feb. 28. “I’m going to start my period at midnight.” Menstruation woes, however, were by no means key to Gibson’s emotive performing style. With arrestingly lucid imagery, delivered with the impassioned, quavering quality of her voice, Gibson is likely to enthrall an audience at any time of the month.

Growing up in the woods of northern Maine, Gibson struggled with gender identity and societal snubbing of her sexuality. Her experiences have largely influenced her writings, which emphasize themes of ignorance, self-loathing and prejudice.

The first poem she recited, a coming to terms with sexuality, death, family and adulthood, allowed listeners an undaunted glimpse into her life. Lines such as “snicker bar windpipe” rendered the piece a breathtakingly specific autobiography, as Gibson led us through her childhood.

Many of Gibson’s poems are fearlessly personal, often bringing awareness to her own bouts with depression and hardship. Ironically, by focusing on her own stories, she turned attention onto ours.

“I Sing the Body Electric, Especially When My Power’s Out” encourages self-acceptance, especially on days when it feels impossible. Written as “a love poem for my body,” according to Gibson, the poem guided us through her memories –“the day my ribcage became monkey bars for a girl” – and allusions to recovery from attempted suicide. She repeated, “This is my body” throughout the poem, as if to admit it, embrace it and then offer it as a medium through which we can attain our own inner peace.

In addition to connecting with the audience through common understanding, Gibson drew on conditions in other parts of the world and suggested the universality of human struggle. “When the Bough Breaks” centers on international narratives, asking, “Do we really believe our need for Prozac has nothing to do with Baghdad, with Kabul, with the Mexican border?” Her words urged listeners to view others’ pain not as something concentrated elsewhere but as something that deserves consciousness beyond our own personal issues.

Gibson spoke of life’s heaviness but also knew when to incorporate humor. In one of her most original works, she refers to her dog as “my beating heart with fur and legs.” The poem states, “I know you think it’s insane I still poop in the house,” gradually delving deeper into the absurdities of being human. The end product is a creative inquiry into a canine’s reality and a wish for the simple wisdom that all dogs seem to have.

Though Gibson often zeroed in on social issues, she always left room for hope. At the very end of her set, she delivered a poem in homage to Tyler Clementi, a college student who committed suicide in 2010 after being targeted by homophobic cyberbullying. While acknowledging Clementi’s story, Gibson also heartingly entreated into the life within each of us, reciting, “If the only thing we have to gain in staying is each other, my god that is plenty, my god that is enough.”

GDE explores “New Voices, Bold Moves” at revue

Featuring novel choreography by guest artists and members of the dance studies faculty, Geneseo Dance Ensemble’s “46Live: New Voices, Bold Moves” celebrates the group’s 46th year, and definitely delivers on its promises. Seniors Erin Girard and Megan Killea became student assistant directors of the production at the beginning of the semester, but because practice started last fall, “a lot of the work was already done,” Girard said. Still, she said, “Being an assistant director is a nice way to cap off the last semester.”

The evening opens with “Organisation,” choreographed by adjunct instructor of dance studies Jody DeLoria. Dancers don red-orange body suits while in a robotic stance, gradually incorporating fluidity with the entrance of a piano. As the performers join hands and become entangled, a woman in a pink floaty dress unexpectedly emerges from the stage curtains; she becomes a liberated spirit amidst all the binding forces of the other dancers.

Embracing the fluidity that the previous piece limited, “Swingin’ the Blues” by adjunct instructor of dance studies Deborah Scodese-French ‘85 flows in with rhythmic dance moves and expressive shoulders. Eva Cassidy’s cover of “Wade in the Water” propels the soul of the piece. There is motion all over the stage – sometimes in unison but often not, as if to represent the varied movements of the sea. Peggy Lee’s “Fever” commences for the latter half, as dancers embody her sensuality. They drift off the stage as Lee sings, “What a lovely way to burn.”

The ballet-style Symphony in C: Allegro Vivo continues the evening while imparting allegiance to classic form. Dancers effectively present their toe-tipped talent, flexibility and poise. Professor of dance Jonette Lancos recreated the work after George Balanchine, the cited father of American ballet.

Evan Goldstein/Assoc. Photo Editor

The star of the night, “Merge” by Melanie Aceto ‘95 has dancers’ backs inching onto the stage, packed in a height-ordered line. The women separate into pairs of falling and resistance; as one dancer stands and rolls lethargically, the other persistently catches her head. Halfway through, control switches, and the once listless partner becomes free to use her head and explore the other’s body. The result is a thrilling aesthetic work of curiosity, carnality and internal struggle.

Evan Goldstein/Assoc. Photo Editor

Professor Lancos’ second piece in the program “In Keeping” drew influences from two other prolific choreographers of the 20th century: Doris Humphrey and Charles Weidman. To demonstrate these artists’ techniques, dancers are athletic in their movement, often running across the stage and stabilizing themselves in strenuous balancing poses.

As the boldest piece, “Feardom” astonishes with its originality. The work is a narrative, compiled as “three dances in one,” according to Killea, with choreography from assistant professor of dance studies Mark Broomfield ‘94 and visiting artists Adrienne Hawkins and Nathan Lee Graham. Their statement is clear; at times, though, the sequence of the dances seem illogical, and the work as a whole is too lengthy. The innovative use of mixed media, however, promotes a stereotype-ridden outlook on the world while putting various voices into perspective.

For the final number, “Cave Paintings/Hieroglyphics” concludes the performance with high-energy choreography by Merete Muenter ‘86. Projections on the backdrop of the stage literally exhibit the title, fusing ancient art with modern dance.

“46Live: New Voices, Bold Moves” asserts the relevance of social issues, resurrects ancient cultures and renders dance’s mystique palpable to the audience. The show runs Thursday Feb. 27 through Saturday March 1 at 7:30 p.m. and Sunday March 2 at 2 p.m. in the Alice Austin Theatre. Tickets are $10 and available at the door.

Buffalo company reimagines dance tradition with modern narrative

In celebration of emotion, humor and individuality, LehrerDance squatted, leapt and spun on the Wadsworth Auditorium stage Saturday Feb. 8. Brought to Geneseo as part of the Limelight & Accents Performing Arts Series, the eight company dancers performed LehrerDance style, a technique that embraces circularity, three-dimensionality and momentum.

The night began with “The Alliance,” with dancers in a line facing one another. Suddenly, they retreated and a heavy drumbeat accompanied by the sound of a can opening blasted through the room. In contrasting stage lights, the performers utilized all major sections of the body to execute vigorous movement. Periodically, they would stop and walk around the stage as if nothing had happened. Afterward, in an effort to maintain this artistic homeostasis, they returned to barefoot spins and high kicks, making powerful use of their legs.

Later, an ambient “Om” calmed the scene as a man and woman entered with “Here In This Eden.” The dancers, donning orange and red leotards, seemed to personify the sunrise. Violin accompaniment nurtured their passion, as one fervently leapt while the other walked forward in loving realization. They bent and twirled for each other, pulling and grasping as if the opposite were the only outlet to bending and twirling again.

Acknowledging the conditions of everyday life, director John Lehrer also incorporates humor into his pieces, fusing entertainment with his jazz and modern-inspired background. As the Paul Simon tune “Me and Julio Down by the Schoolyard” gleefully resonated with the crowd, all eight dancers hopped on stage to present a work choreographed in 2002, “Bridge and Tunnel.” Men sported suspenders and khakis and women flaunted floral dresses. The change was so striking that I found myself questioning if I was still at the same show.

Nevertheless, the dancers epitomized friendship, laughter and fun as the Simon songs switched to “50 Ways to Leave Your Lover” and “Kodachrome.” They imitated bowling pins, jumped as cannonballs and conveyed lighthearted young love while never slipping up on skill.

“Murmur” commenced the second act, with dancers redefining the archetypal ballroom style. Backed by an acoustic guitar, they assembled in a line with arms stretched out, imitating Leonardo da Vinci’s “Vitruvian Man.” Men wore open white dress shirts and women wore adorned flowing black dresses, giving the piece a loosely formal look.

In an uproarious rebellion against overdone classical technique, “Loose Canon” opened with five dancers in nightgowns and underwear, acting asleep on the stage. Following a crude wake-up, one of the dancers faced the crowd and yelled, “Stop! Rewind!” to the point where the dancers fell asleep again.

What happened after incited uncontrollable laughter; with Johann Pachelbel’s compositions playing, the dancers satirized the excessively ornate style that would usually accompany baroque music. They trotted disinterestedly with saccharine smiles painted on their faces and often had to suppress their shaking, recalcitrant limbs. Dancers even mocked the final high-strung note of a violin by holding their mouths open as if to scream it, meandering off the stage in hilarious confusion.

Ending the night on a more serious note, “Pantheon Rising” showed performers in red capes dancing to intensely fast-paced music. The lighting made them look sinister, as if Darth Vader had taken off his mask and learned to pirouette. Activity was everywhere, with dancers running and jump-spinning into one another’s arms. The fierce movements of the final few seconds made you hold your breath until the lights dimmed.

Lehrer-inspired movement often requires robust athletic strength, and the Saturday evening dancers perfected every move without losing their individuality.

Faculty performers take center stage at Doty Recital Hall

Revitalizing the halls that had been mainly vacant for three years, the Tremont String Quartet performed Jan. 31 in Geneseo’s newest performance space, the Doty Hall Recital Hall.Despite the unpleasant, skin-numbing and hair-freezing trudge uphill with which we’re all familiar, the trip to Doty is rendered one of staggering elegance upon entrance to the hall. The light wood finishes, smooth paneling and contemporary design emit a feeling of minimalistic radiance, as if your very presence in the halls demands that you waltz. The quartet included professors of music Richard Balkin and Laura Balkin on violin, Samantha Rodriguez on viola and James Kirkwood on cello. They performed pieces by Wolfgang Amadeus Mozart and Johannes Brahms alongside guest artists Benjamin Magruder on viola and Chair of the Department of Music Jonathan Gonder on the piano. Doty’s Recital Hall houses a stage that beckons outward, enabling sound waves to amply spread in the audience’s direction. The show, presented by the department of music, blended the intricacies of classical music with the exciting untouched building. The first half of the evening consisted of the quartet and Magruder performing four works from Mozart’s String Quintet No. 4 in G minor, K. 516. “Allegro,” the first piece, was indeed a happy way to begin. The violinists became visibly more lively, however, during the second piece, “Menuetto: Allegretto.” They nodded and swayed with the fervor of their instruments, occasionally grinning in momentary triumph and pursing their lips in steadfast concentration. Following was “Adagio ma non troppo,” meaning slow but not too slow. It consisted of a noticeable switch-off between the deep, fuller notes of the cello and the ebullience of the violins. The quintet executed the final work “Adagio-Allegro” with the same vigor as the preceding pieces. You could hear the violinists’ exhales with the last note before a pause as well as their inhales as they began again. The quartet welcomed Gonder onto the stage after intermission. The music, four works selected from Brahms’ Piano Quintet in F minor, Op. 34, graced the air with a pleasant accompaniment of keys. “Allegro non troppo” permitted the piano to energetically impart its presence and periodically stand out with its own melody. The next two pieces, “Andante, un poco adagio” and “Scherzo: Allegro,” exhibited sustained mastery by the musicians. Regardless of the demanding changes in melody of the finale, “Poco sostenuto – Allegro non troppo – Presto, non troppo,” the musicians did not fail to stun with their prowess. By showing such a wide range of skill and the ability to adapt to substantial changes in pace, the quintet overshadowed previous pieces with the finale. Acting as a melodious harbinger of Doty Hall, the Tremont String Quartet marked the beginning of a new building, matching its grace with that of the very walls in which it played.

Book Review: Business Casual

Words can conjure up so much for those with eager eyes, making each reading experience particular to the individual. But when illustrations become just as essential to a book as syllables and consonants, the author ushers readers into a realm of understanding that is too often restricted to kindergarteners.Yes, Allie Brosh’s Hyperbole and a Half: Unfortunate Situations, Flawed Coping Mechanisms, Mayhem, and Other Things That Happened, released in late 2013, may be a picture book. But don’t turn up your collegiate nose quite yet. Brosh starts the traditional blurb on the back of her graphic novel rather untraditionally: “This is a book I wrote. Because I wrote it, I had to figure out what to put on the back cover to explain what it is.” Obviously, Brosh has no trouble revealing her dork side. Turns out she has been doing just that for years; her popular BlogSpot page, which claims the same title as her book, tells of ridiculous life stories, complete with hilariously simple illustrations. One blog entry selected for the book describes a time when young Brosh would stop at nothing to get her hands on her grandfather’s birthday cake. She ended up eating all of it. The drawings are meme-like in nature; often just the look of them is enough to incite lighthearted uproar. When viewed with the short blog entries, though, you’ll be apologizing for your constant giggling. Not all of Brosh’s stories prompt laughter, however. Hyperbole and a Half is also Brosh coming to terms with depression and a resource for readers who may be dealing with the illness. In our tirelessly Internet-reliant age, we use social media to relate to others and decompress. Similarly, Brosh seizes her blogging opportunity as an outlet for emotional expression. Now we have the pleasure of reading her work in paperback. While she suffered from depression for 19 months before glimpsing recovery, Brosh isn’t afraid to share her story. She breaks down the inexplicable illness for her readers. And yes, you guessed it; she does so with the help of her drawings. In the process, Brosh conveys the seriousness of her subject matter while somehow maintaining her shameless frivolity. Her openness facilitates connection with readers through pure human feeling. As fellow blogger Jenny Lawson wrote, “This book made me laugh, cry, and leak. It was honest, poignant, and ridiculously silly in all the best ways and I’m better for having reading it.” Life may be absurd at times, but with Brosh’s help, we are reminded to acknowledge the hilarity – and embrace the emotion – of all its facets.

Spotlight on Pamela Kurau: Vocal professor channels energy in singing, personality

When calling to mind the composer of a vocal piece she performed at the Kaleidoscope concert in October, assistant professor of music Pamela Kurau extended her arms to one side, theatrically looked over her shoulder and said, “Oh, why is this person’s name eluding me now?” With infectious energy in her personality as well as her singing, Kurau teaches MUSC: 141: Voice for the General Student and MUSC 151: Voice for Performance Option to both music and nonmusic majors.

Auditions for Kurau’s classes are competitive, considering her average class size is nine students. Given their increased time and repertoire commitments, majors can acquire private lessons. Kurau’s small group classes still provide enough individualized attention for students to explore their vocal potential.

Being full-time at Geneseo and a part-time music professor at Eastman School of Music in Rochester, Kurau lets her fervor for singing connect not only notes but also her two varying teaching roles.

She said she “never thought about the differences” between Eastman and Geneseo students, although Eastman is almost exclusively a music conservatory. As an English lyric diction professor at Eastman, Kurau teaches her students the pronunciation of English words in serious vocal compositions.

“You’d think that if you can speak the language, you can sing the language,” Kurau said. “It ain’t necessarily so.”

Before entering Kurau’s classroom in Brodie Hall, her soprano voice is heard fluidly mingling with piano keys. It’s a voice from someone you would never expect was once committed to pre-med at the University of Connecticut.

“I was set on being a pediatrician,” Kurau said. “Then I got to a chemistry class with 200 students, a professor who had written the textbook and a lab instructor who I couldn’t understand.”

This initially discouraging environment ended up leading Kurau to her career. She became involved in a few UConn choirs until, according to Kurau, a professor told her she could major in music. Previously, she had never seen it as an option.

While completing her undergraduate degree at UConn's School of Fine Arts, Kurau said she met her future husband Peter Kurau.

“We met while performing,” she said. Peter Kurau also teaches at Eastman as a professor of horn in the woodwinds, brass and percussion department.

In terms of her technique, Kurau encourages students to perform “posture checks” in order to “align” their bodies for singing.

“I believe there’s one healthy way to sing,” Kurau said. “When I see screaming faces on American Idol, it makes me upset. The tiny little muscles in your neck can only take so much.”

By emphasizing the importance of the breath and body in singing, Kurau prepares students for long, healthful singing careers. At the end of four years, Kurau’s students have their senior recitals. These performances are graded and demand an hour’s worth of music from each singer.

While grading, Kurau said she “always get[s] flashbacks” to when her students were freshmen. “It’s just gratifying to see them grow,” she said.

Album Review Face-Off: ARTPOP proves inconsistent, underdeveloped

Lady Gaga is a giant in the music industry, having taken the world by storm with her eccentricities and record-selling hits. It started with The Fame in 2008 and then The Fame Monster and Born This Way. Now, in the final months of 2013, we are graced with her rather lesser album ARTPOP. It’s a blend of ‘90s-esque tracks, more instant hits and other polarizing pieces that are some of the strangest Lady Gaga songs to date.

“Aura” kicks off the album with an extremely catchy and beautiful chorus. Unfortunately, that chorus is the only thing this feminist anthem has going for it. I found myself skipping past the jumbled and unintelligible, heavily synthesized verses that fill the gaps.

“Sexxx Dreams” comes along several tracks later with its nearly unbearable sound. It consists of static, overpowering synthesizer beats that make Gaga’s voice seem weak and, at times, artificial. It’s not a very enjoyable listen but rather a strain to get through.

Then there’s “Jewels n’ Drugs,” a Fame-esque, fun hip-hop track. It actually has some fantastic background tunes and some great old-school Gaga vocals, but the cheesy addition of rappers T.I., Too $hort and Twista is where the song falters. I understand the intention and the stylistic consistencies considered, but the song would be 10 times better without them.

“MANiCURE” is a fun play-on-title for a track that is probably the best on the album. It’s a hopping, energized ‘80s and ‘90s throwback with feminine power and angst. The entire song, verses and all, is catchy and dance-oriented. It’s definitely a high point of the album.

“Do What U Want” has two pros: an intro beat that bears striking similarity to the soundtrack of the film Drive, which is always a positive thing, and Gaga’s powerfully passionate vocals. Despite this, the chorus falls short because it’s not very impressive hook for listeners. Also, Gaga made another wrong decision in terms of collaboration, because R. Kelly’s contribution to this track doesn’t work. His parts are whiny and unnecessary and they take away from Mother Monster’s fabulous voice.

As with every Gaga album, there’s a wonderful ballad thrown in that really shows off her talent. Though “Dope” may not be her most impressive ballad, it’s definitely one of the best songs on ARTPOP and it may bring tears to your eyes.

ARTPOP is another good album from Lady Gaga, but it’s certainly her worst so far and her most inconsistent. Little Monsters like me are bound to have divided opinions over this one.

Album Review Face-Off: ARTPOP generates universal relevancy

Lady Gaga’s third studio album ARTPOP shows her forever-evolving approach to music, which continues to attract public attention whether you love or hate the new queen of pop. Like Born This Way, this album infuses sentimentality, sexuality and empowerment into a personal journey through Gaga’s life. Just as she sings, “My ARTPOP could mean anything,” Gaga notes the album’s more subjective focus. This album is much more sensual than her past work. Tracks like “Sexxx Dreams,” “G.U.Y.” and “Swine” are new explorations into Gaga’s sexuality.

Besides “Applause,” with its elevated self-awareness, “G.U.Y.” might be the best track on the album. Gaga channels the intense gorgeousness of her voice and invokes a sexy, honest and powerful feel.

“Dope” is the most poignant and emotionally powerful track with lyrics lamenting, “My heart would break without you, I’m not awake without you.” Gaga shows us her ability stripped down to basics in this piano ballad comparing love to addiction.

The following track adds to the introspection. “Gypsy” affirms that traveling around the world at the cost of a stable lover is a worthy trade.

Gaga’s music on ARTPOP is coupled with an intense feeling of empowerment. Marginalized people with strong self-identity will immediately recognize this. The LGBTQ community is known to hold some of her most fervent supporters, and for good reason.

Gaga sheds criticism, crosses genders and wears what she wants with ease. This explains why her fans that struggle with societal constraints find her music and spirit liberating.

For this, ARTPOP is valuable, yet critics frequently overlook this aspect of Gaga. She’s frequently written off for being too weird, and that’s why so many of these marginalized groups adore her. She provides a model to transcend the restrictions of society and preaches the value of being and loving all of yourself, and the album praises those lessons.

Love her or hate her, Gaga knows how to generate a unique kind of universal relevancy. Even if the album is not as strong as past endeavors, ARTPOP is well worth listening to, as Gaga isn’t going anywhere anytime soon.

"Case Reopened" illustrates murder mystery with metaphor

Junior Jennie Conway unraveled the moral of “Case Reopened,” the Veg S.O.U.P. play she wrote and directed, in one sentence. “It’s not good to be on your own, and it’s always good to ask for help from family and friends,” she said.

Conway’s play, originally written as a nine-page script for the English Department Creative Writing Contest in the spring, tells of a successful female crime novel writer named Emma Fields, played by senior Alicia Frame, who fights to let people into her life as she continues to struggle with the murder of her father from 15 years before, played by senior Brandon Rumaker.

Conway’s protagonist, an introverted character, feels most comfortable talking to the fictional star of her detective novels Lizzie Gordon, played by sophomore Paige Gordon. Lizzie Gordon helps Fields express herself, but she is invisible to everyone but Fields.

“This is the first time I’ve played a character that is not seen by everyone,” Paige Gordon said.

Just as Lizzie Gordon represents a part of Fields’ subconscious, the set itself is a reflection of her inner mind. The most impressive and exciting part of the show is Conway’s use of the stage.

The entire play is set in Fields’ apartment with props appropriately placed; at points, the lighting changes, refocusing on a red blood spot painted on the floor. It represents flashbacks that Fields experiences throughout the show, all of them acted out on the blood spot. The audience sees her younger self, played by freshman Olivia Knowlden, before her father’s death and after as she starts her writing career.

Conway manipulates the intimate Robert E. Sinclair Black Box Theatre to her advantage by using props in the foreground to set different scenes and returns to the apartment by readjusting the light and reviving Fields and Lizzie Gordon, who sit quietly and watch the events play out in Fields’ mind.

The entire stage works as a metaphor for Fields’ mind as she continues to push people out of her apartment and thus out of her thoughts. The flashbacks on the blood spot give the audience a visual connection between Fields’ memories and the struggle she faces to overcome her father’s murder.

“I like this [stage] a lot; you get to play with angles more,” senior Mike Kedenburg said. He plays Daniel, Fields’ flickering love interest.

As much as the play is about coping with and uncovering the mystery of her father’s murderer, the audience sees Frame’s character grow in a believable way that makes Conway’s writing memorable and admirable.

“Case Reopened” will run from Thursday Nov. 21 to Saturday Nov. 23 at 7:30 p.m. in the Robert E. Sinclair Black Box Theatre. Tickets are $5.

Everyday objects recycled as art in Kinetic Gallery exhibit

Combining the versatility of recycled products with the freedom of an empty gallery space, Buffalo-based artist Ani Hoover brought her work to the College Union Kinetic Gallery on Wednesday Nov. 13. To the cursory viewer, it might be difficult to notice that Hoover created her work of sculpted flowers “Rubber Garden” from old bicycle tires. Additionally, spectators may not imagine that the whimsical, sequin-like drapery “Milk & Sugar” adorning the front right wall consists of plastic bottles and straight pins. Acknowledging the exhibition’s title “Re-Works,” however, confirms the art’s humble beginnings.

Originally from Missouri, Hoover moved to Buffalo with a strong background in painting. From there, she showcased her art all around the East Coast, including at the Flanders Art Gallery in Raleigh, N.C. in 2008.

A few years ago, Hoover started mainly exhibiting her art around the Buffalo area. She showed her paintings at the Albright-Knox Art Gallery in 2008, University of Buffalo’s Center for the Arts in 2009 and the Starlight Studios and Gallery from 2010 to 2011.

Recently, however, Hoover has deviated from painting and begun an artistic rebellion of her own. She switched from working with paint to primarily experimenting with recycled products.

“I was kind of revolting,” Hoover said. “I didn’t want to buy more paint or paper.”

Hoover began by reusing her old paintings as collage materials.

“I didn’t think that cutting all my paintings was such a good idea,” she said. She gravitated toward using some of the recycled products shown in “Re-Works,” including recycled plastic and tires.

Stories lay behind many of her pieces. One of Hoover’s works “Stick, Stack” shows multicolored, large wooden sticks leaning on a wall and forming a right triangle with the floor. Hoover said she took the sticks from a home improvement job. They weren’t being used, so she made use of them.

Depending on location, Hoover assembles her art in a wide range of configurations. She said she enjoys “the flexibility of a gallery space,” and employs it to help her determine placement of her pieces in a room. Also, “Astro Dot Net,” made from zip ties and circular dye cuts of old paintings on Yupo synthetic paper, hangs from a wall and takes any shape Hoover sees fit to design.

Whether it’s through finding materials, recycling old paintings or arranging her pieces in galleries, Hoover takes an active role in her art. As it says on her website, she keeps “collecting, arranging, assembling … then doing it all over again.”

Winning yet repetitive persona defines 'world champion' comedian Judah Friedlander

Judah Friedlander’s standup was hilariously entertaining at his Limelight & Accents-sponsored performance on Saturday Oct. 26 in Kuhl Gym, but he lacked the style and relevance of many other modern comedians. Friedlander is most famous for playing Frank Rossitano on the TV show “30 Rock,” a similar role to his stand-up persona. His acting work spans back to the late ‘90s and includes roles in films ranging from Zoolander to Wet Hot American Summer. His talent is obvious and seems to work best in a cast among other funny people.

Friedlander’s appearance distinctly reminds one of the cult classic film Clerks, as his uniform is a disheveled “World Champion” T-shirt and jeans with a “World Champion” hat. Think a hipster but middle-aged and doughier. His jokes mirror his physical appearance.

The show’s content varied, but the approach was consistent. Friedlander used non-sequitur humor as the driving point. The problem with this device is that it does not make for an incredibly funny joke let alone entertainment for an entire show. Friedlander does pull it off well, all things considered.

The show was an appropriate choice for Parents Weekend compared to Adam Trent’s comic/magic show in August, which was funny as well but a bit too saucy for parents looking at where and what their money is going toward.

Friedlander never breaks his persona, similar to Will Ferrell’s approach to comedy; there is a persistent fourth wall of sorts between Friedlander and his audience, even though he directly addresses them.

His jokes ranged from situational to modern pop culture and politics. He played off the audience well and stayed relatively neutral in an American climate that is sensitive to political and religious humor even in the context of jest. Friedlander poked fun at topics usually inappropriate to mention due to his maintained persona.

In reference to other artists, Friedlander does not bring anything new or noteworthy to the field. Louis C.K. dominates this realm of comedy with simplicity and a spontaneous approach that works without a persona; his jokes speak for themselves, as he is just an average-looking, middle-aged white guy.

Friedlander’s style is required for his content. Friedlander doesn’t reach the roaring levels of absurdity that Zach Galifianakis does, for example; rather, he is much more mellow and calm, which is vital to his persona but could be holding him back compared to modern comedians like Steve Carell and Will Ferrell.

Friedlander’s personality would be better suited in a group dynamic as a component rather than the single focus of a performance. That’s why he’s so great in “30 Rock.”

The show was worth seeing, but in a realm of Netflix and digital standup with tons of new comic players developing an individual style in the last few years, it’s difficult to imagine Friedlander’s staying power in this sphere. Friedlander is funny, but the current times call for more than that to garner the full attention of American audiences.

Kaleidoscope provides colorful view of student, faculty performers

In light of Geneseo’s annual Parents Weekend, the department of music hosted the Kaleidoscope show on Oct. 25 in Wadsworth Auditorium. The night began with a single spotlight centered on adjunct faculty in music Anna Steltenpohl, who performed a breathtaking oboe solo of “March” from Gordon Jacob’s Seven Bagatelles. Focus flowed from faculty to students as the wind and clarinet ensembles conducted by adjunct faculty in music Ernest Lascell and a string quartet coached by lecturer Richard Balkin carried the audience through classical pieces.

Following vocal coach Alan Case’s masterful piano rendition of “Danza de la moza donosa” by Alberto Ginastera, cast members from the upcoming production of “Anything Goes” refreshed spectators with a vivacity destined for Broadway. The actors, led by senior Elyssa Ramirez, dazzled the stage with upbeat music, voices and tap dancing.

The show’s transition into the Geneseo Wind Quintet in Residence’s performance of Anton Reicha’s “Andante Grazioso” provided an enjoyable juxtaposition.

Next, performing once again since the Winter Choral Concert on Oct. 18, Spectrum Women’s Ensemble reminded listeners of its own vocal excellence with Howard Hanson’s “How Excellent Thy Name.” Professor of music Gerard Floriano conducted the rendition, accompanied by Nazareth College lecturer of music Linda Boianova.

Halfway through the evening came the Geneseo String Band with three lively and traditional French Canadian tunes, including “La Waltz d’la Toune” by Anne Laprise. Lecturer of music James Kimball played with the band and beckoned high energy from members with claps and shakes on his tambourine.

Exploding onto the stage, the Monday Night Jazz Ensemble offered a soulful escape. Members performed “A Tribute To Someone” by Herbie Hancock, arranged by adjunct lecturer in music David Gibson.

A different kind of explosion followed with Geneseo’s Percussion Ensemble, directed by adjunct faculty in music Jim Tiller. In the group’s take on “Stinkin’ Garbage” by Edward Argenziano, percussionists fearlessly slammed upside-down tin garbage cans on the stage and drummed on them. As the piece quickened, students played on neighboring cans, the sides of their own cans and even substituted trash lids as cymbals. The result was an original, urban-inspired performance.

Floriano once again appeared on stage to direct the Geneseo Chamber Singers, who alluded to autumn in their rendition of Irving Fine’s “Design for October.”

Next came a saxophone quartet coached by Lascell that performed Giovanni Gabrieli’s “Canzoni per Sonare.” Subsequently, Boianova returned once more for Beethoven’s “Scherzo” from Piano Sonata No. 3 in C major, Op. 2.

The final three acts of the night consisted of another Hanson piece by the Symphony Orchestra, conducted by Tiller. Then, in charming soprano, accompanied by Case on the piano, came assistant professor of music Pamela Kurau singing two songs, including a humorous interpretation of Jake Heggie’s “In the Beginning.” Georg Frideric Handel’s timeless “Hallelujah” united the orchestra and choral groups, leaving the show with a glorious conclusion.

Featuring acts from a wide assortment of talented groups, Kaleidoscope served its purpose in giving parents and students an eclectic glimpse into campus talent, energy and spirit.

Album Review: Too Weird to Live, Too Rare to Die!

Panic! at the Disco has gone through some really tough changes over the past few years. After splitting with original members Ryan Ross and Jon Walker, lead singer Brendon Urie and drummer Spencer Smith continued the band’s legacy. But as Smith recently began rehabilitation for alcohol addiction, he left the sole duties of the band to Urie. I was extremely hesitant coming into the listening of Too Weird to Live, Too Rare to Die!; Urie proves on this record, however, that not only is he still a beast on vocals. He knows how to write a song and a melody to boot.

Be warned, the Panic! at the Disco that you know and love is gone on this record. Well, not completely. But the whole album is drawn mainly from electronic influence, which completely changes the sound of the band.

The opening track “This Is Gospel” proves to be one of the best tracks on the album. Starting with an electronic pulse, the track explodes with energy and urgency and has one of best choruses on the album.

The album really hits its stride at “Nicotine,” another glittery track that pours on the funk, with a great bass line and an infectious chorus. Next is “Girls/Girls/Boys,” a quirky little track that really cleverly plays on modern sexuality and gender.

The next three songs of the album are certainly the best of all. “Casual Affair” is one of my new favorite Panic songs. Beginning with a driving beat and an awesome electronic background, the chorus in this song is absolutely explosive. Guitars crash in, and Urie delivers perhaps the hookiest and best chorus of the album. This track is a must-listen for the fans.

“Far Too Young to Die” begins with an almost metronomic sound, and then pushes its way into the synth pop goodness that pervades the album. The hook in this track is also strong, with deep, booming bass and wonderful vocals from Urie.

“Collar Full” is a track that fans of somewhat older Panic! at the Disco will want to check out. It has a fast-paced beat very reminiscent of the band’s previous albums. Urie is in top form here and pulls out all the stops. The whole song simply works and is definitely among the best of the album. The verses are great, the chorus is wonderful and the pace and instrumentation are just top notch. Another must-listen for sure.

I am overall impressed and surprised by this album. Although it’s heavily electronically based and very different from previous albums, it’s still catchy as all hell. It has great lyrics and instrumentation over the backing soundscapes.

It has its own personality, which I think was Urie’s intention. It may not sound like the old stuff, but if you’re willing to accept the change and roll with the punches, I think you’re going to find an album that you may enjoy or even love.

Lou Reed leaves lasting musical legacy

“Sunday morning is the dawning,” Lou Reed sings on the Velvet Underground’s debut, self-titled album. He was a musician, an artist and one of the greatest inspirations to the art world of all time. Reed’s life prematurely ended at the age of 71 on Sunday morning Oct. 27. Reed had been battling liver disease for quite a while, having received a transplant in the spring. Dr. Charles Miller, who performed the transplant, confirmed that disease was terminal a few days before his death. Reed left the hospital for his home in Southampton, N.Y. to die in peace.

Reed grew up in Freeport, Long Island during the 1950s in a Jewish family. Having learned how to play guitar from the radio, he became interested in rock ‘n’ roll and blues. Reed started a number of small bands during high school.

While growing up, he realized that he was bisexual. Reed received electroshock therapy to correct his divergence from heterosexuality. He has often said that this experience was very influential to his music.

He became a songwriter when he moved to New York City after graduating from Syracuse University in 1964. He started the band The Velvet Underground and in 1967, The Velvet Underground released its first album The Velvet Underground & Nico, produced by Andy Warhol, a pioneer of both avant-garde art and music.

The album and Reed’s work cover many themes such as love, alienation, sex and addiction. The song “Heroin” only features guitar and drums, and gives a narrative of what it is like to take the drug.

“When I put a spike into my vein/And I’ll tell ya things aren’t quite the same/When I’m rushing on my run/And I feel just like Jesus’ son,” Reed sings.

“Reed started singing outside of the song’s melody, as if he were giving a speech with a fluctuating drone in a New York accent,” The New York Times music critic Ben Ratliff wrote.

The very experimental album only sold 30,000 copies in the first five years of its release. Rolling Stone magazine lists the album as number 13 on the Greatest Albums of All Time.

Bands like R.E.M., Nirvana, U2, The Talking Heads, Joy Division and The Strokes owe a lot of their success to Reed. The experimental nature of music has had a lasting influence on music in general.

Reed had been sober since the ‘80s; becoming obsessed with his own health, he started practicing the art of Tai Chi.

The music world has lost a great leader. Reed was a man who pushed the boundaries of music while inspiring many. He may be gone, but his music legacy will last for many years to come. Friend and fellow musician Iggy Pop tweeted only two words, “Devastating news.”

“The world has lost a fine songwriter and poet … I’ve lost my ‘schoolyard buddy,’” Reed’s Velvet Underground bandmate John Cale said.

The Lamron staff picks: Spooky songs to haunt your Halloween soundtrack

There’s more to scary music than Bobby “Boris” Pickett’s “Monster Mash,” and Halloween is the perfect time to find out. Whether it’s the sheer length of a song, the content, sound effects or the artists themselves, these songs are just right for the Halloween spirit. A truly creepy song can range from unsettling or uncomfortable to nail-bitingly suspenseful and unexpected. From experimental performance art to eerie ballads, these picks will make you squirm, writhe and cheer with passion and dark angst.

“New Slaves” by Kanye West

West is angry, he’s passionate and he’s about to “tear shit down” with this hardcore rant against commercialism and material superficialities. The song will inevitably make listeners either intimidated or passionately angry themselves. Prepare to be possessed with defiance and contagious fury by Yeezus Christ himself.

“Midsummer New York” by Yoko Ono

John Lennon’s former lover and infamous pop culture icon is considered a musician and performance artist, but listen for yourself and prepare to feel assaulted by Ono’s unintelligible cackling and yodeling. It is highly probable that you will cry, in a bad way.

“The Beautiful People” by Marilyn Manson

Manson in the flesh is petrifying enough, but this classic rock track is a gothic masterpiece of contrasting satanic mutters and possessive chants. Its chaotic and demonic ambience is actually quite beautiful as a whole, but it’s certainly not for the faint of heart. Check out the music video for a heightened experience.

“Trapped in the Closet” by R. Kelly

This very long rap opera is mainly known as a series of music videos depicting a progressing storyline. It starts off with a one-night stand that ends with the woman’s husband coming home, causing the man she was with to hide in a closet. The situation escalates from there, becoming an oddly dangerous epic, and the piece’s length alone is enough to scare people away.

“Come to Daddy” by Aphex Twin

Here’s a song that will give you nightmares for sure. The electronic composer’s most unsettling song is a flurry of industrial chaos, static and distortion with creepy voices and sound effects. The music video is filled with children donning creepy masks with warped smiles, and it is known as one the most disturbing music videos of all time.

“Lady Dada’s Nightmare” by MGMT

Off the band’s 2010 album Congratulations, this song is MGMT’s symphony of terror: an entirely instrumental piece, complete with distorted screams in the background and eerily placid synthesizer ambience throughout. The result is the effect of a haunted house environment or an underworld of sorts. It’s basically an increasingly unnerving lullaby in a purgatorial void.

“We’ve Only Just Begun” by The Carpenters 

This 1970 classic was a soft rock hit, and who doesn’t enjoy Karen Carpenter’s soothing, innocent vocals? After seeing the 2007 horror film 1408, however, one can never listen to it the same way again. It’s still catchy, but you’ll find yourself looking behind your back and checking your grasp on reality while it plays.

Famed slam poet delivers conversational prose

Dressed unassumingly in a gray hoodie and white pants, three-time world champion spoken word artist Buddy Wakefield performed Monday Oct. 28 in the College Union Ballroom. The evening began with performances from members of the Geneseo Poets’ Society. Junior Sarah Diaz and sophomore Jo-Ann Wong delivered their own pieces to usher in the artistry. Diaz graced listeners with her effusive delivery and a voice like honey, while Wong charmingly connected to the audience with tales of childhood and love.

In his fourth time performing at Geneseo, the audience would expect Wakefield to be comfortable with the campus scene. It turns out, however, he seems to make himself comfortable wherever he goes.

“I know I’m supposed to be doing poems, but sometimes I don’t want to,” he said.

He began by asking to turn down the house lights because sometimes, when he’s in front of a lot of people he doesn't know, he “gets nervous about looking at them.”

As Wakefield’s conversation flowed to poetry, however, the audience could not detect a hint of uneasiness. His first poem might have been misunderstood as everyday speech if not for some breathtaking lines such as “cemeteries – that’s just the Earth’s way of not letting go.”

Wakefield wrapped up his first spoken word with a message that we all must embrace the present. Before the poem’s conclusion, he humorously interjected with a conversation about God, embracing his casual performance style. After switching back to his piece, he left the audience with, “When you breathe, you might try freein’ both lungs up.”

To change things a bit, Wakefield brought senior Philip Romano up on stage to play piano in the background. He engaged listeners in another friendly chat, sharing facts about himself with the audience, saying, “There are things wrong with me, clearly.”

After generating additional laughs, Wakefield tackled the sometimes-taboo topic of death. In this piece, he encouraged listeners to reassess their views by saying that death is not a tragedy but rather a graceful occurrence.

With meaningful gesturing and facial expressions to highlight the passion in his poetry, Wakefield transitioned to the topic of self-respect. Once again, he interjected in his own poetic way, reeling listeners back in if they had become lost in his metaphors.

Before his final poem, Wakefield told the audience he really needed to pee. So, to stall his bathroom-break absence, senior Josh Bauscher from the Geneseo Poets’ Society delivered his poem “I Am Love,” maintaining a fervent yet fluid rhythm.

Upon his return, Wakefield asked viewers if they were “OK.” Then, after captivating his audience with a comical unveiling of his final piece, he informed listeners that his last poem would be about love. With lines like, “There’s a freckle on your lip, it’s a national archive,” he brilliantly conveyed his profound feeling for his boyfriend Steve.

Wakefield remained open with the audience and unafraid of humiliating himself throughout the performance. As freshman Alejandro Guidos said, “He combined really deep themes with casualness and humor.”

Freshman Pamela Haas, a member the Geneseo Poets’ Society, said that, around the serious topics of death and love, “it’s good to have some humor in there.”

Never fearing to showcase his eccentricity, Wakefield conveniences spoken word; through his style, he makes it accessible to all. To him, it seems that poetry is no longer an art; it’s a way of being.