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Livan at the Whiskey
By Jonathan Weichsel

London based singer/songwriter Livan (pronounced lie-van) plays raw, emotional, unpretentious punk rock that would be at home during the late 1970's, when punk music stood for nihilistic living and anarchic, anti-everything rebellion. Livan's rough, real, one-cord punk rock, heard today in the year 2009, when everything else is overproduced and has a slick anemic sound to it, is a breath of fresh air.

Livan's early life was something right out of a Dickens or perhaps Pasternak novel. Livan was born in Greece. His parents were prominent politicians living in exile there, and his father suffered physically at the hands of a ruthless dictator while under arrest. When Livan was still young, he relocated to London, and found it impossible to live up to his hero father, so he descended into drugs, alcohol, gambling, and other undesirable activities. He spent some time in prison, and later found himself addicted to heroin and dying a slow death in the ghettos of London.

His turnaround came on a Good Friday. He was drugged out of his mind, it was raining hard, and he was sitting alone on a park bench. Livan looked upwards towards the sky and said to himself, "This can't be the end… life has to be better than this."

From that day on Livan immersed himself in his music. His influences range from David Bowie, to The Clash, to Nine Inch Nails. His most recent album, Happy Returns, was released on Digital Pumpkin September 15th. The songs are autobiographical, telling stories of drug addiction and a life spiraling out of control. Livan does not try to glamorize his life, but instead describes its gritty realities.

The title track, Happy Returns, is a one cord punk song with heavy drums and a bass line that drives the lyrics forward. The video features Livan in prison stripes in a weird, surreal, prison-like locker. A microphone hangs down from the ceiling, and strange, Goth faces can be seen peering in through the grates, watching Livan sing. The lyrics of the song are about losing control. The controlled, prison like environment, with Livan in the center bleeding his heart out, really captures the emotional impact of the song.

King of The World is more of a pop-punk song, and is already getting some great radio play. The song is about Livan's political anxieties, but the tone is playful and sarcastic. With lyrics like, "I wish I were the ling of the world. Let the people shout 'The king is dead. Long live the king.'" Livan is celebrating the turmoil and the egotism that inevitably leads to the undoing and demise of totalitarian dictators everywhere.

There is something oddly inviting about Livan's music. Many punk acts today try to be off putting, but Livan's goal seems to be to invite the listener into his world, to show us the ghettos of London, a life on the brink, and how the political turmoil that exists today affects the individual.

Livan took the stage at The Whiskey in an open shirt, backed by a tight punk band. The band rocked hard throughout, and Livan occasionally played the keys during a bridge or chorus, but it was the power of Livan's voice, which channels Iggy Pop more than David Bowie, as well as the strength of Livan's songwriting, which stole the night. The crowd was initially taken aback by the sheer power of the band, but they slowly got into it and made their way to the front of the stage. The Whiskey exists in order to be a platform to discover the greatest new rock acts. Livan, who I believe is peers with many of the great punk acts of the 1970's, may just be venue's latest discovery.

Livan's album Happy Returns was released September 15th. In order to learn more about him, including upcoming shows, check out his myspace page at:
www.myspace.com/livanmusic

CHINESE DANCE COMES TO THE FORD
DreamDance II to Perform "East West Fusion" including two premieres
By Staff Writer

“East West Fusion," an evening of classic and contemporary Chinese dances stunned the stage at the beautiful Ford Amphitheatre in Hollywood. The company is under the direction of Ting-Ting Chang - a winner of the 10th Annual Dance under Stars Choreography Festival at McCallum Theater and 6th China National Dance Competition. The performance unveiled two new works: Yellow River, set to the Yellow River piano concerto, and Chasing the Moon. "East West Fusion" also featured classic Chinese dances of the Han (206 BC - 220 AD) and the Tang Dynasties (618 -907 AD). This was the Ford's first evening devoted exclusively to Chinese dance.

The performance capped the Ford Amphitheatre 2009 Summer Season; a multi-disciplinary arts series produced by the Los Angeles County Arts Commission in cooperation with Los Angeles County-based arts organizations.

"We are very proud to be associated with the Ford Amphitheatre," said Chang, whose credentials include an Andrew W. Mellon Postdoctoral Fellow in dance and a position as a faculty member at Washington University in St. Louis. "It is a great honor to be performing at this beautiful facility, and receiving the generous help and support from the Ford Theatres and the Los Angeles County Arts Commission."

DreamDance II specializes in fresh looks of traditional Chinese dances designed to share the essence of Chinese culture with the Los Angeles community. In "East West Fusion," traditional flowing Chinese costumes and props such ribbons and umbrellas meld with contemporary choreographic styles, evocative lighting and enchanting sounds to create a singular dance landscape.

The first half of the program included classical sleeve dances from the Han and Tang dynasties. Peach Blossoms, choreographed by Rebecca Shen, and Green Sleeves, choreographed by Ting-Ting Chang, featured costumes with very long sleeves that extend the arm movements to convey the feelings and emotions of the dancers. Sleeve dances originated from Chinese opera and incorporate hundreds of movements. Most movements imitate the flow of water, while the heavy influence of Chinese calligraphy is also evident. Owing to the extravagant costumes and the amount of training that is required to perform the dance, sleeve dances were originally performed almost exclusively in the Imperial Palace or for aristocrats. The combination of flowing long sleeves and delicate body movements produces beautiful images on stage.

The richness and magnificence of the powerful Chinese empire are evoked by the elegant costumes and extravagant hairpieces in the two works choreographed by Ting-Ting Chang. The Tang dynasty is illustrated in The Lady in the Tang Garden, and Ladies in the Chu Palace, dating from the Han period, which refers to a story thousands of years earlier from the ancient state of Chu in Southern China, in which young ladies danced to impress the king.

The second half of the performance featured more contemporary dance movements and choreography, including the premieres of Chasing the Moon from Wen-qi Xu, a former senior lecturer of the Beijing Dance Academy, and a brand new three-section version of Yellow River by Ting-Ting Chang and Ya-Jing Zhang. The title Yellow River refers to the famous Yellow River Piano Concerto to which the dance is set. The concerto has been very popular among Chinese communities all over the world since its 1969 premiere during the Cultural Revolution Period (1966-1976). The music is a rally call for the Chinese people to reunite after years of chaos. The four-section version by the same choreographers premiered earlier this year, and has been extensively reworked for presentation at the Ford as part of "East West Fusion."

DreamDance II is one of two companies of the DreamDance Foundation, a state registered non-profit organization based in Arcadia, California, that produces both contemporary and intercultural performances, as well as traditional dance projects. Its other company, DreamDance Contemporary Arts, produces contemporary modern dance. In the past year, DreamDance Foundation has reached more than 15,000 audience members by performing in such distinguished venues and events as the L.A. County Holiday Celebration at the Music Center and the Bowers Museum's Terra Cotta Warriors exhibition, among others. DreamDance II will be featured in the one-hour music and dance special comprised of the "best of" LA County Holiday Celebration that will be broadcast on PBS stations across the nation in December 2009.

Pestilence
By Cindy Ferraino

When the Netherlands band "Pestilence" hit the music scene in 1986, their unique hard metal sound impressed the ears of many fans and soon paved the way to a record deal with Roadrunner Records. After the release of "Malleus Maleficarum (debut album in 1988) and "Consuming Impulse" (1989), the band was going through their share of creative differences and the comings and goings of band members.

Because of the mixed emotions about the musical direction of the band, Pestilence parted ways in 1994.

In 2008, word of a resurge of Pestilence surfaced and the buzz surrounding this revitalized band sparked interest in new record label as well as international recognition.

In 2009, Pestilence released "Resurrection Macabre" under Mascot Records and is planning tours throughout Europe and the United States.

Valley Scene Magazine (VSM) caught up with lead front man Patrick Mameli (PM) to discuss how Pestilence has reemerged back into the heavy metal music arena.

VSM- Many think this is a reunion of the band but you (Patrick Mameli) have stated differently. Why?

PM- For me, a reunion is when all the guys come back and what we are doing is not. Because of the changes in the band, this does not dictate a reunion. Except for Tony Choy, this is not the old line-up of guys. The intention for the comeback is to play from the heart and try the best we can do. We want to be organic and true to our own style of music.

VSM- What has it been like being back on tour?

PM- It feels like we have never been away from it. Nothing really has changed much…except we got older looking (laughing). Being back feels good- it is like riding bike all over again.

VSM- How do you deal with requests from the crowds about playing the old "Pestilence" songs?

PM- We can't please everybody. People remember us from the old days and try to compare. They don't understand the effort it takes to create new material. Just listen to the new stuff and if you like it…that's great and if you don't…then that's okay too.

VSM- When you are not touring, what do you do?

PM- I work a regular 9-5 job and listen to all kinds of music. I have a life outside the band.
VSM- How do you guys get the creative juices flowing when you are on different time zones-Patrick Mameli (Netherlands), Bassist Tony Choy (Miami), Peter Wildoer (Europe) and Patrick Uterwijk (Europe)?

PM- We don't rehearse. I send the notes via MP3 files and the guys get the job done.

VSM- Describe the musical style of the new album "Resurrection Macabre."

PM- "Resurrection Macabre" is the distinctive Pestilence riff. The sound is Pestilence. The fans want this. Mascot Records believes in us-"they love us." Mameli thanks Ed (from the Roadrunner days) for his support.

VSM- How do you feel about hitting the stages in the United States?

PM- We were scheduled to play at the Maryland DeathFest but a glitch with paperwork at the Detroit airport held up me and Patrick. We were interrogated for 4 hours and then sent home. "We were really bummed." (The cancelled tour did not sour Mameli's hopes of coming back to the US.)

"We are working on several tour dates in the US for 2010 and I am really excited to play in America."

VSM- What does the future hold for Pestilence?

PM- Like anyone, I can't predict the future but if I have to say anything it would be-to play it safe. As long as the people want to listen and the interest is there, then I am going to keep on playing. My goal is to explore my musicianship- be creative, be crazier and don't get pushed into a box.

Besides the music, Mameli is a family man. "My family is everything to me…this (Pestilence) is just icing on the cake".

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