Arts

Billy Ocean to bring hope-filled vibes to Crown Theatre, Oct. 27

31The ever-cheerful Billy Ocean will appear in concert (https://www.crowncomplexnc.com/events/detail/billy-ocean) at 7 p.m. Oct. 27 at the Crown Theatre. Ticket prices start at $45, and, as of this writing, are still available. Don’t miss seeing this cheerful-countenanced man sing his infectious hits like, “Caribbean Queen (No More Love on the Run),” “When the Going Gets Tough, the Tough Get Going” and “Get Outta My Dreams, Get into My Car.” His new album, “One World,” is well worth a listen. It incorporates a wide range of styles—reggae, rhythm and blues, rock and soul—perfectly suited to Ocean’s smooth and emotive voice. Although his chart-toppers fall into upbeat, dance music, you can hear the urgency in his voice when encouraging people to live in love toward each other.
Billy Ocean was born Leslie Sebastian Charles in 1950 on the island of Trinidad in the then-West Indies. Before he was 10, the family moved to London. As a teenager, Ocean sang in nightclubs and worked as a tailor in custom menswear on Savile Row. He released ten singles under other stage names, but none of them found an audience. He was discouraged, but he kept at it, doing session work for free just for the opportunity it offered. At night he worked in an automobile plant. But the 1970s would be a formative decade for Ocean: In 1976 his song “Love Really Hurts Without You” was a breakout success, hitting No. 2 in the UK and No. 3 in Australia; In 1978 he married his wife Judy Bayne; and, perhaps through the popularity of Bob Marley’s music, the Rastafari movement expanded rapidly, sweeping Ocean up with it. All would form the three-corded accompaniment of one of the hardest-working and most positive musicians of our era.
During Ocean’s time volunteering in the studio, he was given songs to sing that simply didn’t lend themselves to his singing style. He determined that to be successful and attain sustainability in the music industry—“or any business”—he needed to produce his own material. He’d have to learn to compose music, and he did. He’s self-taught. Ocean bought his first piano for £23. He sat down at it and his left hand began laying down the bass for “Love Really Hurts Without You” while his right added the melody. Thank goodness for tape recorders because Ocean cannot read or write music. Even today, he brings tapes to “people who know what they’re doing” as far as reading and writing music go.
“But you know what, it doesn’t matter,” he said in his always uplifting tone. Most of the great modern songs are written by people who can’t read and write music.
Ocean never met Marley, but he wishes he had and acknowledges his music had a profound effect on him.
“His music gave hope to people like me, black people,” he said. Musicians like Marley, Marvin Gaye, John Lennon and Bob Dylan, come along only once in a lifetime, Ocean said. He met Gaye in passing and wished he’d taken the chance to talk with him, but he didn’t want to intrude on Gaye’s privacy.
“You know what, though, I meet all those people through their music.”
Marley’s music, though, was different. It wasn’t just reggae dancing through white suburbia and the world; it was most decidedly a religion and a social movement. Despite the culture’s immersion into marijuana for its medicinal and mystical properties, at its root, Rastafari is an Abrahamic (Old Testament) form of Christianity that emphasizes self-control and love of others. It would prove pivotal in 1989, when Ocean’s mother, Violet, died of ovarian cancer.
“Here I was more successful than I ever imagined I’d be.” But her passing shattered his foundation.
His success was well-earned and lasting. In 1977, on the heels of “Love Really Hurts Without You,” “Red Light Spells Danger” reached No. 2 in the UK. Then in 1984 “Caribbean Queen” launched Ocean into another level of stardom. The song peaked at No. 6 in the UK; charted in Australia, Canada, Ireland, New Zealand, South Africa and across Europe under different titles; and in the US entered the Billboard Hot 100 at No. 85 but 10 weeks later was No. 1. The song earned Ocean the 1985 Grammy Award for Best Male R&B Vocal Performance.
After “Caribbean Queen,” “When the Going Gets Tough, the Tough Get Going,” the theme song from the 1985 movie “Jewel of the Nile,” starring Michael Douglass, Kathleen Turner and Danny DeVito, reached No. 1 in the UK and No. 2 in the US. Also in 1985, “Loverboy” made it to No. 2 in the US. Ocean sang “Caribbean Queen” and “Loverboy” at the American Live Aid fundraising concert from JFK Stadium in Philadelphia. Live Aid collected donations to alleviate mass starvation conditions in Ethiopia at the time. In 1986, “There’ll Be Sad Songs (To Make You Cry)” made it to No. 1 in the US, and two years later “Get Outta My Dreams, Get into My Car” peaked at No. 3 in the UK, but made it into the top position in America.
But the death of Ocean’s mother changed everything. His voice shakes slightly even now explaining that she worked so hard and he’d finally been able to buy her a house—“every boy’s dream, right?”—and she lived in it for only three years. When he’d written “Love Really Hurts Without You” he had owned a bible but never read it. Now he read it, and he found the guidance he’d been lacking. He became a vegetarian, which arguably is biblically based and a prominent part of Rastafari Ital, meaning to eat only clean, pure, plant-based foods. He also took time away from his career. In other interviews, he has shared that with three children and him on the road, his wife needed his help. He did the right thing for his family, pausing his career to help raise his children, and he doesn’t regret it.
Ocean considers Marley’s music a wake-up call that pointed Ocean and many like him toward a life-altering dependence on Jesus. Once that is “locked in,” you see the world differently, he explained. We are constantly bombarded by lures to bad food and illicit sex, “especially sex,” Ocean emphasizes. Without the self-discipline the bible lays out and the salvation, forgiveness and comfort a belief in Jesus provides, we can easily be swept off course by our own desires and the knowingly evil or misguided intent of others. The resultant blessings for Ocean are obvious: He and Judy are still married with three children and four grandchildren, and at 74 he’s still filling venues and singing songs both old and new.
In 2007, Billy began touring again, now with his daughter Cherie on backing vocals. The following year, he leaned back into his songwriting talents and returned to the studio for the first time in 15 years, resulting in a new album, “Because I Love You.” A best-of compilation followed the next year. Another album, “Here You Are” debuted in 2012, and five years later it was released in the US. Ocean toured the world, doing shows in such diverse places as Belgium, Canada, Denmark, Dubai, Germany, Holland, Luxembourg, Spain and the US. In 2018, Ocean played to a sellout audience at The Royal Albert, which he considered an honor. In 2018, he received an Ivor Novello Award for International Achievement; Novello awards are given in recognition of songwriting and composing. He was appointed a Member of the Order of the British Empire in the 2020 New Year Honors for his services to music.
Ocean disciplined himself at the peak of his career when things often get out of control for artists. He made a sacrifice for the sake of his wife and children. God must have noticed because he blessed Ocean with both recognition within the music industry and a fan base that spans the globe.

(Photo: Billy Ocean will be performing at the Crown Theatre, Oct. 27. Photos courtesy of Billy Ocean)

Leuchtengburg’s 102nd birthday gift to us

60UNC-Chapel Hill Professor Emeritus William Leuchtenburg celebrated his 102nd birthday recently. He was born on September 28, 1922.
A few weeks ago, Oxford University Press released his latest book, “Patriot Presidents: From George Washington to John Quincy Adams.”
Leuchtenburg earned his BA from Cornell and his PhD in History in 1951 from Columbia, where he taught before joining the history department at UNC-Chapel Hill in 1982.
According to the department, Leuchtenburg became a leading scholar of 20th century U.S. history and the American presidency and the preeminent expert on FDR, writing profoundly influential books including “The Perils of Prosperity, 1914–32” (1958).
His “Franklin D. Roosevelt and the New Deal, 1932-1940” (1963) won the prestigious Bancroft Prize and the Francis Parkman Prize. Sixty years later, it remains the best single volume treatment of the subject.
His later publications have constantly enhanced his historical influence and stature. These works include “In the Shadow of FDR: From Harry Truman to Ronald Reagan” (updated and subtitled From Harry Truman to Barack Obama, 2009); “The Supreme Court Reborn: The Constitutional Revolution in the Age of Roosevelt” (1996); “The FDRYears: On Roosevelt and His Legacy (1997); The White House Looks South: Franklin D. Roosevelt, Harry S. Truman, Lyndon B. Johnson”(2005); and “The American President: From Teddy Roosevelt to Bill Clinton (2015).”
In his latest book, “Patriot Presidents,” Leuchtenburg, with the help of his spouse, editor and writing partner, Jean Anne Leuchtenburg, sets out to narrate and explain the record of the first six presidents, George Washington, John Adams, Thomas Jefferson, James Madison, James Monroe, and John Quincy Adams, our founding fathers.
The book’s opening chapter on the Constitutional Convention of 1787 analyzes how the founding fathers created a unique institution, the presidency.
They were determined to authorize an effective chief executive but cautious of monarchy. The presidency that developed over the next generation was fashioned less by the clauses in the Constitution than by the way that the first presidents responded to challenges.
Chapter 1. “The Constitutional Convention of 1787: Framing the Presidency” explains why James Madison is called the father of the Constitution and answers the question of why the convention made the critical move in taking the choice of the president from Congress and vesting it in an electoral college
Chapter 2. “George Washington: Launching the Presidency” focuses on George Washington, who recognized that the American president is simultaneously the head of state and the chief executive.
It also considers the emergence of political parties, the Republican and the Federalist, despite widespread hostility to factions.
Chapter 3. “John Adams: Preserving the Republic in Wartime.” Although Adams had to cope with war hysteria, he won the hearts of peace-loving Americans by opposing the efforts of Federalists in Congress to create a provisional army.
The chapter then elaborates on the last moments of Adams’s regime, when he reflected that neither he nor the country had a party, unlike Thomas Jefferson and Alexander Hamilton.
Chapter 4. “Thomas Jefferson: Limiting the Government while Creating an Empire” shows how Jefferson’s presidency expanded civil liberties, notably freedom of speech and freedom of worship.
The chapter expounds on how Jefferson undid the seamiest transactions of the Adams presidency and altered the style of the national government by replacing the rococo excess of the Federalists with Doric simplicity.
Chapter 5. “James Madison: Leading the Nation through the Perilous War of 1812.” Leuchtenburg explains how James Madison led the nation into and through the War of 1812. Madison took power at a time of a weakened presidency, but English and French depredations on US commerce moved him to exert bold leadership.
In the ensuing war, the United States suffered numerous setbacks, including the burning of the nation’s capital, and the war ended as a stalemate, but Americans chose to view it as a triumph, especially after Andrew Jackson’s success in New Orleans.
Chapter 6. “James Monroe: Enunciating a Doctrine for the Ages.” Even though Monroe was scrupulously respectful of the curbs on executive powers mandated by the Constitution, he made a considerable impression on the institution of the American presidency. He made his greatest mark in foreign affairs by enunciating the Monroe Doctrine.
Chapter 7. “John Quincy Adams: Advocating Activist Government.” Unlike predecessors who quailed at the assertion of federal authority that lacked clear constitutional sanction, Adams boldly declared that liberty is power, and advocated an ambitious program of internal improvements.
The Adams program, in fact, was the forerunner of later initiatives such as the Square Deal, the New Deal, the Great Society, and Bidenomics.
A reader of Leuchtenburg’s remarkable book will ask, What in the world is this 102 year man going to do next?

Editor’s note: D.G. Martin, a retired lawyer, served as UNC-System’s vice president for public affairs and hosted PBS-NC’s North Carolina Bookwatch. Book Cover Courtesy of D.G Martin

Carlos Tolentino’s bleach medium: A revolutionary art form

54Carlos Tolentino, a native of Fayetteville, North Carolina, has always been deeply passionate about the arts. His journey began with a focus on realism and portraiture, where his exceptional skills quickly set him apart. However, it was his innovative use of bleach as an artistic medium that truly propelled him into the spotlight. Tolentino’s fascination with bleach started as an experiment; he was intrigued by its potential to highlight contrasts and create unique textures that traditional mediums couldn’t achieve.
Over the years, Tolentino has honed this technique, transforming his initial curiosity into a groundbreaking art form. His journey is a testament to his dedication and willingness to push the boundaries of conventional art. By turning everyday materials into extraordinary works of art, Tolentino embodies his mantra of ‘creating something out of nothing.’
Carlos Tolentino’s method of using bleach in his artwork is both meticulous and experimental. He begins by selecting fabrics that will react well to the bleach, ensuring that the material can handle the chemical without deteriorating.
The application process involves carefully controlled techniques to manipulate the bleach, creating intricate patterns and textures. Tolentino often combines bleach with other materials to add depth and complexity to his compositions.
One of the most striking aspects of his technique is the way he uses bleach to capture the interplay of light and shadow. This method allows him to create vivid contrasts, making his artworks visually dynamic. By meticulously controlling the amount of bleach and its application, Tolentino can achieve a level of detail and nuance that is truly remarkable.
Carlos Tolentino’s innovation has had a significant impact on the contemporary art scene. His work challenges traditional notions of what materials can be used in art, opening up new possibilities for artistic expression. The bleach medium allows for a form of storytelling that is both visually striking and thought-provoking, capturing the complexity of human experience in ways that conventional mediums often cannot.
By pushing the boundaries of artistic materials, Tolentino has inspired other artists to experiment and explore new techniques. His work has sparked conversations about the role of unconventional materials in art and has paved the way for future innovations in the field. The bleach medium, once merely a household substance, has been elevated to a respected and influential medium in contemporary art thanks to Tolentino’s pioneering efforts.
Carlos Tolentino’s work has been showcased in galleries across the United States, earning him a reputation as a visionary artist. His pieces have been featured in numerous exhibitions, where they have received critical acclaim for their originality and emotional depth.
Pieces created by Carlos are currently on display at the “Obras De La Vida: Capturing Culture Through Portraits” exhibit, located at The Arts Council of Fayetteville/Cumberland County, 301 Hay Street.
This distinctive showcase highlights the incredible works of talented Hispanic artists, providing an insightful glimpse into their unique approaches to realism and portraiture. Additionally, it celebrates the rich and diverse artistic traditions that are integral to Hispanic heritage, allowing viewers to appreciate the depth and vibrancy of their cultural expressions.
This captivating exhibit is open to the public and will run until Oct. 14.
Gallery 13 at 240 Hay Street in Downtown Fayetteville is Carlos’ studio, providing visitors with an opportunity to experience his unique creations firsthand. Preview his current pieces on display, inquire about commissions or purchase signed and dated prints from his website at https://www.gallery13nc.com/.
In addition to gallery exhibitions, Tolentino has received numerous accolades and recognitions in both the art and tattoo communities. His attention to detail and resourcefulness have earned him a dedicated following of admirers. These accolades are a testament to his skill and the profound impact his work has had on those who experience it.
As Carlos Tolentino continues to explore the possibilities of bleach as an artistic medium, the future prospects for this innovative technique are incredibly promising. Tolentino’s work is constantly evolving, as he experiments with new applications and combinations of materials. This ongoing exploration ensures that his art remains fresh and exciting, continually pushing the boundaries of what is possible.
The bleach medium is likely to inspire a new generation of artists who will build upon Tolentino’s pioneering efforts. As more artists adopt and adapt this technique, we can expect to see an even greater diversity of styles and expressions within the medium. Tolentino’s legacy will undoubtedly influence the future of contemporary art, encouraging creativity and innovation for years to come.

(Photo: One of Carlos Tolentino’s bleach portraits. Tolentino’s work will be on display at the Arts Council of Fayetteville/Cumberland County until Oct. 14. Photo courtesy of the Arts Council of Fayetteville/Cumberland County)

Arts Council celebrates Hispanic Heritage with new exhibit

55aThe Arts Council of Fayetteville/Cumberland County is excited to open its latest exhibit, Obras de la Vida: Capturing Culture Through Portraits. On display from Sept. 16 to Oct. 14, this unique showcase will feature the works of Hispanic artists, offering a glimpse into their approach to realism and portraiture, as well as the rich and diverse artistic traditions of Hispanic heritage.
Artists featured in this exhibit include Vanessa Licea, Lady Natalia Perez Lozano, Stephany Placencio, Adolfo Suarez and Carlos Tolentino.
“These five artists showcase the depth of talent in our community,” expressed Sarah Busman, Director of Community Engagement in the Arts Council. “Their works invite viewers to connect deeply with the vibrant stories told through their captivating portraits.”

“El Consejo de las Artes de Fayetteville/Condado de Cumberland se complace en anunciar una nueva exhibición, “Obras de la Vida: Capturando la Cultura a Través de Retratos”.
Esta muestra única presentará las obras de artistas hispanos, ofreciendo una visión de su enfoque del realismo y el retrato, así como de las ricas y diversas tradiciones artísticas de la herencia hispana.” 

55

(Photos: Top: Vanessa Licea’s artwork will be amongst those displayed at the Arts Council. “As a proud Mexican American woman my art is deeply rooted in the vibrant and diverse cultural heritage that defines my identity. My art is inspired by themes both past and present and mixing them together in a unique blend,” she writes. Bottom: “My culture plays a significant role in my art. The traditions and vibrant colors from various states in Mexico inspire my work, influencing how I see and capture the world. Over the years, my approach has evolved, transitioning from natural light photography to experimenting with flash strobes. This shift has opened new creative avenues, allowing me to refine my craft further,” writes Adolfo Suarez of his photography. Photos courtesy of the Arts Council of Fayetteville/Cumberland County)

Cumberland Choral Arts choirs to perform nostalgic, new Broadway hits

30Fans of New York City’s theater culture will be delighted by Cumberland Choral Art’s upcoming Broadway Revue on Oct. 19. The performance will boast popular tunes that have long played significant roles in the lives of all who find music and story a compelling combination.
Dr. Michael Martin, Artistic Director for Cumberland Choral Arts, says the concert is about community celebration. He hopes the handpicked numbers will provoke a sense of reflection and remarks such as, “That brought back so many memories!” and “I haven’t heard that one in so long!”
Martin’s involvement with CCA has morphed through the years, but he fondly recalled his role in helping the group transition from the Cumberland Oratorio Singers to their current title. When he first took a position with the group in 2008, their focus had included primarily Oratorio music.
“I tried to broaden the palette quite a bit,” he said of the transition.
They started including jazz, musicals, Renaissance-era pieces, and more in their performances. But in 2017, he stepped away for a time and shifted his focus, not knowing if he would ever revisit involvement.
Two and a half years later, a phone call from the group’s president changed that.
“It just kind of grew back into my life again,” he explained.
The next few years saw him navigating virtual concerts with Covid-era restrictions, during which he felt that the idea of community involvement and giving back got “a little lost in the shuffle.” But they’ve seen membership grow regardless.
“Before COVID, it was probably about 50 or 60 people, now we’re flirting with consistent membership of right around 100 and that’s an incredible amount of growth, I think, for this group,” he said.
Currently, three choirs comprise CCA: Cumberland Choral Arts, Campbellton Youth Chorus, and Cross Creek Choral. Each has a distinct focus, but all will be performing at the Broadway Revue.
Martin said the repertoire will be a survey of Broadway hits from the 1950s to the present day. He expressed how challenging it was to distill such an extensive body of work into an hour of performances.
After some deliberation on what to include, he presented specific ideas to the board and was met with excitement.
Attendees can look forward to inclusions such as “You’ll Be Back” from Hamilton, “The Greatest Show” from The Greatest Showman, “The Impossible Dream” from Don Quixote, a piece from Where’s Charley, “For Good” from Wicked, and medleys from Oklahoma, The Music Man, and My Fair Lady.
The finale will bring all three choirs together to sing a piece from The Sound of Music — a particularly significant inclusion that pays homage to Cumberland Choral Art’s recent tour in Austria and Prague.
Martin referenced the cross-generational appeal of musicals saying they tried to make sure there was, “a little bit for everyone.” He encouraged the community to come take part in the experience they hope to provide.
Membership with CCA is rolling throughout the year and opens for placements two weeks before each concert. New members selected before the Oct. 19 Broadway Revue will sing in the Dec. 7 Messiah performance.
The Broadway Revue will be held Oct. 19 at 7:30 p.m. at Haymount UMC, New Life Center on 1700 Fort Bragg Rd.

(Photo: Dr. Michael Martin is the artistic director of CCA.  Photo courtesy of Cumberland Choral Arts Facebook page)

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