Introduction to Catching up ... on pre-blog years

On Aug. 1 of last year, I used Photo Potpourri to publish an original non-fiction manuscript, On Hoosier Gridirons, that I had worked on for almost two years. Until then, this blog had been used almost exclusivity for predominantly photographic content. 

In On Hoosier Gridirons, I used 16 daily “chapters,” or posts, and a parallel timeline to tell early-life stories of two athletes and their growth as football quarterbacks at small high schools and colleges at opposite ends of Indiana. In the ensuing months, I presented additional series in chapter format on different topics, but mostly for predominantly photographic content.

I ventured into using this blog for multipart series because when Photo Potpourri launched in December 2008, I noted in my profile bio that the blog’s mission would likely evolve through the years, although the majority of posts in recent years has been used primarily to chronicle scores of shoots.

Almost all of those shoots occurred after the blog’s launch. Which leads me to today’s introduction of and the objective of Catching up,… on pre-blog years, my latest series here. I’m using it to present images from photo outings that I logged before the blog’s launch ... or in a couple instances, shoots that occurred after the launch but had never previously made it into a blog post.

Unlike the previous “chapter” series in the past year, there is no particular timeline order for the old shoots in this series, but I will make a point to note the date of each. 

The first chapter, which goes live tomorrow, is devoted to a performance by the Beech Grove (Ind.) metal band Seek the Riot at the July 4, 2004, Beech Grove (Ind.) Freedom Festival.

The photo I am using for the series logo — the image you see leading off this post — is from a shoot whose chapter on the 2007 Miracle Mile Parade on the Southside of Indianapolis will come near the end of Catching up ... on pre-blog years. Pictured in the logo is the front of the parade entry of Roncalli High School, Indianapolis.

Unless I get inspired from an as yet known source, this Catching up ... on pre-blog years is the last planned "chapter" series. 

Coming tomorrow: Chapter 1, Seek the Riot metal band

Spring Acoustic Cafe Series ends with Amy Speace, Brooks Williams

Brooks Williams and Amy Speace closed the spring portion of the long-running Indy Acoustic Cafe Series on Saturday, perfoming in the cozy theater of the Wheeler Arts Community Center in the Fountain Square neighborhood of Indianapolis.

Nashville, Tenn.-based Speace, promoting her 2011 CD "Land Like a Bird," opened the show, entertaining the nearly full house with ballads that touched the heart and soul ... and with anecdotes -- even if they had nothing to do with a song -- that made lovely vocal interpretations even more enjoyable. One narrative that had no song associated with it was the story of how Speace's grandparents met and took a liking to each other almost immediately, but delayed plans of marriage for many years because her grandmother had family to look after.

In another, she divulgied having "sort of a crush" on Verizon Wireless' commerical "face," Paul "Can you hear me now?" Marcarelli, whom she said was recently fired by the communications company. She used that story to transition into "Change for Me" off the new album, making a point to repeat the lyric "Can you hear me now?" and coaxing the audience to sing along.

In a third tale, she related how folk icon Judy Collins had planned to sing "The Weight of the World," a Speace composition, at the 50th anniversary Newport Folk Festival in 2009 and announce to the audience that Speace was its composer. Just as Collins was about to say Amy's name, Speace said, Peter Seeger -- who was off to the side -- distracted Collins, who then traded good-natured barbs with the dean of America's folk singers. When Collins returned to the microphone, she launched into the song, apparently forgetting to tidy up her song introduction by mentioning Speace's name. Well, it's out there now -- even if only here. True, it's not the Newport Folk Festival, but at least I didn't skip the most important part (Amy did say she's "good" with Collins, who later recorded the song on her 2010 "Paradise" CD; in fact, Speace was the first artist Collins signed to her Wildflower record label. Speace did joke that it's just Seeger she needs to settle with).

Williams, a Statesboro, Ga., native who now lives in Cambridge, England, followed Speace to the stage. He's a wonderful singer and songwriter, but his guitar-playing is what captivates -- and validates his inclusion as one the Top 100 Acoustic Guitarists of all time as listed by DigitalDreamDoor. Williams' "Guitar Player" album also is on the site's list of Top 100 Acoustic Guitar Albums of all time.

It was a delight to see him let loose and flow as the guitar licks and riffs rolled off his fingers with the savvy of a maestro. His immersion into the music, hopefully, will be evidenced by the selection of images I took from Saturday's show and posted here.

Like Speace, he has a deft on-stage manner with the audience, and delighted everyone not only with several blistering blues solos (I can only say "wow"), but a medley of short instrumental riffs from famous rock songs, from Hendrix's classic "Purple Haze" opening to the Who's signature "Overture" from the rock opera "Tommy." He joked that if he integrates a few more of those into the medley, it might be worth a full show.

Williams' website says he has a new "Live Blues EP" (this should be very interesting) just out and that it should be available at concert sites this month. I didn't see it at Saturday's show, but maybe it hasn't quite made it out yet. Williams' career spans several decades -- and 17 CDs.

Mark Butterfield, the Indy Acoustic Cafe Series operator, is hoping to return a fall season to the Series, starting in early October. Acts he's said he's planning to schedule include John Gorka, Nils Lofrgren and Sophie B. Hawkins.

To see complete galleries from the show, follow these links: Brooks Williams -- Amy Speace.