Southsider Magazine January 2015

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Inner Beauty... Captured in a Smile!

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Smiles by White, Greer & Maggard 11

7 Local Dance Diaries

Portrait of a Roving Musician

Leaps & Bounds

Sullivan’s Travels

Kentucky Ballet Theatre welcomes its newest principal dancer, Cuban dancer Jorge Barani Lopez

After years of collaborating with local bands Big Maracas and The Swells, Chris Sullivan releases his solo debut

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Arts & Entertainment

tadoo List This month's calendar of live music, film, theatre, art, holiday events and more

January 2015 Southsider Magazine 3

Is a bird in the hand REALLY worth two in the bush? How do you teach a kid to make wise choices? You do it with sugar jars and service, Big Buddies and big chances, role play and real life, swing sets, soccer fields, and solutions in science. ETHICS is a 21st century skill. That’s why at TLS, all day, every day, the heart is as vital as the head.

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Contributors Chuck Clenney (“Sullivan’s Travels,” page 11) is a Japanese translator by day, and by night a writer, DJ, and visual artist, living on the north side of Lexington. He hosts a radio show every Tuesday from 10 p.m.midnight on 88.1 FM (WRFL) and helps coordinate Ephemera Fest (recently rebranded as KFZ or Kentucky Fried Zinefest), a yearly fest for ‘zinesters, DIY artists and independent publishers. Ryan Filchak is the bar manager at Lexington restaurant National Provisions and an art history graduate student at the University of Kentucky. A digital assistant for tadoo.com, he contributes to our monthly “tadoo list” (our Arts and Entertainment calendar, page 27).

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Celeste Lewis (“Leaps & Bounds,” page 7) is a visual artist and freelance writer from Lexington. After many years of living in the Rocky Mountain West, she returned back home to Lexington (still thinking it is the coolest town on earth), where she works and writes on a variety of subjects related to the arts, architecture and design. Local chef Jonathan Lundy (“On Our Table,” page 25) a James Beard Award semi-finalist and the former chef and owner of Jonathan Gratz Park, now works in one of his favorite types of cuisine – Southwestern and Latin American – as the executive chef at Coba Cocina on Richmond Road.

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While living in Denver, Emily Moseley (photography for “Sullivan’s Travels,” page 11) became obsessed with Loretta Lynn and all things Kentucky. Taking the long way around (via Seattle), she came to Lexington in 2010 and began photographing full time. You can see more of her work at www.emilymoseley.com. Inspired by diligent efforts, ingenuity and harvest, Theresa Stanley (“Drink of the Month,” page 23) has a passion for telling the story of vibrant communities of makers and foodways. As a contributing editor, producer, director and content creator, she has earned journalism chops in television, radio, international trade publications and digital media. Mick Jeffries (photos for “Leaps & Bounds,” page 7) is a longtime contributor of words and images to the Smiley Pete universe. He works in an ever-changing array as graphic designer, photographer, writer, radio show host and oral historian to celebrate and evangelize the ever-unfolding zeitgeist of Lexington, Kentucky, his beloved home for nearly three decades. Sarah Jane Sanders (photography for “On Our Table” and “Drink of the Month”) is a freelance food and editorial photographer based in Lexington. Her work can be seen in various publications such as Bravetart.com, Food & Wine’s blog, and Cake & Whiskey Magazine. ss

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Leaps & Bounds This April, Jorge Barani Lopez will perform in Russia’s Dance Open Festival as a principal dancer with the Bolshoi Ballet – one of the world’s oldest and most prestigious ballet companies. But for now, the 2013 World Ballet Competition double gold medalist is excited to be settling into his new home in Lexington and into his role as the Kentucky Ballet Theatre’s newest principal dancer. STORY BY CELESTE LEWIS PHOTOS BY MICK JEFFRIES

The principal dancers for Kentucky Ballet Theatre’s 2014-15 season, Jorge Barani Lopez and Kelsey Van Tine.

6 Southsider Magazine January 2015

World renowned dancer Jorge Barani Lopez, a native of Cuba, moved to Kentucky in August to join the Kentucky Ballet Theatre.

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allet has long been in Jorge Barani Lopez’ blood. His mother was a ballerina in Cuba, where ballet is integrated into the popular culture and where, Lopez said, a boy grows up with dreams of sports and dance. He showed dedication and a strong work ethic early on, as well as possessing the natural physique of a dancer. His mother encouraged him to pursue dance starting around age nine, despite his leanings toward wanting to be a musician. Today, the 21-year-old dancer is “one of the top 20 male dancers in the world, if not in the top five to 10,” said Kentucky Ballet Theatre executive director (and fellow dancer) Brienne Lowry. “He’s that once-in-a-generation ability – he’s a super talent. He really has the whole package.” His leaping and pirouette talents “would make any UK basketball player jealous,” she added.

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After connecting with KBT’s artistic director (and fellow Cuban native) Norbe Risco, via a group of close-knit Cuban dancers based in Miami, Lopez moved to Lexington this past August with his girlfriend, Meicy Garcia, who is also a dancer. Both are now part of the Kentucky Ballet Theatre company and made their debut performances in this summer’s “Ballet Under the Stars.” A graduate of the National School of Arts in Havana, Lopez has the unusual distinction of having won not one but two gold medals at the 2013 World Ballet Competition. On the subject of distinctions, he has also amassed a social media following of more than 20,000; in fact, he was invited to perform with the Bolshoi Ballet in Russia’s Dance Open Festival in April after an organizer saw a YouTube video of Lopez. Risco is excited to have him performing in his post-Christmas show “The Night Before Christmas,” which takes place at the Lexington Opera House Dec. 27-28. Risco created the performance in 2012 to rotate with the usual holiday classics. “People will recognize a great dancer,” Risco said. “If you are a great dancer, ballet awakens a way you will connect with the work and bring out the best in you. This is true of Jorge.” Recently, Risco and Lopez sat down for an interview to discuss the young dancer’s future and the KBT (with many of Lopez’ answers translated by Risco).

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When did you fall in love with dance and what brought it into your life? Jorge Barani Lopez: My mother was a dancer when I was a child. I wanted to be a musician – I loved percussion – but around the age of 9, my mother talked me into putting some focus on dance. Ballet is everywhere in Cuba, respected and admired. The greats – Carlos Acosta, Fernando Alonso – all are as respected as any athletic hero, so to be chosen as a potentially great dancer is a big deal. I got very focused on being the best I could be. When and why did you come to America? JBL: I came to America at age 19. I was working with a dance company in Florida. What brought you to Kentucky? JBL: I was interested in discovering more of America, to see more of my new country. I also wanted to learn about and work in different styles of dance. I was researching dance companies in America online. Norbe Risco, the artistic director of the Kentucky Ballet Theatre and a fellow Cuban, was someone I hoped to meet and work with. I saw on the KBT website that there was a ballet culture here in Lexington – you could see what the company was doing, and I liked what I saw. Norbe Risco: I was very interested in Jorge. I knew from my early life in Cuba the kind of excellent training and work ethic he would have. Cuban dancers are very well trained and very well prepared for a professional career; they are prepared for the sacrifices it will take to be the best. In Cuba, ballet is an elite art form. If you are selected for your potential, it is a ticket to success. I saw great potential. We work well together. It has been pretty seamless. When you choose a dancer you choose also a personality. It is important for everyone to be comfortable and work well together. Describe an average day of training. NR: This is their full-time job, so it is a full day of teaching, training or rehearsal for a performance. JBL: Careers are short, so I train every day! My training changes a bit every day, depending on what is going on, but an average day is usually an hour and a half of teaching and five or six hours of rehearsal and training. As a performer, I’m sure the big focus is preparing for a role. How

PHOTO BY MICK JEFFRIES

Kentucky Ballet Theatre artistic director Norbe Risco, also a native a Cuba, leads his dancers in a rehearsal for KBT's performance of "The Night Before Christmas.

do you feel about teaching? JBL: I love the opportunity to teach. It’s passing along to others all that has been taught to me and it is keeping ballet alive. If you haven’t danced, it is hard to explain, but it is interesting to see others develop the skills and sensations I remember so well. It’s exciting to remember what it was like to get the postures right, the tightness, the form and begin to develop as a dancer. So, yes, I like teaching very much. Do you see yourself in your students? JBL: Yes, when you teach you remember that great feeling of getting it, getting better. I see the realization on their faces when they get it right. I remember that happy feeling when I was a student. What is next for you? JBL: Citizenship! I am preparing for the exam and to become a U.S. citizen. As for performing, we have “The Night Before Christmas” coming up at the Opera House, December 27 and December 28. It is a balletic twist on the classic story. I am dancing one of

the principal roles along with principal dancer, Kelsey Van Tine, and the rest of the company. How does all that responsibility feel? JBL: If this is what you like and what you want to do with your life, it is what you do. At my age it is a great honor to get to be a principal dancer. I am very happy. NR: In some cases you must be with a company a long time to be a principal dancer. Jorge is on the fast track. It is going very well. He works very hard. There are no steps in ballet he cannot do. JBL: I am a hard worker. Even when I was little, I wouldn’t leave the studio until I got a step right. I like to leave the studio with my head clear, feeling relaxed, confident and knowing I have it down. What is your favorite ballet? What would you love to perform? JBL: “Don Quixote.” I love the story, the production, the challenge of the moves, the versatility of the role.

There’s comedy, acting…it’s a really rich role. How is life here for you and Meicy in Kentucky? JBL: We haven’t been here too long a time, but we already have a comfortable life here. We have made friends and found good Latin food! We are very grateful to Norbe for his unconditional support. ss

Upcoming Kentucky Ballet Theatre Performances All shows take place at the Lexington Opera House • www.kyballet.com “The Night Before Christmas” Dec. 27, 2014 (2 and 8 p.m.) Dec. 28, 2014 (2 p.m.) “Beauty and the Beast” March 28-29, 2015 “Cinderella” May 30-31, 2015

January 2015 Southsider Magazine 9

Influenced by years of traveling and collaborating with local bands that include The Swells and Big Maracas, Lexington musician Chris Sullivan’s self-produced debut solo album, “Western Movies,” is a self-described “geographic travelogue” – and a glorious melting pot of genres and moods.

STORY BY CHUCK CLENNEY PHOTOS BY EMILY MOSELEY

S

Sullivan’s Travels 10 Southsider Magazine January 2015

itting at Al’s Bar with Lexington musician Chris Sullivan on an inconspicuous Tuesday night, it is obvious this man has some fans. Smiles, head-nods, and handshakes constantly come his direction. Two passersby buy copies of Sullivan’s new album (and debut solo project), “Western Movies,” on the spot; another stops our conversation to tell Sullivan how much he enjoys the disc. The feedback is impressive considering he recorded and released the album with very little assistance and next to no promotion, and without either of the popular local bands with which he plays (Big Maracas and The Swells) – in fact, he played and recorded every last note himself. “I had lots of songs kicking around, and it’s just the way it unfolded,” he explained, adding that while he loves collaborating, there was something compelling and freeing about working without a committee. “I was curious to see if I could do it by myself.”

The album was recorded after hours at Pinnacle Productions, a Main Street studio that functions during the day as an audio/video production studio for documentaries. Sullivan refers to the sprawling 15-song album, which was made using a combination of tape recorders and digital multi-track recorders, as a “geographical and musical travelogue.” With influences that range from spaghetti Westerns to acoustic folk blues, French cinema to Brazilian samba, it is clear that his global experiences have shaped the cinematic sounds that flow throughout the album. Born in Arizona, Sullivan traveled throughout his early childhood. He spent many of his preschool years in Switzerland before moving to Spain, where he went to an international school and began taking guitar lessons at age 6. His teacher, a flamenco guitar virtuoso, taught Sullivan how to sing and play Spanish folk songs; the young guitarist was also heavily influenced by the Spanish troubadours serenading strangers on the street. “That is what I want to do, but I’ve yet to get my cape,” he said. When he was 8, his family moved to Kentucky, and Sullivan got his first gig in Lexington: delivering singing telegrams for $30 an hour. His mom drove him to the gigs, where he would regularly play The Who’s “Squeeze Box” (apparently, the entendre was largely overlooked). The job ended when he was 10, but he joked that returning to it is “always an option.” At 18, Sullivan left Kentucky to attend Belmont College in Nashville, where he formed a psychedelic garage rock band with his roommate, Otto Helmuth, called Serious George. Within two months, they were touring the country, playing with national acts like The Silos and Will and the Bushmen, and even played a gig at the legendary CBGBs in New York City.

“He told me that music shouldn’t be a museum piece; you should make it your own.”

“It was a great thing to be doing when you’re 18,” Sullivan said.

He and Helmuth – who also currently makes and records music in CHRIS SULLIVAN, ON THE INFLUENCE OF Lexington – both left college, and UK MUSICOLOGY PROFESSOR RON PEN within a year of starting, Serious George was signed to SBK Records, a subsidiary of Universal Records. At the time, their label mates were Vanilla Ice, Boy George, and Technotronic. The label eventually let the band go, and Sullivan continued traveling, including spending some time as a commercial fisherman in Alaska, living in his van while working at a Utah ski resort one winter, and taking annual trips to Seattle during the pinnacle of ’90s grunge – all experiences that have influenced his music in one way or another. Also influential was Sullivan’s experience at the University of Kentucky, where he enrolled in 1997 after moving back to Lexington. While studying English, he met UK faculty and former state poet-laureates, Gurney Norman and James Baker Hall, who deeply inspired his writing. Also while at UK, Sullivan met another source of influence, UK musicology professor Ron Pen, who stressed the importance of musical preservation. “He turned me on to all the good stuff,” Sullivan said. “He told me that music shouldn’t be a museum piece; you should make it your own.” In 2000, Sullivan traveled to Matanza, Cuba, for a two-week rumba drum workshop and experienced “some of the heaviest, most hypnotic music I’ve ever experienced; street musicians were playing Coltrane on the street for change.” Sullivan's musical travels continued, and in 2001 he toured with his band mates from local vintage jazz/blues trio The Swells, Warren Byrom and Andy Mason, around Spain and France, playing on the streets. “The French really appreciate blues and jazz, so we were well received, but we also learned a lot,” he said. “We went halfway around the world and got a crash course on our own culture.”

January 2015 Southsider Magazine 11

Sullivan recorded “Western Movies” in the studio he set up on the attic floor of Pinnacle Productions.

Sullivan took a few minutes to sit down and answer a few questions about his music and the album, which is available for sale locally at CD Central and online at www.cdbaby.com/cd/ westernmovies. Why “Western Movies”? The title came from The Olympics’ song “My Baby Loves the Western Movies.” All of the tracks have a cinematic quality to them, a few of them inspired by spaghetti Westerns – they’re all little short films, at least to my mind. The CD is a mix of new and old songs, ranging from surf-pop to acoustic folk blues, with some tunes that were written 15 years ago and never recorded.

record out. I did it solo for a number of reasons: While I love collaborating with people, there is something equally satisfying in recording things yourself. You often have more freedom to experiment than you might working by committee. It depends a lot on who you’re playing with, of course, but sometimes when you try to create in a group setting, ideas can get shot down before they have a chance to germinate. Working alone is very freeing; it’s a lot more like painting to me. I don’t have a preconceived notion of how something is going to turn out when I write, so I enjoy the process of discovery that comes with multi-tracking everything myself.

Why a solo record? In 2010, I was hit by a car while riding my bike – that brush with mortality was certainly an impetus to get a

That being said, the next one may be a completely live collaboration, who knows? There’s a million different approaches to making music.

12 Southsider Magazine January 2015

How was the album recorded? I spent my whole life learning how to play instruments, so learning recording is just a natural extension of that process. We recorded the last Swells record live on a 16-track tape machine with no overdubs in the [former Lexington venue] Icehouse. There is such excellent reverb in that space, and the way that record was recorded is the polar opposite of how “Western Movies” was done. The first track, “Telecaster,” is a tribute to Les Paul, who invented multi-track recording; fitting, because this album was put together using that technology. The album, recorded at Pinnacle Productions on Main, used a combination of tape and multi-track digital recorders and, for most of the recording, I had a ribbon mic running through tube preamps, going to the tape recorder and then into digital.

Jason Nesmith, who did the mastering, also processed the final mixes through tape emulation. One thing I tried to do with the recordings is to create a sense of space and depth of field. I did a lot of hard panning and used tape delays and reverbs to get a three-dimensional, cinematic feel to the music. I try to create a setting that fits the narrative of the song and makes it fun to listen to on headphones. A combination of sweat equity and working after business hours made the recording not only much more affordable but also slightly esoteric. Several songs were written on the spot and recorded on the verge of sleep at three or four in the morning. I often came back the next day and listened and barely remembered recording it. I found a few of them to be as interesting, to me at least, as some of the others that were more consciously labored over.

Can you tell us about the cover art? I was going for a something between a Saul Bass and Wile E. Coyote vibe, something simple. I’ve always liked making fliers for shows and have done a lot of paper-cutout-style posters over the years, so it kind of stems from that aesthetic. I don’t see as many fliers as I used to since Facebook appeared, but there are a few people still making cool poster art and hanging them up on telephone poles. The picture on the back of the album was taken by my girlfriend, Beverly James, in front of a shed that I built with reclaimed lumber, here in Lexington. The dog is my pup, Pua, who is 12 years old. What bands have you played in? I’ve played in bands under 15 or 20 different monikers – like Gold Tooth Night, Rug Merchants, Wigwam, the Buckets, Pollywog, the Fosters; I even played in Big Fresh for a short time. But Enrique Gonzalez and I started the Big Maracas after I got into Latin music in Cuba and Brazil. I also play with The Swells,which is like a musical archeological project. Warren Byrom and I started the band in ’97-’98 playing folk, blues and jazz and a lot of other stuff that has largely fallen between the cracks. With this band, everything is ripe for the picking – everything from Link Wray to jazz standards. We really developed our sound after busking on the streets from New Orleans to Europe. We've played quite a few weddings, bar mitzvahs, and have even played a few New Orleans' style jazz funerals. I originally met Warren while playing with Pollywog. Pollywog, named after baby frogs, was an 11-12 piece Ellington-esque marching band that played Klezmer-Burlesque-go-go music. Another member of the aural-conglomerate, [Chris’s brother, long time WRFL DJ and local-music stalwart] Mike Sullivan, joined the group as a firebreather and actually set the curtains on fire one time at the old Lynagh’s location [currently Cosmic Charlie’s]. Who are some of your musical influences? Mom and Dad listened to a lot of records of ’60’s stuff like Beatles, CCR and Simon and Garfunkel, but also some really different things like Peruvian folk music, Flamenco, Willie Nelson, John Lee Hooker. My mom also is an accomplished classical guitarist and plays some Chopin on the piano now and then, so there were always differ-

ent kinds of music in our house. My folks have always been really supportive of music. They took my brothers and me to lessons and all kinds of concerts. By the time I was 14 I’d seen everything from Andres Segovia, to Neil Young, Aerosmith, the Kinks and the Talking Heads. When we lived in Midway, we used to go to the drug store and buy records. In the mid-80’s, I discovered a world outside of mainstream radio. There were no blogs or anything; you really had to dig around for it. I discovered bands like The Pixies, REM, Husker Du, The Replacements solely through word of mouth. This started a lifelong curiosity for music, old and new, local and international, that didn’t fit in the narrow confines of any mainstream FM radio playlists. So I don’t think I could honestly narrow down my influences to a handful of artists or even a handful of genres. What do you think about the current state of Lexington music scene? Lots of guys and gals are doing different stuff, and there are more great venues like Al’s, The Green Lantern, Cosmic Charlie’s and Willie’s who are friendly to bands trying new stuff – a real nurturing environment. Nice things going on in non-bar settings too, like the Tadoo Lounge Series at Smiley Pete and art galleries like Institute 193. Back before The Dame [where The Swells played the last show at], there was an era with a lack of venues, so it was all house parties, little places like Yat’s, or even shows in storage bins. Now, it’s a really healthy scene – as good as it’s ever been, maybe better. So many incredible musicians are just a phone call away, and it’s a nice community of people that support each other’s bands. Do you do anything else besides music? Sometimes I design and build shacks and kids’ playhouses for people. I'm a stagehand at the Lexington Opera House and a ukulele and guitar teacher. I’m also interested in doing more stop-motion film. Ideally, I would really like to get into recording my own and other people’s music full-time. If people like the sound of this record, and want to record some music, stress-free and affordably, I want to pass on the situation that I’ve got and help people have a pleasant, creative experience. Visit this article on our website to see the stop-motion music video for Sullivan’s song “Telecaster.” ss

This photograph, taken by Beverly James, is featured on the back cover of Sullivan’s album.

“Western Movies” Record Release Party Chris Sullivan will celebrate his record’s release party with a live performance at the February tadoo Lounge Session, a free monthly happy hour-style event hosted by Smiley Pete Publishing. Thursday, February 12 Smiley Pete Headquarters 434 Old Vine St. • 6-9 p.m. Free. All ages. For more info, visit www.tadoo.com/ tadoo-lounge-sessions.

January 2015 Southsider Magazine 13

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Proud Citizen BY SARAYA BREWER

Making waves in the national festival circuit, the Lexington film “Proud Citizen” rejects traditional film-making notions – and calls into question preconceived notions of Southern hospitality.

W

hen Lexington director Thom Southerland initially pitched the plot for his most recent film to his filmmaker friends in Los Angeles, their first reaction was “Don’t make this movie.”

Indeed, Southerland’s film “Proud Citizen” blatantly defies the traditional model of Hollywood filmmaking. Centering on the story of a middle-aged Bulgarian playwright who travels to Kentucky for the world premiere of her autobiographical, communist-era play, the film employs mostly amateur screen actors, a relatively anticlimactic plot line and no script to speak of. But despite any potential impediments, the film has been selected to screen in at least eight well-accredited film festivals across the country since its release earlier this year, garnering the “top narrative feature” prize in three of them, an “audience favorite” selection in another and a special jury award for acting for lead actress Katerina Stoykova-Klemer. “It’s the most successful film I’ve ever made – I’m amazed, actually, that it’s as successful as it is,” said Southerland, a 20-year veteran filmmaker who also won a regional Emmy this year for “Body Maps,” a documentary he directed that follows the effects of art therapy on organ transplant patients.

A still from the film “Proud Citizen,” which stars Lexington’s Katerina Stoykova-Klemer. PHOTO FURNISHED

January 2015 Southsider Magazine 15

Annis & Dreyer presents:

Southerland directly attributes the success of “Proud Citizen” to its rejection of conventional notions of filmmaking, as well as to the collaborative attitude of his cast and crew, who he says were open to taking risks – such as acting without a script – and thinking outside the box. “The beauty of film is that it’s like a house of cards,” he said. “It all falls apart if one card is taken out.” One of the most important collaborations driving the film is that of Southerland and StoykovaKlemer, a first-time actress who was integral in helping create the storyline. The duo, who barely knew each other before embarking on the project, loosely based the “Proud Citizen” on Stoykova-Klemer’s real-life experiences as an outsider traveling to a foreign place.

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“I’m pretty believable in that role,” said Stoykova-Klemer, whose character, Krasimira Stanislava, appears in nearly every frame of the film. Much like the film’s protagonist, Stoykova-Klemer is a writer from Bulgaria; the play at the center of the film is an actual work of hers and her poetry is beautifully woven throughout the film. The film follows five days in the life of Krasimira as she travels to America for the first time, for the world premiere of her deeply personal play, “Black Coat.” Taking place in a small community theater in Lexington, Kentucky, the debut of the play and the trip are the result of a second-place prize in a playwriting competition; as Krasi points out in a voice-over narration, “First place was a trip to New York ... There was no third place.” The idea that Krasimira would be a second-place winner was Southerland’s idea, said StoykovaKlemer, who added with a laugh that if it were up to her, her character would have been a firstplace winner who realizes her dreams of fame and fortune. “He wanted a completely ordinary person,” she said. “He wanted someone people can relate to, someone people can root for – someone more complex.” Wide-eyed and earnest, Krasimira expects to be met with open arms

16 Southsider Magazine January 2015

Director Thom Southerland PHOTO BY MATTHEW WRIGHT

and accolades for her first visit to America. Instead, she is greeted at the airport by the play’s stage manager, Debbie, who is running late and holding a greeting sign with Krasi’s name misspelled. Played by real-life Lexington stage manager Natalie Cummins, Debbie is too busy and preoccupied with her own goings-on to concern herself much with entertaining Krasimira, who continues seeking friendship – or any semblance of real human connection – with everyone she encounters in Lexington, from the receptionist at the Convention and Visitor’s Bureau (whom she eagerly invites to attend her play), to Lucy, the leader of the tourist horse farm tour that Krasi books. At the heart of the story is the friendship that blossoms between Lucy (played by local stage actor and director Sami Allison) and Krasi, but their relationship is not without its own complications and strains. “We wanted to play with that idea of ‘What’s it really like for a foreign tourist to come to any place – especially Kentucky?’” said Southerland, who works for the Lexington Public Library as the coordinator for its cable channel, as well as the coordinator for the Central Library’ branch’s Farish Theater. “I think we like to think that we’re more welcoming to a true fishout-of water tourist than we are.” Shot entirely in Lexington and named after the Thoroughbred who was the 2002 second-place Derby contender (and who appears in the film), “Proud Citizen” features a bevy of sights that local

Shot almost entirely in Lexington, “Proud Citizen” explores the city from the perspective of an outsider. PHOTO FURNISHED

viewers will recognize, from the mostly empty Bluegrass airport lobby to children playing in the Robert Stephens Courthouse fountains.

Stoykova-Klemer, and actual music performed by Erickson and fellow actor Blakely Burger, a young Lexington fiddle player.

In many ways, the film is a complex love story about the city.

Jarringly natural and realistic, the film has actually been mistaken for a documentary more than once – in Wisconsin’s Weyauwega International Film Festival, it was unwittingly slotted in the documentary category before it was pointed out to festival organizers that it was, in fact, a fictionalized story. (The film ended up taking home the “Top Narrative” prize.)

“It is a loving, honest portrayal of our city's mixture of small-town charm and growing-city loneliness, as seen through the fresh perspective of an outsider,” said Leif Erickson, a longtime stage actor who portrays one of the actors in Krasimira’s play. According to Erickson, the film works mainly because Southerland shares the same respect and love for Lexington that he does for filmmaking and the people involved; the director’s “keen sense of storytelling” and authentic portrayal of complex characters trying to make sense of the world also resonate with viewers, he added. “He wasn't afraid to let the story and characters drive the movie instead of fancy, arch film technique, which he is certainly capable of,” he said. Southerland owns up to making a conscious decision not to mimic Hollywood, or even independent American filmmaking. He opted instead for a more European style of filmmaking, incorporating both documentary and narrative styles, and intertwining unscripted dialogue, actual poetry written by

Part of Southerland’s approach to creating the film was to simply turn the camera on and start filming, letting the actors ad lib the dialogue for each scene and filming until the actors forgot the cameras were even on. “I shot 50 hours of footage, which for low-budget film is a lot,” said Southerland, who admits that after enmeshing himself so deeply in it for over than a year, he had to step away from the film for a few months at one point before he could finish editing it. “For each scene in the movie, I shot 30 takes of it on average, which I had never done before.” Though it was ultimately a positive experience for the actors, the process ranged from counterintuitive to grueling at times.

“They always said to me the same thing every time: ‘Isn’t this boring? You’re not getting anything good,’” Southerland said. “And I was just over the moon, because it sounded like real dialogue.” The refreshing blend of exceedingly believable and complex characters interposed against a simple, relatable storyline are perhaps among the primary reasons the film has been so well received in the independent film arena, which Southerland pointed out can sometimes feel over-saturated by the perspective of 25-year-olds struggling to make it past college. “We chose a view point that was a little more rare,” said Southerland, who has been humbled by the attention and accolades from the national festival circuit – particularly the “Top Narrative Feature” award that the film received from the New Orleans Film Festival, to which Southerland has submitted various films over the years. “We hope to get into a few more, but if this is it, we’re happy.” Lexington audiences will have the opportunity to screen the film at its Lexington premiere on Jan. 15 at the Kentucky Theater. Visit this article on our website to watch a trailer for the film. ss

Lexington premiere of “Proud Citizen”

Jan. 15, 7:30 p.m. Kentucky Theater, 214 Main St. www.proudcitizenthemovie.com For more of Southerland’s films, visit his Vimeo page: www.vimeo.com/thomsouth/videos

January 2015 Southsider Magazine 17

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YOUR restaurant should be here! 22 Southsider Magazine January 2015

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Southsider’s Drink of the Month

Small-Batch Hot Chocolate

RECIPE AND STYLING BY THERESA STANLEY PHOTO BY SARAH JANE SANDERS

Hot chocolate and cozy fireplaces are two staples of winter. Using a hot chocolate mix that can be made ahead and stored to enjoy throughout the winter season, this dessert drink warms the palate, while simultaneously satisfying a chocolate craving.

Ingredients (Yields 1 serving, but see instructions below for making a larger batch) • 1 cup milk • 2 tablespoons of dry hot chocolate mixture (recipe below) • 2 tablespoons of bourbon of your choice • Bourbon whipped cream (recipe below) • Chocolate shavings (for garnish)

warms, add two tablespoons of dry mixture per cup of milk. Stir to dissolve. Remove from heat. To the saucepan, add two tablespoons bourbon per person. Stir, pour in mugs and top with bourbon whipped cream and chocolate shavings.

Hot Chocolate Mix (Yields 5 cups dry mix)

Small-Batch Hot Chocolate can be served in large portions for gatherings, or two tablespoons at a time for individual indulgence. If preparing individually, warm one cup of milk in a microwave safe mug just until hot. Remove, stir in two tablespoons of dry mixture and two tablespoons of bourbon. Top with Bourbon Whipped Cream and chocolate shavings.

• 3 cups sugar • 2 cups pure cocoa • 2 teaspoons table salt

If serving a group of folks, warm one cup of milk per person in a saucepan over medium-low heat; careful not to boil. As it

• 1 cup heavy whipping cream • 2 tablespoons sugar • 1 tablespoon bourbon

Combine all ingredients in a large mixing bowl. Whisk together. Store in airtight container, such as a mason jar.

Bourbon Whipped Cream

Fresh whipped cream sounds fancy. It adds panache to desserts and drinks. While decadent, it is not complicated. It is actually quite simple and frugal. Once you learn how to make fresh whipped cream processed versions will never do. Place a medium-sized mixing bowl and whisk or beaters into freezer for 15 minutes. Remove from freezer. Pour heavy whipping cream in bowl. Whisk or beat liquid on medium speed until soft peaks form. When soft peaks form, add sugar and bourbon. Continue mixing on medium speed until soft peaks return. Be careful not to over beat; the cream will turn buttery. Whipped cream can be made two hours ahead of time and refrigerated – it also makes a great topping for French toast or pumpkin pie. ss Visit this story on this magazine’s website for the recipe for Theresa’s homemade bourbon marshmallows!

January 2015 Southsider Magazine 23

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On Our Table

Arepas Stuffed with Carnitas and Guasacaca RECIPE BY JONATHAN LUNDY (COBA COCINA) PHOTOS BY SARAH JANE SANDERS

Arepas (Makes 8 sandwich size arepas) Ingredients • 3 cups masarepa (corn flour) – the P.A.N. brand, used here, is available in Latin grocery stores • 2 teaspoons vegetable oil • 1 tablespoon kosher salt • 3 1/2 cups cold water • 2 tablespoons butter Method Pre-heat oven to 350 degrees. Place corn flour (P.A.N.), vegetable oil and kosher salt into a large mixing bowl. Add water and mix thoroughly. Cover with a clean, damp towel and allow to rest for five minutes. Divide dough into eight even sections. Working on a cutting board covered with a sheet of plastic wrap or parchment paper, flatten each ball down to a disk about four inches in diameter and a half-inch thick. Melt butter in a 12-inch cast-iron skillet over mediumlow heat. Add arepas and cook, moving them around the pan and rotating them occasionally, until the first side is charred in spots and a dry crust has formed – about five minutes. Flip arepas and cook on second side until a dry crust has formed, about five minutes longer. Transfer to a baking sheet and bake until cooked through, about 10 minutes longer. They should sound hollow when tapped with your finger on top. Remove from oven, let rest five minutes, and split each arepa by cutting in the middle horizontally. Fill and serve.

Guasacaca Ingredients • 1 bunch cilantro • 1/2 bunch flat leaf parsley • 1 red onion • 1 large green bell pepper • 1 ripe Hass avocado • 2 jalapeños, seeds removed • 8 cloves fresh garlic • 3/4 cup olive oil • 6 tablespoons red wine vinegar • 2 tablespoons kosher salt • 2 teaspoons fresh ground black pepper Method

As executive chef at Coba Cocina, chef Jonathan Lundy nutures his passion for Southwestern and South American food on a daily basis. Here, he shares his recipe for arepas, which are a staple of Colombian and Venezuelan cuisine, and guasacaca, a Venezuelan spicy avocado salsa. An arepa is a corn-based flatbread that is typically split in the middle to create a pocket and then stuffed with some sort of filling and eaten like a sandwich. Sometimes featured as a special at Coba Cocina, these arepas created by Lundy are filled with chicken carnitas, goat cheese, baby argula and guasacaca. However, Lundy encourages creativity along with the basic use of this arepas recipe – the possibilities are endless! Coba’s beverage director and sommelier TJ Cox recommends pairing this dish with a white Argentinian wine, such as a Torrontès.

Place all ingredients in a food processor; puree until smooth.

Filling Filling can be amended as desired – arepas are extremely versatile and may be stuffed with almost anything. Pictured, we have stuffed them with seasoned pulled chicken, goat cheese, baby arugula and guasacaca. Other filling suggestions include cheese, grilled steak, pork carnitas or even a chilled lobster salad. Be creative! ss

January 2015 Southsider Magazine 25

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Elisa Ambrogio Jan. 23. After a decade of serving as guitarist/ vocalist for the avant/noise-rock acts Magik Markers and Six Organs of Admittance, Elisa Ambrogio's solo debut album, “The Immortalists,” weds her traditional hazy pop sensibility with a refreshing sense of sentimentality and more straightforward folk. Banjoist Nathan Bowles will open. 9 p.m., The Green Lantern, 497 W. Third St. PHOTO FURNISHED

Gig picks curated by our arts, culture and entertainment website, tadoo.com Q: Are we not them? A: We Aren’t (Devo Tribute Band). Jan. 3. Members of Louisville bands Wax Fang, Deloreans, Lucky Pineapple and Go Mordecai join forces to present a supergroup tribute to the seminal kitsch rock group that brought you “Whip It.” 9 p.m. Cosmic Charlie’s, 388 Woodland Ave. www.cosmic-charlies.com.

New Year’s Eve Picks

Woody Pines. Jan. 7. Woody Pines is a young master of the ragtime/country blues/viper jazz scene, hailing from Nashville. 8 p.m. Willie’s Locally Known, 805 N. Broadway Rd. www.willieslex.com.

LexEffect Downtown New Year’s Eve Bash. Dec. 31. Live music by The Jordan English Band, The Wooks and DJ Corey from HOT 102 FM. Partial proceeds from this event go to benefit the LexEffect Giving Fund, which donates undesignated funds to local nonprofits for projects, operating costs, technology and more. 9 p.m. The Grand Reserve, 903 Manchester St. www.lexeffectky.com.

Travis Tritt. Jan. 9. Travis Tritt incorporated lifelong influences in Southern rock, blues and gospel into his country music during a honky-tonk apprenticeship that led him to Warner Bros. His 1990 debut, “Country Club,” and its succession of hits put him in the vanguard of the genre’s early ’90s boom. This performance will be an intimate solo acoustic affair. 8 p.m. Lexington Opera House, 401 W. Short St. www.lexingtonoperahouse.com. Tim Easton. Jan. 9. Americana folk singer and songwriter Tim Easton will be joined by local honky tonk group the KY Hoss Cats for a night of four-on-the-floor era country music and western swing. 8 p.m. Willie’s Locally Known, 805 N. Broadway. www.willieslex.com. Outside the Spotlight: Ken Vandermark and Nate Wooley. Jan. 16. A fusion of traditional jazz with left-field improvisation, avant garde and free jazz. 7:30 p.m. Mecca Live Studio, 948 Manchester St. www.wrfl.fm. Keb Mo. Jan. 28. This multi-award winning blues master has been described as “a living link to the seminal Delta blues that travelled up the Mississippi River and across the expanse of America.” The Troubadour series brings Keb back for his incredible solo show and first-time performance at the historic Opera House. 7:30 p.m. Lexington Opera House, 401 W. Short St. www.troubashow.com.

Beastie Boys Tribute with Sheisty Khrist & Friends. Dec. 31. Local hip-hop troupe Tribe Called Lex, led by Sheisty Khrist, will play a set of all Beastie Boys songs to pay tribute to the NYC trio. 9 p.m. Al’s Bar, 601 N. Limestone. www.alsbarlexington.com.

LexPhil New Year’s Eve Celebration. Dec. 31. Ring in the New Year with LexPhil’s first New Year’s Eve Celebration. LexPhil ends 2014 in style in a performance with cabaret and jazz singer Ute Lemper. At the Lexington Opera House, Lemper will conjure the sultry atmosphere of the Moulin Rouge, performing the music of Edith Piaff, Gershwin, Weill and more. 7:30 p.m. Lexington Opera House, 401 W. Short St. www.lexphil.org.

The Rudies’ Jerrod Figgs FILE PHOTO

Cosmic Slop: Freak of the Year Party. Dec. 31. This second annual New Year’s Eve party features an all-star line-up of local musicians who will bust out their funkiest jams for the occasion. Musicians include members of Tall Boys, the Rudies, Club Dub, Coralee and the Townies and more. 9 p.m. Cosmic Charlie’s, 388 Woodland Ave. www.cosmic-charlies.com.

January 2015 Southsider Magazine 27

Art & Exhibits LexArts Gallery Hop. Jan. 16. Presented by LexArts, this recurring “choose your own adventure” style event taking place every third Friday of every third month (approximately) encourages attendees to explore the offerings of local art galleries, many of which stay open after hours and provide light snacks and beverages for patrons. The hops typically run 5-8 p.m., with many galleries opting to stay open later. Various venues. www.galleryhoplex.com.

“Dwellings,” an installation by Libby Rowe, opens at the Morlan Gallery on Jan. 14. PHOTO FURNISHED

Dwellings

Jan. 14-Feb. 20. Texas artist Libby Rowe deconstructs notions of home, house and neighborhood in this one-person exhibition that features photography and sculpture. In three major works, Inside/Out, (sub)Division, and Dwell, Rowe cleverly casts a fresh gaze on the façadelike quality of the American home, questions the success of the urban subdivision and considers the philosophical meaning of “dwellings.” Opening reception Jan. 14, 5-7 p.m. Gallery hours: noon-5 p.m. Mon.-Fri. Morlan Gallery, 300 N. Broadway. www.transy.edu/morlan. Demographics: A Bluegrass Printmakers’ Cooperative Group Exhibit. On display through Jan. 25. This exhibit features work by Bluegrass Printmakers’ Cooperative members Sarah Madison Brown, Marta Dorton, Elizabeth Foley, Todd Herzberg, Pattie Hood, Natalia Ilieva, Erica Meuser, Holli Schulz, Stephen Wiggins and Cathy Vigor. Gallery hours: 9 a.m.-9 p.m. Mon.-Thurs.; 9 a.m.-5 p.m. Fri.-Sat.; 1-5 p.m. Sun. Central Library Gallery, 140 E. Main St. www.lexpublib.org/gallery.

28 Southsider Magazine January 2015

Literature & Film Lexington premiere of “Proud Citizen.” Jan. 15. This Lexington-produced film follows the fictionalized story of Krasimira Stanimirova, a Bulgarian writer who travels to America for the first time to premiere her Communist-era semi-autobiographical play. Directed by Lexington’s Thom Southerland and featuring a cast of both seasoned and ametuer local actors, the film, which is largely unscripted, is a touching exploration of various themes, including isolation, dashed expectations and finding friendship in unlikely places. This is the Lexington premiere of the film, which has been gaining traction and garnering top prizes at several highly accredited film festivals across the country in recent months. 7:30 p.m. Kentucky Theater, 214 E. Main St. www.proudcitizenthemovie.com.

One World Films:

Red Tails Jan. 19. In conjunction with Lexington’s observance of the Dr. Martin Luther King Jr. Holiday, Lexington’s One World Film Festival presents a screening of the George Lucas film “Red Tails,” the story of a squadron of highly skilled black pilots known as the Tuskegee Airmen who fought racism at home and also in their World War II assignments. Ron Spriggs, a local historian and aficionado of Tuskegee Airmen History, will introduce the film. 2:30 p.m., Kentucky Theater, 214 E. Main St. www.kentuckytheater.com A scene from George Lucas’ “Red Tails”

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Theatre & Performance Lexington native Laura Bell Bundy will perform in “Concert with the Stars,” a benefit for new local theatre troupe, The Lex. PHOTO FURNISHED

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Jan. 10. This inaugural event for the new Lexington theatre troupe, Lexington Theatre Company (“The Lex”), will feature Broadway veteran headliners Laura Bell Bundy, Jonathan Groff and Mara Davi. 8 p.m. Lexington Opera House, 401 W. Short St. www.lexingtontheatrecompany.org. Million Dollar Quartet. Jan. 21. Million Dollar Quartet is the Tony Award-winning Broadway musical, inspired by the true story of the famed recording session where record executive Sam Phillips brought together icons Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins for one unforgettable night. Features the timeless hits “Blue Suede Shoes,” “Fever,” “That’s All Right” and more. 7:30 p.m. EKU Center for the Arts. www.ekucenter.com. Balagula Theatre: “Friends.” Jan. 21-24, 28-31. An absurdist drama about the gradual destruction of the individual. A family enters the apartment of a young man and announces that they will save him from his loneliness by living with them. Slowly, they destroy everything, in the cheerful psychotic name of “brotherly love.” 7 p.m. Fri-Sat.; 2 p.m. Sun. The Farish Theatre, 140 E. Main St. www.balagula.org.

Theatre & Performance

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Jan. 22. As part of its Method in Madness Tour, the American Shakespeare Center presents “The Tragical History of the Life and Death of Doctor Faustus,� a play written by Christopher Marlowe. Faustus sells his soul, not for riches but for knowledge and power. Marlowe weaves a shocking and contemporary tale of the struggle between good and evil, championing what is most daring in the human spirit. 7:30 p.m. The Carrick Theatre, 300 N. Broadway. www.transy.edu.

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Kentucky Conservatory Theatre: “Cabaret.� Jan. 26-30. KCT proudly joins forces with the wildly innovative Blackbird Dance Theatre to present a dynamic new production of Kander & Ebb’s “Cabaret,� choreographed by Blackbird Dance Theatre’s Jenny Fitzpatrick. The immersive production will allow the audience members to be transported directly to the Kit Kat Klub, where they will be able to eat, drink and forget their troubles. Doors open at 7 p.m.; show at 8 p.m. The Grand Reserve, 903 Manchester St. www.mykct.org. Black Jacket Symphony: The Eagles’ “Hotel California.� Jan. 30. The Black Jacket Symphony returns to the Lexington Opera House to perform the classic Eagles’ album. The Black Jacket Symphony offers a unique concert experience by re-creating classic albums in a live performance setting with a first-class lighting and video production. A selected album is performed in its entirety by a group of handpicked musicians specifically selected for each album. 8 p.m. Lexington Opera House, 401 W. Short St. www.lexingtonoperahouse.com. Bourbons, Beards and Burlesque. Jan. 30 and 31. An event celebrating all things manly, including a beard contest, bourbon tasting and a burlesque show. 10 p.m. Cosmic Charlie’s, 388 Woodland Avenue. www.cosmic-charlies.com. Screening of “2001: A Space Odyssey� (with live orchestral accompaniment). Jan. 31 and Feb. 1. From the groundbreaking 1968 Stanley Kubrick space exploration classic, this live performance adaptation of "2001: A Space Odyssey" features live orchestral and choral music from the original score performed by the University of Kentucky Symphony Orchestra and University of Kentucky Chorale, accompanying a large-scale projection of the entire movie. 7 p.m. Sat.; 3 p.m. Sun. www.finearts.uky.edu.

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Holiday Events Lexington Ballet: “The Nutcracker.” Dec. 20-21. Presented by Lexington Ballet Company and set to the timeless music of Peter Ilyich Tchaikovsky, “The Nutcracker” tells the delightful story of a little girl named Clara who is given a magical nutcracker doll on Christmas Eve. She encounters the frightful rat king before embarking on a journey through the Land of Snow and the Kingdom of Sweets. 2 and 7:30 p.m. Sat.; 2:30 p.m. Sun. Lexington Opera House, 401 W. Short St. www.lexingtonoperahouse.com.

Native Irish storyteller and director Tomáseen Foley PHOTO FURNISHED

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Dec. 21. Now in its 17th season, Tomáseen Foley’s “A Celtic Christmas” re-creates the joy and innocence of a night before Christmas in a remote farmhouse in the west of Ireland – when the neighboring families gather around the fire to grace the wintry night with the haunting melodies of traditional Irish Christmas carols, to raise the rafters with the joy of music, to knock sparks off the flagstone floor with traditional dances, and to fill the night with the laughter of their stories. 7:30 p.m., Singletary Center for the Arts Concert Hall, 405 Rose St. www.finearts.uky.edu. Kentucky Ballet: “The Night Before Christmas.” Dec. 27-28. Adapted in 2012 by Kentucky Ballet’s artistic director Norbe Risco and local actor/director Ross Carter from the beloved Christmas poem, this ballet incorporates humor, love, beauty and the joy of the holidays to its audience. With everything from dancing reindeer, to Santa falling through a chimney while elves dance instead of work in his workshop, to custom-built costumes and several multimedia elements, this holiday-inspired performance features something for everyone. 2 and 8 p.m. Sat.; 2 p.m. Sun. Lexington Opera House, 401 W. Short St. www.kyballet.com. ss

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2605 Ashbrooke Dr. $138,000 2504 Ashbrooke Dr. $137,900

3249 Blenheim Way $325,000 3465 Grasmere Dr. $260,000 900 Quarter Horse Ct. $251,020 656 Wellington Way $220,000 825 Apache Trl. $140,000 3454 Fraserdale Ct. $105,000

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2109 Hawkesbury Way $572,000 4541 Biltmore Pl. $346,000 4104 Heartwood Rd. $324,000 3028 Ashley Oaks Dr. $320,000 4648 Collinswood Dr. $315,000 4328 Crescent Springs Ct. $315,000 4300 Crescent Springs Ct. $297,000 969 Firethorn Pl. $279,000 4472 Aligan Way $227,500 837 Calypso Breeze Dr. $212,250 4608 Longbridge Ln. $211,500 4473 Aligan Way $205,000 861 Henderson Dr. $200,000 721 Vermillion Peak Pass $188,000 903 Jairus Dr. $155,000 4564 Hartland Pkwy. $119,900 1652 Brentmoor Dr. $112,500 ss

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HIGHEST PRICED PROPERTY: 1201 SEBRING LN. $672,500 Recent arm’s length residential sales for this magazine’s distribution area. Information compiled by Fayette County Property Valuation Administrator David O’Neill. For more information on any of these properties, or others, please visit www.fayette-pva.com.

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