Category Archives: public education

Paul Yoculan Younger, Epic Prince of Entertainment.

 

Pop was never my thing, back then.  But, I secretly wished it could be.

Raised on two part a capella worship music, sung by the untrained, first listening to my father croon into my ears while he fed me the bottle I always had an affinity for a grown man who could really sing.

Paul was definitely grown. His skin betrayed his age, but he still wore a shag to the shoulders as if it were the coolest, and a denim jacket same.  And I think, but I’m not sure, that the day I stepped into Larry’s basement for my keyboard “audition” he might have already been there.

The Classmates were a vocal quartet of high school friends circa 1957, which was the year I was born. Frank, Jim, Larry, and Ronnie, three out of four second generation Italian and one black American with voices to blend. But, Paul was their friend, and became a final set fixture at nearly all our gigs. The reason he was in that set was because we always closed with “Peppermint Twist”/”SHOUT” – and, these were his signatures. Paul had spent his heyday singing them with his band, The Epics, both in Vegas and at the “World Famous Peppermint Lounge” – in New York City. The Epics were the band The Beatles came to see and hear after they played New York. It’s true; look it up.

I’d always had a solo voice, of sorts, suited for weddings and funerals, a solid Debby Booner. But, when our tenor couldn’t quite carry the Frankie Valli leads, and Frank asked me if I could, these became my own semi-signature tunes from behind the keyboard for the second set. “Big Girls Don’t Cry”; “Sherry, Baby”; my choice, the Ronnie Spector “It’s My Party” and, nod to the Beatles, “Twist and Shout”.

To Paul, I was probably the furthest cry from a female singer. I didn’t dress the part and, worse, I didn’t carry it. Frank had saddled me in the shoes of the same name when I produced my own pair and, when he acquired royal blue bowling shirts with white cuffs and collar for the guys, I got one too – along with one each of the violet and pink ruffled tuxedo long sleeves to match with black pants.

Never sure if this were on consult or his own idea, but one day Paul had me come over to his house and meet him in his basement. He wanted to coach me into singing lead. Out front. Like a real girl singer.

His wife, sweet and accommodating, provided iced tea on a serving tray. I squirmed. This man sucked on a Throat Disc and wailed like his life depended on it; how could I possibly learn from him? Ah. The arrogance of youth.

I actually don’t remember all of what happened during that session. He told me stories of his days in the circuit, and we listened to some forty fives and he talked about style. I concluded that I was probably the only female singer he’d ever met who would not be groomed for the front. He must have been convinced; we never met again, over iced tea or anything else.

But, what we did do was play out. Paul got us the best work in the big bars. He’d always be our finisher, and he was so good at it – stirring the crowd into a frenzy, pushing his cords until I thought they would just splinter out every time, I was content to crank the keyboard bass until the woofers jumped from the floor and ride all the way to the end on that Roland Hammond B3 preset like a boss. I was so happy just to be part of his show.

Paul’s show kept on, too. Long after I left that band to accept my first public school teaching job, he’d still be found singing. Few of us musicians knew he also coached baseball, and well enough to do so for major high school programs in our region. But, he would not stop singing. That voice which, to my ear and experienced vocal nodes, was always on its last legs just never gave out.

I don’t know what happened, really. Something about a heart problem, requiring major surgery, and complications, and the ICU, and then death. How does that occur, in our time, anymore? Yeah. Paul was 82. But, from the first time and every time I’d seen him over the years he was always, already older than me, old – but young. Younger than all the rest. Paul Younger.

Rest in Peace, you old crooner. Or, keep on wailing. It’s your call, Paul. You were our prince of Pop.

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© 12/29/19    Ruth Ann Scanzillo. All rights those of the author, whose first hand story it is, and whose name appears above this line. Please respect this tribute, exactly as it is written. Thanks.

 

 

The Assembly Line Mentality and Public Education — Feeding from the Same Trough?

My mother was a World War II “We Can Do It” poster girl. When she wasn’t seated at her sewing machine making gowns and coats and fully lined three piece suits, she worked a semi-automatic machine at Csencsis Manufacturing, a shop which produced nuts and bolts for the war effort.

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Every morning, my brother and I would awaken to her shrill holler, frantic herald that our nocturnal sludge threatened to make her late for work. The round jar of Pro-Tek greeted us on the toilet tank, next to her fragile hairnet, foreshadowing that petroleum products intended to protect skin from the stain of petroleum products would shorten her life. And, every day after we walked to school, she’d stand at the noisy, oil spewing tool, tapping and threading out “piecework” until the buzzer signaled either lunch or the end of her shift.

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Like everything else mum did, she excelled at the numbers; her quota always long exceeded, the other workers grumbled that her standard was beyond expectation and made them look lazy. But, to her, one must put one’s hand to the plow and do the work to one’s best ability. This was all part of the grand order of things: the assembly line of life, and her part in it.

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Back in school, mum was a math “whiz”, and tutored other students. She also wrote clever verse, and kept a diary. But, hers was a life of deferred dreams; winning a sewing contest as a girl, the award — a trip to New York, to study fashion — was aborted when the Great Depression called a halt to everything, and the French soldier pen pal over whose letters she obsessed would never come to the States to finally meet; instead, she would deliver the home baked bread door to door, take in sewing, and marry the Italian soldier, who appeared on the night train just in the nick of time to save her from a life with preacher Willie. Once the war ended and the dust settled, dad would have a house built for her and faithfully carry home the cash from his barbershop, on Saturday nights, to count it on the kitchen table.

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The extra money earned in the machine shop meant more material for our clothes, which were all handmade by her, and food for the cooking; my brothers and I ate at mealtime, then dad would arrive home by 8pm to sit down and eat his supper alone. I never had any memory of mum having supper with any of us.

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While mum was at work and dad was at work, I’d be up the hill to Lincoln School, watching the other children in my class, trying to remain in my scratchy spot on the Kindergarten rug, cringing bewilderedly at Mrs. Williams gentle scowl every time I opened my mouth, then stretching my arm as high as it could go and waving my hand until she finally let me speak. There were so many things in the classroom — easels, for painting; a piano for playing; so many books to read; so many things to make. I would look around, at everybody on the rug, then stare at the teacher’s laced up shoes, waiting, waiting for a moment to do what I wanted to do. To my eye, everything in that room was there to be used, and I couldn’t stand sitting while we talked about the calendar and the days of the week and what time it was until we could finally do any of it.

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Twenty five years later, I would be at the front of the room, facing hundreds of children, all week long. For the first time, I could actually see all their faces, and absorb their expressions. And, for twenty five more years, I did this every week from September to June.

Fifty years went by; had I contributed anything important?

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The assembly line mentality had herded me, and my mother before me, into a predictable, limited life. I grew up to perpetuate the myth that controlling the masses mattered most, that a democratic majority could be found among those who followed along. Somehow, in spite of intellectual strength and inborn gifts, my mother would die at age 76 from a cancer which had never, before or since, appeared in any member of her family, a disease which the assembly line had wrought, caused by multiple chemicals produced in shops, chemicals used on the lawn at which she knelt all summer weeding the flower gardens, chemicals in the artificially sweetened beverages she drank to lose mid section weight brought on by daily, sedentary toil and malnutrition, chemicals in the air surrounding the manufacturing machine and in the water she used to make her coffee.

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The assembly line generation is fearful that their jobs will be replaced by artificial intelligence. This is borne of a lulled sense that, apart from the job they do all day, their lives have no further value. And, that is tragedy on the cusp of realization.

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Ours is a structurally outmoded society. And yet, those in power persist in allowing war to dictate how our economy survives. If this doesn’t change, we could very well starve to death before we have ever truly lived.

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© 8/1/19  Ruth Ann Scanzillo      Originally published at Medium.com    Thank you for respecting original material.

littlebarefeetblog.com

 

Why You Never Saw Her Out.

Formerly titled:

RUTH ANN SCANZILLO,

Professional Pianist / ‘Cellist.

Dear Readers of littlebarefeetblog.com:

A few have pointed out that I have no professional website; herewith a brief history of my work in the region, as a preliminary bio for the future website. Dates are occasionally approximate because, well, I’ve been around awhile and the memory isn’t complete….thanks!

Ruth Ann Scanzillo

pianist; ‘cellist

PO BOX 3628 Erie, Pennsylvania 16508

DOB: April 26, 1957                                                                       814.453.3523; 814.881.5372

littlebarefeet@msn.com

EDUCATION

SUNY @ Fredonia, Fredonia NY

1975 – ’77 – Graphic Design/Printmaking;

1979 – ’81 – December, 1981: Bachelor of Music, Music Education, magna cum laude, concentration: cello – Dr. Louis Richardson, Professor of Cello;

1989 – ’94 – SAA Suzuki Summer Institutes, Stephen’s Point WI; Ithaca College, Ithaca NY; Chicago, IL; registered, Violin IA; IB; Cello, I, II, and III

PIANO:

Theater:

1975 – rehearsal/performance piano, Footlights Theatre, Erie, PA

  • “You’re A Good Man, Charlie Brown!” – Jane Behan, musical director

1982-83 – rehearsal/performance piano,  Lincoln Theatre, Erie, PA

  • “SUGAR” – Mark Moffatt, director;
  • “HAIR”  —  Mark Moffat, director;

1984 – rehearsal/performance piano/instrumental ensemble director, Erie Playhouse, Erie, PA:

  • “Ain’t Misbehavin'” – Leo Estes, John Burton, directors;

circa 1985 – rehearsal/performance piano, live scene underscoring, Erie Playhouse, Erie PA:

  • “I Remember Mama” – Charlie Corritore, director;

circa 1999 – Piano I,  Fredonia Opera House, Fredonia, NY:

  • “The Fantastiks” – summer stock cast; Harry John Brown, music director;

1999 – 2000 – rehearsal pianist, Mercyhurst University D’Angelo Department of Music:

  • “Song of Norway” — Louisa Jonason, opera director;
  • “Don Giovanni” —– Louisa Jonason, opera director;

2000 – 11 –  Production, direction, set design and build, live piano accompaniment and synth. keyboard underscoring, The Dillon Drama Club,  Grover Cleveland Elementary School, Erie PA:

  • Beauty and The Beast (final production assisting founder Carolyn Dillon)
  • Wizard of Oz (2002)
  • Oliver!
  • GREASE!
  • Annie, Jr (2009)
  • A Christmas Carol
  • A Christmas Story
  • Spanky and Our Gang (two shorts, original staged adaptations);
  • Star Wars (five movies, consolidated, original staged adaptation by verbal permission conference call w/ LucasFilm licensing);
  • You’re A Good Man, Charlie Brown (2011)

2011 – rehearsal and performance piano, Mercyhurst University, D’Angelo Department of Music/opera:

  • “TINTYPES” — Louisa Jonason, director (slated for August, 2011, West Bank Cafe, Manhattan. Hurricane Irene aborted); performed, September 11, 2011, Walker Hall, Mercyhurst University;

2015 – rehearsal pianist, “The Selfish Giant”, original opera by Stephen Colantti, Erie Opera Theatre, Brent Weber and James Bobick, directors;

2019 – performance piano, Keys 3, “MAMMA MIA!”, Cathedral Prep, Fr. Mik DeMartinis, director; Will Steadman, music director;

Collaborative/Chamber Music:

1986 – present:  piano collaborator for juries, hearings, college recitals and concerto competitions:

  • SUNY@Fredonia Conservatory of Music (1989 – 2008) – studios of Barry Kilpatrick, Marc Guy, Susan Royal, James East, Jack Gillette;
  • Edinboro University music department (1999 – 2014) – studios of LeAnne Wistrom, Patrick Jones, David Sublette, Robert Dolwick, Howard Lyon, Brad Amidon, Anne Wintle-Ortega;
  • Mercyhurst University D’Angelo Department of Music, vocal and instrumental performance departments (1999 – 2000; 2008-12) – studios of Louisa Jonason, Geoffrey Wands, Robert Dolwick, Chris Rapier, Alyssa, Scott Meier; and, with Shaun Pomer (1989) and Glen Kwok;
  • Erie Jr. Philharmonic Eiji Oue Concerto competition (1989 – 2013) – violin; trumpet; clarinet; tuba;
  • COYO Concerto competition, Cleveland, OH (2007) – cello; soprano;
  • Young Artist’s Debut Orchestra concerto competition (2007-08) – violin;

2011-12  – rehearsal and performance pianist, vocal performance studio of Louisa Jonason, D’Angelo Department of Music, Mercyhurst University;

2019 – String Trio, Caryn Moore, vln; Sunny Saunders, vla; self, cello; works by Pleyel, Boccherini, Haydn, Mozart, Beethoven, Massenet, et al;

Repertoire:

including, but not limited to:

  • Artunian; Bach; Barber; Beethoven; Bernstein; Bozza; Brahms; Britten; Creston; Chopin; Chaminade; Copland; Colantti; Dvorak; Franck; Grieg; Hartley; Haydn; Hindemith; Hummel; Ibert; Korngold; Loeffler; Mozart; Mendelssohn; Neruda; Piazzolla; Puccini; Rossini; Rachmaninoff; Ravel; Saint-Saens; Schubert; Schumann; Shostakovich; R. Strauss; Telemann; Vaughn-Williams; Wieniawski; Verdi; Von Weber; H. Wolf;

for the following instruments:

  • soprano; mezzo; tenor; baritone; bass;
  • violin;
  • viola;
  • cello;
  • bass;
  • clarinet;
  • oboe;
  • bassoon;
  • flute;
  • trumpet;
  • trombone;
  • Euphonium;
  • French horn;
  • natural horn;
  • tuba
  • marimba;
  • alto and tenor saxophone;

Orchestral Piano:

1989 – 2000   – Erie Philharmonic Orchestra, Maestros Eiji Oue and Peter Bay; composers: Copland; Korngold, et al   (film scores)

CELLO:

Orchestral:

1986 – 2013   — section cello, Erie Philharmonic Orchestra, Erie PA, under maestros: Walter Hendl; Eiji Oue; Peter Bay; Hugh Keelan; Daniel Meyer; Jeff Tyzik; various additional guest batons;

1986 – 2011 — section cello/Principal cello/harpsichord, Erie Chamber Orchestra, Maestro Bruce Morton Wright;

2011 – 2018 — Principal cello, Erie Chamber Orchestra, maestros Matthew Kraemer and Bradley Thachuk, musical directors, and various baton candidates;

1999 – present:  Principal cello, Bemus Bay Pops Orchestra/Chautauqua Pops Orchestra, Bruce Morton Wright and John Marcellus, musical directors; Chautauqua Pops Strings, Lenny Solomon, musical director;

Artist Pick up hires:

  • circa 1987 – Johnny Mathis, Erie Warner Theatre;
  • circa 1992 – Anne Murray, “
  • 2008 – Clay Aiken, Erie Civic Center;
  • 2015 – MANNHEIM STEAMROLLER, Red Tour, Erie Warner Theatre; 2020 – Green Tour, Erie Warner Theatre;

2019 – String Trio, Caryn Moore, vln/Rachael Brown, vln; Sunny Saunders, vla; self, cello; works by Pleyel, Boccherini, Haydn, Mozart, Beethoven, Massenet, et al;

Other Work History:

1986 – 2011 —  Public school music teacher, K – 12, School District of the City of Erie, PA  –  general/vocal and instrumental, including: marching band, choir, chorus, string ensemble, string orchestra, music appreciation, and special classes for the hearing impaired

1989 – present — Private studio teacher, Suzuki-registered cello (Books 1 – 4) and violin (Books 1 – 3).

Chamber Music:

2019 – present  — RECAPITULATTI!  Professional string trio:  Rachael Brown, vln; Sunny Saunders, vln/vla; self, cello.

Scholarships and Awards:

1975 – Card-Catlin Art Award, Erie PA – portfolio adjudicated;

1981 – Gaeliewicz String Award, SUNY@Fredonia; Hillman Scholarship, SUNY@Fredonia;

1984 – S.A.D.I.E Award for Drama In Erie :  Best Orchestra, “Ain’t Misbehavin”, Leo Estes/John Burton, directors; starring Wydetta Carter, John Burton, Michael Henderson, Tootie Howard, Marlene Spells…..

© 1/21/2020  Ruth Ann Scanzillo. I certify that the above information is true and accurate, to the best of my memory. John Burton may not have been a director of Ain’t Misbehavin’, but I believe that I am correct on all other points.  Thank you.

littlebarefeetblog.com